Please click on the title of the panels for more information.

WSD 2022 registration is required to reserve tickets to panels unless stated otherwise. You can find information about reserving tickets to panels on our Schedule page here.

IN-PERSON PANELS

BioCostume: Gathering for Shared Speculations # 3

PANEL DESCRIPTION:

This panel invites established and emerging performance makers, researchers, and theorists to gather around the campfire to discuss the role of empathy and the relational encounter with more-than-human materialities in contemporary design practices for performance. The panel members will share insights and experiences from their professional work, and collectively we will speculate on the potential futures of material praxis in performing arts.

Panel members: Moderator Ingvill Fossheim + 5 invited guests.

This panel is part of a series of critical gatherings within the artistic research project ‘BioCostume: Experimental Costume Design with Biobased Co-Actants’ by Ingvill Fossheim, doctoral candidate at Aalto University, Finland.

PRESENTERS:

  • Ingvill Fossheim
  • Other presenter information coming soon.

Ingvill Fossheim

Ingvill Fossheim (MA) designs for live performance and mediated works; in purposebuilt as well as adapted and/or reclaimed performance spaces. She seeks to orient her design praxis towards more responsible, resilient and regenerative material approaches by exploring ways to interrogate biobased materials and incorporate systems knowledge as part of contemporary performance-making processes. Fossheim is doctoral candidate at Aalto University, School of Arts, Design and Architecture. She lives and works in Tromsø, Norway and Helsinki, Finland.

Jean Teillet – WSD 2022 Living Legends

PANEL DESCRIPTION:

Take a tour through the stories of the Indigenous peoples of Canada, the Métis Nation. Hear how they changed the course of Canadian history when they forced Canada to negotiate how 2/3 of the country entered confederation. The presentation will be a highly visual experience accompanied by stories and music. Hear and watch this fascinating history – learn about the scandals, the wars, the wild west, the whiskey trade, the buffalo hunters and even the mosquitoes. Designers can learn about how the Métis Nation, the Indigenous nation that lives between two cultures, has modified tools, transportation and art to support a mobile lifestyle it has never abandoned.

PRESENTER:

Jean Teillet

Jean Teillet, IPC, OMN, MSC, (BFA, LLB, LLM)

Ms. Teillet is an author, women’s rights advocate and an Indigenous rights lawyer. She has appeared at the Supreme Court of Canada twelve times in Indigenous rights cases. Ms. Teillet’s popular history, The North-West is Our Mother: The Story of Louis Riel’s People, the Métis Nation was one of the Globe & Mail’s top 100 books of 2019 and won the Carol Shield’s and Manitoba Day awards. She is the author of Métis Law in Canada and has written for academic journals, the Globe & Mail and Macleans. A frequent public speaker throughout Canada and internationally, Jean has been awarded the highest honour of her people, the Order of the Métis Nation. The Indigenous Bar Association has awarded Jean it’s highest honour, Indigenous Peoples Counsel. She has three honorary doctorates (University of Guelph, Windsor University and Law Society of Ontario). In recognition of decades of work with midwives, Jean has been made an honorary lifetime member of the Association of Ontario Midwives. She is a member of the Manitoba Metis Federation and is the great grandniece of Louis Riel.

Nonbinary Scenographies

PANEL DESCRIPTION:

After presenting together on the Transforming Scenography panel at PQ19, Rachel Hann (UK) and M’ck McKeague (AUS) come together to discuss the expansive possibilities of nonbinary scenographies and their capacity to transform theatre making practices.

This panel discussion aims to offer some provocations on how ‘cisgenderism’ – or the legal, social and political preference of cis (non-trans) experiences – shapes performance making ideas and practices. By deepening understandings of representation beyond surface-level inclusion, Rachel and M’ck shift the focus towards an understanding of how the fabric of our work can disrupt dominant paradigms, challenge cis-centric assumptions and reshape the sociopolitical conditions we live in.

COMPANY:

Rachel Hann and M’ck McKeague

PRESENTERS:

M’ck McKeague and Rachel Hann

M’ck McKeague

M’ck McKeague is a set and costume designer, performance maker and installation artist currently living on unceded Wurundjeri land. M’ck graduated from Queensland University of Technology’s BFA (Drama) in 2013 and completed the Master of Design for Performance at University of Melbourne in 2018. Dissatisfied with master narratives and the systems and spaces that uphold them, M’ck seeks out collaborative scenographic practices that embrace difference and disrupt privilege in process, form and content.

Rachel Hann

Dr. Rachel Hann is a Senior Lecturer in Performance and Design at Northumbria University, Newcastle. As a cultural geographer working in performance, Rachel’s teaching and research focuses on the material cultures of scenography, climate crisis, and architecture. ‘Beyond Scenography’ is Rachel’s first monograph (Routledge, 2019) and provides the first theory of scenographics in response to staged material cutlures: from garderning to visual merchandising, installation art to theatre.

Sustainable Costume Production in Mexico

PANEL DESCRIPTION:

Through interviews, anecdotes and testimonials, it will be told how, for more than 20 years, the stage costumes have been made in a common, constant and sustainable way; more with the purpose of taking advantage of economic resources and as an already established process, than out of awareness with the environment.

COMPANY:

Vestuario a escena

PRESENTERS:

  • Sara Salomon
  • Estela Fagoaga
  • Carolina Jimenez

Sara Salomon

She has designed costumes for more than 200 dance, theater and opera projects, mainly, she has collaborated with the National Dance Company in 12 projects. For Paula Zelaya’s El Hilador, she won the award for best design at the Cartelera de Teatro awards in Mexico and was nominated for best costume at the ACPT. In 2020, she was selected to appear as a costume designer in the Shalvi/Hyman Encyclopedia of Jewish Women.

Estela Fagoaga

She completed a Master’s Degree in Fashion and Marketing at Anahuac University. She studied Scenography at ENAT and she is a Fashion Designer, she graduated from “Jannette Klein” Fashion Design School, she also has a specialty in textile design from the INBA School of Design. She was part of the National Theater Company as costume coordinator and was a fellow of the National System of Art Creators. In 2015 she founded the company TRAMA & DRAMA

Carolina Jimenez

Designer and faculty member. Graduated BFA from National School of Theatrical Art and MFA in Centro. She has been working for over 20 years. Her work has been exhibited at the WSD, she has been a recipient of the FONCA fellowship Young Creators and in 2018 she was selected to be part of the National System of Art Creators, she is President of Vestuario a Escena and director of Choreographer Design company.

HYBRID PANELS

Biobased Materials for Costume Design

PANEL DESCRIPTION:

A panel on biomateriality within costume design practice led by Professor Sofia Pantouvaki (Greece/Finland) with contributions by five guest speakers: scenographer Ingvill Fossheim (Norway/Finland), textile artist Urs Dierker (Germany/Canada), costume designer Jerildy Bosch (Mexico), Axel Waehling from NIG GmbH natural colourant producer (Germany), and material scientist Prof. Orlando Rojas (Canada/Finland). The presenters will focus on applications of cellulose-based materials and bio-dyes (biobased colourants) to textiles; structural colours; and biofabrication of new matter as costume. The panel will address practical issues regarding implementation, durability, maintenance, costs, and will generate a dialogue on new possibilities for artistic expression and transdisciplinary collaboration that these materials enable.

COMPANY:

Sofia Pantouvaki (Aalto University)

PRESENTERS:

  • Sofia Pantouvaki, Aalto University (Greece/Finland)
  • Ingvill Fossheim (Norway/Finland)
  • Urs Dierker (Germany/Canada)
  • Jerildy Bosch (Mexico)
  • Axel Waehling (Germany)
  • Orlando Rojas (Canada/Finland)

Presenter information coming soon.

Canadian Student & Emerging Artists at PQ23

PANEL DESCRIPTION:

The presentation / panel discussion is an opportunity for the world to see what Canadian students are currently working towards presenting at the Prague Quadrennial in 2023. The focus of the exhibit is the untold stories of Canada through the eyes of the students/emerging artists and the under representation of IBPOC artists in the country.

PRESENTERS:

  • Carla Orosz
  • Alex Gilbert
  • Raymond Marius-Boucher
  • Tarique Lewis
  • Kaite Mooney
  • Nicole Bell
  • Yulissa Campos

Carla Orosz

Carla is an Associate Professor of Theatre Design at the University of Saskatchewan She has been designing sets, costumes and lighting for theatre full- time since 2006 when she completed a MFA in Theatre Design at the University of Victoria. Her work can be found throughout Saskatoon at Persephone Theatre, Shakespeare on the Saskatchewan and Live Five. She is a member of ADC, IASTE Local 300 and CITT. She is a proud mother of 2.

Alex Gilbert

Alex Gilbert is the Wardrobe Supervisor for University X/Ryerson University at the Creative School’s Performance Program. She has worked in various capacities within wardrobe departments across Ontario and Toronto. She holds a BFA in Theatre Production and an MA in Interdisciplinary Studies, researching the transition from natural to synthetic dyes in late-nineteenth century Ontario.

Raymond Marius-Boucher

Boucher has taught at Concordia University since 2002 and became the coordinator of the Design program, soon to be renamed Specialization in Scenography. Since then he has led his students to participate in the Prague Quadrennial. He designed the exhibit presenting the Canadian designers and schools for PQ 2003 and received a Special Honorary Mention for its clarity of vision and national spirit. He is delighted to collaborate on the upcoming edition of PQ 2023 as mentor.

Tarique Lewis

Tarique is a Canadian actor born in Toronto. Tarique is a recent graduate from X University, from which he achieved a degree in Performance Acting. Through his training, Tarique took on notable roles such as Demetrius from Midsummer Night’s Dream and Lussurioso from The Revenger’s Tragedy.

Katie Mooney

Katie Mooney is Metis from the traditional homeland of the Metis, Treaty 6 Territory. Katie’s passion is to bring untold stories to the forefront to spark conversation and change. Katie has been fortunate to work within the Indigenous arts community in Canada, as a Production Coordinator with the Indspire Awards, StageManager for Creative Native, and as Program Coordinator with Indigenous Fashion Arts. She has worked Nationally and Internationally (Australia, Greece, Morocco) in theatre and film.

Nicole Bell

Nicole Eun-Ju Bell is a Toronto based mixed-race multidisciplinary artist with a passion for performance and technology. She is fascinated with cyborgs and Loïe Fuller. Among other things, she is a projection designer, actor, writer, and stage manager. More recently, she’s branched out into production management, live-streaming, and experimenting in XR.

Yulissa Campos

Yulissa is an Ecuadorian theatre artist and founding artistic director of Ay, Caramba! Theatre, currently based in Saskatchewan. She holds a Bachelor of Fine Arts in Acting from the University of Saskatchewan. Yulissa works with the Newcomer and Indigenous community when she is not writing, acting, or producing. Yulissa celebrates her Latin American heritage in her plays and her work has been presented internationally such as at the M1 Singapore Fringe Festival and across Canada.

Cena#3 INTERSECTIONS: THREE SISTERS / Collaborative Artistic Workshop Panel

PANEL DESCRIPTION:

INTERSECTIONS is a collaborative creative process open to artists from different fields of Visual Arts, Theatre Design and Performance. Inviting experimentation in creating, performing and exhibiting non-textual narratives, through integrated and interdisciplinary creative process.

Building on the experience of its previous editions – in Brazil, Wales, Scotland and the Czech Republic – at WSD2022 in Calgary, the WORKSHOP aims to share the collaborative creation process with participants and invite them to experiment with it.

As a PANEL, INTERSECTIONS will present and share the collaborative process and its outcomes with a broad audience; the panel will include in person participants of this edition, and the online participation of the artists of the previous editions.

The INTERSECTIONS workshop culminates in this 90 minute Panel Presentation and is open to WSD attendees.

PRESENTER:

Aby Cohen

Presenter information coming soon.

COLOURING THE LIGHT: Decolonizing Lighting and Diversifying the Stage

PANEL DESCRIPTION:

COLOURING THE LIGHT: Decolonizing Lighting and Diversifying the Stage – has been conceived as presentations of research, practices, observation, and experiments by the scholars, practitioners, and academicians in the domain of theatre, performance, and performing arts in general.

The teaching of Lighting Design and henceforth the design practices of lighting design has been dominated by the eurocentric approaches. The academic contents, as well as the industry, have been overly dominated by the white male. The academic publications, YouTube videos, and other public domains are dominated by the English Language. Lighting Design as a creative and technical medium has been colonized over a period of three hundred years or more. There is more than ever a need to open, instigate or even push a debate around diversity and decolonization of this medium.

COMPANY:

OISTAT LIGHTING DESIGN SUB-COMMISSION

PRESENTER:

Dinesh Yadav

Dinesh Yadav

Dinesh Yadav (Ph. D.) is an interdisciplinary researcher, pedagogue, and performance artist. He directs for theatre and design for performances, theatre, installation, events, museums, and media. His research inhabits at the crossroads of arts, technology, humanities, and information. His theatre and design practices enquire into the politics of performance. His works are shown in theatres, galleries, and public spaces in festivals, exhibitions, and events around the globe.

Dinesh has directed twenty productions and designed over fifty shows across the genre in performance, theatre and media. He has exhibited in the World Stage Design 2013 (Cardiff UK), Prague Quadrennial (Czech Republic) in 2007, 2011, 2015, and 2019 respectively. He was the curator for Section of Countries and Regions for the Indian section in Prague Quadrennial 2015 and 2019 and the 21st Century Innovative Costume 2019. He was the Technical Director for Can & Abel Theatres and technically directed their shows in twenty-four countries for ten years.

Dr. Yadav has presented his research papers at conferences of IFTR, ACS Crossroads, IACLALS, ISTR, and Lux Helsinki. He is the current chair of the Lighting Design Sub- Commission of OISTAT and Chair of ASPIRE – KCACTF Region 3 and Workshop Lead for KCACTF Festival Region III. He is the founder member of the Swayambhu Foundation (I). He is the Executive Producer of foundations’ theatre festival Mélange and Artistic Director for its repertory company.

He studied at the London Academy of Music and Dramatic Arts (LAMDA) London, National School of Drama, New Delhi, and the University of Rajasthan, Jaipur. At present, he is Assistant Professor and Technical Director at Theatre & Dance, University of Wisconsin-Green Bay (USA), and teaches Lighting Design, Scenic Design, CAAD for Theatre, and Stage Management.

Digital Patterning in Costume Production – Research Presentation and Discussion

PANEL DESCRIPTION:

The Canadian Costumer’s Digital Research Initiative explores digital pattern design software in the Costume production process. We assessed the applicability of Gerber and CLO3D patterning software.

Some of the benefits we explore are:

  • 3D modelling, which is invaluable for digitally printing fabrics and has tools for customizing placement and scale of graphics.
  • Archival attributes provide easily accessible, organized patterning storage.
  • Virtual fittings allow Designers and Cutters to collaborate and share work at a distance.

We look forward to sharing and discussing the results of our research on the benefits and potential drawbacks of digital integration. Our research is available at QuarterlyCutter.com, and was generously funded by Canada Council for the Arts.

COMPANY:

Canadian Costumer’s Digital Research Initiative

PRESENTERS:

  • Cathleen Sbrizzi – Research Coordinator
  • KaeLeah Spallin – Test Cutter
  • Elizabeth Sutherland – Sr.Cutting Consultant
  • Marlee Bygate – Test Cutter

Cathleen Sbrizzi – Research Coordinator

Cathleen is a formally trained Cutter, Designer and Technician. In addition to a decade of industry experience she brings with her credentials which include a BA from Dalhousie Universities Costume Studies program, Auxillery fashion classes from NSCAD University, and the ‘Innovative Pattern Cutting’ certificate from Central Saint Martins (London Uk) Website: Cathleen.Design

KaeLeah Spallin – Test Cutter

KaeLeah’s passion for sewing began at the age of nine with 4-H sewing. Knowing that she wanted to pursue a career that could put her sewing skills to work she attended Red Deer College and received a Diploma in Costume Cutting and Construction. She fostered these skills working as a stitcher (Stratford), first hand, junior cutter and cutter at many theatres including Citadel Theatre, The Banff Centre, and Theatre Calgary.

Elizabeth Sutherland – Sr.Cutting Consultant

Elizabeth Sutherland is one of Alberta’s most talented cutters. She has worked as a Tailor, and Cutter for stage and film for over 20 years and taught costuming in the Theatre Studies Program at Mount Royal College, Calgary for 7 years. She has been Lead Costume Cutter at Theatre Calgary for the past 15 years.

Marlee Bygate – Test Cutter

Marlee is a graduate of Dalhousie University’s Costume Studies Program and has worked as a stitcher and cutter for theatre in both Nova Scotia and Ontario. Shelives and works in Toronto, where cuts for the Canadian Stage, Young People’s Theatre, the annual Ross Petty Pantomime, and innumerable independent productions. She specializes in women’s wear and historical costume, but especially loves to build for children’s theatre, where costumes are often large, specialized and outrageous.

Decentralizing Design and Re-imagining Collaborative Theatre in Saskatchewan

PANEL DESCRIPTION:

The North American model for theatrical production works against true collaboration and often results in a process and a production that is less than satisfactory for all the artists involved. This panel brings together a number of theatre artists from Saskatchewan, Canada who are challenging this historic model. Decentralizing design can radically change the entire production process and move theatre much closer to being a truly collaborative art. This discussion brings together Saskatchewan based artist-scholars, artistic directors, and independent artists to discuss the necessity of change, past successes, ongoing challenges, and the future of decentralized theatre production in a post-pandemic world.

PRESENTERS:

  • Carla Orosz
  • Wes D Pearce

Wes D Pearce

Professor Wes Pearce (born and raised in Treaty 4 Territory) teaches classes in costume and/or set design, scenography, Canadian Theatre and pop culture for the Theatre Department at the University of Regina (Treaty 4 and Treaty 6 Territory). He has designed across Western Canada including over 20 productions for Regina’s Globe Theatre as well as Persephone Theatre, Stage West Calgary, Alberta Theatre Projects, Prairie Theatre Exchange and Western Canada Theatre.

Carla Orosz

Carla is an Associate Professor of Theatre Design at the University of Saskatchewan She has been designing sets, costumes and lighting for theatre full- time since 2006 when she completed a MFA in Theatre Design at the University of Victoria. Her work can be found throughout Saskatoon at Persephone Theatre, Shakespeare on the Saskatchewan and Live Five. She is a member of ADC, IASTE Local 300 and CITT. She is a proud mother of 2.

Ecoscenographic approaches to embracing the digital within performance

PANEL DESCRIPTION:

If we are to embrace an ethical, ecological approach to making and designing performance, we must also carefully consider how we embrace the digital in our work. As makers and designers around the world are learning to look at their creative practice through the lens of environmental impact, there is so much still to learn about the role technology can play in ecoscenography.

This hybrid panel will bring together experts in sustainable arts practice, extended reality and digital scenography, as well as branch beyond the stage to the arts and culture sectors to ask: How do we embrace the digital within our eco-stages? What role, if any, can technology play in our future theatre?

This panel is ideal for designers, students, makers, teachers, and anyone who has been perplexed by this issue in their own practice. The 1hr hybrid session will be followed by an in-person workshop activity lead by Professor Ian Garrett (in person attendees only).

PRESENTERS:

  • Tessa Rixon
  • Ian Garrett
  • Other presenter information coming soon.

Tessa Rixon

Tessa Rixon is a practitioner-researcher in intermedial performance, digital scenography & Australian performance design. As Lecturer in Scenography at Queensland University of Technology, Tessa’s work promotes new modes of integrating established and emergent technologies into live performance; exploring the potentiality of authenticity within digital scenography; and showcasing Australian performance design practice and histories. Her latest research explores the impact of the pandemic on digital pedagogies within the creative arts, and the role of technology within ecoscenography.

Ian Garrett

Dr Ian Garrett is designer, producer, educator, and researcher in the field of sustainability in arts and culture. He is Associate Professor of Ecological Design for Performance at York University, director of the Centre for Sustainable Practice in the Arts and Producer for Toasterlab, a mixed reality performance collective.

Elders Taking the Lead: How Can We Use Scenographic Play to Re-view the World with Older People?

PANEL DESCRIPTION:

Through activating cultural memory, revealing and piecing together lost stories, our international panellists will share the contribution their interactive practices make to unlocking intergenerational and caring relationships with older people in innovative and unexpected ways.

This hybrid panel, chaired by Fiona Watt (UK), includes Loukia Minetou (Greece/UK) ‘Let’s Don’t Forget Those Who Forget’, Francesc Serra Vila (Spain/UK) ‘Let’s Go Out for A Walk?’ and Mayra Stergiou (Greece/UK) ‘Dark Matter’.

Presenter information coming soon.

Inclusive Imaginary Worlds in Theatre for Young Audiences

PANEL DESCRIPTION:

This hybrid panel, chaired by Fiona Watt (UK), including Roma Patel (Makers of Imaginary Worlds), Nikki Charlesworth and Mia Ward (Nikki Charlesworth Productions), Paul Tennent (Mixed Reality Lab – University of Nottingham) and Laura McEwen (Associate Artist Red Earth Theatre), will share research and developments in interactive scenography, digital and analogue creative captioning techniques and the fully integrated use of sign language as part of creative storytelling in Theatre for Young Audiences.

Focussing on demonstrating a cluster of innovative work emerging from in and around Nottingham, UK, we will explore how this performance design-led approach can enable theatre for families and young audiences to be dynamically inclusive.

Presenter information coming soon.

Internship at International Arts Festivals

PANEL DESCRIPTION:

Internship at international arts festivals is valuable. It provides an opportunity for students to shorten the gap between academic and professional worlds through direct practices.

The PQ-WSD internship program was a collaboration between OISTAT and Prague Quadrennial in 2019. The program aimed at cultivating theatre talents through practice.

How does an internship influence one’s career? How to make the best use of an internship? This panel moderated by Wan-Jung Wei (OISTAT Executive Director) invites past PQ-WSD interns to share their experiences and the PQ 23 international team representatives to present PQ projects, PQ Studio opportunities, and PQ 23 opportunities for emerging designers.

COMPANY:

OISTAT, Prague Quadrennial

Presenter information coming soon.

Marrying the traditional with the intermedial: interventions in costume practice.

PANEL DESCRIPTION:

This panel, composed of active practitioners in the field of costume studies who also work in higher education, interrogates how the research, the recording, and exploration of processes help students to integrate themselves into an industry that is constantly ahead of the curve through the implementation of virtual, augmented, and digital realities.

The discussion will promote the understanding of the principles of specialist processes in costume making, as well as exploring sustainable ways for creative three-dimensional approaches to modifying, altering, or adapting the performing body.

COMPANY:

University of the Arts London and Aalto University

PRESENTERS:

  • Jorge Sandoval
  • Jennifer Hayton
  • Lara Jensen
  • Maarit Kalmarkurki

Dr. Jorge Sandoval

Course Leader (UAL)

Jorge holds a Doctor of Arts degree from the School of Arts Design and Architecture (Department of Film, Television and Scenography) at Aalto University in Helsinki, Finland. He is currently the Course leader for the BA (Hons) Costume for Performance Course. He collaborates with the research group ‘Costume in Focus’, at Aalto University (Finland), and he is an active participant at the Performing dress lab at the University of the Arts London. Jorge Sandoval trained as a designer-maker for theatre after retiring from a fulfilling career in dance. Jorge is an interdisciplinary artist and educator with a BFA in Art History and Studio Art and an MFA in Interdisciplinary Studies.

Lara Jensen

Senior Lecturer (UAL)

Lara Jensen has spent her professional career making Costumes for Live Performance, Music, Flim, Television, and Theatre. Specialising in tour costumes she has had the fortune to design and make for Artists such as Lady Gaga, Madonna, Queen, Beyonce, and Katy Perry. Her most recent work designing costumes for REBOOT with Adrenaline and Endorphin Productions is centred on enhancing performance design and costume through the use of wearables. Lara completed her MA in Costume for Performance at LCF graduating in 2009 and her teaching and research focus is on soft wearables.

Jennifer Hayton

Lecturer (UAL)

Jennifer Hayton is a Lecturer for Costume for Performance at London College of Fashion. Jenny Hayton’s Performance and Costume Design practice explores devised performance, dance theatre, site specific and large scale public participation events, sustainability and museum practice. Her design work has performed at The Royal Opera House, Sadler’s Wells, Polka Theatre, Lyric Hammersmith, The Place, Laban, The Peoples Show, Almedia Theatre, The Royal Court, Royal Albert Hall, Imagine Festival. With 20 years experience in Education and as a practitioner, her current PhD research focuses on Archives and the costumed body.

Dr. Maarit Kalmarkurki

Maarit Kalmakurki is a scenographer who studied Fashion Design (BA Hons) at the University of Central England, and Costume Design (MA) at Aalto University, Finland. Since 2004, she has designed costumes and sets for various theatre and opera productions in Finland. Maarit holds a Doctor of Arts degree from Aalto University, Department of Film, Television and Scenography. She has taught on scenography and costume in Finland, U.S and Australia and has been a visiting researcher at UCLA. Maarit presents regularly in international conferences and she is an active member of the Costume in Focus research group, as well as a member of the Society of Theatre Research in Finland (TeaTS), Society for Animation Studies (SAS) and OISTAT/Costume Design Group.

Research Conversations about Performance Space and Cultural Geographies

PANEL DESCRIPTION:

Theatre is artifice. It employs codes. It relies on cultural knowledge, understanding and/or familiarity to be effective as comment, protest, enquiry, celebration. This panel will share and discuss moments in performances, events and storytelling located within specific cultures and places. Panelists will focus on intersections of performative spaces, underrepresented geographical locations, and emerging cultural identities.

Participants will be invited to consider how, in times of increasing global and generalised cultural reference points, we can respect and value the particular and located? Within the conversation, we hope for space to learn or intuit more about our own individual vocabularies of belonging.

COMPANY:

OISTAT Research Commission

PRESENTER:

  • Kate Burnett
  • Other presenter information coming soon.

Kate Burnett

Kate Burnett is the Chair of OISTAT Research Commission. She is an award winning theatre designer and curator/co-curator of 5 national exhibitions for the Society of British Theatre Designers since 1994. She was editor of the WSD2013 catalogue (Cardiff) and on the Jury for WSD 2017 (Taipei).

Theatre of Mexican Origin

PANEL DESCRIPTION:

Panel where four designers will speak about Mexican works or works adapted to Mexico with costume design in a decisive moment in the history of Mexico, from the Mexica to the present day, also we will talk about works that through synthesis and reinterpretation of Mexican eras and styles and reflection of Mexican beliefs, values and traditions, which are presented from literary structures that favour the sense of belonging and social bond with our origins.

COMPANY:

Vestuario a escena

PRESENTERS:

  • Laura Marnezti
  • Libertad Mardel
  • Emilio Rebollar
  • Eloise Kazan

Laura Marnezti

She has a degree in set design and a master’s degree in Visual Arts. She carried out a research stay within the Master of Sound Art at the University of Barcelona. She was a beneficiary of the Young Creators program, with the project “Inhabiting noise and silence” which was presented at the Prague Quadrennial and at Václav Havel Square in the Czech Republic. She has exhibited at CEART Ensenada and has given conferences and workshops on costume as an artistic piece.

Libertad Mardel

Graduated from the Scenography career, has worked as a costume designer in more than forty works in different national and international theaters such as UNAM, Centro Cultural del Bosque, Hellenic Theatre, National Center for the Arts and the Almagro Festival. She has participated as an art and wardrobe assistant for student shorts and series. She collaborated as wardrobe assistant and coordinator in series with institutions such as Argos, Canal 11, Claro Video, Azteca. and Netflix

Emilio Rebollar

Costume and set designer. Producer, actor and director; founding partner of Vestuario a Escena. With more than 25 years of experience; Graduated from the Master’s Degree in Theater and Performing Arts from the International University of La Rioja, Spain and from the Theater School at UNAM. He has participated in more than 80 plays, dances and operas. Teacher of costume and production, he has given lectures and workshops on costumes in Mexico and France.

Eloise Kazan

She studied fine arts in Mexico and a postgraduate degree in set and costume design at the Bristol Old Vic Theater School in England. She has worked as a set and/or costume designer in 6 countries. She is one of the winners of the best costume award at the PQ and she was part of the international jury of the same contest in 2015 and of the World Stage Design in 2017 and 2022. She is a Member of the National System of Art Creators.

The Role of the Cultural Practices and Theatre Tradition on Creativity in Japanese Theatre and Beyond

PANEL DESCRIPTION:

Western-style theatre is relatively new in Japan as it started being developed at the turn of the 20th century. In fact, it came to be called Shingeki (New Theatre) in 1913. Japanese theatre practitioners of today create a wide variety of performances while many continue to produce centuries-old theatres, such as Noh, Kabuki, and Bunraku. In contemporary Japanese theatre, despite the heavy western influence, there are still traditional methods practiced during the creative process.

The panel members consisting of a few of the most respected designers and directors will discuss how such traditional practices and cultural traditions and deeply rooted Japanese aesthetics influence the collaboration between a designer and a director. All of the panel members studied stage design or directing in the West at one point in their lives. They will compare and contrast the Western and Eastern theatre practices and discuss how Japanese theatre will go forward in and outside Japan in the future.

PRESENTERS:

  • Yoshinori Tanokura
  • Mitsuru Ishii
  • Shusaku Futamura
  • Junkichi Mochizuki

Presenter information coming soon.

To Print or not to Print: Sustainable Performance Practice Publications

PANEL DESCRIPTION:

Responding to the respective aims and concerns of both Tanja Beer’s ‘Ecoscenography: an introduction of ecological design for performance’, and the Theatres Trust and ABTT’s ‘The Theatre Green Book project’, this panel invites presentation of publications ranging from papers, blogs and chapters to manuals and resource lists, in order to consider individual eco-practice as well as the collaborative approaches of increasing numbers of performance companies and suppliers. Our focus on ‘works in progress’ is a reflection of the ongoing research, development and experiment in this area, as well as the ‘reflection in and on action’ essential to all areas of design and making for performance.

COMPANY:

OISTAT Research Commission

PRESENTER:

  • Kate Burnett
  • Other presenter information coming soon.

Kate Burnett

Kate Burnett is the Chair of OISTAT Research Commission. She is an award winning theatre designer and curator/co-curator of 5 national exhibitions for the Society of British Theatre Designers since 1994. She was editor of the WSD2013 catalogue (Cardiff) and on the Jury for WSD 2017 (Taipei).

DIGITAL PANELS

Ecologically Sustainable Stage

PANEL DESCRIPTION:

How to make more sustainable choices when making a performance? The Ecologically Sustainable Stage online panel presents observations about working processes around performance making within educational studio stage conditions. The similarly named workshop gathered Scenography, Lighting and Sound design students together with teachers and theatre technicians to scrutinize complex questions on sustainability in their stage practices. The three-week workshop was organized in one of the studio stages of the Theatre Academy of Uniarts Helsinki in March-April 2022. Based on their experience, the workshop participants share their notions and questions in the online panel for the WSD seminar audience.

COMPANY:

Theatre Academy, University of the Arts Helsinki, Performance Design Programmes

PRESENTERS:

  • D.A. Tomi Humalisto
  • D.A. Liisa Ikonen
  • Jari Kauppinen
  • Dr Tanja Beer

Presenter information coming soon.

Expanded scenography in the Global South – Residual spaces and materials in performative power

PANEL DESCRIPTION:

How do we situate ourselves as artists concerning the different contexts in which we operate?

Confronting the stage making and its tradition in internal spaces – coming from the European and North American culture – would it be possible to conceive an expanded scenographic epistemology from a South global perspective, connected with the environment and our realities?

Reflecting on the permanent destruction in countries like Brazil—which come from the colonial period—this panel investigates the performative power of discarded and residual places, objects, and materials as a condition and possibility, sharing different perspectives combining spatial intervention, politics, waste production and performance.

PRESENTER:

Renato Bolelli Rebouças

Presenter information coming soon.

Melbourne x Berlin / Scenography & Serendipity in the Warehouse

PANEL DESCRIPTION:

Scenic design, installation, op-art and trompe-l’oeil have become increasingly familiar in urban and suburban environments. Escapism, usually the domain of the theatres, operas, circuses and runways, needs a more immediate, domestic application in the age of Covid-19, when so many performance venues have closed. In mid 2021, an intensive project between design students in both Melbourne and Berlin looked to familiar spaces for opportunities for fantastical design, happenstance theatricality and immersive scenographies, recognizing that art can meet the angsts of a society, alleviate anxieties and offer new perspectives. This exhibition and panel presents the resulting installations and reflects upon the extraordinary collaborations which unfolded across the twin cities.

COMPANY:

Students from SRH Berlin University of Applied Sciences, Berlin School of Design and Communication and University of Melbourne, Faculty of Fine Arts and Music, VCA Production.

PRESENTERS:

  • Gilbert Beronneau and Graphic Design Students from SRH Berlin University of Applied Sciences
  • Anna Cordingley and Production Design Students from The University of Melbourne

Presenter information coming soon.

Oriental traditional ink art and performance design

PANEL DESCRIPTION:

Ink art is a cultural treasure that runs through China from ancient times to the present. Over the years, I’ve been constantly experimenting with how to incorporate this long-standing yet poetic art form into my theatrical projects. I also summarize and organize what I’ve learned and seen over the years from my attempts and explorations. These feelings and thoughts include not only the research on the oriental ink painting culture, but also many experiences on the combination of eastern and western art forms and the differences between eastern and western thinking and concepts.

PRESENTER:

Qin Wenbao

Qin Wenbao

Qin Wenbao is a well-known costume and stage designer in China dedicated to drama, opera, film, and television. He got the Gold Awards-Costume Design in 2017 World Stage Design (WSD) & 2018 International Stage Art Network (iSTAN) – Stage Costume&Make up Design Competition Exhibition. He is also the Associate Professor at the National Academy of Chinese Theatre Arts (NACTA).

The Story Garden: Collaboration between Ecoscenography and Community Orientated Drama

PANEL DESCRIPTION:

The Story Garden is a community engagement project that features stories shared by the residents in the seacoast area, New Hampshire, the United States during the COVID-19 pandemic. The panel presentation will share the collaboration and creation process of this outdoor performance project that blends life, nature, and memories together. The Story Garden incorporates living elements that grow with the story during the development phase, as well as scenery elements created by participants as an embodiment of weaving stories from their pandemic experiences.

PRESENTERS:

  • Raina Ames
  • Szu-Feng Chen

Raina Ames

Raina Ames is Director of Theatre Education and the Chair of the Department of Theatre and Dance at the University of New Hampshire. She holds an MFA in Theatre Pedagogy, MS Ed in Gifted Education, and BA in Theatre. Most recently, she has published a chapter in the book, Arts Integration in Education: Teachers and Teaching Artists as Agents of Change released by Intellect Publishing Fall 2016 (Gail Humphries-Mardirosian and Yvonne Pelletier Lewis, Eds).

Szu-Feng Chen

Szu-Feng Chen is an artist, designer, and educator from Taiwan. She holds an MFA in Theatrical Design from The University of Texas at Austin and has designed for over a hundred productions. Her interest in integrating unconventional materials in her artistry has led her creative focus to sustainable design in visual storytelling. She is the Director of Design and Theatre Technology at the Department of Theatre and Dance at the University of New Hampshire.

WHAT is the THEATRE of TOMORROW?
Jean-Guy Lecat – WSD 2022 Living Legends

PANEL DESCRIPTION:

Over the last two years, theatre artists have endured the pandemic while most of the theatres and operas were closed. Theatres produced some work digitally on the internet and others offered old productions from their filmed archive through their local networks. Every Sunday I saw a beautiful play made by French Comedie Francaise on the national channel.

At that point, most of the theatres closed for the first time, and many artists and technicians lost their jobs. At that time I realized that theatre in general may have reached a turning point and that its future will certainly need to be different.

The way we are creating theatre has to change for two 2 reasons: ecology and financing. Performance and the spaces they exist in need to transform. How can we reconsider the ecology and financial means of producing theatre and opera to adapt to new ways of performance creation?

PRESENTER:

Jean-Guy Lecat

Presenter information coming soon.