Mark Linnane’s lovely film of the full performance of You Are Here is now available. More about the performance here.
You Are Here (Catapult Dance, 2006) from Mark Linnane on Vimeo.
Videos from Voyage and Return symposium
Event coordination
Peter Crawley, Aoife Monks, Willie White & Fiona Shaw at Voyage and Return. Photo: Senija Topcic
Voyage and Return was part of the Festival Plus programme I coordinated for Dublin Theatre Festival in October 2013. This day long symposium looked at the international journeys of Irish theatre and theatre artists, and comprised an academic seminar and two public discussions. It was presented by DTF in collaboration with Trinity College Dublin as part of The Gathering Ireland.
Click on the links below to watch videos of actress Fiona Shaw‘s talk with Dr. Aoife Monks of Birkbeck University and the panel discussion between playwright Nancy Harris, director Gavin Quinn and actor Tom Vaughan-Lawlor chaired by theatre critic Peter Crawley, who also curated the symposium.
Fiona Shaw in conversation [YouTube]
Panel Discussion [YouTube]
World Scenography 1975-1990 now available
Other work
Book cover of World Scenography 1975-1990
Some years ago I was hired by Irish Theatre Institute to research Irish design for performance as part of the Irish contribution to World Scenography 1975-1990, a publication commissioned by OISTAT, the International Organisation of Scenographers, Theatre Architects and Technicians. The book is now published and available to buy online.
OISTAT says:
World Scenography 1975-1990 is the first volume in a new series of books looking at significant stage design throughout the world since 1975. This volume, documenting 1975-1990, has been about four years in the making and has had contributions from hundreds of people in more than 70 countries. Despite this range of input, it is not possible for it to be encyclopædic, much as the editors would like. Neither is the series a collection of “greatest hits,” despite the presence of many of the greatest designs of the period being examined. Instead, the object is to present designs that made a difference, designs that mattered, designs of influence; to document for posterity a collection of the significant theatrical set, costume, and lighting designs from the period.