We work with people who've never performed and people who've performed longer than us. Some of the subjects people ask us to return to are below, but sessions are bespoke for participant groups.
From one-off classes through to designing and delivering whole modules at universities, we love sharing ideas!Get in touch to find out more.
Katherina’s fine art training and theatre design experience inform sessions on the visuals of working on stage. This can include set design, costume design, interpreting text and the making of objects for performance.
Many of our workshops focus on various aspects of devising (which can be a solo or group process), including starting points, generating material, editing and shaping a performance. Working with objects, and generating actions or task-based performance can be very productive for participants used to working in character-driven drama.
working with text
We offer workshops on a range of text generation techniques, working with found text, text as sound and performance writing. The variety of ways in which text can be a part of performance leads to very diverse results within individual sessions on these subjects.
As much of our work engages with autobiographical material, we always enjoy working with others on their own stories. Starting with objects, stories or places with personal meaning, we share skills in creating engaging performance from experiences both everyday and rare.
Classic skills in analysing text to build character and discover rich meaning are vital in understanding complex performance texts, whether as critical interpreter, performer or creator. Traditionally used to unpick characters' dramatic journeys, these same skills can be applied to texts in contemporary performance to reveal dramaturgical throughlines and enrich design, performances and shaping of a work.
By taking different starting points, we develop practical performance ideas which allow people to quickly create. From these, a variety of potential development pathways become visible, and participants enjoy choosing which performance to make, without worrying about how.
The interplay of bodies in a physical space is a key component of many contemporary performance practices. We draw on folk traditions, popular dance and everyday movement to explore the creation of choreographic scores for performance. These sessions often also consider the shaping of a performance: where on a stage action might occur, the rhythm of a work and questions around disruption are all part of the broader choreographic questions we encounter.
The journey from initial ideas to completed work can take many routes, and we think of dramaturgy a bit like sat-nav: it shows alternatives, illustrates the choices available and helps avoid pointless arguments. Dramaturgy draws on all the elements above to consider what form the best encounter between ideas and audiences will take. It is usually most useful during a creative process, rather than as a standalone workshop, to hone existing ideas and clarify creative thinking.