Alan Duffield

MOTION TRACES II
Self through Movement in Dance Performance
27th November @ 5.00pm

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“Perhaps what is required is…a notion of subjectivity which is not exclusively temporal; not the projection of an interior-conceptual, introspective, but rather a subjectivity which is spatial too, outward looking in its perspectives and in the awareness of its own rational constitution.”
– Doreen Massey, For Space

Motion Traces II was a new dance work performed in the Summer of this year. I made this piece with four dancers from Chichester University for the Chichester Festival as part of my research into senses of self through movement in dance. My presentation will look at the way the work was developed and how its progress from studio to performance spaces impacted on the choreography. Part of this consideration will include the dancer’s own comments on the process as well as insights into the collaborative nature of the project. Questions of space, self and movement will be introduced.

Brief Bio
I am in the second year of my work in the Department of Drama and Theatre, with Dr Libby Worth as my supervisor. The working title of my thesis is Towards an Ecology of Dance. I have completed a working lifetime in performance education in schools, colleges, and as director of an arts centre linked to advisory support in Drama in Education. I have been concerned with what is termed physical theatre throughout my working life. My initial training was at Goldsmiths in the pioneer days of drama in education and my own work in this area has always been linked to issues of gender, race and class. I have continued to study throughout my life and in 2009 took the Physical Theatre MA at Royal Holloway. It is from this work, looking at the location of meaning in the dancing body, that my current research has developed. I am fortunate to be able to undertake this research in what has come to be termed the ‘third age’.
Alan Duffield. Cert Ed (Drama in Education. Goldsmiths. 1963-66) B.A. (English Literature. Hatfield)  M.A. (Sociology of Literature. Essex)  M.A. (Post Compulsory and Adult Education. Southampton)  M.A. (Physical Theatre and Performance. Royal Holloway).

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Anastasios Sarakatsanos

Anastasios Sarakatsanos
Audiovisual Composition
27th November @ 6.00pm

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Music videos, in their predominant form, are inevitably more focused on their filmmaking aspect, as their main purpose is to visually narrate songs. They attempt to visualise music, to tell a story, more or less abstractly related to a song. The language used in this case is that of cinematographic narration. Experimenting on the medium of Audiovisual Compositions, I am not as much interested in narrating music as in depicting it. Using both the visual and the sonic information in music, I document each performance in both media forms. Material is then manipulated, using editing software for Sound and Film, in the production of an audiovisual composition.

Considering that for the last 120 years, technology has offered a way to record sound and separate it from the live, collective and synaesthetic experience that music is, we will realise the importance of visual information in music. Adding a visual dimension to music enhances the listening experience, especially in cases of online performing, where new forms of social interaction appear. The rapidly growing numbers of emerging artists incorporating such ideas and techniques in their compositions shows a trend towards new, more visual ways of understanding musical composition.

In my current project, titled ‘Influenza’, I am documenting the way musical ideas transmit between musicians and shape performance and aesthetics. I will be interviewing musicians, documenting their musical influences. Editing the interviews will result in an audiovisual composition made of fragments of participants’ interviews. Melodies, words, ideas, either verbally or musically expressed are blended in a composition that attempts to show fragmentation and isolated creation in the 21st century but also creates a new, virtual space for the fragments and the musicians to form a new picture, meet and collaborate.

Brief Bio
I was born in Athens, Greece. My study in music starts from a young age with classical training. I graduated from the Music School of Athens and concluded my BA studies in‘Folk and Traditional music’, in Greece. For the last 6 years I have lived in the UK. I completed my MA in ‘Composition for Film and Media’ at the University of Sussex and I am currently a Music PhD candidate at Royal Holloway. Within a broad range of interests (composing for film and theatre, working as a live performer, coaching actors, leading workshops and directing own projects), I maintain a deep appreciation for the social function of music and mainly focus on its visual aspect, hence my studies and work employ film to a great extent.
www.youtube.com/anastatik

Yva Jung

Let It Simmer Over Summer
Journey, Displacement and Decomposition
13 November @ 5.00pm

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This PhD thesis investigates temporality through decomposition. In the practical part of my research I test out decomposition as a method of exploring temporality. Using my temporal art practice, in particular the Minus Suitcase project, as a reference point for the research, I am seeking to generate new ways of capturing gaps and memories that are left unsaid. Furthermore, this research examines the conceptual and historical context of reconstruction and decomposition by investigating works of contemporary video artists, including Joan Jonas, Jonas Mekas and Guy Sherwin.

My research will look at video works in relation to the specific nature of the medium as a container of temporal art practice. Rather than merely functioning as event documentation, I am interested in examining the specific use of video in reconstructing events. Furthermore, my research will not be limited to video works but will extend its investigation to collage, photographs, and installations.

This research aims to generate new ways of thinking about how we relate to gaps and memories of temporal encounters. By analysing my work and the works of other artists, this research attempts to test out the relationship between displacement and decomposition.

Brief Bio
Born in Seoul, South Korea, currently based in London. Yva Jung is a MPhil/PhD Fine Art student at the Slade School of Fine Art. She received her MFA from the School of Visual Arts in New York (2008) and her BFA from Ewha Womans University in Seoul (2006). She was awarded residency fellowship at the Arctic Circle Residency (2011), Skowhegan School of Painting and Sculpture in NY (2009), and Darling Fonderie in Montreal (2010). She is a recipient of International Fellowship and Grant programs including Kwanjeong Educational Foundation ( South Korea, 2012), Jerome Foundation ( USA, 2011), Arts Council Korea (2011, 2008), and CanadaCouncil for the Arts (2010).

Melissa Poll

Reparation Via Adaptation
Scenographic Dramaturgy in the Wendake Tempest
13 November @ 6.00pm

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Since the mid 1990s, the number of international Shakespeare productions engaging the politics of indigeneity and/or featuring indigenous performers has steadily increased. Examples include Simon Phillips’s 1999 The Tempest for Queensland Theatre Company, which cast Aboriginal and Torres Strait Islander performers in a confrontation of the country’s colonial history, and Native Earth Performing Arts’ 2008 exploration of tribal politics in The Death of a Chief, a retelling of Julius Caesar co-produced by Canada’s National Arts Centre and featuring an all-aboriginal acting company. Working within a broadly similar postcolonial context is Ex Machina’s 2011 La Tempête, staged by internationally renowned director Robert Lepage on the Huron-Wendat First Nations reserve in Wendake, Québec. This paper unpacks the ways in which Lepage’s signature scenographic dramaturgy, composed of kinetic bodies, architectonic scenography and historical-spatial mapping, adapts Shakespeare’s Tempest in an effort to subvert the text’s imperial hegemony and symbolically return agency to the doubly colonised Huron-Wendat people. While such a postcolonial intervention is by no means conceptually groundbreaking, Lepage’s use of evocative scenography, not textual adaptation, to re-‘write’ Shakespeare’s colonial narrative merits further investigation. By empowering Aboriginal bodies in performance, shifting The Tempest’s conclusion to give a First Nations Caliban agency over Prospero’s fate and incorporating historical narratives including Edmund Kean’s physical and spiritual recuperation within the Huron-Wendat community in 1826, Lepage is crafting canonical counter-discourses that not only intrinsically acknowledge Québec’s problematic colonial history but also offer a positive point of contact for two minority groups that have regularly clashed in their respective pursuits for self-determinism – Canada’s First Nations peoples and the Francophone Québécois.

Brief Bio
Melissa Poll is a PhD candidate in Drama at the University of London, Royal Holloway. Since completing her MA thesis in Theatre History and Criticism at the University of British Columbia, she has worked as a professional actor (The Arts Club Theatre, Théâtre de la Seizième), adjunct professor, and freelance theatre critic for The Vancouver Sun, Vancouverplays.com and The British Theatre Guide. Her current research focuses on scenography in Robert Lepage’s extant text productions, particularly his staging of Wagner’s Der Ring des Nibelungen at the Metropolitan Opera.

See: http://lacaserne.net/index2.php/theatre/la_tempete_a_wendake/