Monthly Archives: August 2013

People, Profit, Planet – Sustainability Programme at WSD2013

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Exploring Sustainability in Creative Practice

Theatre is a process of reinvention, making and remaking. How do we consider the resources that go into bringing something to the stage? What is our responsibility to materials and energy? How do we create efficient spaces that house performance? How do we talk about this, both as artists and in our art? These questions are the focus for the Sustainability Programme at World Stage Design 2013. Join designers, architects, researchers and others who are focused on the intersection of sustainability and performance as we explore the future of our field as it relates to one of most vital issues of today.

You can view the full programme and book online for some events here.  More events will be added throughout the summer, so keep checking the website.

The People, Profit, Planet programme is supported by the Waterloo Foundation.

Who should attend?

These workshops and presentations are for anyone interested in considering the issues of sustainability within their work. Curious about how reused and eco-materials impact design and construction? Or the future of new energy efficient lighting technology? Intrigued by new work that explores issues of social justice and the environment? Interested in tools and best practices to monitor the carbon footprint of your facility or productions? Perplexed by how these tie together? Join us for a cross section of programming that highlights performances, place and interconnectedness in the wider world.

Sustainability Offerings at WSD2103


Thurs, Sept 5


Fri, Sept 6


Sun, Sept 8


Mon, Sept 9


Tues, Sept 10


Wed, Sept 11


Thurs, Sept 12


Fri, Sept 13


Sat, Sept 14


People, Profit, Planet – group leader
Ian Garrett – Assistant Professor, York University, Canada

Sustainable Lighting for the Theatre with Henk van der Geest and Ian Garrett at WSD2013

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Sat 14 Sept 16.30 – 18.00

Willow Theatre

Sustainability is important for everyone working in design today, but to be sustainable is also often required by your clients.  What is real sustainability and can the energy saving in theatrical lighting save the world? Exploring what to do, and what not to.

Who should attend?

Opent to all with an interest in lighting

Price: £6

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Designing Sustainably for Broadway with Donyale Werle at WSD2013

img-peter-and-the-starcatcher_142013765001Sat 14 Sept 14.30 – 16.00

The Willow Theatre

Donyale Werle, who started out as a painter, began to reexamine routine theatre practices after working for 13 months on the set for High Fidelity, a 2006 Broadway musical that closed after only 13 performances, she told American Theatre Magazine in Fall 2012.

Seeing her work trashed seemed a waste in more ways than one.

This session will focus on producing greener theatre. Donyale Werle has gained much acclaim for her use of salvaged materials in her sets and for her creative designs; she won her recent Tony for Peter and the Starcatcher, whose set was made entirely of recycled materials. Werle serves as pre-production co-chair for the Broadway Green Alliance.

Open to all.

Price: £6

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Trans – Plantable Living Room at WSD2013

TANJA-BEERonline_livingroom_guyAn edible stage will provide the unique space for this performance, which will explore our relationship to gardening in the age of ecological uncertainty and our broad relationship to nature. You will be invited to plant a seedling, contributing to the space in your own personal way.

The event will unify a temporary, site-specific edible garden with local gardening communities via performance.

Outside of the performance, the space will function as a discursive, enjoyable sitting area and installation which can be enjoyed by the public.

Open to all.

This performance has travelled to World Stage Design 2013 from Australia, the USA, Canada and the UK.

This performance will take place on the college grounds.
Tickets are free but limited in numbers.
Please follow the links below to pre book your free tickets.

FRI 13 SEPT 13.30 BOOK TICKETS
FRI 13 SEPT 18.30 BOOK TICKETS
SAT 14 SEPT 13.30 BOOK TICKETS
SAT 14 SEPT 18.30 BOOK TICKETS

Working the Tweed – opportunities

This post comes to you from EcoArtScotland

Kate Foster asked me to post the following:

With Working the Tweed, we have spaces left on an interesting Riverside Meeting Friday 30th August.  It is on the site of a river restoration project, re-meandering a the Eddleston Water as part of a Natural Flood Management scheme. The presenters are very knowledgeable and linked to national research on natural flood management and sustainable land use strategy.

This link gives full details: http://workingthetweed.co.uk/riverside-meetings/

Interested folk should respond to Claire Pençak on info@workingthetweed.co.uk

For background on the project Kate suggests reading http://workingthetweed.co.uk/2013/08/22/on-passing-through-places-so-far-stories-and-movement-improvisation/

ecoartscotland is a resource focused on art and ecology for artists, curators, critics, commissioners as well as scientists and policy makers. It includes ecoartscotland papers, a mix of discussions of works by artists and critical theoretical texts, and serves as a curatorial platform.
It has been established by Chris Fremantle, producer and research associate with On The Edge ResearchGray’s School of Art, The Robert Gordon University. Fremantle is a member of a number of international networks of artists, curators and others focused on art and ecology.
Go to EcoArtScotland

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Emergence presents – World Café: A sustainable enquiry at WSD2013

Summit ConferenceFri 13 Sept 14.30 – 16.00

Rowe Beddoe

Fern Smith and Rhodri Thomas co-founders of Emergence 
will facilitate a participatory inquiry into the role of the arts and artists as change-makers. World Café is an open and informal technique which uses the collective wisdom of groups to address a number of over-arching questions of relevance to the people present in the room.

The questions will be related to the people and projects we have individually encountered which inspire us to create a more sustainable practice in our life and work. This will be an invaluable opportunity to meet and share with other designers, theatre makers, producing and receiving houses and to follow a line of enquiry in an open, honest and structured manner.

The World Café methodology is a simple, effective, and flexible format for hosting large group dialogue.

The World café will be preceded by an introduction to the work of Emergence, the ideas which have inspired it and it’s impact to date on the arts scene in Wales and beyond.

Open to all.

Price: £6

http://www.wsd2013.com/whats-on/emergence-presents-world-cafe-a-sustainable-enquiry/

Emergence Presents: Doin’ Dirt Time at WSD2013

Emergence_DoinDirtTimeFri 13 Sept 13.30

Caird Studio

Doin’ Dirt Time by Suzi Gablik

Based on a transcript of an astonishing interview by internationally renowned arts commentator Suze Gablik, Doin’ Dirt Time raises questions about the traditional role of the arts in society, as two artists dedicate themselves to a radical new art form: living life as a sacred act.  An experiment in future-oriented, stripped-back theatre performanced by Fern Smith, Philip Ralph and guest artist.

“Seek not the ways of men of old, seek instead the ways they sought”

Open to all.

Price: £6

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Spirited Discussions Pt. 3

This post comes to you from EcoArtScotland

Wednesday afternoon 14th August, third discussion around the issues of art, science, environment, monitoring, CO2.

Andrew Patrizio started us off by taking us back to Renaissance Florence. His summer reading had been Michael Baxandall’s Painting and Experience in 15th Century Italy. In that he found a description of the particular characteristics of the mercantile mind, the ability to gauge quantity, weight, volume and space accurately. According to Andrew, Baxandall argues that the circumstances in which Florence was a nexus for trade meant that a significant proportion of the population were involved in activities requiring gauging. By gauging I imagine we mean forming accurate judgements about things which can be weight and measured, but where some of the technologies for doing that which we take for granted didn’t exist or were relatively unsophisticated. We can perhaps imagine parallels with the emergence of monitoring in the 21st Century. Can we imagine the flows of energy through the grid when we are told about the impact of everyone turning on their kettle in the break for advertisements during a major sporting event? Or that animation of aircraft moving across the Atlantic and then moving back? As we have previously discussed, the calibration of our experience of CO2 through art is a particular challenge.

Renaissance Italy was at a critical point of social, economic and cultural development and the arts were deeply enmeshed in that. Trade was central, but the ramifications are much wider. The emergence of the new painting characterised by the use of perspective, but equally importantly including specific identifiable individuals such as patrons in real space with divine figures also treated as if they were human, is well known. We can imagine the pleasure that a painting which expressed space through perspective, and depicted fabric realistically, would bring to a person who could fully appreciate the space, volumes and sumptuousness – the play between the aesthetic and the mercantile mind. The late 20th and early part of the 21st Centuries has as Andrew drew our attention to, been characterised by conceptual, performative and participatory practices, sculpture in the expanded field, systems theory, data visualisation and new media.

In Renaissance Italy we know the practices of art and science were not separated out in the way that they are now. The enquiry into what can be understood about the world, whether through philosophy, science or art, was a process that individuals participated in as what we might now call public intellectuals, rather than as distinct disciplines. The methodologies were broadly similar and compatible if the manifestations were different. We know of Leonardo’s sketchbooks but we are less familiar with Piero della Francesca several treatise on mathematics of which the most well-known are those on perspective. The emergence of the artist researcher who plays across these two fields is a relatively recent not always welcomed development. It is criticised on the one hand as institutionally driven, and on the other perhaps because it seems to ‘explain’ the work, which by rights should stand on its own. The 20th Century in particular has been dominated by a resistance to the instrumentalisation of art, a resistance to a ‘unified reading’ of the work of art. The artist researcher, write of papers as well as maker of art seeks to understand the world and share that understanding. The artist researcher might seek to intentionally change the world (though probably not through simplistic cause and effect processes).

Setting aside the question of who writes papers and who makes artworks, Andrew was asking us to think about the comparison between then and now, the extent to which we are living through a period of more than just social, cultural and economic change. The shift taking place in Renaissance Italy might be characterised as the emergence of the idea of the human as being at the centre of everything, able to shape the world according to our desires and for our convenience. The word ‘environment’ means the circumstances or conditions that surround one, or that surround and organism or a group of organisms. It is predicated on an assumption of a ‘thing’ which has ‘an environment’. Without a ‘thing’ there is no ‘environment’ because the word is describing that relationship. Perhaps the Renaissance is the point in modern history where the human moves to be the de facto ‘thing’ – where the human environment division is crystallised. If we look at the paintings we see the human at the centre of the environment, the focal point.

We feel that we are living through another key paradigm shift, or rather that we need to be living through a paradigm shift, because the current paradigm, that we can use the planet and everything on it for our own convenience and comfort and it will just carry on, isn’t working anymore. If 500 years ago it seemed that we needed to learn how the world worked so that we could control it to make it safer (and make no mistake life was short and painful 500 years ago), at that point it seemed that nothing we could do would impact on ‘nature’. Science and technology offered ways to protect ourselves, live longer, avoid illness, be warm and comfortable.

If we accept that our world view is changing again, that the Anthroposcene is the result of a trajectory that has social, economic and cultural roots in the deep past, it is interesting to imagine the arts’ involvement in the process 500 years ago. Did artists sit around and worry about being instrumentalised? How would they have felt about Samuel Beckett’s statement, “Art has nothing to do with clarity, does not dabble in the clear and does not make clear.” Of course that resistance of Beckett’s is precisely because art has been implicated in the paradigm that created the problem. And Beckett has contributed to our understanding of the world. But Ian Garrett, one of the founders of the Center for Sustainable Practice in the Arts, led us into another possible construction of the avoidance of ‘making clear’ in a simplistic sense (where frankly Design Communication has the task of ‘making clear’). He talked about the project Fallen Fruit which used maps in a way which is reminiscent of the work of Helen Mayer Harrison and Newton Harrison, where the layering of information creates a density that requires thought and interpretation. CO2 Edenburgh layers information on carbon dioxide monitored in the City over greenspace and urban fabric, it performs the movement through the landscape of CO2, and overlays the social cultural activity associated with the Edinburgh Festivals. It could add economic layers or regular traffic movement layers, or any number of other factors. The point is to create questions in the mind of the person engaged with the work of art.

ecoartscotland is a resource focused on art and ecology for artists, curators, critics, commissioners as well as scientists and policy makers. It includes ecoartscotland papers, a mix of discussions of works by artists and critical theoretical texts, and serves as a curatorial platform.
It has been established by Chris Fremantle, producer and research associate with On The Edge ResearchGray’s School of Art, The Robert Gordon University. Fremantle is a member of a number of international networks of artists, curators and others focused on art and ecology.
Go to EcoArtScotland

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Emergence presents: Resilience in the Face of Challenge Creu Cymru at WSD2013

ImageFri 13 Sept 9.30 – 11.00

AHC Conference room

Creu Cymru is the development agency for theatres and arts centres in Wales. It currently has 44 member organisations who pay an annual fee to receive a range of services. With support from the Welsh Government’s Support For Sustainable Living Fund, Creu Cymru is working with Cardiff University, Julie’s Bicycle and Cynnal Cymru-Sustain Wales to develop a project to support the theatres and arts centres of Wales in becoming more resilient in facing the challenges of the 21st Century, particularly addressing the following 3 areas: energy and waste – consumption & treatment, the supply chain – examining theatre production and touring, communicating to audiences the issues and potential solutions

This session is designed to give theatre makers and producers an opportunity to hear how the project is progressing and work together on collaborating over programming and artistic response. The event will be a learning seminar to share best practice and showcase this project to an international audience.

Price: £6

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OPEN HOUSE – Matthew Mazzotta 2013

OPEN HOUSE is a transforming theater in York, Alabama

Artist Matthew Mazzotta, the Coleman Center for the Arts, and the people of York Alabama have teamed up to work together and transform a blighted property in York’s downtown into a new public art project this is in the shape of a house, but can physically transform into a 100 seat open air theater, free for the public.

Through open conversations, hard work and planning we have developed a project that uses the materials from an abandoned house as well as the land it sits on to build a new smaller house on the footprint of the old house. However this new house has a secret, it physically transforms from the shape of a house into an open air theater that seats 100 people by having its walls and roof fold down. We call our project ‘Open House’.

Open House lives mostly in the form of a house between the grocery store and the post office, reminding people what was there before, but it opens up when the community wants to enjoy shows, plays, movies, and any other event people can think of that supports community life here in York. When the theater is folded back up into the shape of a house the property is a public park for anyone to enjoy.

Open House was awarded grants from the National Endowment for the Arts and the Visual Artist Network, as well as individual contributions

For more details – matthewmazzotta.com