RESOURCE PACK 2016–2017
CHAPTER 2
CONTENTS
RESOURCE PACK SUPPORTING INFORMATION
3
MARK MURPHY – IN CONVERSATION
4
LIVE UPDATE
5
CREATIVE, RESEARCH & DISCUSSION TASKS
Part A – Designing A Production
Meet Out Of This World Co-designer (set) and
costume designer, Becky Minto
Research Tasks
Creative Tasks (design focus)
Discussion Tasks (design focus)
6
8
9
10
11
THE DIRECTOR’S CHALLENGE
12
GLOSSARY 13
SOURCES14
OUT OF THIS WORLD SUPPORTING INFORMATION
UK Tour 2017
Company Led Workshops
Credits
RESOURCE PACK SUPPORTING INFORMATION
How to get the most out of your interactive Out Of This World
resource pack:
To get the most out of this opportunity we recommend the
following:
Be your own Director. Make your own decisions.
Go behind the scenes in real-time. . .
•If you haven’t already done so, make sure you sign-up to register for a reminder so you don’t miss out on this exciting opportunity by visiting www.outofthisworldtour.co.uk
This resource pack provides users with a unique opportunity to
follow Mark Murphy and his creative collaborators as they begin
the active production stage of a brand new touring show, Out Of
This World. Specially devised tasks will invite participants to step
into Mark’s shoes…
•Tutors should make a note of the following release dates for the five chapters of the resource pack: 01.11.16, 01.12.16, 23.01.17, 20.02.17, 20.03.17, plus, there will be a very special bonus chapter available in April 2017 – more details to follow nearer the time
. . . What might you do differently if you were directing
and producing this show?
•Each chapter will be downloadable from the following link www.outofthisworldtour.co.uk/resources
Over the coming months resource users will ‘meet’ the creative
team behind Out Of This World, who will share their knowledge
and expertise, as the production develops. Through video diaries,
interviews and written text, users will follow the highs and lows,
opportunities and challenges faced by Mark and his team, from
initial idea to fully finished touring production.
•The resource pack has been designed as a ‘Director’s Notebook’, and to get the best experience we recommend tutors provide each student with a printed hard copy, that they use as their own journal for recording ideas and inspirations, and responding to the creative tasks (in chapters 2–5)
Users will be given ‘live’ updates as Mark and his team take on
any challenges around bringing the show into being. Plus, there
will also be the opportunity to learn about Mark himself, through
frank and in-depth interviews, that will unveil the creative force
behind Out Of This World.
•A variety of video links will be included in the chapters, including regular video updates from Mark Murphy detailing the experiences of him and his team, during the creative process. All users will therefore require the ability to view these films to ensure they get the fullest experience
This is the first of five monthly instalments (‘chapters’), which
are being released between now and March 2017, providing an
invaluable learning opportunity for anyone with a passion for
performance and creativity.
•This resource could be used as part of group study or by an individual
•Users will be kept up to date with details about the tour throughout.
Aimed at GCSE, A Level, BTEC, National Certificate & Higher
students studying for qualifications such as Dance, Drama
& Theatre, Performing Arts, Theatre Technology & Stage
Management and Acting & Theatre Performance, resource pack
users will be set creative, research & discussion tasks to support
learning for all students with an interest in physical theatre,
performance, directing, designing and producing.
3
MARK MURPHY – IN CONVERSATION
Can you tell us a little bit about the collaborators that you
will be working with for Out Of This World?
“Nathaniel Reed who will be creating the soundtrack, has been
part of about 95% of my professional output to date, so we are
incredibly close, and have a ‘shorthand’ that is indispensable,
especially when you’ve got 6 weeks to make a show. He’s a
brilliant composer. Lizzie Powell has lit a lot of my indoor shows
and is fantastic. EJ Boyle in my opinion is the best choreographer
currently working in theatre, and will be the associate artist on
it. We haven’t worked together for very long, but it feels like
we have. And Becky Minto, the Co-designer (set) and costume
designer, and I have done lots of shows together and she is
fantastic. And I can’t imagine making a show without Alex
Palmer – (Rigging Design) head rigger and rope whisperer.
long years, and I’m obviously the Director, so I point it in the right
direction, hopefully. I’m also the creator of the projection content
– I will make all of the projected film and animation content, and
I’m also half production designer working very closely with Becky
Minto. I don’t touch the music, although I do touch the sound
design. I guess depending which way you look at it I’m either the
most incredible person to work with, or the biggest pain, because
I’m quite hands on about the whole thing, and I don’t see there’s
any areas I wouldn’t want to be involved in, though I wouldn’t
want to take any of the credit away from any of my fantastic
team. All of us working on the production can probably say ‘I did
a bit of that’, or ‘I helped with that’.”
Is that particular way of working something that has
grown and developed over time?
“I started as an artist, a fine artist, where if you were making a
painting you would be doing it pretty much yourself, you wouldn’t
particularly be bringing too many people in. So I think years ago
I brought that self-contained way of working into it, and then
met a whole wonderful team of collaborators but somehow I
have kept that DNA going. I can be really self-sufficient. I am
speculating quite a lot on things, so I’m throwing an enormous
amount of stuff at the wall, where, like for all of us, only a small
amount sticks, so over time I’ve learned to build stuff, I’ve learnt
to film stuff, out of necessity, but also I’m just incredibly curious
and voracious about making things.”
What’s really nice for me is to have those familiar people around,
and then to add some new blood to the system. It’s invaluable to
have new people who will ask questions of you, and pick up on
things, that other people won’t because of the familiarity that
already exists amongst us. I think the crucial ingredient to any
collaborator is that they have ideas outside of their speciality.”
What is your role in Out Of This World?
“I’m everything, kind of! I’ve conceived the whole thing. I’m the
writer, I’m the creative lead for it, so I’m the ball of seething
energy that has kept the idea for this piece of work going for six
4
LIVE UPDATE
Video diary Mark Murphy – the Director’s insight:
https://vimeo.com/191630236
During the past month the artistic development for Out Of
This World has continued to build apace. Science and medical
advisors have been consulted to ensure accuracy, and the final
version of the script is now being worked on.
software called Scrivener. Scrivener is a word processor and
project management tool created specifically for writers of long
texts such as novels and research papers.
Designs for the storyboard, set design, animation and special
effects are also underway. Plus, the production team have been
incredibly busy behind the scenes making detailed arrangements
with the touring venues, and show brochures are being created.
Below is a screen shot of the key elements of the script that
Mark has been working with. Mark has been working on the
content and structure of the script using a piece of writing
5
CREATIVE, RESEARCH & DISCUSSION TASKS
Part A – Designing a Production
production, and something he uses as a way to equip himself
with as much information and research about the show he
has already envisaged in his mind’s eye. Mark also enjoys this
process as it reminds him of what many of us will remember
having done as children when we built dens, hidden hideaways
and imagined worlds, to create an alternate reality for ourselves.
This practice takes Mark to a place where he is no longer aware
of time, and is what he considers to be a really enjoyable first
step, in what will undoubtedly be a long and arduous creative
venture.
The aim of this chapter is to provide an insight into the
influences, stimuli & ideas that Mark and his team have been
sharing, to help users think about what is involved in developing
the visual aesthetic of a show such as this.
A wide team of designers and technicians are involved in the
creation and realisation of Out Of This World. As a touring show,
each visual element needs to be able to be re-created in every
venue that it is due to appear in, thus requiring careful thought
and planning. Out Of This World involves projected film and
animation, lighting, special effects, props, set, costumes and a
bespoke flying rig.
Set
A Set Designer creates the physical space in which the action
will take place, including the scenery, furniture and props (stage
properties). These elements help provide the audience with
an understanding of the location, the time of day, the historic
context and general mood of the piece. The set may remain the
same throughout, or change during the show. Clever set design
can do many things: it can help to provide different levels for
the performers to exist in, to segregate the space in to different
zones, or draw focus to a particular area of the stage, for
example.
For Out Of This World the set designer has been given the
challenging task of creating a physical space that will provide
the audience with a conduit into the emotional landscape of the
characters they will meet in the show. That is to say, that the
stage set, helps the viewers to understand particular aspects of
the various mental states of the characters in the production.
Designers use different methods to exemplify their ideas before
a final design is agreed upon with the director. These can include
rough sketches in the first instance, followed by more detailed
floor plans and elevations drawn to scale, and eventually the
creation of miniature 3-D models (known as ‘maquettes’).
Designers need to be very skilled interpreters, able to create
strong visual representations of a script, a piece of music, or a
group of characters, for the audience to identify with.
The ability to use a wide variety of materials and technologies,
and to work to a specific timescale and budget is a key aspect
of the designers’ skills. Whether working in a traditional theatre
space, or in an outdoor environment, designers require a strong
eye for detail, and an ability to communicate clearly with other
members of the production team including the lighting designer,
costume designer and stage manager.
Mark’s slightly more unusual, and preferred, process is to
model everything himself, before he has any initial discussions
with his designer. Mark creates the world he wishes his show
to inhabit by building 3-D models and filming them. This is a
technique that he uses way in advance of any discussion with
other collaborators. For Mark this is his ‘first rehearsal’ of the
6
Costumes
A Costume Designer designs garments to be specially created
for all characters in the show, or will source and select existing
items of clothing and accessories, to buy or hire, depending on
budget and/or the overall feel the director is looking to achieve.
Lighting
As with the set and costume designers, the lighting designer
will have read the script thoroughly and notes any changes in
place and time between scenes, where a different lighting state
will help to convey this change to the audience. They will have
regular meetings with the director, designers, stage manager and
production manager to discuss ideas for the show, establish the
budget and understand logistics and scheduling details.
Detailed research by the Costume Designer ensures authenticity,
especially if the show is set within a particular time-period or
geographical location. This helps the audience to understand the
storyline and the emotion within any given scene, by varying the
intensity and depth of colours worn by a specific character.
Given the ethereal nature of lighting it is often harder for a
lighting designer to portray their ideas with the wider team at
production meetings they may use renderings, storyboards,
photographs, reproductions of artwork, or indeed arrange
mockups of actual lighting effects, if possible.
As part of the initial design process they will develop costume
plots for each character. Plots ensure that characters do not end
up wearing the same colours and styles in the same scene, for
example.
In productions that involve both particular lighting states and film
projections, as is the case in Out Of This World, particular thought
is given to how these two disciplines can work in harmony. Here
the lighting and projections designers need to have continued
conversations to ensure their creations complement one another,
and that one doesn’t negatively impact or overshadow the other.
Ideas about the overall costume vision are presented to the
director via character plots & costume designs, using sketches
and fabric samples. They will also discuss potential colour
palettes with the lighting designer and set designer to ensure all
these elements work well together.
Depending on the scale of the production the lighting designer
may work with a team of lighting technicians and electricians.
Safety is always a big consideration in the design and set-up
of any lighting plan (otherwise known as a ‘plot’). As different
theatres often have slightly different rigging points and lights
available, lighting designers must be able to adapt their plans to
achieve effects which are as close as possible to their original
concept, within the constraints of each particular venue.
Within Out Of This World specialist medical costume hire
will play a key role. For absolute authenticity, much of the
costume designer’s focus will be on researching and sourcing
specific items of hospital attire, both for the patient and the
neurosurgeon that treats her.
On small-scale productions the costume designer may also be
the maker, though on bigger budget productions there may be a
large team working together to include designers, makers and
assistants. Often, as is the case in Out Of This World, the role of
set designer and costume designer is combined.
Usually the production requires that the lighting designer, or
a lighting technician, move between the different, pre-agreed
lighting states during the show. They will work from cue
sheets, and also from spoken or musical cues from the stage,
alongside cues provided by the Stage Manager transmitted
over headphones (often referred to as ‘cans’). This requires
concentration, confidence and an ability to work well under
pressure, and may sometimes involve making unexpected
changes and adaptations during the performance.
7
Meet Out Of This World Co-designer (set)
and costume designer, Becky Minto:
What is your role in Out Of This World?
The Designer, realising and collaborating to create Mark’s vision
for the set and costumes for the production.
What has led you to this point?
I have worked as stage designer for over 15 years and have
collaborated with Mark on many previous productions both in the
theatre and in outdoor site-specific locations.
Where did you study/train?
I trained in Theatre Design at The Welsh College of Music and
Drama in Cardiff.
Who else have you worked with?
Designs for other companies include National Theatre Scotland,
The Royal Lyceum, Visible Fictions, Vanishing Point, Pitlochry
Festival Theatre, Dundee Rep, Lung Ha, Upswing, Perth Rep, 7:84,
Walk The Plank and The Citizen’s Theatre. I have designed a wide
range of productions for main-house and touring productions,
aerial and dance performances and site-specific and large
outdoor events. I was also Associate Designer for the Opening
and Closing Ceremonies for the Glasgow 2104 Commonwealth
Games.
Who have been the most influential people in your career
so far, and why?
I think working with other artists/companies that have pushed
me and opened my eyes to the possibilities of design in all
aspects of theatrical staging which has then developed my work
as a designer. There are too many to name, but certainly working
with Mark Murphy on large scale outdoor events opened my eyes
to a world of new and exciting possibilities. I have been lucky to
work with some amazing theatre companies and directors over
the years and with each one you come away with new skills that
further your approach to design.
Why are you excited about working on Out Of This World?
I really love working with Mark as he allows the creativity of the
design and the connection with how the set and the costumes
work to collaborate as one unit. They are all integral elements
to the storytelling of the piece. The team of people working on
the show are all exciting artists in their own right and together it
makes for an exciting collaboration.
What live productions have inspired you most, and why?
I went to see a production of Dracula by Northern Ballet many
years ago and I was struck how magical the storytelling was,
even without words. I guess that has been a real inspiration to
me, the ability and strength a theatrical design can be.
What advice would you give to anyone looking to pursue a
similar career to yours?
Try and see as much varying types of theatre that you can to
open your mind to the possibility of theatre design. Be inspired
by any type of art form as the ignition for an idea for set and
costume design. Aim to study a course that will fulfil your training
and try to get work experience wherever you can to give you a
real sense of this magical world.
What do you think will be one of the main challenges of
this process?
I think the main challenge will be combining the aerial aspects
of the piece and the technical elements that will make the show
exciting and surprising for the audience.
What do you think will be one of the key highlights of this
process?
I think collaborating with all the artists involved, in development
and rehearsals when the direction, movement, aerial, musical
composition and lighting design all develop and come together
will be very exciting.
8
Research tasks:
Further research:
Websites
•Cuerda Producciones, Buenos Aires, Argentina:
www.cuerdaproducciones.com
•Dr. Nick Crombie: www.nickcrombie.com
•Warwick Arts Centre: www.warwickartscentre.co.uk
•Freediving: www.wikipedia.org
Mark and his team have been exploring a broad range of
influences for this show. As we have already learnt, Mark’s
initial ideas for the show were sparked by a lifelong interest
in all things medical, freediving and the role of that fantasy
and escapism can play in people’s day to day lives. Five years
of development has included story and projection testing at
Warwick Arts Centre, the study of advanced trauma protocols
with Dr. Nick Crombie, (Clinical Lead, Midlands Air Ambulance
Service), Konstantina Karabatsou, (Consultant Neurosurgeon,
Salford Royal NHS Foundation Trust), and exploration of dynamic
human flight and close proximity special effects with Cuerda
Producciones in Buenos Aires, Argentina.
a)
Books
•‘Do No Harm: Stories of Life, Death and Brain Surgery’,
by Henry Marsh
•‘Reaching Down the Rabbit Hole’,
by Dr Allan Ropper and BD Burrell
•‘When the Air Hits the Brain: Tales from Neurosurgery’,
by Frank Jr Vertosick
Beginning with the same set of influences as Mark has, (medicine with particular reference to neurosurgery, free-diving, and alternate realities), research how might you go about using set design, animation and other visual special effects to bring your production to life? Think about the kind of performance environment you might want to create a production in, (i.e. is it a traditional proscenium arch theatre, is it ‘in-the-round’, or is it a site-specific show in a non-theatre space, or other?)
For example: My production is going to be a show based around the idea of free-diving in unknown waters. I will use projections of subaqueous landscapes with fish, plants and sunken shipwrecks forming part of these films. I am going to do some further research to understand what other kinds of special effects are available that I might use, and to see what structures and/or props the set may require, other than a backdrop for the film projections. I am also going to think about how else I may be able to help
my audience understand the world that I am portraying to them, that is deep beneath the ocean, by watching some underwater scenes, and some nature documentaries. I would then add further details from my research here…
b) What might some of the challenges be in bringing some of these ideas to the stage?
For example: The quality of the film footage will need to be really good so that the images of the fish and the shipwrecks are clear enough to be viewed by the audience. I will need to think about how the performers affect the visuals that are being projected onto the stage area, so that they look as though they too are in the water. I am going to do some research to try and
find productions that have made use of real water in their show, to think about possible options for my production. I will also be thinking about key considerations for this to happen safely and effectively. I would then add further details from my research here…
c)
Research other live productions, from either established or emerging dance/theatre/physical theatre companies, that have
used a wide variety of different visual elements to tell a story. Explain how these various elements have been designed to work in harmony with one another. Use your critical appreciation skills to make a decision about how successful you feel they were in conveying their ideas to the audience.
9
Creative tasks (design focus):
a)
Using what you have learned so far about Out Of This World design 2 x costumes for the show. You need to consider both the characters that you are designing the costumes for, and the needs of the performers who will be portraying these characters. Remember that aerial work requires the performers to wear harnesses.
Explain any special functions that the costume may have and how these would benefit the wearer. Explain which characters you have designed these costumes for, and what your design influences and considerations have been. Detail carefully what fabrics you have chosen and why.
b)
Using what you have learned so far about Out Of This World create a suitable set design for the show. Remember at all times that this show predominantly takes place inside the mind of the main character. Explain any special functions that the set design may have and how these would benefit both the performers and/or the audience. Explain which scene/s you have designed these sets for, and what your design influences and considerations have been. Detail carefully what materials you have chosen and why.
10
Discussion tasks (design focus):
a) What are the challenges associated with creating costumes for an ambitious touring production such as Out Of This World?
b) What are the challenges associated with creating a set for an ambitious touring production such as Out Of This World?
c)
What additional considerations might you need to take into account when designing the set and/or costumes for a production that will tour to multiple venues, over a period of several weeks, i.e. with Out Of This World (touring to 15 theatres across 7.5 weeks)? Discuss what would influence your designs most, and you would ensure your designs were ready to be used during a tour such as this.
For example: You might like to think about cost, durability, ease of transportation, speed of set-up etc.
11
THE DIRECTOR’S CHALLENGE
As you will have learnt from Mark’s video diary, there are just 5 months left now until the opening night of Out Of This World. You will
also have heard, and read, about the various tasks that need to be completed before Mark and his team enter the rehearsal period for
the show. These include:
•Finishing the script
•Beginning production meetings with the design team
•Finalising arrangements with venues for the tour
•Delivering a marketing campaign to promote the show
Imagine you have 5 months left until your own touring production opens. Write yourself a ‘to do’ list in order of priority. Suggest which
members of your team may be responsible for which items on that list.
12
GLOSSARY
Critical appreciation: To be critical means to be able to judge
the value of something or someone. To show appreciation, on
the other hand, implies the ability to see the good or strength in
something. Thus critical appreciation implies the ability to assess
the value in something towards showing the strength or good of
that something.
action can be seen. The term “Proscenium Arch” (or “Pros” to use
a common theatre abbreviation) is now often used to describe
any staging configuration in which the audience faces the stage
straight-on regardless of whether or not there is a physical
“arch”. Most theatres built from the 1950s onwards have an
“open arch” which is essentially an undecorated aperture in a
wall.
Emerging: In this context ‘emerging’ relates to individuals and/
or companies working within the arts / cultural industries who
are newly created, or newly noticed, and growing in strength
or popularity and may eventually becoming widely known or
established.
Established: In this context ‘established’ relates to individuals
and/or companies working within the arts / cultural industries
who have either existed for a long time and therefore are
recognised and generally accepted in their line of work.
Rigging points: Pre-determined points within a venue,
(theatrical or other), that have been set-up ready for aerial
equipment to be rigged (or hung) from. Points can take many
forms and some types are unique to specific venues. They
are designed to enable the safe lifting of heavy equipment,
or people, to elevate them to various heights. The kinds of
equipment that may require rigging points could include trapezes,
silks and hoops, or loudspeakers, lighting systems and video
screens etc.
Flying rig (also known as aerial rig): An aerial rig is a
structure designed specifically for human loads. Aerial rigging
is the process of setting up equipment used to make humans
fly, specifically aerial circus and aerial dance equipment, using a
harness and ‘wire’.
Site-specific: Used to describe artistic works created to exist in
a certain place, e.g. performance, a piece of art, a photographic
installation. Typically, the artist/choreographer/producer/director
takes the location into account while planning and creating the
piece/production.
Freediving: Freediving, free-diving, free diving or skin
diving is a form of underwater diving that relies on divers’ ability
to hold their breath until resurfacing rather than on the use of a
breathing apparatus such as ‘scuba’ gear. Originally derived from
traditional hunting and gathering, freediving is now a competitive
sport.
Stage properties: A prop, formally known as (theatrical)
property, is an object used on stage or on screen by actors during
a performance or screen production. In practical terms, a prop
is considered to be anything movable or portable on a stage or
a set, distinct from the actors, scenery, costumes, and electrical
equipment.
Harnesses: An aerial harness is a piece of safety equipment
worn by a performer to protect them from falls from height, if
they were to lose balance, or another piece of equipment was to
fail. It usually involves straps and ‘belts’ worn between the legs
and around the waist and a ‘wire’.
Storyboard: A storyboard is a graphic representation of how a
story/show/film will unfold. It’s made up of a number of squares
with illustrations or pictures representing each shot, with notes
about what’s going on in the scene and what’s being said in
the script. It’s the first step in designing the visual narrative, (or
storyline), for something.
‘In-the-round’: Theatre-in-the-round or arena theatre (also
referred as central staging) is any theatre space in which the
audience surrounds the stage area.
Visual aesthetic: Refers to the beauty or the pleasing
appearance of things. It might not be the case that what we
are seeing as an audience is necessarily beautiful, (it may be
disturbing or gruesome, for example), but that all of the different
elements come together in some kind of harmony to create a
strong sense of imagery that suits the narrative or themes of the
production.
Projection testing: Exploring/road-testing with the meeting
point between live action and projected film and animation.
Proscenium arch theatre: The Proscenium Arch was the
most common form of theatre design in the 18th, 19th and 20th
centuries. The “Arch” acts like a picture frame through which the
13
SOURCES
Critical Appreciation Blogspot: http://criticalappreciation2009.blogspot.co.uk/2009/07/what-is-critical-appreciation.html
Merriam Webster Dictionary: http://www.merriam-webster.com/
Theatre Design: https://theatredesigner.wordpress.com/theatre-design-101/stage-types-proscenium-arch/
Wikipedia: https://en.wikipedia.org/wiki/United_Kingdom
14
OUT OF THIS WORLD SUPPORTING INFORMATION
UK Tour 2017
Fri 21 & Sat 22 April, 7.30pm Tue 25 & Wed 26 April, 7.30pm Fri 28 April, 7.30pm Mon 1–Wed 3 May, 7.30pm Fri 5 May, 7.30pm Tue 9 May, 7.30pm Fri 12 & Sat 13 May, 8pm Tue 16 & Wed 17 May, 8pm Fri 19 & Sat 20 May, 7.30pm Tue 23 & Wed 24 May, 7.30pm Fri 26 & Sat 27 May, 7.30pm Tue 30 & Wed 31 May, 8pm Fri 2 June, 8pm Tue 6 & Wed 7 June, 7.30pm Fri 9 & Sat 10 June, 7.30pm Macrobert Arts Centre, Stirling Warwick Arts Centre, Coventry Cast, Doncaster Peacock Theatre, London Gulbenkian, Canterbury Grand Theatre, Blackpool Nottingham Playhouse Eden Court, Inverness Tramway, Glasgow Edinburgh Festival Theatre Northern Stage, Newcastle The Lowry, Salford Quays G Live, Guildford Oxford Playhouse Hall for Cornwall, Truro 01786 466666 024 7652 4524 01302 303959 020 7863 8222 01227 769075 01253 290190 0115 941 9419 01463 234234 0845 330 3501 0131 529 6000 0191 230 5151 0843 208 6000 01483 369350 01865 305305 01872 262466 www.macrobertartscentre.org
www.warwickartscentre.co.uk
www.castindoncaster.com
www.sadlerswells.com
www.thegulbenkian.co.uk
www.blackpoolgrand.co.uk
www.nottinghamplayhouse.co.uk
www.eden-court.co.uk
www.tramway.org
www.edtheatres.com/festival
www.northernstage.co.uk
www.thelowry.com
www.glive.co.uk
www.oxfordplayhouse.com
www.hallforcornwall.co.uk
Running time 80 minutes with no interval
Suitable ages 14+
Company Led Workshops
For dance, theatre and performing arts students, suitable for all
abilities and ages 14+.
Up to 2 hours: £250 + VAT
Workshops will create a highly stimulating, provocative
and mischievous environment and act as a catalyst for the
participants’ own artistic expression.
Based on the often-asked question, “Where do you get your
ideas from?”, Stage 1 of the workshop will include a physical
warm-up and creative tasks aimed at supporting ideas
generation. Drawing upon examples and case studies from Mark
Murphy’s work, and other devisers and producers in theatre, film
and literature, this section also touches on elements of structure
and story design.
Stage 2 of the workshop involves putting theory into practice,
understanding the value of constructive appraisal within a
creative process. Group work and sharing of ‘work in progress’
alongside guided group critique will enable participants to view
one another’s contributions through a more liberating lens,
enabling positive revision and development of their work. Time
permitting the workshop will end with a Q&A session.
Limited availability. For more information, or to book a workshop
please contact [email protected]
CREDITS
Funded by the National Lottery through Arts Council England and Creative Scotland, The Foyle Foundation, Jerwood Charitable
Foundation and Garfield WestonFoundation. Commissioned by Macrobert Arts Centre, Sadler’s Wells London, Dance Touring
Partnership, ART31 KENT, Warwick Arts Centre and Triggered at Warwick. Supported by Cold Mountain Kit, Bluman Associates, tube,
Cuerda Producciones, All or Nothing and Beaconhurst School.
Resource pack written by Hannah Osmond www.hannahosmond.co.uk, in collaboration with Out Of This World creator Mark Murphy
Design by Andrew Lang www.anglepd.co.uk
Photography by Chris Nash and Mark Murphy
WWW.OUTOFTHISWORLDTOUR.CO.UK