Following its premiere performances at Dublin Dance Festival Project Arts Centre and Centre National de la Danse in Paris, Concert will perform at the Kilkenny Arts Festival on 18-19 August 2017.
‘Warm, funny, respectful and irreverent … Colin Dunne is more than up to the challenge of the ‘undanceable’ Tommie Potts’ Irish Times*****
A feature appears on Concert by Siobhan Long in The Irish Times, including interviews with Sinéad, Colin Dunne and Mel Mercier. Click here to read.
Sinéad has been announced as one of the Choreodrome 2017 artists at The Place Theatre, London, with a commission to complete the development of dance theatre show, Loaded.
There will be a sharing of the work at Touchwood on Thursday 21 September at The Place.
Sinéad is creating a new dance-theatre show with Colin Dunne in collaboration with composer and sound designer Mel Mercier, based on the music of Irish fiddler Tommie Potts.
March 28th & 29th, 2017:
CND, Centre National de la Danse, Paris, France
MA Scène Nationale Pays de Montbéliard, France
La Comète, Scène Nationale de Châlons-en-Champagne, France
Contact Maura O’Keeffe. firstname.lastname@example.org.
CO-PRODUCERS: Once Off Productions, CND Centre National De La Danse Paris, MA Scène Nationale – Pays de Montbéliard, La Comète Scène Nationale de Châlons-en–Champagne, Dublin Dance Festival. SUPPORTED BY: The Irish World Academy of Music and Dance, University of Limerick, Limerick City Arts Office and Dance Limerick. FUNDED BY: The Arts Council/An Chomhairle Ealaíon. INTERNATIONAL TOURING SUPPORT BY Culture Ireland.
We are happy to announce that we received funding from Arts Council England, Ernest Cook Fund and Unity Trust to develop an extensive education and participation programme for Loaded in collaboration with Scribbled Thought, Ormiston Academies Trust and The Old Rep, Birmingham.
Performances will take place as part of Fun Palace weekend at The Old Rep, Birmingham from 5-7 October 2017.
Sinéad will teach a one day workshop for Living Pictures at The Jerwood Space, London on 15 October 2016.
The workshop will focus on how to use Michael Chekhov’s Psychological Gesture to activate objectives.
To book, contact: Tommo Fowler
New Pathways is a major multi-institutional research project that involves Goldsmiths University of London, the Royal Central School of Speech and Drama, Queen Mary University of London, and the professional organisation Michael Chekhov UK.
There will be a symposium at Goldsmiths University from 9-11 September 2016. Drawing on the Michael Chekhov Dartington archives, Sinéad will lead a session on Michael Chekhov and Theatre Design from 2-5pm on Saturday, in collaboration with theatre designer Aldona Cunningham.
The lead researchers are Dr Cass Fleming and Dr Tom Cornford. The outcomes of the symposium will be discussed in the forthcoming publication Michael Chekhov Technique in the Twenty First Century: New Pathways, Methuen Drama (2017).
For more details:
Sinéad is teaching a series of master classes in Michael Chekhov technique in Australia:
The Street Theatre, Canberra, 27-30 July 2016
National University Theatre, Sydney, 21 July 2016
Victoria College of the Arts, Melbourne, 23-24 July 2016
As part of the Whitstable Biennale in partnership with the University of Kent, and in collaboration with performers, Gretchen Egolf, and Jamie Chandler, Sinéad will experiment with the play text The Night Just Before the Forests (La Nuit juste avant les forêts) written in 1977 by the pathbreaking French theatre playwright Bernard-Marie Koltès (1948-1989).
This one-person play is written as a stream-of-consciousness appeal to an uncertain audience, delivered by an isolated young Arab man in a hostile city. Koltès said he wrote the play ‘like a Bach fugue’, less a linear progression leading to a resolution than the exploration of an increasingly dense and complex space created through variations of its motifs.
Rushe and Egolf’s working hypothesis for a new production of Night is to stage the monologue as a fugue with multiple voices. In this presentation, they will explore the implications of a ‘stereophonic’ articulation of character, and whether it is possible to liberate ‘characterisation’ from its location at an identifiable and primary centre without losing its authenticity.
Sinéad will teach a two day workshop on Michael Chekhov technique on 14-15 May 2016 at The Actor’s Centre, London.
Composition and the actor: what to do about ‘blocking’?
Sat 14 – Sun 15 May 2016
To book: 02072403940
This workshop addresses the tricky question of blocking, exploring how to find greater physical detail and expression in performance from a deep exploration of the psychology of the character.
By integrating the psychophysical acting techniques of Michael Chekhov and his ideas on form, design and composition, Sinéad Rushe will explore how all our physical choices on stage (or on set) can – and must be – a direct continuation of the character’s inner life. We will consider how characterisation can be a complete inner-outer coordination, a delicate marriage of the external and internal aspects of the role and how engaging with scenographic elements – set, sound, stage, auditorium – can inspire creative impulses. We will discover how to make ‘blocking’ and composition a creative part of our work in a way that can inspire director’s choices.
Pick a character you’d like to work on from Harold Pinter’s Betrayal and bring a copy of the play if you have one. It is not necessary to be off book.