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.
Sinéad will return to Macao, China, to teach a week long workshop in Michael Chekhov technique for Dirks Theatre from 25-29 January 2016.
They will work on Anton Chekhov’s Three Sisters.
Out of Time will perform at The Kennedy Center, Washington DC, USA on 20 and 21 May 2016 as part of Ireland 100: Celebrating a Centenary of Irish Arts and Culture.
Over two days in January 2016, Sinéad ran an introduction to Michael Chekhov technique in Newcastle for the Regional Theatre Young Director Scheme, in collaboration with Curious Monkey. They worked on Harold Pinter’s Betrayal.
Sinead has been invited to spend two weeks with first year acting students at the Academy of the Arts in Reykjavik, Iceland (September 2015) to teach Meyerhold’s Biomechanics and Michael Chekhov Technique.
We received a research and development grant from Arts Council England to rework Loaded for touring in 2016. We worked with choreographer Neil Bettles to explore the movement language of the show, as well as open up new text material in collaboration with physicist Vijay Tymms of Imperial College.
In collaboration with Scribbled Thought, with the support of the UP and OUT NETWORK and Royal Central School of Speech and Drama, London.
How to present:
the actor and the audience
A follow-up workshop for actors and directors
8-9 July 2015
Royal Central School of Speech and Drama, London.
Supported by Royal Central research department and International Centre for Voice.
Sinead and Daron Oram (Senior Lecturer in voice on BA Acting CDT, Royal Central School of Speech and Drama) will continue their research on the actor’s relationship to the audience through the work of Michael Chekhov and Kristin Linklater. This follows the work at the Actor’s Centre in November 2014.
Please get in touch via the contacts page if you would like to participate.
Following performances at the High Fest International Performing Arts Festival in Yerevan, Armenia, in October 2014, supported by the British Council, Diary of a Madman will return to perform at the Edinburgh Fringe 2015.
An adaptation of Gogol’s short story, it is a Living Pictures and Cegin production, performed by Robert Bowman.
For more information see productions.