The Arches and Playwrights' Studio Scotland presents
Wed 1 Aug 2012 | 7.30pm - 8.30pm | £3.50 (includes a 125ml glass of wine)
A Scratch-style event from the Arches and Playwrights’ Studio, in which all kinds of artists perform their version of contemporary texts. This month, Allie Butler creates a movement piece based on a 20th century play, Russell MacEwan and his drum corps cut up Shakespeare’s Macbeth text and rework it to death metal standards and Stewart Schiller combines live music and physical performance in an exploration of David Grieg’s Yellow Moon.
ABOUT CROSSING THE LINES |
Pushing the boundaries of the theatrical experience, whilst firmly focusing on text, this new performance evening sees artists of any genre taking a piece of contemporary playwriting and illuminating it within a live setting, before moving to the bar for audience feedback and discussion.
So far we’ve seen Vanessa Coffey, Paul Henry, Victoria Beesley, Alan McKendrick, Amanda Monfrooe, Finn Den Hertog and Gary McNair give their interpretation of a modern text. Whether you’re a performer, director, musician or movement specialist, we’d love you to help celebrate and interrogate the delivery of text. Similar to Scratch nights, these short pieces will be performed to a supportive audience who will offer feedback in the bar afterwards.
GETTING INVOLVED |
We are looking for artists who want to work with text in new and exciting ways. Pieces should be around 10-15 mins long. They don’t have to be finished or polished – it’s more to do with experimentation. We have a list of playwrights who would love for their contemporary playwrighting to be used by artists to experiment with (just drop us an email if you’d like to see it). However, you can use any piece of playwrighting that you like.
The only rule is that the text cannot be changed and must be present in some way – so, work merely inspired by the writing cannot be included.
There’ll be an opportunity to get feedback after the event, and some rehearsal space is available for artists subject to availability.
If you’d like to get involved, please contact firstname.lastname@example.org
Please enter through Argyle Street
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“Where can you see tomorrow’s work today? The answer is The Arches.”
Producing and presenting risk-taking work from local and international artists and companies, the building has boasted performances over the past two years from Derevo, The TEAM and Taylor Mac, hosted the National Review of Live Art and New Territories festivals and seen blistering performances from boundary-pushing artists and companies such as John Moran, Adrian Howells, Ontroerend Goed and Quarantine as part of 2010’s BEHAVIOUR festival, our annual celebration of the live experience.
The Arches is also Scotland’s leading provider of support for emergent artists and performance practitioners, providing a year-long programme of opportunities including Artist in Residence programmes and our two annual awards, Platform 18: New Directions and the Brick Award, as well as showcasing raw work from homegrown talent such as Nic Green and Rob Drummond in Arches LIVE, our annual festival of brave new work.
Our dedicated Creative Learning programme offers even further-reaching opportunities for development across a broad range of social groups, with events ranging from urban music production course Tigerstyle and the newly launched Arches Community Choir, to mentoring schemes, professional development projects and off-site performance work with diverse social groups.
Words from Jackie Wylie, The Arches’ Artistic Director, following the tragic death of Adrian Howells:
“All at The Arches are devastated by the loss of Adrian Howells this week. He was our Artist in Residence and The Arches was his creative home. But more than that, he was a dear friend and companion in life to many of us here.
So many would say that there truly was no one like him, who personified love, generosity and the deepest type of empathy and desire to understand those lucky enough to have met him. With great humour he was able to create an instant connection with anyone he encountered. He was able to translate this desire to nurture and connect into his performance practice and in doing so leaves behind not only an incredible and influential body of work but a multitude of audience members across the world who have in some way been transformed by these encounters.
He supported, encouraged and was at the heart of an entire community of artists in Glasgow who will miss him terribly.”