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Live Art Class Resources

This page is a repository of resource links to practices explored in my seminar series on Live Art.

Links to the work of: Jill Orr, Lyndal Jones, One Step at a Time Like This, Aphids, PVI Collective, Jason Mailing, Benjamin Cittadini, Robert Wilson, Rimini Protokoll, Duncan Speakman, Marcus Coates, Fish & Game, Persis-Jade Maravala & Zecora Ura, Janet Cardiff, Punchdrunk, Lone Twin, Gob Squad, Forced Entertainment, Ant Hampton, Amy Spiers and Catherine Ryan, Field Theory.

Please contact me with suggestions for extending the list and with errata.

VCA students bring Frisk festival back to Natimuk

Following the success of the 2014 tour, the Victorian College of the Arts’ Frisk Festival returned to Natimuk in November 2015 after it premiered at the Melbourne Fringe. Post includes video.

Backstage at FRISK: the making of Three Birds One Cock

2015 graduate Madelaine Nunn discusses the FRISK show she developed with Candace Gray and Anna Rodway.

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"Forget about good. Good is a known quantity. Good is what we all agree on. Growth is not necessarily good. Growth is an exploration of unlit recesses that may or may not yield to our research. As long as you stick to good you’ll never have real growth."
AN INCOMPLETE MANIFESTO FOR GROWTH by Bruce Mau
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John Cage: Some Rules for Students and Teachers

RULE ONE: Find a place you trust, and then try trusting it for awhile.

RULE TWO: General duties of a student – pull everything out of your teacher; pull everything out of your fellow students.

RULE THREE: General duties of a teacher – pull everything out of your students. 

RULE FOUR: Consider everything an experiment.

RULE FIVE: be self-disciplined – this means finding someone wise or smart and choosing to follow them. To be disciplined is to follow in a good way. To be self-disciplined is to follow in a better way.

RULE SIX: Nothing is a mistake. There’s no win and no fail, there’s only make.

RULE SEVEN: The only rule is work. If you work it will lead to something. It’s the people who do all of the work all of the time who eventually catch on to things.

RULE EIGHT: Don’t try to create and analyze at the same time. They’re different processes.

RULE NINE: Be happy whenever you can manage it. Enjoy yourself. It’s lighter than you think.

RULE TEN: “We’re breaking all the rules. Even our own rules. And how do we do that? By leaving plenty of room for X quantities.” (John Cage)

HINTS: Always be around. Come or go to everything. Always go to classes. Read anything you can get your hands on. Look at movies carefully, often. Save everything – it might come in handy later.

– Thanks to Dave Richmond for passing these on.

– See list of Survival Techniques: Advice for Day 1

"Show up. Pay attention. Tell the truth. Don't be attached to the results."
Angeles Arrien via Phelim McDermott via Deborah Richardson-Webb & David Richmond
Don't take the rejection letter personally. Image: www.thealchemistskitchen.blogspot.com.au

Interview: What to do if you didn’t get in – ArtsHub

Missing out on an offer to study in 2015 may feel like the end of the world. It’s not.

by Troy Nankervis

Published 15 December 2014 – Arts Hub

A great article comparing the experience of unsuccessful applicant Manda Flanary with advice from Head of Acting at NIDA Jeff Janisheski and myself.

Taking control of what happens next

Walton said that you don’t need a degree or an institution to be an artist, and the first way to take charge of what happens next in lieu of a rejection is to put energy into training and professional development. ‘Some of the greatest artists in history don’t have a degree,’ he said.

‘Everyone who auditions is already an artist, and because of the way our auditions are, they’ve already created a new performance work and a new interpretation of a monologue. What happens next is more important than they realise.

Continues…

FR!SK @Natimuk

19-21 November 2015

BFA Theatre Practice graduates take the inaugural degree show FR!SK to Natimuk, a town of 500 people in regional Victoria.

The immersive work Contra is one of several new works being staged as part of FR!SK. Image via www.melbournefringe.com.au

Interview: VCA gets FR!SKy for Fringe – ArtsHub Interview

A festival-within-a-festival, FR!SK aims to help emerging artists get to grips with professional practice.

By Richard Watts

Published Tuesday 9 September 2014

Presented as part of the 2014 Melbourne Fringe Festival, and running over four days, FR!SK is a festival of new live art and performance works created by VCA Bachelor of Fine Arts (Theatre Practice) students.

Eight new works feature in the FR!SK program, exploring a range of themes – discrimination, gaming, our decaying digital-age relationship with privacy and personhood – and embracing a range of performance modes and styles. One common trait all the works share, however, is an interest in evolving the nature of theatre; adapting the ancient art form for the 21st century.

Continues…

VCA Company 2014 (1st, 2nd & 3rd Year Production Students), UN/clean, directed by Noel Jordan, part of ENUF is Enough* photo Giulio Tami

Interview: Strong tradition, new moves – RealTime Interview by Keith Gallasch

From RealTime Special – ARTS EDUCATION: THEATRE & PERFORMANCE

Written by Keith Gallasch in August/September 2014 edition in print and online.

Keith Gallasch: VCA, University of Melbourne: Robert Walton, Alyson Campbell

The Victorian College of the Arts has a long history of influential teaching in theatre yielding many professional actors, directors and other theatre artists, including the animateur, a highly motivated creator able to work across discipline boundaries and bring diverse practitioners together to generate all kinds of work, including new forms. Although the specific diploma course that nurtured this role will no longer exist at the end of this year, the principle strongly persists in VCA’s new degree offerings.

When I ask Robert Walton, Head of Undergraduate Studies in Theatre, what is distinctive about the school’s three-year undergraduate program, he pinpoints with clarity “a kinaesthetic approach to acting through the actor’s body drawing on various techniques,” “a focus on what is already strong in the VCA” and “looking to Melbourne as the inspiration for our course with its vital and exciting theatre community—acting, writing, devising and initiating projects and seeing them right through to production.”

Continues…

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