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www.artmedia.com.au - contemporary
Australian & New Zealand Literary and Performing Arts
Artmedia - Physical Theatre News
- September 2006
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Sponsor:
Malthouse Theatre Presents Honour Bound, Melbourne
Playspace:
Clown Intensive Next Week, Places still Available, Sydney
Features:
Red Spoon Clown Intensive, Andrew Cory,
Brisbane, Australia
Angels Can Fly - Sue Broadway on Women Clowns,
Australia
Networking:
Tempo New Zealand Festival of Dance, Auckland,
NZ
Applause Street Theatre &
Buskers Festival, NSW
Melbourne Fringe Tickets Now on Sale,
Australia
San Francisco Fringe Festival Podcasts, USA
Slava's Snowshow is looking for Good
Clowns, USA
New York City Physical Theatre Network, USA
Mapping The Streets Conference, United Kingdom
Circus Futures Conference, Bristol, United Kingdom
A Celebration of the Street Arts, Barcelona,
Spain
Artmedia:
Newsletter Subscription and Unsubscription information
Newsletter Advertising and Artmedia site Promotion
Artmedia News
Welcome to the September 2006 edition of the Artmedia physical theatre newsletter, your e-publication with an Australasian focus and a global perspective, now in its fifth year and reaching over 2,100 subscribers, with a further 5,300 on related Yahoo lists.
We're coming out a little early this month, because our sponsor's season of Honour Bound is opening next week, and it also gives us a chance to mention the auditions for Slava's Snowshow which are on in New York today and on Monday. More below. And there will be no newsletter next month, as I will be immersed in shooting my clown film Moontan, but we'll be back brighter than ever in November.
In the Sponsorship this month, we welcome the Malthouse Theatre who present Honour Bound, an exciting new work which electrified audiences when it premiered at the Sydney Opera House in July. Honour Bound brings together two of Australia's leading theatre visionaries, director Nigel Jamieson and Australian Dance Theatre choreographer Garry Stewart. "Through a fusion of dance, film, theatre and aerial performance Honour Bound leads us on a deeply human experience of incarceration at Guantanamo Bay through the eyes of David Hicks' parents, Bev and Terry. It integrates Terry's personal testimony as father with letters, internal Pentagon papers and accounts of former detainees." For those outside Australia, David Hicks is the sole Australian detainee at Guantanamo Bay, and his father Terry has been campaigning tirelessly to get the Australian Government to stand up for the rights of it's citizen, and demand that he be returned to Australia.
In the Playspace section, the Summer Clown Retreat in New Zealand is now
almost full, four months prior to the workshop, with only one place
remaining on the workshop, so I can tell I'm going to do more of them.
Meanwhile there are still a few spare places on the clown intensive in
Sydney next week. For those interested in the workshop program for 2007, I
promise more details in the November issue.
In the Features, Red Spoon is offering a two week clown training
intensive next January at the Metro Arts, Brisbane, Australia. The course is
aimed at the Theatre Clown with a focus on developing the character and
fantastic reality of the clown. "You will be challenged to find the truth
that is at the cornerstone of your clown, (re)discover your imagination and
refine your understanding of stage presence."
In the Angels Can Fly section, we continue a series of excerpts from the book with another of the anecdotes, this time from Australian clown Sue Broadway, who explores the nature of the female clown experience and concludes: "The older I get, the looser my shows become and the freer I feel to go anywhere my impulses take me. I perform different clown pieces in different costumes, but gradually they are drawing closer together and I begin to realise that they are all the same clown, the same foolish person just pretending. A clown can be anyone or anything she wants to be."
We have a bit of a festival theme in the networking this month, with information on the Tempo New Zealand Festival of Dance, which launches at the end of this month in Auckland, featuring over 40 performances across 10 venues. In Australia, the Applause street theatre & buskers festival will be held in Albury NSW in October, and the Melbourne Fringe launched its program yesterday, and festival starts in a couple of weeks.
In America the San Francisco Fringe started yesterday, and we have information on the New York City Physical Theatre Network which has also just been launched, and is "a hub of information on artists and companies creating physical theatre in the NYC area". Also in New York, Slava's Snowshow are holding auditions today for 'a few good clowns' this Monday, September 11th, from Noon until 4pm, at the Union Square Theatre. Slava's Snowshow has played in over 80 cities worldwide and has now been resident in New York for over 2 years.
In England we have a couple of conferences, “Mapping The Streets” to be held later this month in Newcastle, aims to 'celebrate international street arts and to explore its origins, as well as the way it has developed into a global expression of culture, which is both popular and accessible'. And the Circus Futures Conference, to be held next month in Bristol, is a two-day event for promoters from venues and festivals, practitioners, local authority art officers, agents and circus proprietors. This event consists of a conference as well as a series of showcases.
And finally in Barcelona, Spain, we have a Street Arts Seminar,
which will take place as a part of the Mercè Street Festival. The theme will
be Street Parades and this will be approached from the perspective of both
the artists and technicians taking part in these parades, or more generally
in any performance projects in public spaces.
We aim to provide an avenue of communication for the physical theatre
community, so send us information for inclusion in this newsletter, and
please also forward this to someone else who may be interested.
Artmedia Network News
On the Artmedia site you can find links to performers, companies, resources and festivals all over the world, and you can also subscribe to this newsletter. The newsletter archive includes all issues for 2002, 2003, 2004 and 2005. Check it out at:
http://www.artmedia.com.au/news.htm
Theatre LOTE provide
innovative Bilingual Performances for schools and festivals.
http://www.theatrelote.com.au
Sue Broadway has information on her touring
performances and projects.
http://www.artmedia.com.au/broadway.htm
The Bendy Em Show. Check out Emma's contortion
show at
http://www.artmedia.com.au/bendyem.htm
Physical TV has info on Karen Pearlman and
Richard James Allen's Dance Films.
www.artmedia.com.au/physical_tv.htm
Aerialize have information on their aerial
theatre classes and projects in Sydney.
http://www.artmedia.com.au/aerial.htm
Hemlock Mejarne (pictured left) is an acrobat,
stilt-walker, who has a range of skills.
http://www.artmedia.com.au/acronym.htm
For one page on the Artmedia site, it is just Aus$20 a month, or Aus$30 for as many as you want, so contact us if you want to promote your work on a site which features search engine referrals direct to your page, and over1,600 links from like-minded sites. We have also recently started a new publishing service, where we do your website at your address. On this deal it is just Aus$40 a month to maintain and promote the site, no matter how many pages you have, and only Aus$20 a page set up cost.
Sponsor:
Malthouse Theatre and Sydney Opera House present Honour Bound - Melbourne, Australia
Behind the gates of Guantanamo. Into the world of David Hicks.
Malthouse Theatre and Sydney Opera House present Honour Bound, an exciting
new work which electrified audiences when it premiered in Sydney in July.
Honour Bound brings together two of Australia's leading theatre visionaries,
director Nigel Jamieson (Artistic Director, Tin Symphony, Opening Ceremony
of the Sydney 2000 Olympics) and Australian Dance Theatre choreographer
Garry Stewart (Birdbrain, Age of Unbeauty and Held) in consultation with
Terry Hicks.
Through a fusion of dance, film, theatre and aerial performance Honour Bound
leads us on a deeply human experience of incarceration at Guantanamo Bay
through the eyes of David Hicks' parents, Bev and Terry. It integrates
Terry's personal testimony as father with letters, internal Pentagon papers
and accounts of former detainees.
Set inside a towering metal cage, the performance and projections take place
on the walls, ceilings and floor. Hyper athletic and gravity-defying aerial
work from the young performers as they move across walls, ceiling and floor
of the steel mesh cube, push the limits of live performance to create an
intensely raw physical language.
"Gary Stewart's characteristically action-packed choreography is given
new urgency and a fresh dimension of aerial work that does mind-boggling
things with gravity." Sydney Morning Herald
"The artistry that turns the piece form documentary into theatre is the
way imagination has given reality wings." Sydney Stage
"Multimedia and cutting-edge techniques, and a crucial,
up-to-date minute subject: there ought to be more theatre like Honour
Bound." The Sun Herald, Sydney
HONOUR BOUND: Writing, Direction and Co-Design Nigel Jamieson Choreography
Garry Stewart With DJ Garner, Alexandra Harrison, David Mueller, Marnie
Palomares, Brendan Shelper and Paul White Composition and Sound Design Paul
Charlier Co-Design Nicholas Dare Lighting Design Damien Cooper Video Artist
Scott Otto Anderson Costumes Genevieve Dugard Created in consultation with
Terry Hicks.
SEASON: September 13 - October 1 CUT-PRICE PREVIEWS NEXT
WEEK!!! TICKETS: $31-$45, Student Rush tickets $15
VENUE: The CUB Malthouse,
113 Sturt Street, Southbank
Melbourne, Australia
BOOKINGS: www.malthousetheatre.com.au or 9685 5111
Playspace: Clown Intensive in Sydney, Australia, and Summer Clown Retreat in Sandy Bay, New Zealand
Only one place still remains on the Summer Clown Retreat in New Zealand, and I'm very happy that this course has proved so popular, and will likely repeat the Clown Retreat each January. Meanwhile there are a few spare places on next week's clown intensive in Sydney.
One Week Clown Intensive in Sydney with Alan
Clay, September 11 to 15. (5 day) Aus$600
Clown is an art form which has existed for thousands of years, and undergone
a revolution in recent times, as it made the leap back from circus into
theatre, giving birth to 'new clown' and physical theatre. This course takes
a broad view of clown, which allows students room to develop their own
unique style. Each day starts with a yoga warm up, followed by exercises to
develop physical and emotional expression, and improvisational exercises to
develop comic timing and audience rapport. This workshop will also include
opportunities for those who want to create clown performance material. We
often have ideas or images of
what
we want to do, but we need a structure to help us develop these. This
workshop is designed to help with this process.
Summer Clown Retreat with Alan Clay ,
Wednesday January 10 to Sunday 14, (5 day) Sandy Bay, Coromandel Peninsular,
New Zealand. Including 6 nights accommodation, Earlybird NZ$620 (by 1st
Nov), NZ$720 (full) A NZ$100 deposit is payable to hold a place.
The Clown Retreat will be held in a secluded studio by the beach at Sandy
Bay, at the top of the Coromandel Peninsular, about four hours drive from
Auckland, New Zealand. The fees include six nights accommodation with
kitchen facilities. The Clown Retreat is timed to be held just before the
world buskers Festival in Christchurch for those coming for the summer
season in New Zealand. The Retreat will provide an opportunity to reconnect
with that playful, inquisitive, cheeky, clown spirit in a beautiful outdoor
setting.
"In the best clown tradition Alan held up a window-mirror for us to step
through and reflect on the patterns, habits and rituals of our days... It
was funny, moving and excellent theatre." NZ Herald.
More information at: www.artmedia.com.au/playspac.htm Enrolments and enquiries e-mail clown@artmedia.com.au
Feature: Red Spoon Clown Intensive 2006, Brisbane, Australia
An opportunity to discover the incredible and tumultuous world of the clown! Red Spoon is offering a two week clown training intensive from 15 – 26, January 2007 at the Metro Arts, Brisbane. The course is aimed at the Theatre Clown with a focus on developing the character and fantastic reality of the clown as opposed to learning tricks, magic etc. You will be challenged to find the truth that is at the cornerstone of your clown, (re)discover your imagination and refine your understanding of stage presence.
The tutors are highly experienced performers and trainers – national and international. Andrew Cory is the founder of Red Spoon and will lead the core clown training whilst Scott Witt will train participants each day in movement and Slapstick (including props). Slapstick training will promote the virtues of precision, complicity and focus. Andrew has trained in clown, mask, mime and regular acting in Australia, Europe and USA and is currently a movement tutor for the Theatre Studies dept at Griffith University. Scott is an associate director at the Queensland Theatre Company and is President of the Society of Australian Fight Directors Inc.
The course runs from 10 am to 4 pm, Monday to Friday. The clown will be unleashed through movement exercises, improvisation, observation and above all a sense of joy and play. You will learn critical devising skills. We will commence a thorough investigation into clown spirit, clown character and clown relationships - chaos, panic and spontaneity will be our constant friends. Yet fear not for we shall fight adversity with absurdity!!!!
Cost is $520 15th – 26th January, 2007 further enquiries or a brochure please contact Andrew on 0401 246 048 or andrew@redspoon.com.au Or visit website at www.redspoon.com.au
Feature: Angels Can Fly, a Modern Clown User Guide, by Alan Clay
Angels
Can Fly is now in over 120 Public Libraries in America, Australia and
New Zealand, and we are steadily supplying requests for the free e-Book
version. Yes this is still available (but includes none of the over 70
photographs which the paperback contains) at:
www.alanclay.com Or find the paperback
on Amazon by following this link:
http://tinyurl.com/9nrwj I encourage you to buy the paperback, as this
gives me some return for my three years of work in writing the book.
This month we continue a series of excerpts, with another of the anecdotes:
6. Anecdote: Female Clown, Sue Broadway, Australia
I am looking at a picture of myself aged about twenty. I am wearing a clown
ballerina dress, giant point shoes and a funny red wig. I am looking out
past the camera with an expression of open-hearted pleasure, my eyes
sparkling with the sheer delight of being in front of an audience. The girl
clown I see in these pictures went into hiding shortly afterwards and it
took nearly thirty years to coax her out again. There were other clowns; a
fat lady with a stammer, an elegant white face in a sequined frock, a manic
'beautiful assistant' causing havoc in a juggling act, a pompous trapeze
artist... but the simple, open naïve clown seemed to be gone for good. I had
stumbled on her thoughtlessly, just the first thing that came to mind,
without realising just how fragile she was.
How did she get lost? Well, she was a bit lonely. There were few other women clowns in evidence and none I could find from the past to look to for inspiration. I didn't think to go looking in other art forms (Lucille Ball, Goldie Hawn, Guilietta Massina) and everywhere I came across conventional wisdoms that told me women and clowning were a problem zone. For a start, they said, the clown is androgynous and it is impossible for a woman to be androgynous. She carries her sex around with her as a constant. Other factors intruded; the male clown can take a fall or a hit and jump up laughing, but if a woman does the same it carries an inescapable implication of violence. Especially if the clown that knocks her down is a man.
Also I began to think – perhaps too much. I wanted my clowning to say something, to communicate ideas about the female condition, to provide a role model and a character that other women could laugh with. The naïve girl who was so happy in her skin and just delighted to be out there having a go at it seemed too simple and childish to tackle the big questions. So Frou-frou packed up her tutu and put her older, tougher sisters into the firing line. Maureen was fat and had a stammer, she wore a daggy dress and a headscarf and lived in a gag where she was constantly put down by two male clowns. But she was tough and acrobatic and always bounced back. She did dangerous things on a ladder and although she was a victim she never took it lying down. Then there was the nameless clown, she never spoke and people just called her Sue. She sabotaged the juggling acts of Dave Spathaky with her over enthusiasm, her clumsiness with props, her scene-stealing and her inability to concentrate. In the same company (Ra-Ra Zoo) she appeared as a trapeze artist striving for artistic perfection and failing.
Later there was Athena the white face, based on the goddess of Wisdom and War, her sequined dress was her armour and her mop was a spear. She appeared in a show called "Angels and Amazons" with Angela de Castro and Debbie Woolley. Together we explored the traditional Clown trio, White face, Bouffon, Auguste - in female form. This show was the starting point for a new search. Like many white faces, I came to resent the high status role, feeling (shame on me!) that I was doing all the set-up work and the others were getting all the laughs. So I set out on a quite deliberate search to find a naïve clown of my own. I'd forgotten that Frou-frou had ever existed.
That was twelve years ago. I started with Phillipe Gaulier. His course "Le Jeu" was an excellent beginning, the rediscovery of a readiness to play and of 'complicite' was just what I needed. Then I did his Clown class. In the circus when they want to teach the horses to lift their knees high in the air, they tie heavy weights to their feet for days at a time, so when they take them off, the horses' knees rebound, creating that prancing walk. Training in Clown with P.G. was, for me, just like this. The experience was painful, dragging, distressing and exhausting, but afterwards…! The next time I went in front of an audience I was fearless. I had suffered P.G. and survived! I couldn’t make him laugh, but I could get my revenge by succeeding with an audience.
At a Gaulier Workshop in Sydney 1999 I met Jeff Turpin and later worked with him on and of for four years. This work provided a space for testing the discoveries made in workshops in the public arena. Jeff is a natural anarchist and his constant playfullness forced me to let go of my perfectionism and relax much more with the audience. There have been many other teachers and directors - Angela de Castro, Virginia Imaz, Shannan Calcutt, Tom Gruder, Therese Collie - and the experience has been quite different. These people all work in a much softer way - they create open spaces where it's possible to relax and allow things to happen. Some people learn and develop really well by rising to challenges, but for some of us encouragement and a slower, less competitive process seems to work better. This is partially a gender issue, generally speaking, men seem to respond better to competitive training than women, while women prefer a softer approach, but there are always exceptions.
In 2002 Alicia Battestini, Angela de Castro and I convened a week of
creative development in Wollongong. Eight women clowns got together and
explored possibilities. It was only a week, but it was a very intense
week and I came away from it with a script for a piece of clown theatre, a
potential new clown partner (Fleur Evans) and loads of ideas for teaching
and creating new work. One issue we came up against a lot was clown
travesty, women choosing to play male clowns and vice versa. For many women
the adoption of male dress makes a good starting point for clowning – it
seems to free them from the constraints of the feminine and allow them to
step outside themselves. I have never been attracted to the idea of
parodying the masculine as a source of comedy. For me, the challenge has
always been to create a female archetype that has the same force, simplicity
and truthfulness as the male.
The biggest leap for me came at the Festival Internacional de Pallasses d'Andorra in 2001. This gathering of women clowns from all over the world showed me that there were hundreds of women exploring this work and the diversity of their styles and obsessions was awe-inspiring. I performed a small piece with Angela de Castro, "The Stagehands", for which I put together a new costume and put on a nose (skin pink not red) for the first time in twenty years. Frou-Frou was back - renamed Soobee, but essentially the same open-hearted, brave and enthusiastic girl of my earliest shows. I finished the festival dancing eccentrically in the street surrounded by over eighty women clowns and went home filled with excitement and optimism. Two years later I returned to the festival in Andorra with a fifty minute solo work, "The Soobee Show", which is a compilation of all my work of the previous twenty-five years.
So here I am in 2005, turning fifty, with, I hope, years of clowning ahead of me. I've let go of so much, I used to cling to the idea that I had to do something clever or dangerous or mysterious to keep the audience interested. Now I know I don't need those things (well, not all the time). The older I get the looser my shows become and the freer I feel to go anywhere my impulses take me. I perform different clown pieces in different costumes, but gradually they are drawing closer together and I begin to realise that they are all the same clown, the same foolish person just pretending. A clown can be anyone or anything she wants to be."
A Nose of Her Own, (pictured above) Wollongong, 2002. From Left, standing - Azaria Universe, Fleur Evans, Eleanor Davies, Angela De Castro, Alicia Battestini, Kate Kantor, Susie Dee. Seated - Sue Broadway.
Find more information on Sue Broadway's work at www.artmedia.com.au/broadway.htm
Angels can Fly includes a mix of fiction which follows the
adventures of ten clown characters, some personal clown anecdotes from
clowns from around the world, a total of 50 practical clown exercises, and
some theory on the nature of modern clown. The book is available on order
through bookshops and online stores in New Zealand, Australia, America and
England. Order your copy today. Find it on Amazon by following this link:
http://tinyurl.com/9nrwj
"Clown is a fascinating, diverse, complex and exciting art form, which
has existed around the planet for thousands of years. Like any art form it
has to evolve to stay relevant to the culture nurturing it, and at the same
time, and by its very nature, clown teases and turns upside down the
cultural patterns and boundaries around us."
Networking
"Tempo New Zealand Festival of Dance launches on 29th September in Auckland. Featuring over 40 performances across 10 venues. The concept behind Tempo° is an annual dance festival which is very broad ranging and inclusive. We are an umbrella style festival (not a producing festival) so we don't pay travel or a performance fee, but if you are in Auckland at the time of the festival each October we can offer you a venue, major support services and the lions share of box office. Festival categories include: Popular Culture, Youth, Fringe, World Dance - includes all ethnic forms - and Contemporary Dance, defined as any original or new dancework/choreography created from any form, including ballet, jazz, kapa haka etc or any of the various contemporary techniques. There will also be a Behind the Scenes program of workshops and documentaries about dance process. One of the items on the programme is ReelDance - Sitting between the performing arts and film culture, ReelDance caters to both dance and film audiences with a focus on screen musicals, music videos and contemporary dance on screen. ReelDance 06 presents a dance-inspired journey around the globe! Highlights include KidReels, Classic Dance Music Videos and ReelDance Award Finalists which features Shona McCullagh's award winning film 'Break'. Tempo° is into its third festival this October. We are offering shows for kids (as we begin the festival in the school holidays), a season of Burlesque (R18 dance comedy) performances, some great showcases and a 'Best of the Fest' awards party night on Sunday 15th October." Find a link to the Tempo Dance Festival under Festivals at: www.artmedia.com.au/links.htm
"Applause is a street theatre & buskers festival to be held in Albury NSW on Saturday 21st October 2006. Busking competition commences at 10am in categories: performing arts, music, visual arts, under 16's and youth. The Applause Festival brings entertainment to the people. There is no other form of artistic expression that is more diverse, action orientated, spontaneous or accessible. This year, we've made some changes to make the experience of busking better for everyone, no matter how young, old, experienced or otherwise. For the first time ever, the event goes unplugged. Providing power for all acts just isn't possible, and so with the exception of one amplified stage, there are no stages and it's acoustic all the way. Another first for the 2006 event is that all acts will be judged on their day time performances only, with winners of each category being invited to perform at the Final Applause Concert held on the amplified stage in QEII Square from 4pm. All other prize winners will be announced at the concert and invited on stage to accept their awards at this time too. Check out the web site for a full list of prizes plus Festival Rules & Guidelines." Find a link to the Applause Festival under Festivals at: www.artmedia.com.au/links.htm
"The San Francisco Fringe Festival runs from September 6 - 17, presenting shows every weekday night and all day Saturdays & Sundays. When you get out of any one show there are several new shows starting within 30 minutes and within walking distance. With a Frequent Fringer Pass you can see 5 shows for only $35 or 10 shows for $65!!! Passes available at all venues. This year you can glimpse the SF Fringe Festival through podcast interviews by Michael Rice of Cool As Hell Theater. Performers share their inspirations, their struggles, their fears and, all humility and humbleness aside, "Why You Should See My Show!" Find a link to the San Francisco Fringe under Festivals at www.artmedia.com.au/links.htm
"Hello, I wanted to contact you regarding two NYC-based physical theatre links. I subscribe to your e-newsletter and find it very informative. The NYC Physical Theatre Network which has just been launched, and is a hub of info on artists and companies creating physical theatre in the NYC area. New York is home to a growing number of artists working in this field. This site is by, for, and about these artists. We are currently building the site, and would love your feedback and information. Our mission is to raise the profile of physical and visual theatre in New York City and beyond. Guiding principles: To support and promote the work of physical and visual theatre artists and companies in the New York City area; To create context, awareness, and understanding of physical and visual theatre in New York City; To attract and educate a loyal audience for physical and visual theatre in New York City; To create a performance series which features and highlights local physical and visual theatre artists; To encourage artists to create in this genre; To reach out to national and international physical and visual theatre artists and companies." Sincerely, Mark Lonergan, Artistic Director, Parallel Exit. Find a link to Parallel Exit under Physical Theatre and to the NYC Physical Theatre Network under Resources at: www.artmedia.com.au/links.htm
“Mapping The Streets”: September 21-24, 2006, Newcastle, Gateshead & Stockton-on-Tees, United Kingdom. The Conference aims to celebrate international street arts and to explore its origins as well as the way it has developed into a global expression of culture, which is both popular and accessible. “Mapping The Streets” will bring together as delegates street artists and festival organizers from Europe, Australasia, North America and South America, in order to debate important issues. The “Mapping The Streets” Conference will take place over 3 1/2 days and will be structured around presentations from a range of international speakers. Conference delegates will respond in carefully focused discussion groups with colleagues from many countries, facilitated by bilingual (English/French) moderators. Delegates will also have the opportunity to make history by contributing material to a series of Time Lines, which will chart the development of the street arts by global region. The “Mapping The Streets” Conference will be accompanied by a number of specially selected performances and performance extracts from different companies. Delegates will have tickets or priority access to all of the performances." Find a link to the Mapping the Streets Conference under Festivals and Events at: www.artmedia.com.au/links.htm
"Circus Futures: October 10-11, 2006, Bristol, United Kingdom. Circus Futures is a two-day event for promoters from venues and festivals, practitioners, local authority art officers, agents and circus proprietors. This event consists of a conference as well as a series of showcases taking place side by side in Bristol. Circus Futures is about providing connection routes between policy makers, programmers and artists by stimulating discussion and presenting extracts of performances that show the breadth of the contemporary circus in the UK. The conference will debate issues surrounding the creation and distribution of contemporary circus work in this country and beyond. The event will feature keynote speakers and panel discussions, and give delegates the opportunity to be directly involved in the debate. The showcases will feature contemporary circus artists of a variety of scales. Participating performers will be selected by a panel of experts who will in turn create individual shows, allowing the artists to offer extracts of shows available for programming." Find a link to the Circus Futures Conference under Festivals and Events at: www.artmedia.com.au/links.htm
"A Celebration of the Street Arts: September 23, 2006, Barcelona, Spain. This daylong seminar will take place at the Center for Contemporary Culture in Barcelona (CCCB) as a part of the Mercè street festival. This year's theme refers to the “citizens' cultural parades”, a concept that now holds an important place on the festive calendar of cities such as Brussels, Lyon, Belfast and Saragossa. The theme will be approached from the perspective of various artists and technicians taking part in these parades, or more generally in any performance projects in public spaces, and shall also take into account the input of cultural figures, local government bodies open to these kind of cultural activities as well as experts and arts practitioners from within Europe. Moreover, this fifth daylong celebration will serve as the initiation of the “Europe Parade” project, in the hopes of presenting this project as a part of “2008, European Year of Intercultural Exchange”. Find a link to the Street Arts Seminar under Festivals and Events at: www.artmedia.com.au/links.htm
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Last updated 7th September 2006