Home Blog Page 11

Opportunities: Open Call (Thessaloniki, Greece) Deadline – June 30th 2024

Contemporary Performance Network
-
0
Opportunities: Open Call (Thessaloniki, Greece) Deadline – June 30th 2024

Opportunity: Open Call
Where: Thessaloniki, Greece
When: Nov 2024 – Jan 2025
Deadline: June 30th 2024
Online Application: https://forms.gle/9Rk68xZGVs5U6fgF7
Fee to Participate or Apply: 0

Description Of Opportunity:

The international Eye’s Walk Digital Festival and the MOMus-Museum of Contemporary Art embark on a unique collaboration: The quite new Thessaloniki International Digital Arts Festival (THEDAF) is sought to expand the concept of heritage and become a meeting point for contemporary art with the public history of Thessaloniki today, through digital art, performance, circus art, and psychogeographical wandering.

We invite participants to share affective atmospheres and personal and collective experiences around the city, its connection with the rest of the world and ultimately its future.
Because the future for us is never merely idealistic or local but encompasses action and the possibility of coexistence with the world.

Encouraging participants to create through multiple voices and perspectives and uncensored emotions, we urge them to:

  • Collaborate multidimensionally with other artists, thinkers, activists, and communities.
  • Explore uncharted parallels, asynchronous encounters to broaden the notion and framework of what we call a place’s heritage.
  • Express themselves and their worldview, exploring the vulnerability of art in public spaces, surpassing the artist alone to create spaces for meetings and collaborations.
  • Be playful, bold and relevant by “connecting” the psychological, emotional, social, and political atmospheres of Thessaloniki, with our world and the present time.
  • Tune into the Affective Atmospheres of Thessaloniki, the way the body feels its own emotions. “Atmospheres” that concern the geographical, historical and emotional space of the “Thessaloniki International Fair” are particularly welcome.

Information about artistic works:

  • Digital works submitted can have a maximum duration of five (5) minutes.
  • Performances can have a maximum duration of thirty (30) minutes.
  • Proposals concerning Audio Routes, as described below, have flexibility in their duration.
  • Proposals combining artistic work with educational activities will also be included in the final production.

What we provide to selected participants:

  • The festival will provide accommodation for artists in Thessaloniki and partially support their transportation.
  • A compensation of euros 150 will be provided to selected artworks.
  • We facilitate artists’ contacts, if desired, with local artistic groups, residents, and communities.
  • (*) The entirety or part of the specific production will also be presented in the new metaverse (digital and three-dimensional) environment of the Eye’s Walk Digital Festival, available to the public on a special platform.
  • The Eye’s Walk festival team and curator Filia Milidaki, in collaboration with MOMus-Museum of Contemporary Art, are responsible for curation and artistic supervision.

Spaces – points of inspiration and artistic creation

Artistic activities will unfold in spaces of MOMus-Museum of Contemporary Art, spaces of the Thessaloniki International Fair (TIF), and in spaces of cultural and collaborating entities of Thessaloniki (to be announced at the end of the Open Call).

  • Thessaloniki International Fair (TIF): a dialectical landscape

TIF constitutes a vital space in Thessaloniki, with commercial and political implications for the city and Greece. However, due to its specific use – mainly for commercial purposes – the pulses of the city and its residents have not permeated this location, despite its central location. What are the possible new stories of this space? Instead of seeing it as a space we already know through a memory-screen, we dare to explore new perspectives beyond the relationships that define it.

  • Thessaloniki International Fair (TIF): an inter-artistic space. The art of contemporary circus along with digital art.

While the art of contemporary circus is internationally popular, it remains relatively underdeveloped in Greece. Our country lacks accredited schools or artistic tradition, although the few circus artists in Greece are exceptional and beloved.

The innovation of the above action is based on combining European expertise in the art of contemporary circus with the experimentation of the Eye’s Walk Digital Festival in digital art and public space.

Circus is related to TIF and the public memory of the city, as the presentation of international circus artists in its facilities was widespread and highly anticipated until the 1970s.

  • MOMus: Sensory wanderings/ Routes within the museum’s spaces

Participants are invited to create wanderings, routes (auditory, visual, verbal, performative, and combinations thereof) that will evolve within the MOMus spaces. These can constitute a new map of the affective atmospheres of the city and our world, inspired by the museum itself.

Routes can incorporate a variety of media such as verbal text, music, sounds, video art, sound art, oral narratives of the city’s residents, etc.

Submission of works via the form here: https://forms.gle/9Rk68xZGVs5U6fgF7

Submission deadline until June 30, 2024.

For inquiries, send us a message at info@eyeswalk.gr

At this link, you can find material to understand the curatorial approach of the artistic production: “Thessaloniki: Affective Atmospheres (Part 1)”
https://www.dropbox.com/scl/fi/8xikb18avpqe8t0xo2duw/Material-to-understand-the-curatorial-approach.pdf?rlkey=ah2cijxrjhhmkf8xgqkaogkbn&dl=0

THEDAF is based on an idea by the Eye’s Walk Digital Festival and is supported by the Eye’s Walk Digital Festival and the MOMus-Museum of Contemporary Art.

For more information about the Eye’s Walk Digital Festival, you can find here: https://www.eyeswalk.gr/index.php/el/ and here: https://www.youtube.com/@eyeswalkdigitalfestivaleye418/videos

For more information about MOMus-Museum of Contemporary Art, you can find here: https://www.momus.gr/museum/museum-contemporary-art

Follow us on Facebook: www.facebook.com/eyeswalk/

How To Apply:

Submission of works via the form here: https://forms.gle/9Rk68xZGVs5U6fgF7

Contact Email:mediaeyeswalk@gmail.com
Website: https://eyeswalk.gr/index.php/en/

These posts are not affiliated with Contemporary Performance Network, but are of interest to our community. We post these with the caveat to check the sources and research the opportunities or views expressed in the posts.

Opportunities: TWAIN_direzioniAltre 2024 AWARD (Supercinema Tuscania, Via della Scrofa, Tuscania, VT, Italia) Deadline – 20th May 2024

Contemporary Performance Network
-
0
Opportunities: TWAIN_direzioniAltre 2024 AWARD (Supercinema Tuscania, Via della Scrofa, Tuscania, VT, Italia) Deadline – 20th May 2024

Opportunity: TWAIN_direzioniAltre 2024 AWARD
Where: Supercinema Tuscania, Via della Scrofa, Tuscania, VT, Italia
When: 24th August 2024 – 25th August 2024
Deadline: 20th May 2024

Fee to Participate or Apply: Free

Description Of Opportunity:

CALL FOR THE SUBMISSION OF PROJECTS FOR ARTISTIC RESIDENCE WITH CONTRIBUTION OF PRODUCTION AND CIRCULATION FOR UNDER35 ARTISTS

DEADLINE: 20 MAY 2024

TWAIN Centro di Produzione Danza and leader structure of PERIFERIE ARTISTICHE Centro di Residenza Multidisciplinare della Regione Lazio announces, under the direction of Loredana Parrella, the Call for the 8th edition of the “Premio Twain_direzioniAltre“, with support for production, artistic residence and circulation for Under35 artists.

The winning projects of the previous editions are: in 2017 “ReRality” by Anna Giustina and “Non Ricordo” by Simone Zambelli (Special Mention); in 2018 ex-aequo “Beast Without Beauty” by Carlo Massari and “Wallpaper” by Sara Angius; another ex-aequo for Pablo Girolami with “Manbhusa” and Manolo Perazzi with “Fermo Immagine” in 2019; “Alessandria Eschate” by Mattia Cason for 2020; “Entanglement_Studio 2” by Lorenzo di Rocco and Jennifer Lavinia Rosati in the 2021 and again an ex-aequo in the last edition of 2022 for “all you need is” by Emanuele Rosa and Maria Focaraccio and “T.R.I.P.O.F.O.B.I.A.” by the IVONA company, choreography Pablo Girolami; Giovanni Insuado won the last 2023’s edition with the project “I Have seen that face before”.

The Prize is organized by Twain and Periferie Artistiche – Centro di Residenza Multidisciplinare della Regione Lazio and realized in partnership with ATCL – Circuito Multidisciplinare del Lazio, TenDance – festival di danza contemporanea, Orbita/Spellbound – Centro Nazionale Produzione Danza, C.U.R.A. Centro umbro di Residenze Artistiche/Idisciplinarte srl, Tersicorea T.off – Officina delle Arti Sceniche, Med’Arte, Vera Stasi, Dominio Pubblico, Mirabilia Festival, Quartieri dell’Arte, Diesis Teatrango and with the contribution of MiC – Ministero della Cultura, Regione Lazio, Comune di Tuscania and Comune di Canino.

Who is it for?

All Italian and European authors who have not turned 36 on 31 December 2024 are invited to participate; in the case of several authors, 2/3 of them must be under 35.

Eligible projects

Projects related to contemporary dance, under study or in staging phase and which have not debuted in full form, but only in the form of a studio, are admitted.

Up to 6 projects will be selected and presented in their scenic form (not less than 5 minutes and not more than 15 minutes), within the program of direzioniAltre Festival to a commission of experts and operators at the Supercinema of Tuscania (VT) on 24 August 2024 (behind closed doors for the Commission only) and on 25 August 2023 (evening open to the public and awarding of the Winner). The Finalists will receive a refund of expenses, hospitality in the guest rooms of the Center, a basic technical data sheet with technical assistance.

The prize

The winning project will receive production support for the 2024/2025 season defined as follows:

  • Artistic Residence within PERIFERIE ARTISTICHE Centro di Residenza Multidisciplinare della Regione Lazio at Twain’s theater spaces in Tuscania and Canino for a total of 15 days to be held in the period January-August 2025 with an economic contribution from a minimum of € 1.500 to a maximum of € 7.000 gross (depending on the number of artists involved in the project with the obligation to present a certificate of viability for the 15 days of the residence), with the accompaniment of a “Tutor” chosen by the Artistic Direction (playwright, choreographer, theater operator, etc.) during the residency phases;
  • Programming of the show in the Twain Centro di Produzione Danza 2025 season with a fee up to a maximum of € 1.000 + IVA;
  • Residency of no. 7 days to be held in the period September – December 2024 within C.U.R.A. Centro Umbro di Residenze Artistiche/Indisciplinarte srl with economic contribution to be agreed with the artistic direction;
  • Programming of the show in the Tendance 2025 Festival with a maximum fee of € 1.000 + IVA to be agreed with the Artistic Direction of the Festival;
  • Programming of the show in the Mirabilia Festival 2025 with methods and timing agreed with the Artistic Direction of the Festival;
  • Possibility of inclusion in the 2024 Programming of the Quartieri dell’Arte Festival with methods and timing agreed with the Artistic Direction of the Festival.
  • ALSO one Finalist project will be selected and included in Residence with open test in the programming of Orbita/Spellbound – Centro Nazionale di Produzione Danza with economic contribution, methods and timing agreed with Orbita Artistic Direction;
  • one or more Finalist projects can be included (with the version presented for the Twain Award) in the programming of the Dominio Pubblico – Youth Fest which will take place in Rome in June / July 2025, with the same economic conditions that will be recognized to the authors for the Twain_direzioniAltre Award finals;
  • one or more Finalist projects can be included in Residence at the Teatro di Bucine/Diesis Teatrango with methods and timing agreed with the Artistic Direction of the Theater.

Credits required

The finalist projects must report in the credits: “Finalist Premio Twain_direzioniAltre”.

The winning project must include in the credits: “Winner Premio Twain_direzioniAltre” and “With support for production of TWAIN Centro di Produzione Danza and PERIFERIE ARTISTICHE – Centro di Residenza Multidisciplinare della Regione Lazio”.

How to participate

Candidates must send to the e-mail address direzionialtre.twain@gmail.com:

Application form completed in all its points (see form at the bottom of the Call) and signed.

And attach the following documents:

  • Project Artistic Sheet (max 2 folders)
  • CV of the author (s) (max 2 folders)
  • CV for interpreters (max 2 folders)
  • Production credits and any other supporters
  • Video link (YouTube or Vimeo) minimum 5 minutes max 15 minutes of the proposed work (rehearsal videos are also accepted)
  • any video links to previous works

Incomplete or unsigned applications will be automatically excluded.

Deadline for submitting applications

All proposals must be sent by e-mail to the address direzionialtre.twain@gmail.com, no later than May 20, 2024 at 11.59 pm. Applications received after this date will not be accepted. The companies selected for the finals will be notified by June 20, 2024.

Selection mode

The projects will be evaluated, at the sole discretion, by the Twain Artistic Direction. A maximum of 6 projects will be selected and invited to present their project in scenic form on 24 and 25 August 2024 at the Supercinema of Tuscania (VT). The candidates will perform on the 24th in the presence of only the jury of experts who will decide the winner and on the 25th in the presence of the public, at the end of which the winner will be announced. The companies will have a standard technical data sheet and assistance at their disposal.

For the finals, the selected companies will be awarded – upon presentation of Ex-Enpals usability and regular invoice – a cachet of € 200 for the solos, € 300 for the duets, € 400 for the trio and quartets, the finalists will also be guaranteed hospitality in the guest rooms of the Theater. The finalists will be hosted from August 23rd 2024. The technical tests of the finals will start at 9.00 on the 24th.

For more information: (+39) 338 205 1200 – direzionialtre.twain@gmail.com – cietwain.com

DOWNLOAD THE APPLICATION FORM

How To Apply:

All proposals must be sent by e-mail to the address direzionialtre.twain@gmail.com, no later than May 20, 2024 at 11.59 pm. Applications received after this date will not be accepted. The companies selected for the finals will be notified by June 20, 2024.

Contact Email:comunicazione.twain@gmail.com
Website: cietwain.com

These posts are not affiliated with Contemporary Performance Network, but are of interest to our community. We post these with the caveat to check the sources and research the opportunities or views expressed in the posts.

Opportunities: Open call for Prague Quadrennial Symposium: ‘Technologies’ in theatre, performance, and exhibition design (Prague) Deadline – 20 April 2024

Contemporary Performance Network
-
0
Opportunities: Open call for Prague Quadrennial Symposium: ‘Technologies’ in theatre, performance, and exhibition design (Prague) Deadline – 20 April 2024

Opportunity: Open call for Prague Quadrennial Symposium: ‘Technologies’ in theatre, performance, and exhibition design
Where: Prague
When: October 16–17, 2024
Deadline: 20 April 2024
Online Application: https://pq.cz/news/open-call-for-pq-symposium-technologies-in-theatre-performance-and-exhibition-design/
Fee to Participate or Apply: Free of charge

Description Of Opportunity:

Prague Quadrennial of Performance Design and Space announces an open call for the upcoming autumn PQ Symposium:
Technologies in theatre, performance, and exhibition design
October 16–17, 2024, Prague

We aim to bring together performance designers, scenographers, makers, artists, and researchers who work with and on technologies; to explore their multi-dimensional dynamic theatre, performance, and exhibition design.

Whether old or new, high or low, digital or analogue, technologies, or different tools, instruments, devices, equipment, machines, and machinery, are potential and potent resources in the scenographic process. The recent technological developments that require more specialized knowledge and expertise have brought on the need and the opportunity for scenographers and designers to collaborate with scientists, engineers, and industry partners. While pushing the boundaries of what is possible in performance, employing these most advanced technologies is conditioned by access, stemming from material, institutional, and political conditions in which we produce art.

We welcome proposals addressing the following questions:

  • What kind of technologies do we currently use in theatre, performance, and in exhibition design?
  • To what ends do we use technologies?
  • Can we think of technologies in a more expanded and less normative way?
  • How do scenographers, performance designers and makers collaborate with scientists, engineers, and industry partners?
  • What technologies do scenographers, performance designers and makers use in contexts of precarity with limited financial resources?
  • How have been technologies present and represented at the Prague Quadrennial throughout its history?

How To Apply:

Welcomed contribution formats are:

  • Individual papers (15 minutes)
  • Flash Talks (8–10 minutes)

The deadline for the symposium proposals is 20 April 2024.

Please read carefully the open call guidelines and submit a description of your talk (max 250 words) a short bio (max 50 words), a title of your talk an indication of the chosen format.

Contact Email:adam.dudek@pq.cz
Website: https://pq.cz/news/open-call-for-pq-symposium-technologies-in-theatre-performance-and-exhibition-design/

These posts are not affiliated with Contemporary Performance Network, but are of interest to our community. We post these with the caveat to check the sources and research the opportunities or views expressed in the posts.

Perilous Togetherness: Young Boy Dancing Group

Contemporary Performance Network
-
0
Perilous Togetherness: Young Boy Dancing Group

Last evening, amidst the predictable chaos of New York’s subway disarray—trains erratically switching tracks, locals inexplicably turning express, and lines shutting down completely—I rendezvoused with my friend T outside the Public Theatre. T, ever the rock goddess even in daywear, stood as a stark contrast to the confused weather enveloping us. A fog had settled over the city, a sporadic drizzle shifting between a mild chill and bathwater steam. Our plan for the night was to finally see Young Boy Dancing Group, a performance group I have been following for many years but had never experienced in person.

Young Boy Dancing Group (@ybdg_4), a misnomer that subverts expectations, is an entity that eludes straightforward categorization. Neither composed of young boys nor adhering to traditional dance forms, the collective employs grouping as a fundamental strategy in their work’s form and organization. Established in 2014, they have since traversed the globe, fostering transient communities of performers who assemble for fleeting yet intense collaborations. Each locale witnesses the birth of a unique ensemble, where new members are absorbed and integrated, crafting amorphous and spectacular performances. This method of relational dynamics within the artistic process makes each performance a unique exploration of newly formed interconnections.

With 30 minutes to spare, T and I quickened toward Performance Space New York, once known as PS122 (a bastion of avant-garde rebellion including several of the NEA four). In search of caffeine and a restroom—the former a trivial pursuit in this city, the latter an odyssey—we made a stop at infinitesimally small and cute @andopatisserie. This establishment, a fusion of French/Asian baked goods and coffee offered no bathroom. Still, it provided robust confections: T with a Sesame Cafe Latte and I with a Peanut Cafe Latte, each serving as a perfect, potent distillation in a cup. These brief indulgences readied us for the beginning of the night.

We arrived at the venue a few minutes before the start time to a crowd waiting to check in and queuing for the elevator. We both popped into the all-gender restroom and onto the elevator, joining two performers already in action. As we watched the entanglement on the ground, our elevator cohort realized we had forgotten to hit the button for the 4th floor. Once out, more performers were in the bar, and another was being wheeled out on their hands and feet like a human bar cart. We followed the bar cart to the space as it opened out into a large black box with a white neon floating rectangle, ropes and pullies, a harp and digital sound situation on a small platform, and what can only be described as a post-internet slip and slime area. The crowd lining the walls and encircling chairs was vibrating with anticipation, and many were meeting friends and collaborators. The audience was serving looks. The aesthetic was face-tuned and 3d rendered. Think Balenciaga Chat-GPT. I spotted artists @crackheadbarneynfriends, @courtneymackedanz , nileharris, zhoukennie, jaceogram, #peeweenyob, @dreaminslow,@ johnhoobyar, @performanceart_nyc, @miles.greenberg, redorangeblossom, and lyr0u to name a few in attendance.

The harpist began with a lyrical procession on their digitally wired harp. A dance train of performers entered sharing their centers, leaning forward and bending backward, losing balance, veering off into the audience spaces, tripping, holding, and depending on each other. The performers wore black and white pieces of clothing that had been ripped, torn, cut, ungendered, and retrofitted as if they were just off the Raft of Médusa. Finger condoms were donned and multiple performers were penetrated as they crawled and moved together. It wasn’t sexual but rather another strategy for deep connectivity, trust, and intimacy. The group banded and disbanded into stumbling, falling, transforming tableaus of precarious multi-tiered group and duet lifts. In the final section, the performers built new compositions on the slip-and-slide area covered in slime dripping from punctured purses hanging above them. As they created different fleshy monuments of shared weight and balance, other company members moved them with metal poles and ropes, pushing and pulling them back and forth on the slimy runway. As the performance concluded, a communal offering of soup was extended to the audience, inviting everyone into the ephemeral community created by the performance.

The evening with Young Boy Dancing Group was an immersive tapestry of human connection. They dismantled barriers through their use of space and audience interaction, inviting us to reconsider the essence of intimacy and support in the violent present. Their performance, characterized by a raw and flailing visceral exploration of collective physicality, offered more than just visual spectacle—it invoked the transient nature of human relationships in all its fumbling, undefinable, uncomfortable, fleshy intimacy.

Opportunities: Art in Odd Places 2024 CARE (New York City) Deadline – May 26, 2024

Contemporary Performance Network
-
0
Opportunities: Art in Odd Places 2024 CARE (New York City) Deadline – May 26, 2024

Opportunity: Art in Odd Places 2024 CARE
Where: New York City
When: Oct 18-20, 2024
Deadline: May 26, 2024
Online Application: rtinoddplaces.org/care
Fee to Participate or Apply: free

Description Of Opportunity:

Art in Odd Places (AiOP) 2024: CARE

OPEN CALL FOR PROPOSALS

artinoddplaces.org

artinodd@gmail.com

Art in Odd Places (AiOP) 2024: CARE

October 18-20, 14th Street New York City

Application Deadline MAY 26, 2024, 11:59PM EST

CONCERN | ATTENTION | PROTECTION | SORROW |TENDERNESS

Art in Odd Places (AiOP) is pleased to announce the dates, curators, and theme of the nineteenth edition of the iconic public visual and performance art festival that takes place along 14th Street in Manhattan every fall. AiOP 2024: CARE will take place October 18-20, 2024, and is curated by Patricia Miranda and Christopher Kaczmarek. Artists, performers, agitators, and caretakers are invited to apply as individuals, collectives, and collaborators interested in proposing projects that invite the public to stop, to rest, to consider, and, above all, to care. Application Deadline is MAY 26, 2024, 11:59PM EST

Care is a ripple. From intimate to global, from self-care, care of family and lover, friend and neighbor, town and city, state and country, the global world, care undulates out to our whole island planet and every species upon it. To care is to look after, provide for, to watch over, to grieve, to lament, to cry, to feel concern, to attach importance. In a year of political turmoil, war, and environmental devastation, how wide can our caring arms be embraced? Who can we give care to? What can we care about? What can we watch over? What and who can we be careful about? Who is deemed worthy of care? What is appropriate care? When is care invasive? Should we care? Can we not care? Do we have that luxury? How can we give protective attention, caution, concern, and prudence? Can we extend care beyond our bodily, familial, national, species, and earthly borders? AiOP 2024 asks how art can create spaces and actions of compassionate fearless care. Can we offer and enter them with joy and love?

Art opens a space of empathy – an invitation to see through the eyes and heart and mind of another. An act of hope and imagination – art can help us dream new ways and new worlds into being. We invite you to imagine together how we can bring care to one another and our fraught and fragile world.

Visit artinoddplaces.org/care to apply.

Questions? Please refer to the application FAQ or email artinodd@gmail.com

About Art in Odd Places (AiOP)

Art in Odd Places aims to stretch the boundaries of communication in the public realm by presenting artworks in all disciplines outside the confines of traditional public space regulations. AiOP reminds us that public spaces function as the epicenter for diverse social interactions and the unfettered exchange of ideas. Read more about AiOP here: artinoddplaces.org

Curators

Patricia Miranda and Christopher Kaczmarek are NYC-based artists, curators, and educators. Miranda is founder of the artist-run orgs The Crit Lab and MAPSpace, and works with donated, repurposed, lace and linens in site-responsive sculpture and installation. Kaczmarek’s work spans both experimental and traditional practices, including sculpture, site specific installations, performance, video, built circuits and solar-powered objects.

Art in Odd Places is a program of GOH Productions, a nonprofit organization, and is supported, in part, by public funds from New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature, and New York City Department of Cultural Affairs in partnership with the City Council.

How To Apply:

https://artinoddplaces.org/care-2/

Contact Email:artinodd@gmail.com
Website: https://artinoddplaces.org/care-2/

These posts are not affiliated with Contemporary Performance Network, but are of interest to our community. We post these with the caveat to check the sources and research the opportunities or views expressed in the posts.

Opportunities: Solo Dance Contest (Klub Żak, Gdańsk, Poland) Deadline – 17.05.2024

Contemporary Performance Network
-
0
Opportunities: Solo Dance Contest (Klub Żak, Gdańsk, Poland) Deadline – 17.05.2024

Opportunity: Solo Dance Contest
Where: Klub Żak, Gdańsk, Poland
When: 26-30.08.2024
Deadline: 17.05.2024
Online Application: https://www.gdanskifestiwaltanca.pl/en/Contests
Fee to Participate or Apply: Free

Description Of Opportunity:

OPEN CALL for the international 13th Solo Dance Contest 2024. Solo Dance Contest is an annual international competition that aims to support the dancers and to promote broadly understood contemporary dance. It has been organized since 2011 in Gdansk, Poland as a part of the international Gdańsk Dance Festival, an event that each year gathers dancers, choreographers and dance companies from all over the world.
Who can apply?
-All the professional dancers of contemporary dance with the documented artistic activity or/and are professional dancers with a diploma of dance studies;
– Competition is adressed to the dancers that are at least 18 years old.
We are waiting for the solos that :
– are autonomous performances;
– premiered between 1st of January 2023 and 3rd of May 2024 or are prepared especially for the Solo Dance Contest 2024 (premiere will take place during the competition);
– are not shorter than 5 minutes and not longer than 20 minutes.
Awards:
– Three financial prizes of 5500 EUR total, which will be distributed by the Jury of the festival among the winners of the the contest;
– Audience award of 500 EUR;
– Invitation to Gdańsk and presentation of the submitted solo in front of an audience of the 16th Gdańsk Dance Festival

How To Apply:

More information, online application form and terms of the competition can be found on the website of the festival:

https://www.gdanskifestiwaltanca.pl/en/Contests/Solo%20dance%20contest

Contact Email:gft@klubzak.com.pl
Website: https://www.gdanskifestiwaltanca.pl/

These posts are not affiliated with Contemporary Performance Network, but are of interest to our community. We post these with the caveat to check the sources and research the opportunities or views expressed in the posts.

Sibyl Kempson – Episode 05.02 SLC Performance Lab

Editor
-
0
Sibyl Kempson – Episode 05.02 SLC Performance Lab

ContemporaryPerformance.com and the Sarah Lawrence College MFA Theatre Program produce the SLC Performance Lab. During the year, visiting artists to the MFA Theatre Program’s Performance Lab are interviewed after leading a workshop with the students. Performance Lab is one of the core components of the program where graduate students work with guest artists and develop performance experiments.

Sibyl Kempson is interviewed and produced by Julia Duffy (SLC’25)

Kempson’s plays have been presented in the United States, Germany, and Norway. As a performer she toured internationally from 2000-2011 with Nature Theater of Oklahoma, New York City Players, and Elevator Repair Service. Her own work has received support from the Jerome Foundation, the Greenwall Foundation, National Endowment for the Arts, and Dixon Place. She was given four Mondo Cane! commissions from 2002-2011 for The Wytche of Problymm Plantation, Crime or Emergency, Potatoes of August, and The Secret Death of Puppets). She received an MAP Fund grant for her collaboration with Elevator Repair Service (Fondly, Collette Richland) at New York Theatre Workshop (NYTW), a 2018 PEN/Laura Pels International Foundation for Theater Award for American Playwright at Mid-Career (specifically honoring “her fine craft, intertextual approach, and her body of work, including Crime or Emergency and Let Us Now Praise Susan Sontag”), and a 2014 USA Artists Rockefeller fellowship with NYTW and director Sarah Benson. She received a 2013 Virginia B. Toulmin Foundation commission for Kyckling and Screaming (a translation/adaptation of Ibsen’s The Wild Duck), a 2013-14 McKnight National residency and commission for a new play (The Securely Conferred, Vouchsafed Keepsakes of Maery S.), a New Dramatists/Full Stage USA commission for a devised piece (From the Pig Pile: The Requisite Gesture(s) of Narrow Approach), and a National Presenters Network Creation Fund Award for the same project. Her second collaboration with David Neumann/Advanced Beginner Group, I Understand Everything Better, received a Bessie Award for Outstanding Production in 2015; the first was Restless Eye at New York Live Arts in 2012. Current and upcoming projects include a new opera with David Lang for the Isabella Stewart Gardner Museum in Boston for 2018, Sasquatch Rituals at The Kitchen in April 2018, and The Securely Conferred, Vouchsafed Keepsakes of Maery S. Kempson is a MacDowell Colony fellow; a member of New Dramatists; a USA Artists Rockefeller fellow; an artist-in-residence at the Abrons Arts Center; a 2014 nominee for the Doris Duke Impact Award, the Laurents Hatcher Award, and the Herb Alpert Award; and a New York Theatre Workshop Usual Suspect. Her plays are published by 53rd State Press, PLAY: Journal of Plays, and Performance & Art Journal (PAJ). Kempson launched the 7 Daughters of Eve Theater & Performance Co. in April 2015 at the Martin E. Segal Center at the City University of New York. The company’s inaugural production, Let Us Now Praise Susan Sontag, premiered at Abrons Arts Center in New York City. A new piece, Public People’s Enemy, was presented in October 2018 at the Ibsen Awards and Conference in Ibsen’s hometown of Skien, Norway. 12 Shouts to the Ten Forgotten Heavens, a three-year cycle of rituals for the Whitney Museum of American Art in the Meatpacking District of New York City, began on the vernal equinox in March 2016 to recur on each solstice and equinox through December 2018

Opportunities: Open call for M1 Singapore Fringe Festival 2025 (Singapore) Deadline – 8 March 2024

Contemporary Performance Network
-
0
Opportunities: Open call for M1 Singapore Fringe Festival 2025 (Singapore) Deadline – 8 March 2024

Opportunity: Open call for M1 Singapore Fringe Festival 2025
Where: Singapore
When: January 2025
Deadline: 8 March 2024
Online Application: https://2024.singaporefringe.com/Fringe-2025
Fee to Participate or Apply: None

Description Of Opportunity:

Want to be part of Fringe 2025 in Singapore?

Send in your proposal by Fri 8 March!

No application fee is required.

We want to hear what artists are concerned with in the world today, and how your artistic response is a call to arms, a healing process, or a road map to a different, better future.

How To Apply:

https://2024.singaporefringe.com/Fringe-2025

Contact Email:jezamine@necessary.org
Website: https://2024.singaporefringe.com/Fringe-2025

These posts are not affiliated with Contemporary Performance Network, but are of interest to our community. We post these with the caveat to check the sources and research the opportunities or views expressed in the posts.

Opportunities: Biennale College Teatro | Workshops and Masterclasses (Venezia) Deadline – 8Th April

Contemporary Performance Network
-
0
Opportunities: Biennale College Teatro | Workshops and Masterclasses (Venezia) Deadline – 8Th April

Opportunity: Biennale College Teatro | Workshops and Masterclasses
Where: Venezia
When: from 15 to 30 June 2024
Deadline: 8Th April
Online Application: https://www.labiennale.org/en/theatre/2024/biennale-college-teatro-2024-workshops
Fee to Participate or Apply: none

Description Of Opportunity:

As part of the 52. International Festival of Theatre of La Biennale di Venezia, Biennale College Teatro will offer a series of workshops focused on languages, codes, techniques, technologies, and sciences of the scene. The Biennale College Teatro aims to become a place of hypothesis and debate, constantly open to encounter and experimentation, in a process that can involve scholars, spectators and enthusiasts: a real factory of ideas on the possibilities of theatre.

In addition to the chosen masterclass, participants will also be invited to take part in scheduled activities which will be subsequently detailed.

The workshops will be held from 15 to 30 June 2024 and include 6 masterclasses entrusted to the following masters: Tim Crouch; Gob Squad; Vaiva Grainytė / Rugilė Barzdžiukaitė / Lina Lapelytė; Muta Imago; Andrea Porcheddu; Gianni Staropoli.

How To Apply:

All candidates are asked to fill in the online application form in its entirety and to attach the required digital documentation preferably in Italian (for Italian Masters) or English (for international Masters), unless otherwise specified in the Master’s form.

For all workshops for which the submission of videos or attachment of documentation is required, please refer to the instructions provided by each Master.

The workshops will be held in the language indicated by each Master.

Participation in the workshop entails compulsory attendance for the entire duration of the course.

Contact Email:promozione@labiennale.org
Website: https://www.labiennale.org/en

These posts are not affiliated with Contemporary Performance Network, but are of interest to our community. We post these with the caveat to check the sources and research the opportunities or views expressed in the posts.

Opportunities: International Theatre Practice and Performance MFA & Collaborative Theatre Making MA/MFA at Rose Bruford College (London, UK) (Rose Bruford College – London, UK) Deadline – Spring 2024 (rolling)

Contemporary Performance Network
-
0
Opportunities: International Theatre Practice and Performance MFA & Collaborative Theatre Making MA/MFA at Rose Bruford College (London, UK) (Rose Bruford College – London, UK) Deadline – Spring 2024 (rolling)

Opportunity: International Theatre Practice and Performance MFA & Collaborative Theatre Making MA/MFA at Rose Bruford College (London, UK)
Where: Rose Bruford College – London, UK
When: Fall 2024
Deadline: Spring 2024 (rolling)
Online Application: See below for details.
Fee to Participate or Apply: Application fee: £35. Tuition fee varies depending on the chosen course; please visit the CTM and ITPP program pages on our website for the detailed schedule of fees.

Description Of Opportunity:

International Theatre Practice and Performance MFA

International Theatre Practice and Performance (ITPP) offers training for multi-disciplinary practitioners, with elements of acting, directing, writing, ensemble training and contemporary performance.

Duration: 24 Months (MFA) / Start Date: September 2024

This program, designed specifically for US-based students , is delivered in partnership with National Theater Institute (NTI) in Connecticut. Drawing on the benefits and experience of two noteworthy educational institutions with an excellent history of delivering high-quality theatre training, you will study performance and theatre creation in its totality: acting, directing, playwriting, music theatre, ensemble creation, physical and visual theatre, contemporary performance practices, theory, history, and dramatic literature, as well as several basic aspects of technical theatre.

Integrating British and American approaches to theatre training, this program attracts highly motivated, internationally-minded students who are interested in developing a multimodal practice (including skills in acting, directing, writing, and collaborative ensemble creation) while also focusing on self-sustaining approaches to theatre making. ITPP will afford you an opportunity to build a network and make connections on both sides of the Atlantic, including the possibility to work and live in the UK for two additional years upon completion of studies, thanks to the UK Graduate Visa.

https://www.bruford.ac.uk/study/postgraduate-courses/itpp/

—

Collaborative Theatre Making MA/MFA

Collaborative Theatre Making (CTM) allows you to explore your experience as an ensemble theatre maker and to develop your existing practice.

Duration: 13 months (MA), 24 Months (MFA) / Start Date: October 2024

This program focuses on creating an ensemble, performer training, theatre making and performative writing. Informed by critical reflection and practice research, the uniqueness of this program lies in the opportunity to develop and present original work. In a collaborative context, students move creatively between different roles to develop skills in collaborative performance and independent making practice.

You will be taught, guided and mentored by experienced staff and world-leading theatre practitioners as you explore different processes and develop new skills. As well as core workshops in performance, movement, voice and devising, you will learn from and collaborate with professional artists. You will focus on generating original work, with regular opportunities to collaborate with peers across the post-graduate school. The course is highly responsive to the individuals within the cohort.

You will be encouraged to share work with audiences both within and beyond Rose Bruford, and will share original work in a London theatre venue at the end of the year.

https://www.bruford.ac.uk/study/postgraduate-courses/collaborative-theatre-making/

Recent and upcoming ITPP and CTM instuctors, visiting companies and practitioners include: Complicité, Punchdrunk, Forced Entertainment, Sasha Waltz & Guests, Katie Mitchell, Martin Crimp, Mita Pujara, Lorenzo Montanini, Kathy Pogson, Paul Brennen, and many others.

—

For further information, contact Ivan Talijancic, Program Director CTM/ITPP: ivan.talijancic@bruford.ac.uk

Image: Katie Mitchell in January 2024 class with CTM and ITPP students. Photo by Mandy Kaylin.

How To Apply:

Please complete the online application on Rose Bruford College website:

https://www.bruford.ac.uk/study/collaborative-theatre-making-application/

https://www.bruford.ac.uk/study/international-theatre-practice-and-performance-application/

Contact Email:ivan.talijancic@bruford.ac.uk
Website: https://www.bruford.ac.uk/study/postgraduate-courses/

These posts are not affiliated with Contemporary Performance Network, but are of interest to our community. We post these with the caveat to check the sources and research the opportunities or views expressed in the posts.

Opportunities: Contemporary Performance Practices 2024 international summer intensive (Dubrovnik, Croatia) Deadline – May 20, 2024

Contemporary Performance Network
-
0
Opportunities: Contemporary Performance Practices 2024 international summer intensive (Dubrovnik, Croatia) Deadline – May 20, 2024

Opportunity: Contemporary Performance Practices 2024 international summer intensive
Where: Dubrovnik, Croatia
When: June 24 – July 6, 2024
Deadline: May 20, 2024
Online Application: https://contemporaryperformancepractices.org/apply
Fee to Participate or Apply: No fee to apply. Tuition is 1,450 Euros

Description Of Opportunity:

The fourth annual edition of CPP/Contemporary Performance Practices, a summer intensive training program organized by WaxFactory’s founding artistic co-director, Ivan Talijancic is now accepting applications. CPP 2024 returns to in-person training taking place in the historic city of Dubrovnik, Croatia, “the pearl of the Adriatic Coast” with the extraordinary participation of instructors from world-renowned ensembles: Ellen Lauren (SITI Company, USA + SCOT/Suzuki Company of Toga, Japan) and Sarah Dowling, a longtime associate of Punchdrunk (London, UK), the creative force behind the global immersive performance hit, Sleep No More.

The program is accepting a limited number of applicants and will take place June 24 – July 6 at Marin Drzic Theater in Dubrovnik (https://kmd.hr/).

An online info session with this year’s instructors and CPP alumni will take place March 9 (12pm US Eastern Time) via Zoom. RSVP to attend: https://contemporaryperformancepractices.org/info-session

Any applicants learning about this opportunity through this platform are eligible for a $100 tuition discount – mention CP100 when applying.

How To Apply:

The application portal is now open for submissions until the May 20, 2024 deadline:

https://contemporaryperformancepractices.org/apply

Contact Email:cpp@waxfactory.nyc
Website: https://contemporaryperformancepractices.org/

These posts are not affiliated with Contemporary Performance Network, but are of interest to our community. We post these with the caveat to check the sources and research the opportunities or views expressed in the posts.

Opportunities: Online Course "Engaging the Viewer" with Marilyn Arsem (online) Deadline – March 7th, 2024

Contemporary Performance Network
-
0
Opportunities: Online Course "Engaging the Viewer" with Marilyn Arsem (online) Deadline – March 7th, 2024

Opportunity: Online Course “Engaging the Viewer” with Marilyn Arsem
Where: online
When: March 12-April 9, 2024, Tuesdays 6-8PMC ET
Deadline: March 7th, 2024
Online Application: https://ecc-performanceart.eu/participatoryperformance
Fee to Participate or Apply: EUR 175

Description Of Opportunity:

Who is your audience? How do you engage with them in your work? What do you expect of them? What do you want to tell them? What do you want to learn from them? Whether you are creating interventions on the street, instruction pieces, participatory works, or presentational performances in front of a large audience, you are working in relation to the audience, and an exchange is always taking place between you and the viewers.An audience who actively chooses to come to see your performance engages with the work differently than the audience who unintentionally encounters your work in a public setting within the context of their daily life. And when they are asked to be an active participant, yet another level of engagement is invoked. The environment in which your work is seen – the location, the time of day, other activities that are happening in the vicinity of your work, how you appear, how you initiate an action, also impact how viewers respond to you.

This workshop explores a spectrum of ways with which performance artists might interact with their viewers. You will design and perform different kinds of actions that experiment with your relationship to the audience and consider different strategies that you might use in engaging them in the work. The live sessions will include performance exercises that you have prepared, as well as discussions of the work and readings. Assignments between sessions include a weekly action in public space, readings, and preparations for the exercises in the online sessions. You will also be asked a set of related questions each week to reflect on and write about privately.
For a final project, you will be asked to create a participatory performance, and present documentation of the work.

Dates: March 12, 19, 26, and April 9, Tuesdays 6-8PM CET

How To Apply:

Enroll online at https://ecc-performanceart.eu/participatoryperformance

Contact Email:info@ecc-performanceart.eu
Website: https://ecc-performanceart.eu/participatoryperformance

These posts are not affiliated with Contemporary Performance Network, but are of interest to our community. We post these with the caveat to check the sources and research the opportunities or views expressed in the posts.

1...101112...164Page 11 of 164