Monthly Archives: March 2016

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)

? | 1st Year PhD Student Exhibition


Denise Ackerl | Georgina Amos | Gavin Edmonds
Aur lie Martin | Ralph Overill | Miriam Ribul

Private View: Wednesday 30 March, 5.00 ' 8.00pm

Performance: 6.30pm
Pub Quiz: 7.00pm

Cookhouse Gallery
Chelsea College of Arts, 16 John Islip Street, SW1P 4JU

Show Open: 30 ' 31 March 2016, 11.00am ' 5.00pm

? engages with the different stages and approaches of constructing a research question. With a wide variety of practical and theoretical approaches, each artist will exhibit progress/ideas/problems regarding the 'research question'. We aim to open up a conversation through the gallery space for development and discussion by inviting visitors to engage with exhibitors in a dedicated meeting hub and to add their ideas to the space via giant post-it notes.

Performance '2023' (6:30pm) & Pub Quiz (7pm)

In '2023', Denise Ackerl is projecting herself 7 years into the future, making speculations on what to expect from the life as a researcher to finally acting out live her own Viva.

In the ‘Pub Quiz’ visitors are encouraged to create questions around answers given by the research students in relation to their field.

Drinks and refreshments are provided.

Elisa Alaluusua's PhD Exhibition | Thirteen Narratives By Thirteen Artists About Their Sketchbooks

Coming up….Elisa Alaluusua's PhD exhibition.

Thirteen Narratives By Thirteen Artists About Their Sketchbooks

21st to 30th April


(the artist will be present)

21.4. Thu 4-6pm

23.4. Sat 1-3pm

26.4. Tue 10am-6pm

28.4. Thu 12-8pm

29.4. Fri 10am-2pm & 5-8pm

30.4. Sat 11-2pm

The Morgue, Chelsea College of Arts, UAL16 John Islip St, London SW1P 4JU

Tasting the Table | Design History Society Workshop

30 March 2016
17.30- 20.30 (dinner & drinks provided)
The Gallery, 75 Cowcross Street, London EC1M 6EL

Hosted by Jane Levi, Food & Cultural Historian
Tickets 15, 5 for DHS members (includes supplies and dinner)

How much can we understand about the tastes, techniques and aesthetics of historic tables without experiencing them for ourselves?

Design historians often look to the furniture, flatware, crockery and dressings of consumption to tell us about cultural contexts of taste ' both sensorial and cultural. In this hands-on workshop, you will be introduced to dynamic ways of reading and interpreting history via its cookbooks, using texts and paintings to consider rituals of consumption by making and tasting historical recipes.

Part illustrated talk, part paleography, part guided cooking class, this workshop gives participants the tools to get deeper inside the everyday life of historical consumption practices ' through its food. Historical paintings and food texts, especially cookery and recipe books, household manuals, and gardening books are much more than curiosities. They are deeply revealing resources about their time, with a richness of detail about the everyday and social contexts. Reading is not always research enough: we need to smell, taste and feel our food.

Over the course of the evening participants will work in small groups to create different dishes from 17th-18th century cookery books. The evening's workshop will conclude in a feast where we test and discuss each group's contribution to the main table.

Please note: some of the dishes may contain nuts, meat, wheat and dairy products. If you have strong allergies or dietary constraints please check with Michaela Young in advance of booking a place: [email protected]
Please book to reserve your ticket. Spaces are limited.

The Birth of Cool Interview | The Guardian

Keen Guardian readers on 6th March 2016 were lucky enough to read Tim Lewis’ interview with CCW’s Professor Carol Tulloch on her recently published book The Birth of Cool: Style Narratives of the African Diaspora.

The interview provides a fantastic insight into the book and Carol’s motives that direct her research interests. With excellent behind the scenes access this article delves into her selection of photographs (from family archives and of Billie Holiday and Malcolm X) which she uses to describe the ‘style narratives of the African diaspora’.

Read the article in full.

Who is the Teacher-Researcher in Art, Design and Communication?

A Wimbledon College of Arts Event for UAL Research Fortnight 2016
Friday 11 March 2016, 2pm – 6pm ('Drinks Recpetion 6pm – 7:45pm)

'Academics do not just teach and undertake research – they are teacher-researchers. This half-day symposium addresses the role of the teacher-researcher in an arts university, with contributions from students and staff at Camberwell, Chelsea and Wimbledon Colleges of Arts. Further and Higher education in art, design and communication is not just about getting a qualification – by definition, a university should expose students to leading research in their field of study. The curriculum that students follow and the courses and the programmes that they have chosen, should be responsive to innovative research in the discipline. While there are ways of recognising excellence in research and (more recently) in teaching, we lack developed accounts of the relationship of research and teaching and the skills and capabilities of the teacher-researcher. An aim of the symposium is to arrive at some actions/ideas for further enhancement of the curriculum and the student experience through bringing teaching and research closer together. Topics we will cover include:

  • How do we describe the role of a teacher-researcher?
  • How do students understand the relationship of teaching and research within their courses and programmes?
  • How does the teacher-researcher work within the curriculum and the programme in art, design and communication?
  • Should the art and design curriculum respond to the latest innovations in research – if so how?
  • What spaces, technologies, objects and external institutions are important to develop good relationships between teaching and research?
  • How does the integration of research and teaching work at different levels, from FE to PhD?

Followed by drinks in the Green Room hosted by Simon Betts, Dean of Wimbledon College of Arts