|Type of Research:||Art/Design Item|
|Creators:||Collins, Jane and Farley, Peter|
This work is a site-specific adaptation of 'The Duchess of Malfi' by John Webster. It is a collaborative practice-as-research project, and is part of an ongoing investigation into the ways in which site-specific locations might be utilised for the ‘re-staging' of Renaissance plays in ways that offer up new meanings for a contemporary audience.
|Other Corporate or Group Contributors:||
|Additional Information (Publicly available):||
Performance, specifically the relationship between word and image. Collaborative practice, the interface between 'performance art' and 'art performance' as a potential site for the making of new work Re-staging renaissance plays in ways which engage and challenge contemporary audiences. Scenography. New writing. Contemporary African Performance and the reception and perception of work from the continent of Africa on the world stage.
Jane Collins is a Reader in Theatre and Contextual Studies Co-ordinator for Theatre at Wimbledon. She is a writer, Director and theatre maker who works all over the UK and internationally. She has a long association with the continent of Africa and for The Royal Court, with the National Theatre of Uganda, she codirected Maama Nalukalala N_dezze Lye (Mother Courage and her Children) by Bertolt Brecht, with a Ugandan cast in Kampala. This production, which was the first official translation of a play by Brecht into an African language, toured internationally. Her AHRC funded research into 'performing identities' resulted in a new work for the stage The Story of the African Choir which was developed in conjunction with the Market Theatre Laboratory in Johannesburg and performed at the Grahamstown International Festival in 2007. Throughout 2008-09 her research was mainly engaged with co-editing Theatre and Performance Design: a reader in scenography, which was published by Routledge in January 2010. This book, with over 52 texts is the first of its kind in this field. In addition, in 2009, her practice based performance research included re-staging the award winning Ten Thousand Several Doors for the Brighton International Festival. Collins has been asked to contribute an essay on Ten Thousand Several Doors to the forth coming collection Performing Site-Specific Theatre edited by Anna Birch and Joanne Tompkins to be published in late 2011.
Peter Farley's research interests are threefold: - the documentation, archiving and dissemination of the creative process of the theatre designer/scenographer; the re-creation and restaging of important half-forgotten works of modern classical dance; and the reinterpretation of classical renaissance texts to make new works of theatre.
Peter Farley is a theatre designer/scenographer who has worked both nationally and internationally. Over the past ten years, his theatre work has been concerned with devising and designing new work based on classical Renaissance plays. During this time, he has also been an Associate Designer for the Royal Ballet at the Royal Opera House, Covent Garden. Peter was trained at Wimbledon College of Art where he is now a Senior Lecturer. He has a Master of Arts degree in Theatre Design/Scenography and in 2006, he was awarded an Arts and Humanities Research Council Promising Researcher Fellowship. He has written contributions to books and catalogues and has designed and curated many exhibitions. He is a Director of the Nightingale Theatre, Brighton.
Firstly, over the last eight years he has been collaborating with Yolanda Sonnabend in researching, recreating and restaging the half-forgotten designs for ballets first created by the late Sir Kenneth Macmillan in the 1970s and 1980s for the Royal Ballet at Covent Garden. The research sources are old black and white archival photographs, fragments of original scale models, original drawings and also personal memory. The process had also generated an investigation into new and exciting construction materials and fabrics that were not available when the works were first produced.
Secondly, he has been engaged in research concerning how Renaissance texts in unconventional and site-specifc locations might offer up alternative readings for contemporary audiences and, from a scenographic perspective, how issues of scale and proxemics affect the reception of texts from this period. His most recent work, Ten Thousand Several Doors, based on Webster's The Duchess of Malfi, was created for the Brighton International Festival in May 2006 and continues this ongoing research in collaboration with director, Jane Collins, which includes Webster's Women in the1990's and Shakespeare's Dream-on-Sea in 2003.
Lastly, In 2006, he was awarded an Arts and Humanities Research Council Promising Researcher Fellowship to explore ways in which current and historic scenographic process can be documented, archived and disseminated for the use of theatre specialists and the public at large. This work will become part of a scenographic archive at Wimbledon College of Art building upon the College's acquisition of the Jocelyn Herbert and Richard Negri archives.
|Keywords/subjects not otherwise listed:||theatre, performance, site specific, webster, malfi, interaction|
|Your affiliations with UAL:||Colleges > Wimbledon College of Art
Colleges > Wimbledon College of Art
|Date:||6 May 2006|
|Funders:||Arts Council England , Made in Brighton, The Brighton Festival , Wimbledon College of Art|
|Event Location:||Brighton International Festival|
|Locations / Venues:||
|Date Deposited:||19 Nov 2009 20:59|
|Last Modified:||08 Jul 2014 12:25|
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