4,135 research outputs found
Figshare as a Portfolio Platform for Artist-Researchers in REF
No full textRecording of presentation given by Professor Helen Newall, Professor of Theatre Praxis, Edge Hill University at Figshare Fest 2023 at Manchester Museum on the 11th of May, 2023.
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Photography: Capture and Captioning
No full textPhotography: Capture and Captioning
Helen Newall, Professor of Theatre Praxis, Edge Hill University
A presentation given at the Jisc open access community event "Capturing practice research: improving visibility and searchability" on 15th March 2019 in London.
https://www.jisc.ac.uk/events/capturing-practice-research-improving-visibility-and-searchability-15-mar-201
Get Fresh
No full textCommissioned by The National School Lunch Initiative and School Food Plan, this song consisted of lyrics by Helen Newall and music and arrangement by Matt Baker. It aimed to encourage healthy eating and participation in school lunch initiatives
Your Country Needs You!
No full textA site-specific script for street theatre performance in Warrington Festival, to encourage local engagement with the histories and stories of World War I local to the area. The playscript was by Helen Newall, direction and musical direction by Matt Baker
Korrigan's Lair
No full textKorrigan's Lair is a cross-over installation and performance that was presented over two consecutive evenings at Picton Castle in Pembrookshire, South Wales, as part of The Secret Light Garden event. The multi-channel piece, which also incorporated visuals and text, was centred on an invisible mythic creature, the Korrigan, and was a collaborative work with creative writer Dr Helen Newall. The aim of the work was to respond to the site with a piece that integrated extant and ambient sounds and visuals to make an experiential performance of a myth narrative, exploring novel ways of working with space in a defined setting with multiple speakers located both above and under water
12 Degrees North: CLASS
No full textPractice-Research: dance performance documentation by Helen Newall, as part of the 12◦ North project: Visual Literacy and the Emerging Artist (2014+) with Karen Jaundrill-Scott. The 12◦ North Company initiative served to support the cultural economy in the Northern Powerhouse by incubating early career practitioners whose contribution would be critical in the sustainability of the regional dance ecology. The work builds upon Jaundrill-Scott’s previous ACE consultancy, ‘Towards a Graduate Company’ (Jaundrill-Scott, K., & Cullen, L., 2009). The project had four phases of dissemination which developed as the work progressed, and consisted of work with still imagery and documentary reflection: Newall produced the photographs which constitute the exhibition of still images, Class; Rehearse; Perform, out of which comes Newall’s discourse on dance performance imagery, and which informed the narrative of Jaundrill-Scott’s first film Do You See What I See?, concerning the deployment of still imagery as a tool for promoting increased self-awareness in emerging dance artists. Exhibited: Edge Hill University Arts Centre, Ormskirk, 2014, 2015; The Lowry, Salford Quays, 2014; The Citadel Arts Centre, St Helens, 2015; University of Chester, 2015; TaPRA Gallery, University of Bristol, 2016; Annual Dance HE Conference, RNSCD, Leeds, 2016; Blackpool Grand Theatre, 2017; Ludus Dance, Lancaster, 2017 (on permanent exhibition); TaPRA Gallery, University of Salford, 2017; Third International Congress on Visual Culture, Barcelona, 2017.</div
Silent Night
No full textThis touring production, produced by Theatre in the Quarter and funded by ACE, incorporated a rewrite by Newall of the 2008 playscript. Newall also created multimedia scenography for the production, which toured through the Rural Touring Network in Cheshire and to other locations in the North West
Blodeuwedd
Full text link'Blodeuwedd' was an audio-visual installation created out of a site responsive text written by Helen NEWALL to be performed for recording and then manipulated by a sound artist, Karen Lauke. It consisted of a poem written out from the Welsh myth of Blodeuwedd, the woman made of flowers, who is turned to an owl for her infidelity. The visual installation, designed by NEWALL, consisted of bunches of blue and white flowers wrapped around a large cedar tree with fairy lights, to be reminiscent of a car-crash shrine currently proliferating at our roadsides. The tree itself formed a small glade surrounded by ground cover and bushes. A series of eight small speakers were concealed in the flowers. Above, in the tree, was a large owl made of LED lights which lit the space. Lauke's soundscape included overlapping voices and haunting owl calls. Research questions included: how might a fractured narrative be embedded into a visual installation and combine with it to create a coherent mythic narrative for audiences
Blodeuwedd
Full text link'Blodeuwedd' was an audio-visual installation created out of a site responsive text written by Helen NEWALL to be performed for recording and then manipulated by a sound artist, Karen Lauke. It consisted of a poem written out from the Welsh myth of Blodeuwedd, the woman made of flowers, who is turned to an owl for her infidelity. The visual installation, designed by NEWALL, consisted of bunches of blue and white flowers wrapped around a large cedar tree with fairy lights, to be reminiscent of a car-crash shrine currently proliferating at our roadsides. The tree itself formed a small glade surrounded by ground cover and bushes. A series of eight small speakers were concealed in the flowers. Above, in the tree, was a large owl made of LED lights which lit the space. Lauke's soundscape included overlapping voices and haunting owl calls. Research questions included: how might a fractured narrative be embedded into a visual installation and combine with it to create a coherent mythic narrative for audiences
Dying Swans and Dragged Up Dames
Full text linkDying Swans and Dragged Up Dames is an irreverent series of images photographed and Photoshopped by Helen Newall, which parody iconic performance photography of iconic male and female dancers played by Mark Edward. These are tragi-comedy images. The tragedy lies in knowing that the dancers we watch will eventually become too past it to dance, the comedy from the bombastic contrast between athletic dance bodies and an aged, overweight one attempting and achieving the same balletic feats. This exhibition fondly foregrounds cultural obsessions with youth and Photoshop, and the erasure of age in both live performance – ballet, drag or otherwise – and the digital dark room, where ability and beauty can be airbrushed and ‘improved’. These are images of old drag ballet queens, flamboyant in the performance of being clapped out and over the hill, but still dancing. This exhibition was fist shown in The Arts Centre, Ormskirk, 2013; Bank Street Arts Gallery, Sheffield, 2014; and Inkwell Arts, Leeds, 2014
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