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Shakespeare at the Bierkeller?

Gerard — Thu, 17 Jul 2008 00:27:30 GMT

Next week, Monday 21st - Thursday 24th July, RoughHouse Theatre will be presenting their version of Twelfth Night at the Bristol Bierkeller. Is this a first?

RoughHouse Theatre first presented Twelfth Night at the Alma Tavern Theatre in January/February this year. Inspired by German cabaret, the production mixed live musical performances with classic Shakespearean text. The show enjoyed a sold out three-week run and a fantastic response both from audiences and the press. Metro gave four stars and described it as "Rip-roaring good fun (with) strong performances all round".

As a result of the success of this show, RoughHouse Theatre have been asked to revive Twelfth Night for the Bristol Shakespeare Festival. We will be the first Bristol-based company to perform as a part the Festival, and this will be the first time the festival has included an indoor event.

Twelfth Night will return to its 1930s Berlin cabaret setting for 4 nights only at The Bristol Bierkeller, Monday 21^st – Thursday 24^th July.

Take your chance to be a part of what could be a historic event!

Report from Bristol Old Vic Open House. Saturday 21st June 2008

Gerard — Thu, 26 Jun 2008 21:20:22 GMT

I hope that this is of interest to those who were unable to attend.

Gerard.

10:15am
Heritage talk.

Andrew Stocker, theatre historian and former Customer Liaison officer, gave a short talk on the history of the building and theatre company. The man was a veritable encyclopedia on the Theatre Royal’s history. Of note was the history of the raised ceiling to accommodate a new gallery, which led to the retracted forestage now present in the theatre. The stalls (or pit) used to be much lower than its current location.

11:30am

Presentation and debate on the Theatre Royal’s heritage.

Dick Penny began by introducing a few of the people present. Present were Sarah Smith – project coordinator, Andrzej Blonski – architect, Patrick Malahide – Old Vic board member, Paul Unwin – former Old Vic Artistic Director and Martin White.

Throughout the discussion, Dick emphasised his wish to reinstate the theatre for the 21^st century. The theatre was a building. But the building itself is like a piece of theatre. It has never been a fixed entity and has gone through numerous developments as illustrated by Andrew Stoker’s talk that morning.

He wishes to make the theatre a public space, to reinvent the discourse between the performers and the audience. The space must be engaging.

Today he wants to share ideas. He emphasised the need to respect the space, to use its strengths and reinvent the space to better serve the creation of theatre.

When he first took on the role of Chair, the original intention for redevelopment was to just make the auditorium more comfortable. Now they were looking to make the space more theatrical and less ‘stiff’.

Dick invited everyone present on to the stage, to get a feel of the space from the performer’s perspective. From the stage the theatre feels far more intimate. Dick sees this intimacy as the building’s strength. Any redevelopment would have to work with the space and not against it.

When everyone returned to their seats, Dick talked about the need to gather the next generation of theatre goers. He pointed out Jude Merrill (Artistic Producer of Travelling Light) in the audience, and described her belief that children should come to the theatre from infancy.

The best theatre, he said, was reactive. Children are often the most reactive and least ‘polite’ of audience members. However, they end up sitting in the ‘cheap seats’ in the gallery, where their responses may have the least impact. Why not bring them to the front, so that their energy can filter through the audience. Mix things up.

Next Dick talked about how to make the auditorium more flexible and change its configuration. Perhaps have the front seats as benches. Allow playfulness. Lose the centre aisle.

Andrzej Blonski, the architect contracted for the Old Vic project spoke of his love for the building and the theatre’s fascinating and rich history. Doing anything with the space was a huge responsibility. He wished to unify to auditorium (eg losing the centre aisle). How do we move on? What do we learn from the theatre’s past? The building has constantly be reinvented and rejuvenated. He wished to keep that tradition alive. He does not want to keep alive the tradition of the constant threat of closure!

Mr Blonski first came to the Theatre Royal as an architecture student around the time of the developments in 1969. He has seen the building exist in many states. It is a magical space. It is tactile. You can feel and smell the space. They are piecing together the history of the building to better inform the developments.

Dick asked if anybody present was horrified that they might do more than just get more comfortable seats. Nobody responded.

Dick then discussed a plan to lose a row of seats in each of the circles, thus allowing for more leg-room. Also to lift the rake of the rear stalls and increase the seating capacity here, perhaps with benches at the front.

Dick then opened the floor to questions:

Q: Is it possible to change the entrances to the theatre, so that instead of entering from the back, audience enter the stalls from the side doors?

Q: (From a young person the the audience who I remember being quite eloquent at a previous open house meeting). Can we have a thrust stage, bringing the forestage out into the auditorium (as it was when the theatre was built) so that the action is in the middle? She sighted the RSC’s use of the Courtyard theatre as an example of the immediacy of having action in the middle of the audience.

Q: Is it possible to increase the rake of the circle's sides, and perhaps take out the box partitions?

Q: Could we use modern techniques to change the space – eg have a movable rake in the stalls?

Paul Unwin, the former BOV AD told the group that during his tenure the theatre housed around 18 shows. When developing every piece, the question arose of how to better reach the audience. For a show about the Blitz they completely converted the space, covering the stall seating with an extension of the stage. In a production of The Master Builder with Tim West, local non-professional performers sat in the audience and reacted to the events on stage. We must conceive a theatre building as a ‘Play Box’. Theatre must be visceral – mix up the audience and the actors. He gave the example of the Roses theatre in London, who use cushions on the floor at the front of the stalls much as Dick was talking about the use of benches.

The bench idea had support from members of the audience. One of whom suggested that this made the space more family friendly. Kids could sit on a parent’s lap etc.

One audience member expressed concern that the theatre company may receive bad publicity for wanting to change the space. We must be careful and tactful.

Dick agreed and reemphasised his love for the building. Patrick Malahide also endorsed this opinion. We must tap into the roots of the building.

Dick also said that with modern technology we can do anything, but we must respect the space and its history.

Andrzej Blonski, has been involved with the project to redevelop the Theatre Royal since 2001. He has been working closely with English Heritage who are supportive of his plans so far. His intention is to recover what has been lost in the auditorium using modern techniques. In some ways we are limited by the heritage of the building. We must understand this heritage. We will recover the stall side entrances. There are various possibilities for the stage – perhaps having movable tiers so that the position of the forestage can be varied depending on the production. He wish to reinforce the statements and concerns made by the people present.

Sarah Smith has been involved with the BOV since 1996. They received redevelopment funding in 2001. They would probably reduce the current capacity from 650 to around 575 to allow for greater comfort for the audience.

Dick spoke of his belief that the catastrophe of nearly closing has given the theatre the opportunity to return to first principles. To make this a place that everyone wants to play in. To have a company of value.

As we move past the industrial age, we seek to reinvent a pre-industrial space. As recorded media becomes more disposable so the live event becomes more valuable.

Paul Unwin suggested the need to reinvent the theatre’s marketing machine. Patrick Malahide agreed, and spoke of his personal need to get tech savvy and therefore respond to marketing issues in a modern way.

In response to a question regarding air circulation in the building, Andrzej Blonski again empahised his wish to recover old parts of the building. There are air ducts currently in the roof that are not in use. Installing new air conditioning could be unsightly and damaging to the fabric of the building. He would seek a solution that mixed modern technology with the existing ventilation.

One audience member suggested that whilst the theatre needed to be more comfortable, there was a danger of it becoming too comfortable, and therefore allowing the audience to be less responsive.

Patrick Malahide said that the building must not become a museum.

Dick suggested that ‘Heritage’ was being made everyday. The company must reinvent its role in the city and the wider theatre community. We are nearly back to the stage of being a working theatre company. Next month’s open house meeting would give people a chance to discuss plans for the rest of the building.

Gerard Cooke. 21/06/2008

This article can also be found on the news pages of www.equity.org.uk/bristolwestgen

Lovefuries

Melanie_22921 — Thu, 03 Apr 2008 16:33:42 GMT

[b][center]Lovefuries by David Ian Rabey offers a double bill of performance pieces that explode national and personal pressures to keep silent, and explore the surprising and shocking resurgences of life that break through grief.

In [i]The Contracting Sea[/i], the fiancée of a just-shipwrecked sailor is challenged by a feminine elemental force of catastrophe to throw off the shackles of her common humanity. The second play, [i]The Hanging Judge[/i], explores from the inside an occurrence of sexual abuse in a contemporary Welsh context, and how one survivor finds the courage to discover defiance. This second volume of dramatist-director Rabey’s plays for his own Lurking Truth/Gwir sy’n Llechu theatre company also includes the short two-hander [i]Bite or Suck[/i], completing a collection of innovative drama that restlessly explores what is possible at the extreme boundaries of human language and physicality.

David Ian Rabey is Professor of Drama and Theatre Studies at Aberystwyth University, and Artistic Director of Lurking Truth/Gwir sy’n Llechu theatre company, which he co-founded in 1985.

For more info, or to purchase a copy of the book, go to:

[url]http://www.intellectbooks.co.uk/ppbooks.php?isbn=9781841501840[/url]

Have Facebook? Join the Debates at [url]http://www.facebook.com/group.php?gid=11657301359[/url][/center][/b]

Intellect

Melanie_22921 — Thu, 03 Apr 2008 15:12:05 GMT

[center]Intellect is an academic book and journal publishing company based in Bristol. We are responsible for publishing a portfolio of scholarly books and journals in the arts and humanities.
Intellect aims to publish books and journals by authors and editors with original thinking they strongly believe in. We commission regardless of whether there is an established readership for the ideas, and we will do our best to get these ideas to be heard as widely as possible. Intellect is doing something very different from other publishers – campaigning for the author rather than producing a book or journal to fill a gap in the market.
We publish approximately 35 books and 35 journals a year, and a free in-house magazine, IQ. Intellect books are distributed in UK and Europe by Gardners Books, in Australasia and New Zealand by UNIREPS, in Singapore, Brunei, Malaysia, Indonesia, Thailand and Vietnam by Book Editions and in North America and the rest of the world by The University of Chicago Press. Intellect journals are distributed worldwide by Turpin. We work closely with several e-book distributors including Dawsons Books, NetLibrary, Ebrary and MyiLibrary, as well as Google Book Search and Amazon.

Theatre & Performance book titles published by Intellect:
• Lovefuries: The Contracting Sea, The Hanging Judge; Bite or Suck, by David Ian Rabey ISBN 9781841501840
• Sacred Theatre, by Ralph Yarrow ISBN 9781841501536
• British Pantomime Performance, by Millie Taylor ISBN 9781841501741
• The Wye Plays, by David Ian Rabey ISBN 9781841501154
• The Morality of Mrs. Dulska A Play by Gabriela Zapolska, edited by Teresa Murjas ISBN 9781841501666
• Contemporary Theatre in Education, by Roger Wooster ISBN 9781841501703
• Point Blank: Nothing to Declare; Operation Wonderland; Roses and Morphine, edited by Liz Tomlin ISBN 9781841501697

Theatre, Performance & Music journal titles published by Intellect:
• Journal of Adaptation in Film and Performance ISSN 17536421
• Studies in Musical Theatre ISSN 17503159
• Studies in Theatre and Performance ISSN 14682761
• International Journal of Performance Arts and Digital Media ISSN 14794713
• International Journal of Community Music ISSN 17526299
• Journal of Music Technology and Education ISSN 17527066

[/center]

Ticket Swap for Love Letters at Arnolfini

Dog Ruff — Wed, 13 Feb 2008 10:22:56 GMT

Hello! Due to unforeseen circumstances I cannot attend the Thursday night showing of Love Letters straight to your heart this week. Can anyone swap with me my two Thursday tickets for two Friday tickets? I really really want to see this show!!!

Anyone who is willing and lovely, please email me at mrmdjones@gmail.com

Ta

Mike

Text as a stimulus for devising

josephine_22527 — Wed, 06 Feb 2008 10:54:06 GMT

anyone got any suggestions for theatre companies to look at or books to read which use text as a starting point for devising? I'm looking at Complicite and Forced Entertainment and various theories on authorship by Barthes etc. but i still need more focused areas to research.

much appreiciated

Violet

Small Exteter theatre company needs lights!

sam_22183 — Sat, 02 Feb 2008 18:49:42 GMT

HI everyone,

my company, The Theatre Alchemists, based in Exeter, needs lights for it's upcoming production of Icarus & Daedalus. We're hoping to buy some with the proceeds from this production, but for now we were hoping to lower the hiring costs by borrowing some off anyone in the area that might not be needing them between in the first half of march?

Any ideas/offers greatly appreciated!

Many thanks

sam
thetheatrealchemists@hotmail.co.uk

can anyone recommend an accountant?

malx — Fri, 30 Nov 2007 09:48:22 GMT

hi there, can anyone recommend an accountant for actors? I had a good one in edinburgh who specialised in theatre so understood all our expenses, can someone point me in the right direction?

Arts Council cuts... what is Bristol's response?

elemental — Thu, 20 Dec 2007 15:30:20 GMT

So, as companies across the country reel from ACE's brutal and bloody cull, what's happened in our own city, and what's our response to the story nationally?

It seems that everyone is assuming that Bristol Old Vic has fallen victim to ACE cuts, but neither ACE or BOV are confirming anything yet. Are there any other organisations in the city that suffered? What's going to happen to all the money that isn't invested in Bristol?

The rise of street arts won't kill new writing

elemental — Thu, 20 Dec 2007 15:23:40 GMT

Hey,

So there are many debates raging on The Guardian's blog at the moment...

[url=http://blogs.guardian.co.uk/theatre/2007/12/the_rise_of_street_arts_wont_k.html]This one[/url] is a response to [url=http://arts.guardian.co.uk/theatre/news/story/0,,2226593,00.html]David Edgar's article[/url] about the Arts Council prioritising street arts above new writing.

We've got a really strong circus and street arts community in Bristol, and a growing new writing community. Be interested to hear people's thoughts on this, particularly as Edgar sites Bristol Old Vic as an example of a theatre which could/may move away from 'narrative theatre'... if it ever re-opens(!)

Is the Arts Council playing catch up with whatever is en vogue?
Is script-based theatre in decline, as suggested by Peter Boyden?
Who are the hot new writers of this generation - people keep quoting Ravenhill and Kane - who are the new writers?

New online channel for theatre promotion

Alberto3572 — Wed, 17 Oct 2007 10:34:05 GMT

Hello team,first post here.

Just wanted to let all of you know about this:

http://stage6.divx.com/The-Fabled-Stage/videos/

Upload your shows, trailers, showreels etc.... It's free, and a great way to have your material handy.

a.

Theatre is dead, long live theatre

Matthew — Fri, 12 Oct 2007 16:09:58 GMT

Perhaps they're having similar problems to us in Vancouver?!

http://thenextstage.wordpress.com/2007/10/10/theatre-is-dead-long-live-theatre/

what does everyone think about this?

Cathedral Theatre Program Update

doc — Thu, 24 May 2007 16:04:29 GMT

just writing a post to update those interested in the cathedral project. The space is really coming together and we are on track to have the theatre space up and running in July, The cathedral section itself should be operational by August.After two weeks we are now at the Redecorating phase, most of the old damage has been fixed up, windows replaced, gutters fixed, old paint scraped off, missing lead flashing replaced with lino and holes in the roof sealed.Xenz one of Bristols finest graffitti painters has put the first piece in with one of his amazing land/sky scapes now forming the backdrop for the theatre stage.we are looking for companies and / or individuals interested in becoming part of the program of events to take place this year. This will include a multi arts festival program from oct - jan with genres / themes so far being theatre, circus, music, dance, Street, Multi media and availability for temporary events in the mean time.We have already had a good response both in terms of volunteers and interested artists. we would like to offer our support in any way we can for the Old Vic which as most will know, has been subject to a sudden closure from August onwards. Both for companies now looking for an alternative venue and the team at the Old Vic we can offer this venue as a support space.please contact us as soon as possible regarding use of the space and any cross support you can offer or make use of. all the best Docartspacelifespace@gmail.com 077890 52498

Go see Houdini's Suitcase!!!!!

Miss Farley — Tue, 18 Sep 2007 00:12:44 GMT

I have just come back from the Tobacco Factory having watched mask/puppet/physical theatre performance "Houdini's Suitcase" and it was F*%"in brilliant! The best thing I've seen in ages. If you're the sort of person who hears physical theatre and runs a mile this is for you, not pretentious, but moving and if you're the sort of person that loves that sort of thing, you'll love it.

Work experience/placement wanted!

C.Smith — Fri, 21 Sep 2007 23:05:37 GMT

My name is Christine Smith, I have just recently returned from the Edinburgh International Television Festival where I was a delegate at this years TVYP scheme. I am looking for experience as a runner/assistant in theatre production venues, my passion lies in research and production.Please contact me for work experience placements and to obtain my cv. Thankyou!

International Theatre Kitchen

Marlen — Tue, 04 Sep 2007 14:39:56 GMT

November 5 - 8, 2007London, UKInternational Theatre KitchenThe Kitchen is open to performers from different parts of the world who have chosen the way of creation as life-work – the way of constant motion, change, continuous exploration of own potentialities and self-perfection in profession. Performers and artists from a wide variety of genres, styles and techniques are welcome to join the Kitchen. To register, please send your detailed CV and a brief letter of motivation.If you’d like to know a little more…http://www.iugte.com/projects/kitchen.php

What was the last theatre show you saw?

prodboy — Sun, 29 Jul 2007 19:47:32 GMT

I was just wondering what the 1870 members of Theatre Bristol last saw in a Bristol theatrical venue.I attended the resent Open Space meeting and noted a lot of positive discussion about the theatre industry in Bristol and I also noted a lot of... talk. And I couldn't help feeling a little guilty about the shows I had not supported (and I've been to a lot of theatre in Bristol the past 12 months).I know we can't all go to everything. But I can't help wondering how we can sit around and moan about the state of theatre in our city if we don't make the effort to get out there and support it with our arses on the actual seats.I have been in the position of cast, and producer and it really brings it home how much we all have to work at this. And not just getting the show on, but getting to the shows.Now, I know it's tough. I know we're all busy people. Oh, and I know a lot of the stuff we'll see will be... let's say... in need of development.But how can we expect the public to come and watch our work if we aren't prepared to get out and watch our peers.There's stuff on NOW!Go and watch it.

Stanislavsky. Meyerhold. M.Chekhov. Theatre Methods Today

Marlen — Mon, 13 Aug 2007 14:03:57 GMT

Konstantin Stanislavsky Vsevolod Meyerhold Michael Chekhov Theatre Methods Today September 20-23, 2007 Riga, Latviaparticipants: actors of dramatic, physical, musical and dance theatres, dancers, choreographers, directors, stage designers, playwrights, script writers. programme: intensive practical training and lectures.registration: please send your CV and a brief letter of motivation to info@iugte.com If you'd like to know a little more…http://www.iugte.com/projects/TheatreLab.php The Laboratory program was designed for professional performing artists inspired by the teachings of Stanislavsky, Meyerhold and M. Chekhov, interested to establish deeper understanding of their approach and to integrate their ideas into contemporary practical work - rehearsal process, performance and teaching. It focuses on the practical and playable aspects of theatre training, particularly in terms of exercises.

Regional Media Expansion - Publish Your News!

munkeeunit — Wed, 11 Jul 2007 18:49:53 GMT

REGIONAL MEDIA EXPANSIONIf you are part of an organisation, please pass this information on to other groups and individuals across the South West.BRISTOL INDYMEDIA NOW ACCEPTS NEWS FROM:http://bristol.indymedia.org/BristolSomersetGloucestershireWiltshireBathDorsetDevonCornwall / KernowBristol Indymedia - Read It, Write It, Your Site, Your News...http://bristol.indymedia.orgContribute An Article:http://bristol.indymedia.org/publish.phpHow To Contribute Articles Guide:http://bristol.indymedia.org/newswire.php?story_id=25376Add To The Calendar:http://bristol.indymedia.org/whatson/calendar.phpAdd To The Calendar Guide:http://bristol.indymedia.org/newswire.php?story_id=25376Editorial Guidelines:http://bristol.indymedia.org/editorial.php.........................................................

looking for flat for location

malx — Mon, 09 Jul 2007 18:54:22 GMT

hi there, we are shooting a short film toward the end of july and are looking for a flat to shoot in. if possible we would like to shoot it all in one flat so really require somewhere with a decent sized kitchen, a bathroom with bath, a bedroom and hallway. really we're trying to find somewhere thats empty of people from 24th-27th july. i realise this may seem alot to be asking but if you're going on holiday, or know anyone who rents out flats etc it would be rreally helpful. please contact malc.hamilton@btinternet.com or misfitrising@yahoo.com thanksmalcolm hamilton

Cabaret Acts for the Cube

Blusherettes — Sat, 30 Jun 2007 13:38:55 GMT

Zuleika Ziegfeld's Cabaret of Curiosities is looking for acts for it's August Cabaret in conjunction with Ladyfest. We're looking for variety/circus style acts for August. The Cabaret takes place at the Cube Cinema, it has a small budget but a big atmosphere and it's a beautiful auditorium so a great place to get video/publicity shots.Send us your blurb and details if you're interested in performing at this or future cabarets (next one October).performers@sophisticatedbb.co.ukwww.myspace.com/cubecabaret

Rehearsal Space at the Old Horfield Police Station

inside out — Mon, 25 Jun 2007 16:10:47 GMT

Just a little refresher... The rehearsal space up at the Old Horfield Police Station is now up and running. We're on Sommerville Road, a few yards up from Bristol North Baths. The main rehearsal space is all ready to use with blackout curtains and wooden floor. It also has lovely big windows and an outside yard for lunch breaks... Cheap rates... email residencemail@gmail.com for further information.

Bristol Old Vic closure - what happens now?

inside out — Fri, 11 May 2007 13:15:16 GMT

Read Lyn Gardner's posting on the Guardian Blog today regarding this:http://blogs.guardian.co.uk/theatre/2007/05/is_the_bristol_old_vic_about_t.htmland the news article:http://arts.guardian.co.uk/theatre/news/story/0,,2077342,00.htmlThis is an opportunity to spark some real debate about what we want theatre to be in Bristol. How does this affect you? Are you affected directly? Does the Bristol Old Vic matter anymore anyway?Where do we go now to see Bristol-made theatre?

the power of boards

Poppy — Fri, 25 May 2007 09:57:56 GMT

I think the whole BOV closure thing puts the power of boards into sharp perspective. We have also recently seen the board at the Tobacco Factory, made up of business people who have no experience at the rock-face of theatre, take a decision to employ a business manager instead of appointing a new artistic director - to replace the one that they almost drove to the edge of reason. Dan Danson did a fantastic job at the Tobacco Factory, without the support and understanding of his board. The same was true in the 70s of boards, for instance back in the old days of the Round House, when the board was made up of 'leftwing' property speculators, millionaires and tycoons (including Robert Maxwell and Tiny Rowlands) with their own huge egos and agendas, who were more interested in their cudos and standing (or sitting) on the Round House board than anything that happened there artistically. They were not placed to make artistic decisions, and yet took decisions with their business-oriented minds which finally closed the place.Boards should be made up of emotionally intelligent people with a track record in the making of theatre from top to bottom, who are deeply democratic and who are in post because they are there to serve and support an artistic process first and foremost. A good artistic director will always work hand in glove with an in house business manager or artistic adminstrator who is the other mainstay of a producing house. The board is there to support those two people, not to make wild, uninformed decisions. Usually it's the boards fault for appointing the wrong people to these posts in the first place, for the wrong reasons - which is partly the case with the Simon Reade debaucle at the BOV: appoint the wrong person, then bash them and close the building. It's beyond belief. In Bristol this seems to be done without any consultation with the FREE expertise and guidance of Theatre Bristol. Theatre Bristol offered their services to the Tobacco Factory board to guide them through the next Danson-less phase of TF's life. Instead of welcoming the offer with open arms, they are blundering on blindly and arrogantly in their own way. Perhaps this will see the closure of the TF too, or the alienation of its core audience so carefully built up by Danson's visionary programming all done on a shoe-string. This all highlights the strange non-collaborative atmosphere in the theatre in Bristol, where everyone (rightly it seems) watches their own back and there is no sense of an artistic theatrical community - this is deeply provincial and very English, and the main reason why good work isn't made. Good work doesn't thrive in that kind of an environment - it's not so much to do with lack of funding as with lack of a creative mind-set, good communication and open systems.What's the answer? If you care deeply about the theatre and are a maker yourself, get yourself onto a theatre board and represent a theatre's best artistic interests against the agendas of business people.This whole BOV and TF affair amounts to a major crisis. But crisis is good because it brings change. And god knows, the state of theatre in Bristol could do with some change. The danger is that it also introduces a vacuum and that is the problem - there are not enough people of the necessary calibre to fill that vacuum. BOV & TF boards are urged to seek the expertise of Theatre Bristol, if they have any sense at all.

new!!! Practical Methods of Theatre Training

Marlen — Sat, 19 May 2007 21:57:02 GMT

August 27 - September 1, 2007 Donetsk, Ukraine International IntensivePractical Methods of Theatre Training PARTICIPANTS: actors of dramatic, physical, musical and dance theatres, dancers, choreographers, directors, stage designers, playwrights, script writers. Participation fee:480 EUR by payment before June 1st, 2007.580 EUR by payment before July 1st, 2007.The fee covers attendance of the programme, accommodation (five nights) and airport transfer on arrival day.VENUE: Donetsk Academic State Theatre of Opera and Ballet.For more details, please visit: http://www.iugte.com/projects/PracticalTheatre.php "To make difficult habitual, habitual - easy, easy - beautiful", this is the greatest inspiration from Stanislavsky and the mastery of a performer in self-improvement. Participants will gain hundreds of interesting ideas and effective devices for practical work on the stage, starting from methods of individual training to creation of a performance in creative group. This is an excellent chance to investigate possibilities and to reconsider stereotyped views.

Dress makers mannequins

KM — Tue, 15 May 2007 15:41:45 GMT

Does anyone have a dress makers mannequin that they could lend for two to four weeks for a project. I have been trying for a while now to find one & am having no luck. I would prefer a female adjustable mannequin, but at the end of the day anything will do that can hold clothes & material - but not coat hangers!I am based in Bristol & I have a car, so can collect. I am careful & a bit anal, so your mannequin would remain clean & tidy. I would be hugely grateful. So if anyone has any ideas or knows anyone who might be willing, please email or contact me. thanks. Natalie - nplallist@yahoo.com / admin@kompanymalakhi.com0117 9633796

Bristol Old Vic closes - Pro Cathedral opens

doc — Mon, 14 May 2007 14:15:09 GMT

Hello all, there was such a lot of comment on the old vic closing I wanted to reply to them all, axes to grind or not it does leave a gap in the bristol theatre scene. but as bob marley said ! when one door is closed another door is open !I have been on site at the old steiner school / cathedral building in clifton for the last week, most of the real dirty work is done, its now mostly cosmetic, we have support from the developers to set this up as a legal venue for the next six mon ths at least, they are helping with materials and needed liscences etc.despite a lot of postings on websites and mail outs the response to our call has been pretty limited. The audi project last year inspired a lot of positive responses, not least of all from the developers here getting on side so much. we have a classic theatre space here as well as the cathedral building, we have support for setting it up and are seeking funding to run it as a full time theatre venue. its a great rehearsal and performance space in one of Bristols most beautiful if neglected buildings.theres a lot of talk about what was wrong with the old vic and whats going to happen after, setting up our own high profile theatre venue could be the best way of establishing more of a foothold for the creative community of Bristol in the long term, of opening up the whole scene and actuially making it what we as a community want it to be.there are only 3 of us who can really commit full time to this set up phase and we also have other commitments to keep, that makes the task more or less impossible. is there any one out there in theatre land who can lend a hand ? with 10 or 20 people this space would be up and running within a week, as it is it may take us months.is there anyone out there up for some direct action on this situation ??lets create an alternative while we have the chance !call me on 077890 52498 or email artspacelifespace@gmail.comlets make it happen again xx doc

Theatre housing WITCHES OF EASTWICK after being in the dark for a decade!

EJ — Fri, 11 May 2007 08:40:20 GMT

I just wanted to put the word out to like-mindeds that there's this fabulous theatre in Shepton Mallet (about 40 mins from Bristol) that has been unused and unloved for years. Now The Bristol Academy of performing Arts has moved into the building and is breathing life into it. The first full production in the space in a decade will be taking place 26th - 30th June - WITCHES OF EASTWICK.I really want everyone to know about this because being in the industry, we should nurture and support every venue such as this so that it remains open and thriving. I also love the fact that we've so much around here - it's not aaaall about London. Anyway, I'll get off my soapbox now, but thanks for reading this and I hope we see you there! www.academytheatre.co.uk P.S There's also an evening with stars of Television on Saturday 2nd June there - look out for more info!

Actors wanted for short film to be shot at the end of May.

fkubelik — Wed, 09 May 2007 23:34:42 GMT

I am a student film-maker at UWE and I am looking for three 20 something actors - two men and one woman to star in a short film that I am producing this month - May '07. The film is a poignant romance / light comdey about a shy young man. I would need you to make yourself available for approximately two days work sometime between 16th - 28th May, we can be flexible to fit around your schedule. I can't pay you for your time, but your expenses can be covered and I will provide you with a copy of the finished film for your show reel. If you are interested in knowing more about the project and think that you would like to audition for a part then please email me to discuss it further. My email address is: fkubelik@excite.com Thanks very much and hope to hear form you!

Is anyone driving to Birmingham to see That Night Follows Day

Lucy — Wed, 09 May 2007 22:47:56 GMT

Is anyone driving to Birmingham and back on Saturday 19th May. Three of us are going to see:That Night Follows DayTim Etchells and VictoriaSaturday 19 May / 7.45pmThe Patrick Centre at Birmingham HippodromeWe could do with organising a car share as public transport is looking tricky.If you are going and want to share petrol costs please email me at lucy@thespecialguests.co.uk.

International Theatre Kitchen

Marlen — Thu, 26 Apr 2007 21:06:23 GMT

International Theatre Kitchen is open to performers from different countries interested in international meetings, creative discoveries, change and new turning-points in their professional work. This summer actors, dancers, choreographers and directors are meeting in London. Performing arts – it's a small world, let's meet each other. To register, please send your CV and a brief letter of motivation to london@iugte.com or iugte@london.comInternational Theatre Kitchen July 3 - 6, 2007London, UKhttp://www.iugte.com/projects/kitchen.php

Call for creative demonstrations: Slovenia

Marlen — Thu, 26 Apr 2007 20:56:48 GMT

July 30 - August 2, 2007Bovec, SloveniaAnnual international conference-festivalTHEATRE METHODS 07 Between Tradition & Contemporaneity This summer the meeting will take place in the Julian Alps at the picturesque mountain resort Bovec. Accommodation and meals for conference participants are provided. http://www.iugte.com/projects/accommodation.php We are glad to invite you to “Theatre Methods 07” as a participant, an observer or you can demonstrate your method of creative work. Presentation format: workshop demonstration, master class, work in progress, reading, lecture or another way to your discretion. The number of creative presentations is limited. At the moment the programme is open and we accept applications on competitive basis. Every year “Theatre Methods” is unifying the bearers of the authentic traditions in performing arts and the representatives of contemporary stage work from different parts of the world – performing artists interested in the research of theatre methods between tradition and contemporaneity, open to new contacts and creative cooperation.If you are unable to attend but would like to share your materials with colleagues coming to “Theatre Methods 07” there is opportunity to promote and advertise your event or project. You are welcome to send your promotional materials by post - magazines, booklets, catalogues, flyers of your classes, coming workshops, courses, performances, events, etc. http://www.iugte.com/projects/TheatreMethods07.php

Whats happening with The Magic Box??

Big Al — Thu, 01 Mar 2007 09:21:31 GMT

...any ideas?I'm seeking a space in Bristol that can be developed as a multi purpose performing arts space. When the Magic Box up for grabs discussion first started I was all over it like a rash but nothing has happened.Anyone know anything?

Bread and Butter Jobs

Miss Farley — Tue, 03 Apr 2007 13:47:26 GMT

I'm wondering if anyone has any advice out there for an aspiring actor living in Bristol. Having done my training I am currently living the dream of full time waitressing and profit share theatre. I'm happy to do profit share theatre as it has given me lots of opportunities and is great to be involved in something as we all know performing jobs are very few and far between. My problem is that my rent has to paid and my boss is also getting slightly agitated with me sometimes having to take time off at the last minute to go to a casting or when I'm called for rehearsals. It's starting to make me think the future is rather bleak as I feel I cannot commit to any kind of job that will provide a slightly better wage as I have to let the acting work come first and cannot let the day job get in the way of anything that might come up. Is there anyone out there who is managing to juggle an acting career whilst earning enough money to survive during the beginning stages and the darker times? Any suggestions?

Lottery Money Special

big shoe — Tue, 14 Jun 2005 12:12:56 GMT

Just read about an interesting funding opportunity...the Big Lottery Fund will make grants of £50,000 across ITV regions to community-based projects. They're for one year projects and you can apply if you're either a voluntary/community group, local authority, school, health body or social enterprise. Applications must be made by July 11th and must be for projects that help transform your local enviornment. Find out more at www.biglotteryfund.org.uk.

Any one need help building props etc in Bristol??

The General — Tue, 27 Mar 2007 13:10:08 GMT

Hi Im a qualified prop maker and Im looking for local groups who could use a hand in any back stage capacity, any one out there?

More 'Votes' Than Evening Post - Bristol Indymedia - Publish Your News!

munkeeunit — Sat, 24 Mar 2007 14:14:03 GMT

More ‘Votes’ Than Evening Post – Bristol Indymedia – Publish Your News!PUBLISH YOUR NEWShttp://www.bristol.indymedia.orgHOW TO CONTRIBUTE ARTICLES - A Brief Guidehttp://www.bristol.indymedia.org/newswire.php?story_id=25376Bristol Indymedia now routinely gets more 'Votes' than the Evening Post ‘This Is Bristol’ website, according to the Google PageRank method! If you do a 'Bristol' on UK Google, Bristol Indymedia comes out at around 7th - 8th place, and jostles for position with the 'This Is Bristol' website. Join in with the movement to democratise Bristol’s corporate dominated media landscape; Publish Your News Now! It's only a click away! Click the 'Submit An Article' button and your story will appear on the right-hand newswire within minutes of posting.BRISTOL INDYMEDIA - Read It, Write It, Your Site, Your News...http://www.bristol.indymedia.orgPUBLISH YOUR NEWS(South West Welcome)http://www.bristol.indymedia.org/publish.phpEven though our newswire carries the banner 'Read It, Write It, Your Site, Your News...' it seems that not everyone is yet aware that this means exactly what it says. The 'Submit An Article' button, in the top-right corner, takes you to our article submission form. All you need to do is fill in all the form, click the 'Preview Before Publishing' button at the end of the form, to check it looks ok, and then click 'Edit Again' or the 'Publish!' button. If you have any problems filling out the form, or with uploading articles, please see our brief guide above.PUBLISH YOUR EVENT(South West Welcome)http://bristol.indymedia.org/whatson/calendar.phpIf you have an event to promote you can use our calendar too. Again, just like with the newswire, all you need to do is click 'Add Your Event' and follow the instructions, and your event will be immediately displayed in the calendar. If your event has an interesting report attached to it, then you can turn that into an article too, on the main newswire, to go with your calendar entry.GUIDELINESOnly if your article is outside of, or breaks, guidelines will it be moved from the right-hand newswire.http://bristol.indymedia.org/editorial.phpBRISTOL INDYMEDIA - Read It, Write It, Your Site, Your News...http://bristol.indymedia.org

Digs list

MissyT — Sun, 08 Jan 2006 16:56:16 GMT

Arnolfini are trying to pull together a current digs list - particularly re helping to accommodate some of the resident artists working on the Inbetween Time live art festival in February, but also with other residencies.Length of stay would vary from a few days to around 2 weeks.If anyone has a spare room that you wouldn't mind hosting an artist in, and that isn't too far from the centre of town, I know the Inbetween Time team would be really grateful to hear from you. Either PM me or contact Tim Harrison - Live Art and Dance Coordinator at Arnolfini on tim.harrison@arnolfini.org.uk

SHORT FILM - we need you beautiful people!

joe_ellis — Wed, 28 Feb 2007 15:24:40 GMT

Hello there,I'm a 3rd and final year Southampton Solent University film student, producing my film groups' final production peice. We need 1 male (aged between 21-35) and 2 females (1 between 21-30 and 1 between 30-45). The film is a gritty thriller/drama about a man's obsession with his former flatmate and her therapist. The whole film is set in various locations in and around Bristol and is 10 mins long. The work isn't paid, but we'll happily pay for your travel and provide accommodation as I live in Bristol out of term time. We think it would be great experience for anyone that wants do short/feature films or get into the industry.If you are interested please contact me via email or phone at:joeellis@hotmail.com 07920115131We'll send you a copy of the script on reply and the casting session is on Thursday 8th March in Bristol. If you are interested I'll get back to you with the time. You must be available to film the actual peice at the end of March/April.Many thanks,Joe Ellis

International Performing Arts Laboratory

Marlen — Tue, 27 Feb 2007 17:38:47 GMT

International Performing Arts LaboratoryWhere to get new practical devices? How to find something new and interesting in creative work with specific group in specific circumstances and terms?If you'd like to know a little more...http://www.iugte.com/projects/OstrenkoLabPro.php