ANDREW POPPY & JULIA BARDSLEY WORKSHOP
THE NATIONAL REVIEW OF LIVE ART WINTER SCHOOL
devising performers, actors, dancers, directors,
choreographers, creative musicians, composers & visual artists
Monday 12 February to Saturday 17
Royal Scottish Academy of Music & Drama, Renfrew Street, Glasgow
(image, body, text, sound, thought)
All cultural objects are grown in the memory of other
objects. The world appears fragmented but we live in a continuity of
consciousness and the body, time and material. The unique work appears to be an
orphan to those in the audience who have not witnessed the midwives with their
forceps. There would be no Bausch without Beckett and Balanchine. No Sherman without Monroe
and Goya. No Cage without Satie and Schoenberg. No Beatles without Elvis and
Mrs Mills. But the idea that we invent our artistic selves through the
contemplation of existing objects is nothing new. It's
an eternal creative process latterly called deconstruction but which is as
fundamental as the fertilised egg. And our age of genetic science is one of
Bardsley & Poppy have collaborated on creative projects
since 1989, often using found texts as starting points. By extracting the
residues of content and structural frames from these texts, they work to build
new visual, theatrical and music experiences. Uranium Miners Radio Orchestra Play Scenes from Salomes
Revenge, a chamber opera, cross-fertilises Wilde's Salome with the miners strike.
Avalanche Thoughts, a merging of photography, treated text, film, piano concert & object, interprets a Ted
Hughes short story through the sensibility of a Canadian experimental
filmmaker. Hamlet is split in two & made to move in Hamlet Dances? leaving the jilted lover to
sing with herself in Ophelia/Ophelia.
And most recently, Trans-Acts, a performance installation, asks a
female Jesus to audition for a minor role at her own Last Supper.
During a week of practical work, looking, listening &
discussion, Andrew and Julia will share and develop their processes with a
group of performers, artists and composers. Some of the areas covered may
include: 1. Disguise, garments and persona. 2. Listening as a creative process.
3. The work of juxtaposition. 4. Visual scores. 5. Maps & the psychology of
space. 6. The point at which language becomes music. 7.
Transformation of objects. 8. Sonic modulation of visual events. 9. Strategies
for generating text. 10. Repetition and its disruption.
For further info NRLA and THE WINTER SCHOOL see:
www.andrewpoppy.com/ | www.juliabardsley.net/