Movement Director & Consultant
Directeur et Consultant Artistique de Mouvement
Birmingham Stage Company
Tom's Midnight Garden, directed by/mise en scène par Graeme Messer
Royal Shakespeare Company
In The Company of Men, Edward Bond
Colombe, Jonathan Church
Romeo AND Juliet, Jonathan Church
The Double Inconstancy, Jonathan Church
The School for Wives and Tartuffe from L’Ecole des Femmes and Tartuffe by Molière ►
Erec et Enide and Cliges by Chrétien de Troyes
The Servant of Two Masters from Il Servitore di Due Padroni by Goldoni
Original Work includes
Pédagogie, Conférences et Ateliers
|Over the past couple of years, I've been mostly working with classical music
companies, providing a theatrical input for young people studying particular
types of music - with The Academy of Saint Martins in the Fields,
Pro Corda and
The City of London Sinfonia.
Part-time lecturing at The University of Nottingham, The Marlowe Society, Cambridge University, Trent Polytechnic (now Nottingham Trent University) Creative Arts Department, Coventry Performing Arts Centre, Burton On Trent Technical College. These posts required teaching a wide range of disciplines to students of varying abilities: mime, movement, physical theatre, improvisation, directing, mask, acting, voice, text.
As a freelancer: residencies in Day Centres for people with learning difficulties, special schools, centres for the Deaf. Many projects to promote the Arts in primary, secondary and tertiary education.
Carlton Junior Television Workshop.
Lectures to many different groups ranging from Amateur Theatrical Companies to Women's Institutes!
Récemment, j’ai travaillé pour la plupart avec des compagnies de musique
classique, fournissant une inspiration théâtrale aux étudiants de musique
plus spécialisée – avec The Academy of Saint Martin in the Fields, Pro Corda
et The City of London Sinfonia.
The Academy of Saint Martin in the Fields
The Pulcinella Suite by Igor Stravinsky at The Royal Festival Hall, London
|Project with John Cooney (composer), me
(performer) and young musicians from the Purcell School, Bushey, Hertfordshire.
John and I were asked to work with the students on themes from The Pulcinella Suite, which was to be performed by the Academy at the Royal Festival Hall. The students were to compose and play their own pieces inspired, not only by Stravinsky, but also by John's expertise as a composer and by me as a visual catalyst. My function was to give them an idea of the Commedia Dell'Arte - specifically Pulcinella's character - and give them some further inspiration for their own pieces of music. A short performance was given at the Royal Festival Hall just before the orchestra played the Suite itself.
I took the students through some basic physical theatre techniques, including mime and mask, which became a series of vignettes accompanied by their own music. They played their own pieces and were joined by one or two members of the Academy's orchestra, which gave a great link between the two events of the evening.
It was a fascinating process and I felt privileged to be working with such a gifted group of people, from John Cooney, to Siân Davies, to the students and musicians.
Projet avex John Cooney (compositeur), moi
(acteur), et des jeunes musicians de la Purcell School, Bushey, Hertfordshire.
|Pro Corda is a kind of a residential school for gifted young
musicians and they are based in a beautiful old monastery in Suffolk, near
Aldeburgh. I was invited to run a workshop in mime and Commedia Dell'Arte with
the students and their tutors (a very distinguished group of highly accomplished
classical musicians), as a kind of break from the intensity of their musical
A major part of the workshop was to hold a demonstration of mask-character creation, in which participants transform into the personality (as they perceive it) of the mask they are using. This is intriguing: the same mask has a different character depending entirely on the user, and it can be hilarious, intense, irreverent, moving; it's never anything less than enthralling.
It was a delightful day, sunny, in idyllic countryside and the joy we all had was infectious to the point where the tutors (a very distinguished group of highly accomplished classical musicians, as I think I mentioned before...) had to be coaxed out of their masks after spending a good half an hour being very naughty indeed! The fun of this sort of work is that adults and children become the same non-specific age and derive the same pleasure from the experience.
Pro Corda est une école
résidentielle pour jeunes musiciens doués. Elle est située dans un très beau
ancien monastère près d’Aldeburgh dans le Suffolk. On m’a invite de mener un
atelier de mime et de Commedia dell’arte avec les étudiants ainsi qu’avec leurs
professeurs (un groupe de musiciens et distingués et vraiment accomplis dans
leur champs d’expertise).
City of London Sinfonia
|This was a two day project at Little London
Primary School in Leeds which took place in September 2003, co-ordinated by
Becky Walsh. The intake of the children is multicultural and fairly typical of
an inner city school. I say all that because very often, projects of the
"classical" music kind do tend to be connected with a more middle-class,
predominantly white environment. This was not that at all!
Playing live, the musicians from the City of London Sinfonia showed the kids instruments from the flute to the marimba, via the violin and the 'cello. What intrigued them was that such beautiful sounds were being produced without any electronic enhancement (microphones, speakers etc) and that the music had not been written by the musicians themselves, but was hundreds of years old.
I was there to give them an idea of Commedia Dell'Arte, using masks and responding to the pieces of music chosen to represent different Commedia characters.
All I can say about the project is: Amazing!
Un projet qui eut lieu à
travers deux jours à la Little London Primary School à Leeds en Septembre 2003,
dirigé par Becky Walsh. Il y a là un mélange culturel, de race et de langue qui
est assez typique d’une école dans un quartier déshérité en Angleterre. Il
fallait mentionner cela parce que c’est souvent le cas que les projets comme
celui-ci ont lieu dans des milieux plus bourgeois, plutôt blancs. Cette fois,
rien de la sorte!
Theatre In Education
Théâtre Pour La Jeunesse
(This all seems so long ago now)
1981-82: CAMBRIDGE SYLLABUS PLAYERS.
Cambridge Syllabus Players
Visites rendues aux écoles en Angleterre pour présenter des pièces de Shakespeare avec la participation des étudiants eux-mêmes.
1986-87: Theatre Alibi
Troupe qui mettait sur scène des spectacles montrant le pouvoir des contes folkloriques; y ajouter une pièce de réminiscence sur les expériences vécues par un simple soldat de la première guerre mondiale: No Heroes No Cowards / Pas de Héros pas de Lâches.
1988-90: Leicestershire Schools Theatre CompanY
Directeur artistique. Pièces crées et présentées aux étudiants de tous les ages et de toutes les aptitudes dans le Leicestershire. Cette troupe a joué avec réussite au Festival Internationale de théâtre pour la jeunesse (Take Off) deux fois à Londres.
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