Studium directed by Josephine Gray
During 2020 Iraqi Bodies conducted a stage laboratory on the grotesque with invited performers from the disciplines dance, mime, theatre and circus. From the back of this experience we are now developing a studium veered towards the research of the actor/performer which will be initiated during the autumn of 2021 and run throughout 2022.
The aim of the stage laboratory was to implement a structure whereby Iraqi Bodies could facilitate the questioning of radical theatre in the 21st century. Having implemented this phase, we now see the necessity for a wider spanning research studium whereby the totality of the actor/performer is questioned and investigated. We will offer a theoretical and practical approach to the stage: the studium is where both meet.
In creating a meeting-point where artists from various disciplines can meet we aim to spread the influence of theatre as radical – i.e., its root in the multitude of expressions on stage.
The studium RADIX will run throughout the year with weekly/monthly sessions including physical as well as theoretical sessions. During the summer 2022 we aim to organize a session of two-three weeks with invited international guest artists hosting the sessions.
The methods we will be working with range from pure movement, through mime to circus and vocal exercises. The emphasis of the lectures will be the role of the actor/performer within the fields of aesthetics, (theatre) history and philosophy while exploring various disciplines and key notions of the craft and skill pertaining to the performer.
The study group will consist of a number of invited performers (up to 20 participants).
THEATRE AND ITS LANGUAGE
RADIX will also host a series of lectures, discussions, panels and live performances by Iraqi Bodies' artistic directors as well as invited national and international artists and scholars on the theme Theatre and Its Language.
The following questions will be addressed (but are not exclusive to):
· What is the role of the actor in the 21st century?
· Is there a difference between an actor and a performer, and if so, which?
· What language does the theatre adhere to today?
· Is the language prevalent today justified?
· What is the role of the stage in theatre today?
· During the 20th century theatre needed to create its own language apart from literature–did it manage and if so, are we in need of a new 21st century theatrical language with respect to technology and its influences?
· How can theatre retain its metaphysical claims in a technologized and secularized environment?
Please feel free to get in touch if you are interested or have any questions.