Browsing Theatre - Conference Items by Issue Date
Now showing 1 - 5 of 5
Results Per Page
- ItemText and the Dancing Body: Rose English and Laurie Anderson(University of Surrey, 1995-04) Gilson, Jools; Adshead-Lansdale, JanetAn analysis of the work of Rose English and Laurie Anderson as female 'performance writers' - artists who write and perform their own work. Particular attention is paid to the dancing body as used in each artists' performance practice, and how playful use of corporeality marks progressive performance / writing spaces.
- Item'cyber book' & 'tongue'(Chichester Institute of Higher Education, 1996-07-19) Gilson, Jools; Butler, Chris; Ward Bundy, DillyTwo poems written by Jools Gilson-Ellis: 'cyber book' and 'tongue.' Both were used in the performance of 'Lively Bodies, Lively Machines' which was presented at the Split Screen conference, and directed by Johannes Birringer.
- ItemGirling troubled spaces: choreography, writing and BigEye(Full House Publishing, 2001) Gilson, Jools; Smith, A. WilliamThis article brings together Helene Cixous’ theorisation of a transgressive writing practice with Deleuze and Guattari’s radical re-conception of corporeality to discuss the implications, promises and failures of a digital/sonic/written/voiced choreographic practice. This piece is framed by the practice of half/angel, a performance company directed by Jools Gilson-Ellis and Richard Povall.
- ItemChoreographed cartography: translation, feminized labor and digital literacy in half/angel's The Knitting Map(Textile Society of America at DigitalCommons@University of Nebraska - Lincoln, 2010-10) Gilson, Jools; Barkun, DeborahThe Knitting Map was a large-scale, durational textile installation by the Irish-based performance production company half/angel that took place during Cork’s year as European Capital of Culture (2005). Bringing a decade of experience with emergent technologies and art practice, half/angel developed technologies to connect the physical busy-ness of Cork City (captured via a series of CCTV cameras) with correspondingly complex knitting stitches (stitches became more complex when the city was busy), and Cork weather (captured by a weather station) to yarn color. The resulting textile was an abstract documentation of a year in the life of an Irish city, in which a community of the disenfranchised (largely middle aged and older working class women form Cork), were given cartographic authority. To realize The Knitting Map, which required a year-long process of hand-knitting by over 2000 participants, half/angel embraced translation in myriad forms from data procurement and conversion, to language and culture. Here, digital vocabulary, initially unfamiliar and intimidating to many participants, empowered a group of women to speak through a traditional art form in an innovative voice, in which knitting became a radical act. In this paper, we explore the role of translation in engendering gestures of mapping, both intended and unintended. We examine The Knitting Map’s cartographic gestures as they played-out within an Irish context and how the work’s foregrounding of femininity and traditional craft troubled history. Such disruptions, we argue, are contingently consequent when traditional craft claims monumental cultural space.
- ItemDrench: Raining on the radio and other stories(Theatre Academy, University of the Arts Helsinki, 2019-08-28) Gilson, Jools; Adams, SebastianThis presentation focussed on the trans-disciplinary Artistic Research project Drench, whose iterations include a creative radio feature and a public art installation. Writer and performer Jools Gilson and composer Sebastian Adams developed the experimental radio documentary The Rain Box in 2017 for Lyric FM in Ireland. The Rain Box was nominated for a New York Festivals World’s Best Radio Award for Sound Art in 2018. Gilson and Adams are now in the process of developing a series of umbrellas, which will tell stories and enfold you in sound when the rain falls. This presentation focused on the ways in which aspects of theatre and music composition navigate disciplinary boundaries of theatre, music, broadcast radio and participatory performance to engage world-making meaning production. Our new public art project comprises a series of adapted umbrellas, which respond to precipitation / location and connect the presence, rhythm and ferocity of rainfall with tendrils of story and sound. This paper documents the sharing of a prototype of this new work and the ways in which Drench elaborates the creative, theoretical and political implications of mobilising located fluidity through embodied storytelling.