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https://artslondon-my.sharepoint.com/:x:/g/personal/j_murphy0720221_arts_ac_uk/EZHvSlFUDNFImhAMZpQ7IegBo5PvnnvPgAq7sDXFg5-fDA?e=8fl8CS

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notes from lcf performance instagram meeting

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notes from lcf performance instagram meeting

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performance insta account

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https://docs.google.com/document/d/1NguSTXpwEG4iizUf5CaMRXgFkbMc3Hf5/edit

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Reflections 4 - 12 Jan to 8 Feb 2023.docx

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https://docs.google.com/document/d/1algv6afdyI_NXWvEzPm0wExmjE96GBlk/edit

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Reflections 3 - 9 Dec 2022 to 11 Jan 2023.docx

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https://docs.google.com/document/d/1ori8HBYSU-MhsPy29oYWmYlhzHVG-Hxr/edit

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Reflections 2 - 4 Nov to 8 Dec 2022.docx

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https://docs.google.com/document/d/1Gd6dlmVr3deETtyTHewXBuazzHKXr6uqejz8YQR1IjU/edit?usp=sharing

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Looking forward to hearing your thoughts x

Further comment:
https://www.cellophaneland.com/arts-culture/hollywood-costume-va/

"Hollywood Costume is not about fashion or glamour; it’s about how these working garments contribute to character development, how they support the narrative, and most importantly, how they help to create credibility on screen. The exhibition consists of three rooms: Scene I, II and III. In Scene I, visitors learn the art of character construction. Sketches, designs, screenplays, annotated scripts, comments, quotes and references shows how a character is brought to life."
– I think this is really important to film/theatre, how the costume reflects the mood and emotion of the scene/directions from the filmmaker or author, and in turn that produces a catharsis of emotion to the viewers.

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- what would we like the audience to feel? - to understand or to shock
- relates to the title: Hello Stranger
- welcome back, invitation...

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Serena

- Liases with the V&A, Matteo, Kathrine, Lucy and Veronica.
- any queries or information required pass through Serena.

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Suzi and Jazz
Organising schedule, meetings, record the meetings.

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-performance/curating a designer?

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Interventions already in museums and galleries?

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Interventions already in museums and galleries?

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which voice?
the designer?
the production?
the actors/actresses? - they still did do online work such as Hamilton singers were making YouTube videos.
the theme/ pandemic - the struggle?

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- where could these skills be adapted in different realms/jobs/opportunities during the pandemic?

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1st group focused on designers and costume
2nd group focused on space, interior design and V&A

focus on narrative discussions first then decide the groups afterwards based on interests and direction.

roles: finding the performers/finding the costume designers/researching the costumes/researching theatre/documenting process/...

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- Queens Jubilee brought together some theatres such as Hamilton and Joseph and his technicolour dreamboat
- costume budgeting who is the sponsor? for eg Warwick Arts Centre sponsored a play from Classics Production - further the education, costumes were bought and were allowed to keep

What we are learnign about costume / how / the response from the discussions / Feedback? - can everyone put one idea?
democratise everyones learning / knowledge exchange : cocreating knowledge together - education and industry.

development stage / add reflections column on the padlet. / documentation of the process / visually.

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VOICE

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- google forms slots

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Opera/Voice Theme.
Site specific at V&A / parameters of the space.
One thing or a series of things.
Performance/Projection/Installation.
Groups.
Open brief - explore its freedom.
Digital AI?
Various interventions - one or two...?
Find an integrity/interest of the whole group and stick with it.

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This is no Pantomime Campaign (Scene/Change)

This is a good example for the voice theme - Costume Designers voices not being heard and them doing something to make themselves heard!

https://theatreweekly.com/scene-change-launch-this-is-no-pantomime-campaign/

https://www.whatsonstage.com/london-theatre/news/this-is-no-pantomime-campaign-launched-photos_52360.html

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Design collective Scene/Change began their nationwide THIS IS NO PANTOMIME campaign on billboards across the UK on Tuesday.

Scene Change said: " THIS IS NO PANTOMIME is an urgent wake-up call. It's about theatre and the communities it entertains. It's about cancellation and closures. Without our government providing ongoing sector-specific support, we are witnessing the collapse of our world-leading culture industry. Built up over centuries, killed off in a matter of months.
Despite the government's announcement that theatres can now re-open, The impact on the 200 000 self-employed theatre workers is even more devastating: 33% have received no government support at all since lockdown began in March, and there are few prospects for work for the remainder of this year and long into 2021. Many of those doing the hundreds of jobs on our poster are leaving the industry right now, and these skills will take years to rebuild. indoor productions and live performances are just not financially viable whilst social distancing is in place. With Christmas on the horizon, and the majority of pantomimes also now cancelled, theatres will be falling desperately short of the revenue required to see them through 2021, and will soon be left facing even more redundancies and closures.
34 million theatre tickets were sold in 2018. Around 3 million of those tickets were for a pantomime. It is too late for this year's Dames and Sleeping Beauties. Without urgent, increased support, our theatres will remain dark, the seats remain empty, the stories untold, long into the future: this is no pantomime."

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Scene/Change Launch THIS IS NO PANTOMIME Campaign - Theatre Weekly

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Design collective Scene/Change began their nationwide THIS IS NO PANTOMIME campaign on billboards across the UK on Tuesday.

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Think this is something we can definitely look into - email chain or social media campaign - or if we could get one of the posters/part of the billboards that were made - could be an interesting intervention

https://www.scene-change.com/

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Nadia Malik and Donatella Barbieri collaborated to stage a performance in the Raphael Galleries at the V&A in 2012.

Nadia has explained that '[...] it can be very atmospheric with the right lighting. We had performers appearing and disappearing from various places in the room for each mini 6ish minute performance (I think 7 performances in total) and for each one we shifted the audience around the room, so a lot can be done in there…."

You can access some images of the performance here: https://www.joshuapharo.com/revolutions-in-costume

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https://artslondon.sharepoint.com/sites/LCFTech

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- costume museum National Theatre
- open theatre in regents park - West.
- opera Holland Park.

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there are performance based MAs - access the tutors and students.

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- the theatre green book
- waste? props and costume - film industry worse.
- reuse?
- storage issue - lack of.
- 1960s things were repurposed?

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conservatoire universities in London - design and community facing.
outside of London - but needs recognisable link.
Marina - will do an intervention as well.
student team PQ equivalent - 'Make something return with nothing'.

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125 x 150 scale
convey an idea for the final piece
stage management/design
miniature tools

- move away from remaking, only work with what exists already / repurposing things for sustainability purposes.

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Separated into 3 parts
1 part is the inclusion of work.
2nd part is the various shows happening such as this.
3rd part - further research/legacy
Publisher: Performance Research Books

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- Who are the designers here?
- Designers voice to be present.
- Director, Designer and Performance from West London.

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Royal Opera House:
https://www.roh.org.uk/news/covid-19-an-update-from-the-royal-opera-house

Opera Holland Park:
https://operahollandpark.com/opera-holland-park-2020-season-postponement/

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Paul Hamlyn Hall, Bow Street Entrance

COVID-19: An update from the Royal Opera House

We thank you for your continued support of the ROH, it is invaluable during these uncertain and unprecedented times.

ByAlex Beard (Chief Executive)

Monday 16 March 2020, 6.12pm

The safety and security of the Royal Opera House staff, audiences and artists is of paramount importance and we take this responsibility very seriously. In light of the COVID-19 pandemic, we have taken the decision with a heavy heart to close the building to the public and cancel all performances in Covent Garden with immediate effect.

The staff and artists of the ROH are vital to the lifeblood of our art forms, without them we would simply not exist. This suspension of performances will impact not only our loyal audience but also our committed and talented workforce. We will work within the government guidelines to ensure the safety and wellbeing of our staff and artists during this difficult time.

Our employees, permanent and casual, are reliant on the income which we derive through ticket purchases. Without performances it is inevitable that we will become more reliant on philanthropic support and charitable donations. If you would like to support our work you can make a donation here.

We will be in contact with all ticket buyers in due course. Where possible, we ask that you consider donating the value of your tickets to the Royal Opera House Covent Garden Foundation rather than requesting a credit note or refund.

Please note that upcoming cinema screenings are also cancelled. If you have booked for a screening, please contact your local cinema.

You can keep up to date via the ROH social media channels for announcements on a programme of free broadcasts we will bring you during this period of closure.

We thank you for your continued support of the ROH, it is invaluable during these uncertain times.

Sign up now to our newsletter to get our latest news, offers and alerts

Royal Opera House Covent Garden Foundation, a charitable company limited by guarantee incorporated in England and Wales (Company number 480523) Charity Registered (Number 211775)

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COVID-19: An update from the Royal Opera House

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We thank you for your continued support of the ROH, it is invaluable during these uncertain and unprecedented times.

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Some cancelled shows we could look in to further:

Royal Opera House
e.g Nabucco
https://www.gramilano.com/2021/12/royal-opera-house-omicron-variant/

Scene/Change
e.g. Various Outputs during Covid - Posters/Billboards and social media campaigns
https://www.scene-change.com/

Putney Theatre
e.g. The wolves
https://www.putneyartstheatre.org.uk/event-3666189

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Royal Opera House ballet and opera cancelled for Omicron variant

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Due to ‘resource challenges’ caused by the COVID-19 Omicron variant, some performances and tours at The Royal Opera House have been cancelled.

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The Costume Agency Artistic Research Project is the host for the 2020 edition of the Critical Costume Conference and Exhibition.

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Discoveries around the digitisation of V&A

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Discoveries around the digitisation of V&A

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- ABBA Voyage post-covid.

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I did a research about some of the images of realised work and potentially unrealized work which relates to British theatre costume design (with details of sources) Jing

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I did a research about some of the images of realised work and potentially unrealized work which relates to British theatre costume design (with details of sources) Jing

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Images of related design

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The main challenge with technology is how to incorporate it into costume design, and realising if it is needed. Technology can be used within costume design in numerous ways.

Technology can be used to brainstorm initial ideas, using CAD and moodbaords. It can also be used for virtual fittings.

It can be used to actually create garments in a few ways, one is online and in virtual world. Creating 3D online versions of the finished garment. The other way would be to use the technology to make the physical garment, with things like 3D printing now more accessible.

Technology can also be placed onto the garment or be part of the physical garment. Such as lighting or sound attached to the garment.

This can be a challenge to keep up with new technologies, and keep up with the demand of the consumers.

However, all bring exciting new opportunities. Giving costume designers and makers the tools to be even more creative within their designs.

https://exhibition.costumeagency.com/project/katerina-athanasopoulou/

https://doi.org/10.1155/2022/3416273

https://aaltodoc.aalto.fi/handle/123456789/39193

Anne Porterfield & Traci A. M. Lamar (2021) A framework for incorporating virtual fitting into the costume design and production process, International Journal of Fashion Design, Technology and Education, 14:1, 91-100, DOI: 10.1080/17543266.2020.1864484

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01
Katerina Athanasopoulou, Documentation from AUDINT Unsound: Undead show at Arebyte Gallery London, May 2019
Foto: Cathy Greenhalgh

02
Katerina Athanasopoulou, Her Voice, 2019, Film still
Foto: Katerina Athanasopoulou

03
Katerina Athanasopoulou, Her Voice, 2019, 6', HD/dimensions variable, 2:00 (trailer)

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01 Katerina Athanasopoulou, Documentation from AUDINT Unsound: Undead show at Arebyte Gallery London, May 2019 Foto: Cathy Greenhalgh 02 Katerina Athanasopoulou, Her Voice, 2019, Film still Foto: Katerina Athanasopoulou 03 Katerina Athanasopoulou, Her Voice, 2019, 6', HD/dimensions variable, 2:00 (trailer)

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FINAL - Impact of COVID19 on the UKs Theatre industry_December2020_TheatreAPPG

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Designer’s interview or presentation links

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Designer’s interview or presentation links

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https://www.youtube.com/watch?v=M6FpYAyml0M&t=4s

https://www.youtube.com/watch?v=SdjSJJIY2W4

https://www.youtube.com/watch?v=0P3XLY0CuD8

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Initiatives such as:

National Theatre at home

https://www.nationaltheatre.org.uk/nt-at-home-2020

More than half of UK theatres that offered online performances during the Covid pandemic reverted to in-person shows in Autumn 2021.

In Autumn 2021, 60 theatres had at least one online production. Theatres returned to in-person-only viewings as quickly as possible due to the cost of online shows and the necessity of profit for theatres during and after the pandemic.

https://www.theguardian.com/stage/2021/oct/10/50-of-uk-theatres-streaming-shows-online-during-covid-revert-to-in-person-only

https://pandemicandbeyond.exeter.ac.uk/blog/what-next-for-digital-theatre-2/

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Brexit is a looming crisis for British stage industry and international theatre

The proportion of excellent European productions touring to the UK drop even further, in what was already a very insular and inhospitable context before Brexit.

https://www.kent.ac.uk/news/culture/27861/brexit-is-a-looming-crisis-for-british-stage-industry-and-international-theatre

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Theatre APPG Brexit touring letter - press release 28120

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The Creative Industries Federation projected a £74 billion drop in revenue with a loss of 400,000 jobs because of the pandemic. Even theatre impresarios Andrew Lloyd Webber and Cameron Mackintosh were forced to close their productions, resulting in many permanent job losses and hundreds of self employed actors and technicians taking an unwanted “rest”.

Immediately after lockdown closures, it became clear that the face of theatre would change, most evidently in the ability to gather together and create new material. “Back catalogue streaming” – the showing of old recordings of plays – dominated.

Pre-recorded theatre productions, created in controlled conditions during the pandemic (initially free but now mainly pay per view) became the next streaming development, achieving some elements of “live” that back catalogue pieces lacked. These performances delivered a shared feeling of togetherness and provocation, the pieces uniquely filmed under similar circumstances to the viewers’ own caged existences.

This was an expensive process that did little to develop the genre in most cases. Indeed, the National Theatre demonstrated production costs outweighed streaming income.

Importantly, the need to take theatre online has resulted in global collaborations, accessible productions, and the incorporation of modern techniques to bring theatrical culture to anyone with a taste for it. For theatre to keep building, this momentum should be taken advantage of to ensure that the inclusivity and innovation of lockdown is not left behind.

https://theconversation.com/the-pandemic-nearly-killed-theatre-the-creative-way-it-fought-back-could-leave-it-stronger-176185

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When the UK went into lockdown in 2020, its multibillion-pound theatre industry could have ceased to exist. However, the vacuum caused by this physical shutdown served in many cases as a spurring force for increased creativity and resourcefulness. Productions did not stop completely, but instead went online, showcasing the potential of modern technology to bring theatre to wider audiences despite a lack of traditional performance spaces or funding.

The Creative Industries Federation projected a £74 billion drop in revenue with a loss of 400,000 jobs because of the pandemic. Even theatre impresarios Andrew Lloyd Webber and Cameron Mackintosh were forced to close their productions, resulting in many permanent job losses and hundreds of self employed actors and technicians taking an unwanted "rest".

The government's "Rethink. Reskill. Reboot" campaign appeared to encourage people in the arts to retrain and find other jobs, inspiring an outcry from the industry. But in order to survive at all during this period, theatre did need to adapt, and notable examples of genius materialised, reimagining the genre entirely. The survival of theatre has depended on the creation of these new formats, and its future depends on further innovation.

Immediately after lockdown closures, it became clear that the face of theatre would change, most evidently in the ability to gather together and create new material. "Back catalogue streaming" - the showing of old recordings of plays - dominated.

Lloyd Webber encouraged us to watch his early musicals, with Broadway soon following suit offering a "pay as you view" streaming service. Even publicly funded organisations like the National Theatre joined in with One Man, Two Guvnors.

While these streaming served as a suitable stopgap, audiences arguably thrive on live entertainment, relishing the excitement and proximity offered by it. Theatre and Netflix are not interchangeable. Back catalogue streaming is an excellent accompaniment to our thirst for theatre, but not a substitute.

Pre-recorded theatre productions, created in controlled conditions during the pandemic (initially free but now mainly pay per view) became the next streaming development, achieving some elements of "live" that back catalogue pieces lacked. These performances delivered a shared feeling of togetherness and provocation, the pieces uniquely filmed under similar circumstances to the viewers' own caged existences.

This was an expensive process that did little to develop the genre in most cases. Indeed, the National Theatre demonstrated production costs outweighed streaming income.

But, importantly, it did bring the world of theatre to a new locked down audience, with one in five seeing a digital production for the first time. If the legacy of lockdown theatre is engaging new audiences and minimising exclusivity, it is a good one.

True innovation

Tackling the lack of intimacy and dynamism of online theatre became the next challenge, a problem that had to be overcome without box-office funding and full audience support.

The company Original Theatre refused to let isolation beat it, becoming a connoisseur of virtual theatre. The production Apollo 13 demonstrated a new form of theatre that intertwined actor-focused storytelling with green-screen technology, original film footage, and computer graphics. But the effects were not the focus, and audience imagination was encouraged throughout.

The digital concept was further developed into a live broadcast by Original Theatre through its production of Into the Night, which uses the digital effects with a live performance. This was a welcome experimentation, giving us an insight into the possibilities of this methodology, which may find its place as a future mainstream genre.

Individuals, too, have demonstrated innovation in addressing the live problem. Rather than shying from new online environments, actor and author Robert Myles created The Show Must Go Online, a company that reimagined the complete plays of Shakespeare for Zoom. Myles featured actors from all over the world, live streaming weekly to an audience of over 200,000.

Similarly, Lockdown Theatre explored comedic table readings and exclusive chats with notable luminaries such as Emma Thompson and Emilia Clarke. Its productions, including The Real Inspector Hound and Waiting for Godot, became popular Zoom experiences and raised over £500,000 for the Royal Theatrical Fund.

Contact was an outdoor experience. No recordings, no onstage performances, just actors outside on the streets. The audience, plugged into an app with headphones and followed the actors. The soundtrack connected the audience to the actor's inner feelings, blocking out real life sound interference. This enterprising use of technology enhancing creativity is equalled by All Kinds of Limbo, the National's virtual reality experience.

As the UK moves into its " living with COVID " strategy and theatre comes back to full fore, it is important that the industry does not forget the creativeness spurred by lockdown, and instead uses the newly created techniques it has at its disposal. Such efforts are not an alternative, but an addition to future theatre performance.

Importantly, the need to take theatre online has resulted in global collaborations, accessible productions, and the incorporation of modern techniques to bring theatrical culture to anyone with a taste for it. For theatre to keep building, this momentum should be taken advantage of to ensure that the inclusivity and innovation of lockdown is not left behind.

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The pandemic nearly killed theatre - the creative way it fought back could leave it stronger

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When the UK went into lockdown in 2020, its multibillion-pound theatre industry could have ceased to exist. However, the vacuum caused by this physical shutdown served in many cases as a spurring force for increased creativity and resourcefulness.

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Theatre designers are almost all freelance. The interruption to live performance caused by COVID-19 has meant the postponement or cancellation of all designers’ current work and an almost total stop on new work. Whilst income has ceased or been greatly reduced because of this, some of the most significant overheads for designers remain the same (studio rent, running costs of working from home, software licenses, professional memberships, website and marketing costs, and other unclaimable travel and subsistence expenses). Designers have struggled to continue covering these costs so that their businesses remain viable in readiness for work to resume. For many a net income of £15,000 a year in the subsidised sector represents a successful career.

Designers have experienced COVID-19 differently depending which stage of the production they were at when ‘lockdown’ began. Not all phases of work on a design project require access to the theatre or performance venue, so designers in the development stage of work have been able to continue with some elements of work but have faced challenges trying to do so from home. Childcare responsibilities exacerbated during ‘lockdown’ by home schooling requirements are further challenged by the need for families to operate digitally from one computer.

Some designers have felt expected to maintain a consistent level of output despite these upheavals, or to spend more working hours in total on a postponed project that since it has been ‘stretched’ out over a longer period of time.

https://committees.parliament.uk/writtenevidence/7329/html/

https://www.belgrade.co.uk/stories/weducation-design-your-own-stage-costumes/

On the 15th of July 2020, a community of theatre designers up and down the country began staging a nationwide event called Scene Change to draw attention to the plight of theatres in the pandemic.

The scale of freelance work in the theatre industry is reflected in another campaign called ‘Freelancers Make Theatre Work’, designed to be an inclusive community for the 200,000+ freelancers who make up the 70% of the work force from costume designers to prop makers.

https://www.vam.ac.uk/blog/projects/pandemic-objects-backstage

Since freelancers often work ahead of pay and without proper contracts, every job is high risk at the best of times.

Designers are suffering from anxiety about their future and current funds, not to mention Zoom fatigue.

The shock to the industry has been hard to take in, and for such a busy and committed workforce to find themselves suddenly unable to work is frustrating.

https://bectu.org.uk/news/aftershocks-what-does-the-covid-19-pandemic-mean-for-theatre-designers

During lockdown, Green decided to use the period of sudden unemployment to develop another project she was passionate about – sustainable fashion. “I needed to generate an income – and to keep making something, because that’s what keeps me happy,” she says. In September, she launched the fashion label Article Green, with elegant, quietly theatrical pieces using sustainable fabrics – natural textiles, grown using environmentally sustainable methods – that Green makes to order in her Bristol studio.

https://www.theguardian.com/stage/2020/dec/16/ti-green-stage-designer-sustainable-fashion-article-green

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Covid 19 theatre goes digital provocations

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Stage Systems

"It only took a little over a month, between March 17th and April 22nd 2020, for ticket sales to fall by 93%, resulting in a 91% drop in revenue. But it wasn’t only theatre profit that felt a hit: in the following 3 months over 15,000 were lost, meaning at least 7.8 million people missed out on incredible shows.

Fast-forward a year later, in London alone nearly 40 per cent of theatre and arts workers had been made redundant, causing over half of them to consider quitting the industry altogether because of the impact of the pandemic."

The Society of London Theatre & UK Theatre estimated losses for the sector at 230million pounds on their report in 2021 and these numbers exclude freelancers, which are reckoned to represent 70% of the theatre workforce.

https://www.stagesystems.co.uk/pandemic-impact-on-uk-theatres/

Theatre closures during the pandemic
- Response from the Mayor of London

The COVID-19 pandemic has had a devastating impact on London’s theatres. It is too early to assess the number of permanent closures as most theatres have yet to reopen.

In 2019, I launched the first ever Cultural Infrastructure Plan and Map for London which records the number of cultural venues and facilities and sets out what is needed to protect and grow them. This data enabled my team to respond to the crisis with my £2.3m Culture at Risk Business Support Fund, which has supported over 301 businesses.

My expanded Culture at Risk Office has supported over 750 businesses since March 2020, including theatres. We’ve worked with our partners at the Theatres Trust to safeguard London’s theatres throughout the crisis.

In due course, a data update to the Cultural Infrastructure Map will help us analyse closures. The impact of the pandemic on the theatre sector is expected to be ongoing for some time.

https://www.london.gov.uk/questions/2021/1809

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A big challenge within the creative industry. Although this challenge has been around for many years, it has been given an increasing spotlight in the last few years. All industries must face this challenge and adopt new practises than can help reduce the impact they are having on the planet.

Creative Innovation in the race to net zero: A leadership breakfast that was hosted by Creative UK

During this event the guests/companies discussed ways in which the creative industry could become more sustainable. Things like creating new sustainable materials, creating a circular economy, giving grants to SMEs to help them be more sustainable and using the creative market to help spread awareness of this issue amongst other things were the ideas presented on the day.

https://www.wearecreative.uk/the-debrief-creative-innovation-in-the-race-to-net-zero/

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We look back at our recent Creative Innovation in the Race to Net Zero Leadership Breakfast, centred around a roundtable discussion with Secretary of State...

This content is for Creative UK members. Enter your password below to read the full article.

If you would like to become a member, find out more here or get in touch with us at membership@wearecreative.uk

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The Debrief: Creative Innovation in the Race to Net Zero - Creative UK

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There is no excerpt because this is a protected post.

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SOLT + UK Theatre - What we did to support our members during covid.

Thorough plan of what was done by organisations in a bid to support those out of work due to theatres being closed. "it is
important to have a record of what was
achieved during this horrific period for live
theatre and know that when we were able
to collaborate with one voice, we were able
to make a real difference"

£1.57 billion government funding package protected jobs across music venues, theatres, galleries, museums and cinemas

West End Stage in central London has also received a grant of over £80,000 to continue inspiring and supporting young people to begin their careers on stage.

https://www.gov.uk/government/news/more-vital-support-given-to-over-300-cultural-organisations-to-survive-beyond-pandemic-and-protect-jobs

Online performances

While some of the UK’s larger theatres and companies have been staging digital performances for years, smaller groups hadn’t had the expertise or budget to investigate the technology.

The Digital Theatre Transformation project created a toolkit for theatre companies to help them get online.

It based its findings on the experience of the Creation Theatre in Oxford, which performed a sell-out Zoom performance of The Tempest in the early days of lockdown in 2020.

The project was led by Professor Pascale Aebischer and Dr Rachael Nicholas from the University of Exeter. Their initial report found that audiences were willing to pay for live, digital theatre, even after lockdown ended.

https://www.ukri.org/news-and-events/tackling-the-impact-of-covid-19/recovery-and-rebuilding/arts-and-culture-in-the-time-of-coronavirus/

Royal Shakespeare company during the closures

Funding initiative "Keep your RSC", Homework help where performers would answer questions about performing and Outdoor performances where lockdown regulations allowed to name a few.

"RSC artists speak up for #BlackLivesMatter, creating a short film in response to the murder of George Floyd.

Young people from more than 75 of our Associate Schools work with us and their local theatres to share their original digital responses to Shakespeare’s plays in lockdown, as we partner with Samsung to hold our annual Playmaking Festival online."

https://www.rsc.org.uk/about-us/history/what-we-did-in-the-pandemic

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- no walls
- 3D space
- viewpoint
- walking and the journey and audience
- storytelling
- dramaturgy (how it forms together)
- what are you taking into the space? what will you use? ask Qs in terms of materials - for eg the wooden structures that are used in Lion King and Life of Pi
- living matter and living material
- light / natural or artificial?
- how we use the architecture of the space.
- standard and stock items
- if we are making something?
- building a set / making compromises?
- can borrow mannequins and screens from the V&A.

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Brexit was another challenge that affected costume designers and the creative industry. It is thought that 1 in 13 workers within the creative industry were from Europe with this number being higher in certain sectors. Many creative industries also relied on funding from Europe, over £400million given to 1915 projects across the UK.

Workers from the UK also face some problems working within Europe, with new laws and visas that must be completed when working there now.

https://drive.google.com/file/d/118K7yiift1cTosufulxa1NxcYLKAzjuU/view

Opportunities that can arise from Brexit are negotiation of Tax, possible charging more for exports, providing more expertise to UK based projects.

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Covid 19 was/is probably the biggest problem/challenge costume designers have ever faced. Rules and regulations were in force and costume designers had to adapt to these changes on a regular basis. One example of innovative solution to these changes was to incorporate face masks into costume design. To begin with neutral colours and in the end more extravagant to be part of the actual costume.

https://www.thestage.co.uk/features/set-design-in-the-covid-era-how-theatres-creatives-are-adapting-to-socially-distanced-spaces

Some examples of ways to work during the pandemic:

https://www.costumeintheatre.com/costume-during-covid

An online exhibition surrounding face masks that stemmed from the pandemic

https://clothingthepandemic.museum/

Online Fittings and wardrobe checks is another way costume designers adapted during the pandemic:

https://fashionista.com/2020/08/movie-tv-costume-designers-working-coronavirus-pandemic

How some creatives adapted to the pandemic

https://www.arts.ac.uk/colleges/london-college-of-fashion/stories/creatives-at-home-lcf-alumni-businesses-covid19

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Set design in the Covid era: how theatre's creatives are adapting to socially distanced spaces

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With theatres starting to reopen, Natasha Tripney talks to stage and costume designers about how they are making allowances for a new set of considerations and restrictions amid Covid-19's ever-changing landscape

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https://hyperallergic.com/tag/coronavirus-pandemic/

Hyperallergic is a website with a lot of articles surrounding art, fashion, culture, etc. - this specific link is about those topics in relation to the pandemic. have a browse and see if there are things related to costume, theatre and museums.

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Released jointly, two studies by UNESCO and the International Council of Museums (ICOM) also say that nearly 90% of the world's 95,000 museums have temporarily closed during the pandemic.

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Not necessarily linked to theatre and costume but in terms of fashion during covid these students shared how they coped during these times. Could potentially reach out to them for an interview.

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Researching the context within which costumes were designed, produced and used 2019-2022 

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Researching the context within which costumes were designed, produced and used 2019-2022 

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Identify specific problems/challenges shaping costume design 2019-22 (Social, Cultural, Economic, Environmental)

Explore innovative solutions and responses

Gather images of realised work (and potentially of unrealised or re-imagined work) which relates to these themes from 2019-2022 (with full details of image sources)

Seek out recorded interviews with designers and makers which speak to these themes.

This group might like to start their research using the following resources:

https://www.wearecreative.uk/

https://www.costumeintheatre.com/

https://costumeagency.com/

https://www.criticalcostume.com/

https://www.intellectbooks.com/studies-in-costume-performance

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It is rather dim overall and we had to rely on the overhead lights in the ceiling and the lights on the sides, but overall the venue is large.

However, we were not able to go in for a full tour as they were setting up the venue for the night event on the day of our research.

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- dark: lack of stage lighting in theatre during the pandemic years.
- grandeur of the room and the large scale Raphael paintings are quite theatrical and staged in terms of composition and colour and chiaroscuro.
- audio lacks there though in such a large space, experienced this at a performance taking place in this gallery at the V&A.

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An outlook group has been created to ensure easy navigation between all team members for content, scheduling and group emails . hellostrangerke@arts.ac.uk

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Survey of the history of the Society of British Theatre Designers, the annual exhibition and the Prague Quadrennial.  

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Survey of the history of the Society of British Theatre Designers, the annual exhibition and the Prague Quadrennial.  

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Use https://www.theatredesign.org.uk/ and https://pq.cz/ and as a starting point from which to research the origins, values, aims and evolution of both.

Learn more about the Hello Stranger project using the website as a starting point https://www.hellostrangernationalexhibition.org.uk/

Also investigate past exhibition themes and outputs and explore the audience and impact of past exhibitions and the nature of the contributors

Draw up a list of any questions for Kathrine and Lucy about the background to SBTD, PQ and the Hello Stranger Project

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The Globe is located on the lower ground, in Room 4, and is connected next to Room 3 and Room 5, which is a two-way street that one can enter from either Room 3 or Room 5.

Room 4 is called The Salon. It’s a place of ideas as well as objects. In the 18th century the word ‘salon’ meant a large reception room. But it also meant a gathering of distinguished and interesting people. In Paris, especially, intellectual women held regular salons to which they invited special guests.

In the centre of the room is ‘The Globe’, an installation by the Cuban art collective Los Carpinteros.

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Notes on the Spaces mentioned in the document

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Notes on the Spaces mentioned in the document

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The Globe
- sound installation/film currently there and the sound projects loudly. sound installation works well in this space.

Tunnel and its entrance
- linear design on the floor which could be useful to mimic in an installation with triangular shapes or a performance inspired by line.

Medieval and Renaissance Area
- staircase allows for hanging installation of costume/art.

Fashion on Ground Floor
- the circular domes on the ceiling have projections of film, which is a good idea to allow the viewers to view the whole ceiling and space.
- in terms of walking around the circumference I personally feel like its never-ending so we could play with the idea of a maze for example like Alice and Wonderland...
- also the hallway that you enter/exit the fashion space has ancient sculpture, it could be possible to position sculptures in the circumference around the fashion space.

Outside spaces: Exhibition Rd and Garden
- for a v&a late on the 23rd of Sep there was a caravan outside that visitors entered for an experience/game, so could use cars/stalls/structures for visitors to engage with.

Raphael
- for a v&a late on the 23rd of Sep there was a performance using audio with speakers and the sound did not project very well at all, perhaps because it is such a large space with high ceilings so have this in mind...
- Raphael as an artist is known for colour so if we were presenting costume with lots of colour this would link well to Raphael's work.

China
- in the past they used the space for performance.

Level 1 / Daylit gallery - Medieval Renaissance
- modern area, visited during the Design Festival Weekend so to me it feels like a modern space. The light and white walls give it a clinical feel that perhaps looking at costume-making during the times of covid this could be a visually apt place for presentation.

Level 2 / Paintings
- bold coloured walls: could link colours of costume to the walls or the paintings for a visually appealing appearance. Tate Britain host Tate Lates with colour lighting and music DJs and it creates quite a surreal atmosphere to be free in a room of art that you must be careful and cautious about - interesting idea in terms of what productions/theatrical play we are presenting - if it is one of a musical it could be interesting to use this space.

Photography Gallery
- quite a grand space in terms of large windows and royal staircases, could be utilised for a climax later.

Leighton Corridor
- could be used for a performance/march/pose, as it has a moving feel to it, for example, it automatically encourages viewers to walk in a straight direction as it is long and narrow. though, the artwork's grandeur and beauty is distracting (as it is so beautiful!) so it may take away the focus from the costume we present.

Design 1900-Now
- over the balcony you can see hanging flags - could be an idea to suspend a fabric/costume/photographs.
- upstairs is noisy due to the cafe though so performance would not be a wise idea.

Level 3 / British Galleries Landing
- more appropriate for a performance due to the large space.
- gold from the mosaics on the walls could be a nice link to gold embellishing on the costumes or gold/yellow spotlighting on a performance.

Gallery 119 - The Three Graces (which are not there at the moment)
- seems appropriate for the mic-drop piece, if there is a climatic costume or costume to showcase the most development/progression over costume-making during covid this would be the place to exhibit. (a bit like when the large yellow diamond Beyonce wore had its own room in the most recent Tiffany&Co exhibition at the Saatchi Gallery).

Sackler Centre
- tables and chairs, useful for a workshop or a talk.
- the space lacks art.

Out of all the space in the V&A I view the rooms with art and architecture to be most useful. As the colours/shape of the work presented could be utilised and linked with the performance or costume we present. Likewise, the rooms with a lot of light source would be better for showcasing a performance or costume too. However if we use a lot of video a darker space with not much natural light such as the Fashion Gallery would be useful. If we use audio and microphones a large room such as the Raphael room should not be used, but instead a smaller room such as The Globe should be. Another interesting note is no one has used the Illustration room yet so we could be the curators to change that!

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Performance 20Festival 202023 20space 20ideas

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Using the handout which Niamh Kelly from V&A put together (attached) visit the V&A to survey potential spaces for ‘intervention’.    

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Using the handout which Niamh Kelly from V&A put together (attached) visit the V&A to survey potential spaces for ‘intervention’.    

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Pay specific attention to: Light levels, Acoustics, Access (for people and objects), likely Footfall, Space available, Architecture of the Space and any objects currently on display.

Record key measurements (entrances, passageways etc)

Consider elements within these spaces which the intervention could respond to - particularly in relation to the research generated by Group 3 about the problems and challenges shaping costume design and production 2019-2022

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The Society of British Theatre Designers

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The Society of British Theatre Designers

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Origins: 1976. Launched website 2020.

Values:  Representative, accessible and an inclusive organisation.

Aims: They shape their activities based on hearing the members' needs and concerns. They do this by consulting members across various platforms such as surveys, 1-1 formal and informal events and through the Regional Hearts programme. They want to evolve, change and add to the groups over time.

Evolution: New working groups formed by the committee and members activate conversations into longer term action plans. For example, Staging Places Roundtable events at the V&A, Prague Quadrennial and SOUP events around the country since 2019.

The Groups:
- Access and Aesthetics
- Designers Taking the Lead
- Education
- Mentoring
- New Collaborations
- Publications
- Sustainable Design

^all multidisciplinary from diverse disciplines.

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Origins: Established 1967.

Values: To celebrate diverse forms of performance design/scenography around the globe, the Prague Quadrennial strives to present it as an art form concerned with the creation of holistic performance environments that respond to the current issues of our world.

Aims: To bring the best of design for performance, scenography, and theatre architecture to the front line of cultural activities to be experienced by professional and emerging artists as well as the general public. Every 4 years the curatorial concept offers its participants a fresh look at the artistic reflection of our times in performance designs and scenographies.

Evolution: 2 week event per 4 annum (because it showcases a culmination of the efforts of the preceding 4 years). Evolved to a platform designers understand as a continual stream of activities and collaborations happening across the globe with various partners, creative professionals, artists, researchers and theorists. An opportunity for performing arts professionals around the globe to come to one place and share their work, ideas and thoughts during the festival.

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Survey of SBTD and PQ

SBTD

Origins：Founded in 1976 to champion and celebrate the work of designers.

Values：SBTD is a hub for information sharing and exchange between members of the professional designer community. They are seen as the first point of exchange in the UK by the international scene community and international companies seeking professional designers.

Aims：A fully representative, accessible and inclusive organization.

A supportive and active community of practice, experience and shared awareness.

The SBTD takes the path of gathering more artistic perspectives and expertise and expanding the artistic impact of each professional direction, thus helping every designer and future designer. Through the Value by Design campaign, it continues to fight for better rights and conditions for designers at every stage of their careers, whether behind the scenes (and related forms) or at public events.

Evolution：Since its inception in 1976, the SBTD has evolved and restructured from advocating and celebrating the work of designers to launching its website in June 2020, a professional association run by designers, for designers.

At now，new working groups have been formed by committee and members as a means of activating conversations into longer term action plans.

PQ

Origins：Established in 1967 to bring the best of design for performance, scenography, and theatre architecture to the front line of cultural activities to be experienced by professional and emerging artists as well as the general public.

Values：More and more designers now understand PQ as a platform: a continual stream of activities and collaborations happening across the globe with many different partners, creative professionals, artists, researchers, and theorists.

Aims：PQ’s central curatorial concept shapes the festival and offers its participants a fresh look at the artistic reflection of our times in performance designs and scenographies.

Evolution：In response to the borderless and creative development of design and scenography, PQ's traditional project of theatre architecture exhibitions has been transformed into exhibitions of performance spaces, including any type of space created or adapted as a performance venue. The impact of this has been to turn more audiences into participants, recognising the need to experience the performance design/scenario in its performance form: live and with audience participation. In line with this trend we have renamed the PQ as a festival rather than an exhibition.

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National exhibition of performance design 2019-23
UK events: March 2023
Prague Quadrennial: June 2023

About: emphasis on the responsively and openness in the context of a changing world - as we emerge from the pandemic and face up to climate crisis,  legacies of inequality, global conflict and the increase of digital technologies in our lives, we face a changed landscape for performance design and scenography.

Questions the project explores include: How are performance designers responding and adapting to the key challenges of our times? How is our art form evolving in response to a changing world? What voices have been missing from the conversation?

Curators: Kathrine Sandys (Head of Theatre Practice at the Royal Central School of Speech and Drama) and Lucy Thornett (Senior Lecturer in Scenographic Practices at UAL). Both members of Society of British Theatre Designers and convenors of the UK Theatre and Performance Research Association (TaPRA).

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SBTD
Origin: Established in 1967

Aim: SBTD was created to support and celebrate the work of designers for performance based in the UK at every stage of their careers.

SBTD, as a professional association, supports designers working in all genres and scales of live performance, both nationally and internationally, and provides a voice for design practitioners when social, economic and cultural policies are developed at government level. Exhibitions are a way for institutions to share and celebrate to the public.

Evolution: Since 2007, the institution has had a partnership with the V&A in London.

Recent representative exhibitions Staging Places celebrates the diversity of British performance design across spaces and genres. Featuring costumes, set designs, models, photographs, drawings and puppets, the exhibition explains the creative process behind performance design, with the aim of showing the diversity of contemporary British performance design practice and inspiring young people to innovate and develop.

PQ
Origin and  aim: The Prague Quadrennial of Performance Design and Space was established in 1967 to bring the best of design for performance, scenography, and theatre architecture to the front line of cultural activities to be experienced by professional and emerging artists as well as the general public.

Current topic: The theme of the Prague Quadrennial 2023 is RARE; in the sense of unique and raw realities that artists create. PQ will present art springing out of ideas, materials, artistic approaches, and design practices that connect to the human level from within the environment, with its genius loci and unique situation.

What the two have in common

Both are similar to a platform for collaboration and activities with different partners, creative agencies, designers and artists on a global scale. And to share local/individual creative performing arts to a wider audience. To provide more unique opportunities for performance spaces and performance design, while presenting them to the public, allowing the viewer to experience and examine the development and innovation of performance design and scenic art in a contemporary context, inspiring and guiding more people to join in.

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UK Events: March 2023 | Prague Quadrennial: June 2023

Hello Stranger emphasises responsivity and openness in the context of a changing world.  Discussing the directions and breakthroughs in art forms that have evolved in order to respond to the challenges, in the context of the wider environment and various social issues.

Hello Stranger will host 13 regional events across the UK in March 2023. Centred on the regional hubs of Staging Places, the SBTD 2019 exhibition project led by Fiona Watt, the events will reveal the last four years of performance design in the UK.

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Exhibition of Countries and Regions is the historically most significant exhibition of PQ. The best artists in the field of performance design come together to create a series of works that deconstruct or reconstruct performance art and inspire more transformative ideas than the student exhibitions, which are more professional in nature and where the choice of artists is determined by the curators.

Student Exhibition: This is also an important part of PQ, focusing on the students' own cultural backgrounds, such as local traditions and culture, and their unique experiences, as a way of exploring how local identity fits into the scenography. There is also an emphasis on modern digital methods and audience participation.

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Society of British Theatre Designers and The Prague Quadrennial

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Society of British Theatre Designers and The Prague Quadrennial

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Society of British Theatre Designers

The Society of British Theatre Designers is a professional association run by designers for designers.

Founded in 1976, the Society of British Theatre’s mission is to encourage and celebrate the work of designers, from local and national to international.

The launch of this website in June 2020 was introduced to strengthen the direction of values of being a representative, accessible and inclusive organisation.

Communicating through a B2C structure, prioritising the concerns and needs of their members to shape their activities. This is actioned by consulting with members across a range of platforms via surveys, face-to-face formal and informal events, and their Regional Hearts programme.

Their new working groups created by their committee and members operate conversations into longer-term action plans, including Staging Places Roundtable events at the V&A, Prague Quadrennial and at SOUP events around the country since 2019.

They intend to evolve, change and steadily add to their existing groups, which are:

- Access and Aesthetics

- Designers Taking the Lead

- Education

- Mentoring

- New Collaborations

- Publications

- Sustainable Design

The Prague Quadrennial

Established in 1967, The Prague Quadrennial of Performance Design and Space, globally known as a two-week event taking place every four years with the aim to contribute the best of design for performance, scenography, and theatre architecture to the attention of cultural activities to be experienced by professional, emerging artists and the general public.

With the value of celebrating diverse forms of performance design/scenography around the globe, this curatorial platform aims to present itself as an art form concerned with creating holistic performance environments, responding to the current zeitgeist.

This festival has evolved and become an opportunity for performing arts professionals around the globe to come to one place and share their work, ideas and thoughts during the festival, with more and more designers now understanding PQ as a platform: a continual stream of activities and collaborations happening across the globe with many different partners, creative professionals, artists, researchers, and theorists.

More and more countries have been bringing exhibitions with performative elements that draw the viewer into new imaginary spaces and turn audiences into active participants. The 2023 edition key slogan is ‘RARE’ in the sense of unique approaches and rare artistic experiences.

It will display the need to experience performance design/scenography in its performative format, which will be live with audience engagement.

More and more countries have been bringing exhibitions with performative elements that draw the viewer into new imaginary spaces and turn audiences into active participants. The 2023 edition key slogan is ‘RARE’ in the sense of unique approaches and rare artistic experiences, which will be live with audience engagement.

Both are inspiring international platforms championing collaboration and activities with many partners, creative agencies, designers and artists, bringing to a wide audience through highlighting the importance of performing arts and providing exceptional opportunities for performance design and scenography in its performative format.

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https://services.pq.cz/en/archive.html - catalogue, bibliography, film and historical material available. Useful to explore outputs, audience, impact and nature of the contributors.

1967 PQ: The first Prague Quadrennial took place in 1967 in the “Brussels Pavilion” brought back to Prague from Expo 58 in Brussels. Competing for the main price, the Golden Triga, were 327 scenographers from 20 countries. The non-competitive honorary exposition hall was dedicated to the Czechoslovak laureates from the international Biennale in Sao Paolo, living and working legends, and trailblazers of modern Czech scenography. The PQ 67 Golden Triga went to the exposition from France.

1971 PQ: The second PQ was held in 1971, again in the Brussels Pavilion of the Julius Fučík Park of Culture and Leisure (PKOJF). The thematic section was dedicated to productions of the dramas of William Shakespeare. 26 countries took part in PQ71: Austria, Belgium, Brazil, Bulgaria, Canada, Cuba, Czechoslovakia, Finland, France, East and West Germany, Hungary, Italy, Japan, Mexico, Norway, Poland, Romania, Spain, Sweden, Switzerland, United Kingdom, Uruguay, USSR, Venezuela, Yugoslavia. The PQ 71 Golden Triga went to the exposition from East Germany.

1975 PQ: The third PQ took place in late 1975 and early 1976. The thematic section was dedicated to the work of scenographic schools. The number of participants increased to 28: Austria, Belgium, Brazil, Bulgaria, Canada, Cuba, Czechoslovakia, Denmark, East Germany, Finland, France, Holland, Italy, Japan, Hungary, Mexico, Norway, Poland, Romania, Spain, Sweden, Switzerland, United Kingdom, Uruguay, USA, USSR, West Germany, Yugoslavia. The PQ75 Golden Triga was awarded to the exposition from the USSR.

1979 PQ: The fourth PQ was held in 1979, again in the PKOJF Brussels pavilion. Because the PQ took place during the International Year of the Child, the thematic section was dedicated to puppetry. 27 countries took part in PQ 79: Austria, Belgium, Brazil, Bulgaria, Canada, Czechoslovakia, Denmark, East Germany, Egypt, Finland, France, Hungary, Italy, Japan, Netherlands, Norway, Poland, Portugal, Romania, Spain, Switzerland, United Kingdom, United States, Uruguay, USSR, West Germany, Yugoslavia. The PQ 79 Golden Triga was awarded to Great Britain.

1983 PQ: Czech and Slovak composers.  Steel art nouveau construction. The fifth PQ was held in 1983 in both wings of the PKOJF Congress Hall. The thematic section was dedicated to operas by Czech and Slovak authors. 28 countries took part in PQ83: Australia, Austria, Belgium, Bulgaria, Canada, Cuba, Czechoslovakia, Denmark, East Germany, Egypt, Finland, France, Hungary, Italy, Japan, the Netherlands, New Zealand, Philippines, Poland, Romania, Sweden, Switzerland, United Kingdom, USA, USSR, Vietnam, West Germany, Yugoslavia. The PQ 83 Golden Triga was awarded to West Germany.

1987 PQ: The sixth PQ was held in 1987 in both wings of the PKOJF Congress Hall. The thematic section was dedicated to the work of Anton Chekhov. 32 countries took part in PQ 87: Austria, Belgium, Brazil, Bulgaria, Cambodia, Canada, China, Cuba, Czechoslovakia, Denmark, East Germany, Egypt, Finland, France, Hungary, Iceland, Italy, Japan, Laos, Netherlands, New Zealand, Poland, Romania, Spain-Catalonia, Sweden, Switzerland, United Kingdom, United States, USSR, Vietnam, West Germany, Yugoslavia. The PQ 87 Golden Triga was awarded to the exposition from the USA.

1991 PQ: The seventh PQ was held in 1991 at the Palace of Culture. The thematic section was dedicated to the operas of W. A. Mozart. 36 countries took part in PQ91: Australia, Belgium, Brazil, Bulgaria, Canada, China, Cyprus, the Czech and Slovak Federal Republic, Denmark, Egypt, Finland, France, Germany, Greece, Hong Kong, Hungary, Iceland, Italy, Israel, Japan, Netherlands, Norway, New Zealand, Poland, Portugal, Romania, Syria, South Korea, Spain-Catalonia, Sweden, Switzerland, United States, the Union of Soviet Socialist Republics, United Kingdom, Yugoslavia. The PQ 91 Golden Triga was awarded to the exposition from Great Britain.

1995 PQ: The eighth PQ was held in 1995 in the Industrial Palace at the Prague Exhibition Grounds. 42 countries took part in PQ 95: Argentina, Australia, Austria, Belgium, Belarus, Brazil, Bulgaria, Canada, China, Chile, Croatia, Cyprus, Czech Republic, Denmark, Egypt, Estonia, Finland, Germany, Greece, Hong Kong, Hungary, Iceland, Israel, Japan, Korea, Lithuania, Latvia, Mexico, Netherlands, New Zealand, Philippines, Poland, Romania, Russia, Slovakia, Slovenia, Syria, Spain-Catalonia, Sweden, Switzerland, United Kingdom, United States of America. The Golden Triga was awarded to the exposition from Brazil.

1999 PQ: 516 designers from 47 countries. Location was LeCompte Mall (an international camp of symposiums and alternative theatres). Photographic exposition on the balcony with works of the Czech theatre company - Yarosalv Krejci and his students. Light laboratory of theatre lighting. The PQ was perceived as a labyrinth in which each participant had his or her own corner. The ninth PQ was held in 1999 in the Industrial Palace at the Prague Exhibition Grounds.45 countries took part in PQ 99: Argentina, Australia, Austria, Belgium, Belarus, Brazil, Bulgaria, Canada, China, Chile, Croatia, Cyprus, Czech Republic, Denmark, Egypt, Estonia, Finland, France, Germany, Great Britain, Hong Kong (China), Hungary, Iceland, Italy, Israel, Japan, Lithuania, Latvia, Mexico, Netherlands, New Zealand, Norway, Poland, Portugal, Romania, Russia, Slovakia, Slovenia, South Korea, South Africa, Spain-Catalonia, Sweden, Switzerland, United States, Yugoslavia. The PQ 99 Golden Triga was awarded to the exposition from the Czech Republic.

2003 PQ: The tenth PQ was held in 2003 in the Industrial Palace of the Prague Exhibition Grounds. 50 countries took part in PQ03: Argentina, Australia, Austria, Belgium, Brazil, Bulgaria, Czech Republic, Canada, Chile, China, Croatia, Cyprus, Denmark, Egypt, Estonia, Finland, France, Germany, Greece, Hong Kong-China, Hungary, Iceland, India, Israel, Italy, Japan, Korea, Lithuania, Latvia, Mexico, Netherlands, Norway, New Zealand, Oceania, Peru, Poland, Romania, Russia, Serbia and Montenegro, Spain, Slovakia, Slovenia, South Africa, Sweden, Switzerland, Taiwan, Turkey, Ukraine, United Kingdom, United States. The PQ 03 Golden Triga was awarded to the exposition from Great Britain.

2007 PQ: 5000 contributors from 70 countries, 35000 visitors. 52 exhibiting countries, 500 live events. themes: meetings, dialogues and recycling street events: consider yourself an actor on the stage and set of Prague's street square. The eleventh´PQ was held in the Industrial Palace and at the Křižík's Pavillion E at the Prague Exhibition Grounds. 52 countries took part in PQ07: Argentina, Australia, Austria, Belarus, Belgium, Brazil, Bulgaria,Canada, Chile, Croatia, Cyprus, Czech Republic, Denmark, Egypt, Estonia, Finland, Georgia, Germany, Greece, Hong Kong S.A.R. China, Hungary, Iceland, Ireland, Israel, Italy, Japan, Latvia, Lithuania, Mexico, Netherlands, New Zealand, Norway, Pacific Islands, Philippines, Poland, Portugal, Republic of Korea, Republic of South Africa, Romania, Russia, Serbia, Singapore, Slovakia, Slovenia, Spain, Sweden, Switzerland, Taiwan, Turkey, United Kingdom, USA, Venezuela. The PQ 07 Golden Triga was awarded to the exposition from Russia.

2011 PQ: The twelfth PQ took place at the National Gallery’s Veletržní Palace, the National Theatre’s public piazzetta and at the Prague Crossroads social and cultural centre in St. Anne’s Church. 62 countries took part at PQ11: Argentina, Armenia, Australia, Austria, Belarus, Belgium, Brazil, Bulgaria, Canada, Chile, China, Colombia, Croatia, Cuba, Cyprus, Czech Republic, Denmark, Estonia, Finland, France, Georgia, Germany, Greece, Hong Kong Sar China, Hungary, Iceland, India, Israel, Italy, Japan, Kazakhstan, Latvia, Lebanon, Lithuania, Macedonia/Fyrom, Mexico, Mongolia, Netherlands, New Zealand, Nigeria, Norway, Peru, Philippines, Poland, Portugal, Republic of Korea, Republic of South Africa, Romania, Russia¸Serbia, Singapore, Slovakia, Slovenia, Spain, Sweden, Switzerland, Taiwan, Turkey, United Kingdom, Uruguay, USA, Venezuela. The PQ11 Golden Triga was awarded to the exposition from the Brazil.

2015 PQ: The thirteenth PQ took place at several locations in the historical centre of Prague. The theme of the edition was Music, Weather, Politics. Video is greyscale. 78 countries took part at PQ15. The PQ 15 Golden Triga was awarded to the exposition from Estonia.

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Archive of the PQ will provide you the complete view of the previous editions of the PQ. The complete archive located in the Institute of Arts - Theatre Institute includes thousands photos and hours of videos and will be continuously digitalized and added to the website.

Currently you can find here the complete archive that includes not only the general information but mainly photographic documentation of all exhibitions. Videos will be added in the near future.
How it all begun.....
During the Bienal de São Paulo (Biennale of Visual Art) in 1959, a special exhibit, designed by František Tröster, illustrated the development of Czech and Slovak stage design and theatre architecture during the period from 1914-1959. The result of the exhibition was a gold medal for Czechoslovakia. Continued Czech success during the next three Biennales led to an offer for Prague to host an international exhibition of stage design in Europe once every four years. Since its premiere in 1967, the international exhibition has been held regularly every four years, and has come to be known as the Prague Quadrennial.

For the more detailed history see the sections of the individual editions.

PQ 1967 PQ 1971 PQ 1975 PQ 1979 PQ 1983 PQ 1987 PQ 1991 PQ 1995 PQ 1999 PQ 2003 PQ 2007 PQ 2011 PQ 2015

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Archive of the PQ will provide you the complete view of the previous editions of the PQ. The complete archive located in the Institute of Arts - Theatre Institute includes thousands photos and hours of videos and will be continuously digitalized and added to the website.

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The national exhibition project for 2019 - 2023 focuses on welcoming designers, makers and audiences back to catch up on the landscape of UK performance design. It’s a chance to reconnect, be together, and reach out to new communities and audiences.

Hello Stranger emphasises responsivity and openness in the context of a changing world. As we emerge from the pandemic and face societal and global issues, including climate crisis, legacies of inequality, international conflict and the increasing familiarity of digital technologies in our lives, we face an evolving landscape for performance design and scenography.

Curators:

The national curators of Hello Stranger: National Exhibition of UK Performance Design 2019-2023 are Kathrine Sandys (Head of Theatre Practice at the Royal Central School of Speech and Drama) and Lucy Thornett. (Senior Lecturer in Scenographic Practices at UAL). Both were appointed convenors of the UK Theatre and Performance Research Association (TaPRA) and are longstanding committee members of the Society of British Theatre Designers.

Questions surveyed throughout the project are: How are performance designers responding and adapting to the critical challenges of our times? How is our art form evolving in response to a changing world? What voices have been missing from the conversation?

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Both SBTD and PQ have some attention or help for students or new designers. For example, they offer grants, student talks and student exhibitions. There is a lot of thinking about space and feeling in the various exhibitions, focusing on the audience's feelings and getting them involved in the process. Perhaps from spectator to appreciator, from an introduction to design to being inspired by the artistry of the exhibition. It is as if we are weaving a web that connects the roles of audiences in all social forms, completing the sharing, experiencing and enhancing of art.

SBTD co-ordinates the UK professional and student exhibits for the Prague Quadrennial of Performance Design and Space. The exhibition is aimed at the general public as well as being more motivating and inspiring for young people/students.

Exhibition of Countries and Regions is the historically most significant exhibition of PQ.

Exhibition of Countries and Regions dates back to the very beginnings of PQ, as it shaped the international and transnational relations between Czechoslovakia and other countries.It introduces contemporary scenographic works from around the world. This exhibition seeks changes, challenges and opportunities.

Student Exhibition is competitive as well.It traces local pasts, envisions local futures, suggests ways to cope with the significant traits of one’s own cultural background and negotiating how local identities contribute to, enrich and inspire new works of performance design/scenography.

The Student Exhibition presents creative interventions that take inspiration from local knowledge, local culture and identity – in the belief that local ideas, materials, artistic approaches connected to communities, and genius loci of your place can bring inspiration to new and visionary works of performance design/scenography.

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What is scenography?
How does the creative process happen with the titles of the PQs

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Hello Stranger: Ideas for Interventions

https://artslondon-my.sharepoint.com/personal/j_murphy0720221_arts_ac_uk/_layouts/15/doc.aspx?sourcedoc={ad368e25-0a88-4cb2-9b68-81814f2a25c9}&action=edit

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Suzi Gardner: Hello Stranger Narrative Plan 

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Suzi Gardner: Hello Stranger Narrative Plan 

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Meeting on 17.11.22 was not held as there were no team questions at this time. Reminder for Individual Narrative Plan exploration to be uploaded on 19.11.22

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Antonia Centioni: Hello Stranger Narrative Plan

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Antonia Centioni: Hello Stranger Narrative Plan

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Hello Stranger Narrative Plan - Antonia Centioni

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Please use the following link to add your project choice to for the meeting on 22.12.22 for final selection. You will have all been emailed this link as well.

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English Version of Meeting Minutes for Meeting Conducted on 22.11.22. Google Forms link shared for project grouping. Link to be completed by 8pm 23 November. Groups will be allocated by Midday 24 November.

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MEETING 3: INTERVENTION SELECTION (CHI )

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MEETING 3: INTERVENTION SELECTION (CHI )

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22 年 11 月 22 日召開的會議的中文版會議紀要。為項目分組共享的 Google 表單鏈接。鏈接將於 11 月 23 日晚上 8 點前完成。小組將在 11 月 24 日中午之前分配

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DEVELOPMENT - NOW-JAN
TECHNICAL - JAN/FEB
REHEARSAL - MARCH
INSTALLATION - APRIL

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KE. V&A PRESENTATION NOTES. 09.12.22 - ENG

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As at 13.11.2022.

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12TH JAN/9TH FEB/9TH MARCH/INSTALLING IN APRIL.

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12TH JAN/9TH FEB/9TH MARCH/INSTALLING IN APRIL.

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MEETINGS WITH SUPERVISORS & TUTORS