126 research outputs found
Maria Shevtsova in Conversation with Ann-Christen Rommen, Experiencing the Movement
No full textAnn-Christin Rommen began to work with Robert Wilson in 1983 with The CIVIL warS. Her long collaboration with him since then has included more than thirty productions, most recently her co-direction of Dreamplay (Stockholm, 1998), Woyzeck (Copenhagen, 2000), Peer Gynt (Oslo, 2005), and The Winter's Tale (Berlin, 2005). She also has her own company in Germany, Codanza, which combines contemporary dance and early music, and whose work has been seen in Europe, Asia, and Australia. In this interview with Maria Shevtsova, which began in Oslo on 7 February 2005, Ann-Christin Rommen offers insights into Wilson's working methods, with particular reference to his Oslo Peer Gynt. Maria Shevtsova, Co-Editor of NTQ, is the author of Robert Wilson for the Routledge Performance Practitioners Series (forthcoming 2007)
Maria Shevtsova in Conversation with Anna Zubrzycki and Grzegorz Bral, 'Song of the Goat Theatre: Finding Flow and Connection'
No full textAnna Zubrzycki and Grzegorz Bral worked for a number of years with Gardzienice before founding Teatr Pieéń Kozła – Song of the Goat Theatre – in Wrocław in 1996. The conversation that follows took place on 22 June 2009, during Song of the Goat's run of Macbeth, their most recent production. Created in tandem with the Year of Grotowski theatre festival, the ‘World as a Place of Truth’ held in Wrocław on 13–30 June 2009, it was one of a series of meetings, presentations, and performances organized by Joanna Klass of Arden 2 for the US Artists Initiative, a project established in partnership with the Grotowski Institute and the Center for International Theatre Development. Macbeth will be performed at the Barbican Centre in London as part of Song of the Goat's two-month-long British tour of this production in October and November 2010, accompanied by workshops and demonstrations. Its itinerary is Eastleigh (4–9 October), Birmingham (11–15 October), Cambridge (18–23 October), Manchester Metropolitan University (25–30 October), London (3–20 November), and Brighton (21–26 November). This conversation about some of the principles of the company's work was led by Maria Shevtsova, Professor of Drama and Theatre Arts at Goldsmiths, University of London, and co-editor of New Theatre Quarterly
New Forms of Spirituality in Russia: Notes from a University Course
No full textby Birgit Menzel, Anna Tessmann & Romina Heim wordclouds: Daria Shevtsova in collaboration with Amelie Hahmann, Daniel Drosdezki, Anna Manukyan, Yuliya Folschette, Swetlana Ostrowski, Melis Sari, Evgenia Schäfer, and Laura Hülsenbeck In this summer term 2020, our German project team organized a course on new religious practices in modern Russia. The situation of online teaching during the pandemic brought unprecedented challenges for both students and academic staff of the faculty of Tr..
Thomas Richards and Mario Biagini in Conversation with Maria Shevtsova 'With and After Grotowski'
No full textIn 1996, Jerzy Grotowski changed the name of his Workcenter at Pontedera in Italy to that of the Workcenter of Jerzy Grotowski and Thomas Richards, and it was here that Richards and his associate Mario Biagini developed the Actions that had originated with their thirteen years of close collaboration with Grotowski before his death in 1999. Dies Irae was premiered in 2004. Various research projects led by Richards and/or Biagini include Tracing Roads Across (2003–06) and Open Programme, which began in 2007. Such works as I am America, crafted on the poems of Allen Ginsberg, and Electric Party, both directed by Biagini and first performed in 2009, have emerged from Open Programme. A recently ‘finalized’ work, The Letter (2008), directed by Richards, was the result of a long process of development that passed through three major phases and two differently named Actions, starting in 2003. Richards is the author of At Work with Grotowski on Physical Actions (1995) and Heart of Practice (2008), while Biagini has edited, with Antonio Attisani, the three-volume Opere e Sentiere (2007 and 2008). The conversation below is an edited version, in consultation with Richards and Biagini, of their discussion with Maria Shevtsova in November 2008, as part of her ‘Conversations’ series at Goldsmiths, University of London. These last pupils of Grotowski give uncommon insight into the processes of their work together, continuing their generous and open reflections in their responses to questions from members of the audience
The Valery Fokin Festival at the Alexandrinsky Theatre, St Petersburg
No full textOne of Russia's foremost theatre directors, Valery Fokin graduated from the Shchukin School at the Vakhtangov theatre in Moscow. At the Sovremennik and Yermolova theatres, of which he was the artistic director, he staged a wide repertoire that included contemporary writers (Mikhail Roshchin, Aleksandr Vampilov, Viktor Rozov), Soviet classics (Gorky), Russian classics (Gogol, Dostoevsky), and, from the international arena, Nabokov and Albee. He taught at the renowned school GITIS from 1975 to 1979 and in Krakow and Tokyo in 1993 and 1994. He has increasingly directed abroad, including Poland, Hungary, France, Germany, Japan, and Korea. In this article Maria Shevtsova focuses on his most recent productions at the Aleksandrinsky Theatre, where he has become a St Petersburg director while maintaining his professional links at the Meyerhold Centre in Moscow, which he founded in 1991 – aptly, since it is with Meyerhold that Fokin's name is most closely connected. Maria Shevtsova is co-editor of New Theatre Quarterly and author of Dodin and the Maly Drama Theatre: Process to Performance (Routledge, 2004)
Covid Conversations 2: Anne Bogart
No full textMaintaining and nurturing an ensemble theatre have been Anne Bogart’s foremost concerns in these past near-thirty years since she and Tadashi Suzuki founded the Saratoga International Theatre Institute (SITI) in 1992. Suzuki had established the Suzuki Company of Toga (SCOT) in 1976, making a secluded mountainous landscape of Japan its home to this day. Bogart’s venture in the United States, although inspired by Suzuki’s model of a production-based troupe of high artistic standards that, at the same time, developed its unique training methods, by no means merely duplicates its predecessor. In this Covid Conversation, Bogart briefly maps a segment of SITI’s history, reflecting on the company’s inter-arts endeavours with differing dance idioms and its engagement with Greek tragedy. She discusses the effects of the Covid pandemic on her troupe, also interrupting its performances of The Bacchae at the Guthrie Theatre in Minneapolis. Her most recent opera production, Tristan and Isolde, was closed for the same reason at the Croatian National Theatre – a key work in her portfolio of nineteenth-century grand opera as well as contemporary avant-garde opera. An acclaimed theatre director, Anne Bogart runs and teaches the Graduate Directing Programme at Columbia University in New York. At the SITI summer school in Saratoga, she and the company have workshopped the Viewpoints method that she has elaborated from Mary Overlie’s six principles for theatre and dance training. Bogart’s international workshops have further developed her method. She is the author of A Director Prepares (Routledge, 2001) and of many influential books that include (with Tina Landau) The Viewpoints Book (Theatre Communications Group, 2004). The Art of Resonance is forthcoming (2021, Bloomsbury). Maria Shevtsova is the Editor of New Theatre Quarterly whose most recent book is Rediscovering Stanislavsky (Cambridge University Press, 2020). The following conversation took place on 27 August 2020, was transcribed by Kunsang Kelden, and was edited by Maria Shevtsova. It is followed by a short coda announcing the transition of SITI into a resource centre
ROBERT WILSON: MÉTODO DE WORKSHOP
No full textIn the first part of the chapter Methods, Elements and Principles, named Workshop Method, Maria Shevtsova presents the method of creation developed by Robert Wilson, particularly from the use of visual books. From interviews with Wilson, the author highlights the basis of the work of the director, indicating the importance of sign language and the movement of all elements in their creations. Through the description of the workshop table and the workshops with actors, the author presents the equalization of all the elements present in the staging, a fundamental aspect in the work of Robert Wilson.Na primeira parte do capítulo Métodos, elementos e princípios, nomeada Método de Workshop, Maria Shevtsova apresenta o método de criação desenvolvido por Robert Wilson, particularmente a partir da utilização dos livros visuais. A partir de entrevistas com Wilson, a autora destaca a base de pensamento do trabalho do encenador, indicando a importância da linguagem gestual e do movimento de todos os elementos em suas criações. Através da descrição do trabalho de mesa [workshop table] e dos workshops com atores, a autora apresenta a equalização de todos os elementos presentes na encenação, aspecto fundamental no trabalho de Robert Wilson
The Tempest: Declan Donnellan and Oskaras Korsunovas Look Backwards into the Abyss of Time
No full textSong of the Goat Theatre: Finding Flow and Connection
No full textAnna Zubrzycki and Grzegorz Bral worked for a number of years with Gardzienice before founding Teatr Pieéń Kozła – Song of the Goat Theatre – in Wrocław in 1996. The conversation that follows took place on 22 June 2009, during Song of the Goat's run of Macbeth, their most recent production. Created in tandem with the Year of Grotowski theatre festival, the ‘World as a Place of Truth’ held in Wrocław on 13–30 June 2009, it was one of a series of meetings, presentations, and performances organized by Joanna Klass of Arden 2 for the US Artists Initiative, a project established in partnership with the Grotowski Institute and the Center for International Theatre Development. Macbeth will be performed at the Barbican Centre in London as part of Song of the Goat's two-month-long British tour of this production in October and November 2010, accompanied by workshops and demonstrations. Its itinerary is Eastleigh (4–9 October), Birmingham (11–15 October), Cambridge (18–23 October), Manchester Metropolitan University (25–30 October), London (3–20 November), and Brighton (21–26 November). This conversation about some of the principles of the company's work was led by Maria Shevtsova, Professor of Drama and Theatre Arts at Goldsmiths, University of London, and co-editor of New Theatre Quarterly.</jats:p
Vedic Femininity as a Post-Soviet Laboratory of Gender and Labor
No full textAuthor: Irina Sadovina Scholars have observed that Russian alternative spiritual movements invoke traditional gender stereotypes more frequently than their Western counterparts (Aitamurto 2014, Tiukhtiaev 2017). Historically, this makes sense. In the 1960s, Western hippies combined the spiritual revolution with a sexual one, and contemporary American movies celebrate the witch as an emblem of female empowerment. Meanwhile, Russian spiritual experimenters – from fin-de-siècle preachers of t..
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