Tag Archives: Theatre and Performance Design

PQ 2019 | Site Specific Performance Festival Open Call

Wimbledon PhD Graduate, Dr. Sophie Jump, is the curator of the Site Specific Performance Festival at the Prague Quadrennial 2019.

www.pq.cz/en/opencall-site-specific-performance-festival

An International Jury awarded the Prague Quadrennial as one of the 12 of the most trend- setting European festivals of the 2015 from a pool of 760 festivals from 31 countries. The main criteria were Artistic Merit, Innovation, Internationality, Political Value and Sustainability.

From the EFFE jury statement: “Another hugely significant international gathering in its eld, the Prague Quadrennial has identi ed a specific area of artistic practice and made a great impact. Its programmes for students and young professionals are an extremely important aspect of its programme, making it a vital gathering for young artists and designers where they can come together and invent the future of stage design.”

PQ festival is the liveliest, and perhaps the most energizing and inspiring part of PQ that speaks about our contemporary experience, forges new connections, brings new audiences, and gives an opportunity to many artists not only from the area of performance design but also all other related fields to share the newest ideas and most current reflections of our world today. There is an open call to performance designers, directors, choreographers, performers and artists to bring their performances inspired by PQ site and Prague locations where performance design plays integral role and works that could change the regular patterns of the daily city life into a series of memorable moments. The festival is both an incubator and a forecaster of new trends in performance.

The Prague Quadrennial of Performance Design and Space invites submissions for the Site Specific Performance Festival, a curated, non-competitive project that will take place in Prague, 7-15 June 2019. Proposals are accepted from performance designers, directors, choreographers, performers and artists of all career levels.

CURATOR: Sophie Jump

DATES: 
• Call Published: 30 November 2017
• Deadline for Submission: 28 February 2018
• Official Selection Announced: 15 April 2018
• 14th Edition of Prague Quadrennial: 6-16 June 2019
• Site Specific Performance Festival: 7-15 June 2019

For more information and conditions for submissions for the Site Specific Performance Festival, please, follow attached files.

Please complete attached form in English and return to [email protected] saved as “artistname.application.pdf” with email subject line SITE SPECIFIC. Deadline for submission is 28 February 2018. No handwritten or incomplete applications will be accepted. Carefully read the Call for Applications before filling out this form.

Theatre & Performance Design – Call for Submissions

Volume 3, Issues 1&2: Drawing & Design

The editors, Arnold Aronson and Jane Collins have pleasure in calling for submissions to the journal Theatre and Performance Design Volume 3, Issues 1&2 spring and summer 2017. The volume will consist of general articles on scenography but we are also interested in receiving articles that address the specific theme of Drawing and Design.                                             

 ‘Drawing… is at once medium and process, performative act and idea, it is sign, symbol and diagram. It is a space of negotiation for both established meanings and what is yet to be known, defined and articulated. It is a medium for analysis, for the acquisition and facilitation of understanding. It is observational tool and recording practice.’ Flavia Loscialpo[1]

There is a substantial canon of writing about drawing in fine art but relatively little on drawing in theatre and performance.  In the 2017 spring and summer issues of the journal we are keen to explore how drawing works across the full range of scenographic practices.  As a means of making ideas concrete and as a discursive tool drawing is instrumental in theatre, costume and performance design, spatial design and architecture. Articles might consider; how precisely does drawing work as ‘a space of negotiation’ in these practices? What kind of drawings do designers make and how are they evaluated? In a recent edition of the journal David Bisaha, with reference to the New Stagecraft movement early in the last century, has argued that ‘‘Renderings’ depiction of composed dramatic moments afforded designers greater control and autonomy over the completed stage picture…’’ [2]  What is the status of drawing as scenographic artefact and process in contemporary theatre and performance practice? As work has moved beyond theatre buildings and into diverse sites, both urban and rural, have performance scores and maps replaced ground plans and renderings? What materials and tools, including the digital, do designers use to draw? What kind of drawings do sound and lighting designers make? How might a close analysis of the drawings of designers from the past help us to understand the visual culture and the professional context in which they were made?  Can a close study of different approaches to drawing help us to understand the evolving role of the designer?

We welcome articles on drawing of between 5000-8000 words. Contributions from practitioners talking about their own use of drawing, articles on CAD and its applications as well as visual essays that explore the currency of drawing as design practice past, present and future.  In addition we continue to encourage submissions on issues relating to scenography in general.

Submissions to Nick Tatchell, Editorial Assistant: [email protected]   

Deadline: October 31st 2016

[1] Drawing and The Body, Exhibition Catalogue KG52 Gallery, Kammakargatan 52, Stockholm, 18April -14 May 2011published by The Swedish School of Textiles, University of Boras and London College of Fashion, University of the Arts, London.

[2] Bisaha, David. 2015. Robert Edmund Jones’ scenic rendering as design artefact and professional tool. Theatre and Performance Design 1 (3): 220-235 (p.220)

Launch of Theatre and Performance Design

CCW Professor Jane Collins, Professor Arnold Aronson of Columbia University and Routledge will launch the new journal Theatre and Performance Design, devoted to the study of scenography, on 22 June at the Prague Quadrennial of Performance Design and Space, PQ 2015. Theatre & Performance Design is a quarterly journal publishing in March, June, October and December.

In their introduction to the journal Aronson and Collins explain why this new publication is so timely. ‘In the past, discussion pertaining to design and production has been hampered by the fact that it was spread across a range of different publications where debates were often subsumed by other aspects of practice. As a result the field has been denied the opportunity to engage with other related areas at the appropriate level, and the critical edge in debate has often been diffused. Further complicating the effort, a de facto firewall was seemingly erected between practice and theory. We hope that with the publication of Theatre and Performance Design, there will be a true conversation, and that researchers, teachers, students and practitioners will now have a dedicated journal that will facilitate rapid and informed response to current, ongoing and emerging concerns, thereby stimulating further enquiry and providing a strong base from which theatre and performance design and scenography can confidently engage with other discourse on its own terms. We hope that this journal will not only make a contribution to the advancement of knowledge in the field but crucially shape how that knowledge is produced.

We wanted this first double issue to address the state of the art in theatre design and scenography internationally and explore the challenges and questions the field faces in the twenty-first century. In the call for papers we suggested that we are currently undergoing a significant “turn” towards scenography, both as a critical framework and as an expansion of practice across a broad range of theatre- and performance-related activities.

What is a “turn”? The Oxford English Dictionary lists more than 40 definitions for the noun “turn” and another 28 for the verb. None cites the academic usage, but a few definitions seem relevant: “change of direction or course”; “the action, or an act, of turning or changing; change, alteration, modification”; “The point at which one named period of time gives way to the next; the beginning or end of a named period of time, regarded in relation to the transition point between it and the preceding or following period”. One definition stood out as particularly apt: “The time for action or proceeding of any kind which comes round to each individual of a series in succession; (each or any one’s) recurring occasion of action, etc. in a series of acts done, or to be done, by (or to) a number in rotation”. This, of course, is the definition embodied in the song “Rose’s Turn” from the landmark musical Gypsy: “Starting now it’s gonna be my turn”. So not only do we believe that theatre and performance studies are altering their direction, moving into a new period, but also that within those fields and beyond it is time for scenography to take centre stage. It’s our turn.’

The online version of the journal is now available from Taylor & Francis Online.