The Summer Shift 05 – Aberystwyth, June/July 2005

THE CPR INTERNATIONAL SUMMER PROGRAMME

EXPEDITIONS – WORKSHOPS – TALKS – PERFORMANCES

Take flight using PERFORMANCE…and your own CREATIVITY

EXPEDITIONS – WORKSHOPS – TALKS – PERFORMANCES

· Frank Theatre (Australia)

· Tomasz Rodowicz (Poland)

· Reckless Sleepers (UK)

· Richard Gough (Wales)

· Ranan (India)

· Margaret Cameron (Australia) & Deborah Hay (USA)
WORKSHOPS

High quality training opportunities – get fit physically, vocally and imaginatively indoors and out.

TALKS

Consider significant work by leading artists and hear first hand accounts of the creative processes of guest tutors.

FREE TIME

On our doorstep we have some of the most extraordinary and beautiful landscapes in the UK – from the mountains of Snowdonia to the Pembrokeshire coastal path. Indoors you may spend time in the CPR’s multi-cultural Resource Centre delving into performance archives of videos, books, CDs and DVDs or work in the studio, developing your own project in tandem, building on the workshop training.

CHOOSE from the following:

Frank Theatre (Australia) – Suzuki training workshop, either Monday 13 – Friday 17 June or/ and Saturday 18 – Sunday 19 June
Tomasz Rodowicz (Poland) – Voice & Theatre Workshop, Saturday 18 – Sunday 19 June
Reckless Sleepers (UK), experimental theatre workshop, Monday 20 – Friday 24 June
Richard Gough (Wales), visual theatre, Monday 27 June – Friday 1 July
Ranan (India), 3 classical Indian Dances, Sunday 3 – Friday 8 July
Margaret Cameron & Deborah Hay (Australia/USA), choreography, writing and performance workshop Monday 11 – Friday 15 July

“A unique opportunity to train and above all create with leading practitioners.”

Summer School Participant July 2000

13 – 17 June
18 – 19 June
Frank Theatre (Australia)
SUZUKI ACTOR TRAINING
5 day workshop £150 (£105 Bursary Place)

2 day workshop £65 (£45 Bursary Place)

John Nobbs and Jacqui Carroll, co-directors of Brisbane-based Frank Theatre, specialise in offering the highly regarded Suzuki Actor Training Method within their own hybrid framework, Frank/Suzuki Performance Aesthetics

18 – 19 June

Tomasz Rodowicz (Poland)

CHOREA: Towards the Voices of Antiquity

2 day workshop £65 (£45 Bursary Place)

Now developing a body of work and research with his own company, Tomasz Rodowicz until very recently an actor, director with – and co-founder of – the Gardzienice Theatre Association from Poland. Gardzienice are acclaimed progenitors of a particular East European music-theatre genre of ‘ethno-oratorio’ that transforms native folk culture into extraordinary avant-garde works

20 – 24 June

RECKLESS SLEEPERS (UK)

QUIET TIME

5 day workshop £150 (£105 Bursary Place)

Reckless Sleepers’ Artistic Director, Mole Wetherell has distilled 15 years practice and experience into a workshop, Quiet Time. Documentary processes are developed into a week of performance, installation and exhibition.

27 June – 1 July

RICHARD GOUGH

Still Life – Inside and Outside the Box

(Performance, Photography and the Object)

5 day workshop £100 (£75 Bursary Price)

In his own creative work as a director, deviser and workshop leader, Richard Gough has developed an original approach to creating visual, musical and site-specific performance. This workshop will look at the relationship between performance & photography, the animation of objects and the use of ‘found’ objects.

3 – 8 July

RANAN (India)

Kathak, Manipuri & Bharatnatyam

6 Day workshop £180 (£125 Bursary place)

Ranan has been making waves in India with their variety of production work including fresh choreography in traditional formats, visually stunning ballets and vibrant pieces of ‘dance-theatre’. The Ranan Summer Shift workshop is led by performers of three designated Indian classical dances forms, Kathak from the north, Manipuri from the north-east, and Bharatnatyam from the south.

11-15 July

DEBORAH HAY AND MARGARET CAMERON (AUSTRALIA),

SWEETENING THE ABSTRACT

5 day workshop £150 (£105 Bursary place)

Deborah Hay has come to understand that the body’s form and content are not what they appear to be: likewise, her relation to dancing does not coalesce around the ideology of a single coherent being nor around specific subject matter. Margaret Cameron’s research with Deborah Hay is focused on sharpening the way to speak.