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Goat Island is Chicago-based collaborative performance group. Summer 2005 the company restructured itself where there are now two distinct layers of membership, which is defined by Core and Associate.
The main members are Karen Christopher, Matthew Goulish, Lin Hixson (director), Mark Jeffery, Bryan Saner, and Litó Walkey. Associate members are Cynthia Ashby, Lucy Cash (formerly Lucy Baldwyn), CJ Mitchell, Judd Morrissey, Margaret Nelson, John Rich, Charissa Tolentino and Chantal Zakari.

These Members contribute the conception, research, writing, choreography, documentation, and educational demands of the work. Characteristically They want to establish a relationship with audiences, other than the usual proscenium theater situation, which may suggest a concept, such as sporting arena or parade ground, or may create a setting for which there is no everyday comparison. We perform a personal vocabulary of movement, both dance-like and pedestrian, that often makes extreme physical demands on the performers, and attention demands on the audience. We incorporate historical and contemporary issues through text and movement. We create visual/spatial images to encapsulate thematic concerns. We place our performances in non-theatrical sites when possible. We research and write collaborative lectures for public events, and often subsequently publish these, either in our own artists' books, or in professional journals.

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Goat Island is a Chicago-based collaborative performance group. In summer 2005 the company restructured itself where there are now two distinct layers of membership, which is defined by Core and Associate. Core members are Karen Christopher, Matthew Goulish, Lin Hixson (director), Mark Jeffery, Bryan Saner, and Litó Walkey. Associate members are Cynthia Ashby, Lucy Cash (formerly Lucy Baldwyn), CJ Mitchell, Judd Morrissey, Margaret Nelson, John Rich, Charissa Tolentino and Chantal Zakari.

Members contribute to the conception, research, writing, choreography, documentation, and educational demands of the work. Characteristically we attempt to establish a spatial relationship with audiences, other than the usual proscenium theater situation, which may suggest a concept, such as sporting arena or parade ground, or may create a setting for which there is no everyday comparison. We perform a personal vocabulary of movement, both dance-like and pedestrian, that often makes extreme physical demands on the performers, and attention demands on the audience. We incorporate historical and contemporary issues through text and movement. We create visual/spatial images to encapsulate thematic concerns. We place our performances in non-theatrical sites when possible. We research and write collaborative lectures for public events, and often subsequently publish these, either in our own artists' books, or in professional journals.

Goat Island was founded in 1987 and incorporated in 1989 as a non-profit organization to produce collaborative performance works developed by its members for local, national, and international audiences. Eight completed works include Soldier, Child, Tortured Man (1987); We Got A Date (1989); Can't Take Johnny to the Funeral (1991); It's Shifting, Hank (1993); How Dear to Me the Hour When Daylight Dies (1996); The Sea & Poison (1998); It's an Earthquake in My Heart (2001); and When will the September roses bloom? Last night was only a comedy (2004). The company has toured the US and England, Scotland, Wales, Belgium, Switzerland, Croatia, Germany, and Canada. Goat Island ended with final performances of The Lastmaker at Swain Hall, University of North Carolina, Chapel Hill, February 2009.

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Goat Island Performance Group - Goat Island

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Goat Island is a Chicago-based collaborative performance group. In summer 2005 the company restructured itself where there are now two distinct layers of membership, which is defined by Core and Associate. Core members are Karen Christopher, Matthew Goulish, Lin Hixson (director), Mark Jeffery, Bryan Saner, and Litó Walkey.

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goat island archive – we have discovered the performance by making it

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Founded in 2000 by Felix Barrett.
Along with a key group of collaborators, it is a form of theatre that rejected the passive obedience of traditional theatre going.

Audiences wear masks, Venetian style, covering much of the face and masking the mouth. They can roam freely through productions, which are staged in disused or abandoned buildings. The action of the play is deconstructed, often reordered and condensed with multiple scenes playing at once in different parts of a building. The space is brought to life with intricate set dressing, epic visual scenes, low atmospheric lighting and a soundtrack. Audiences make choices about where they go, the characters they follow and the rooms they find. They choose the show they see, often coming back many times to witness the production from different perspectives.

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'The world's leading immersive theatre company' - GQ Magazine

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"John" Lloyd Newson (UK/AU) /DV8 Physical Theatre (UK)

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Scott Graham - Frantic Assembly | Interview | Digital Theatre+

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Kneehigh is based in Cornwall. Based Theatre company with local and national/international profile.
In 40 years we have created vigorous, popular and challenging theatre and perform with joyful anarchy.

They tell stories,create theatre of humanity on an epic and tiny scale. They work with an ever-changing ensemble of performers, artists, technicians, administrators, makers and musicians, and are passionate about our multi-disciplined creative process.

In 2010 they launched the Asylum, a beautiful and flexible nomadic structure, which means we now have a venue to call home as well as being one of the leading touring theatre companies in the UK. They have now presented 6 Asylum seasons and they will continue to reinvent the space and explore new locations in future years.

Alongside their national international touring and Asylum seasons, we run the Kneehigh Rambles, engaging creatively with communities in Cornwall and beyond through event and adventure.

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Kneehigh is a band of brave storytellers that makes theatre and takes risks.

Kneehigh is artist-led and takes the conditions of creativity seriously. It has a sense of family, looks to challenge and entertain, and balances freedom of expression with rigorous craft.

Kneehigh is political and creates theatre of humanity on an epic and tiny scale. Based in Cornwall in breath-taking barns on the south coast, Kneehigh looks to the world for inspiration and tells stories that reflect the world.

Kneehigh defies expectation and breaks the rules. It celebrates non theatre going audiences and unconventional spaces, embraces inclusivity, and believes in a sense of event.

The Latest from Kneehigh

For International Women's Day, we're sharing some of the stories from and about women that Anna Murphy has collected and wildly exaggerated.

Carl reflects on why he wanted to make Ubu! A Singalong Satire, the process of making the show, and adapting the story for modern times.

The Kneehigh team is working remotely. As the situation changes rapidly, we'll be updating this page with the latest information.

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Kneehigh - Award-Winning, Creative Theatre Company Based in Cornwall

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Your browser is no longer supported. Please upgrade your browser to improve your experience. Kneehigh is artist-led and takes the conditions of creativity seriously. It has a sense of family, looks to challenge and entertain, and balances freedom of expression with rigorous craft. Kneehigh is political and creates theatre of humanity on an epic and tiny scale.

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DV8 Physical Theatre's work is about taking risks, aesthetically and physically, it is about breaking down the barriers between dance and theatre and,communicating ideas and feelings clearly and unpretentiously. It is determined to be radical yet accessible, and to take its work to as wide an audience as possible.

DV8 is motivated by artistic inspiration and creative need: these, rather than financial, organisational and touring demands dictate the creation of new works.

The focus of the creative approach is on reinvesting dance with meaning, particularly where this has been lost through formalised techniques.

DV8's work questions the traditional aesthetics and forms which pervade both modern and classical dance, and attempts to push beyond the values they reflect to enable discussion of wider and more complex issues.

DV8's strong commitment to film and video continues. This reflects its ongoing interest in how two primarily visual media can enhance one another and reach a crossover audience from within both forms.

The company's reputation relies on pushing its own boundaries and on the constant re-examination of the roles and relationships of men and women in our society.
The policy insists on the importance of challenging our preconceptions of what dance can, and should, address.

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Dear Friends,
Lloyd Newson has retired and consequently,DV8 Physical Theatre has come to an end.

We would like to thank our audiences, friends, presenters, co-commissioners and funders (especially Arts Council England), who have supported DV8's work since 1986. Most importantly we would like to acknowledge our remarkable artists, technical teams, administrative staff and Board members; to whom we will forever be indebted.

DV8's award winning films (Dead Dreams of Monochrome Men, Strange Fish, Enter Achilles and The Cost of Living) are now available via Digital Theatre and Digital Theatre Plus.

DV8's Archive materials from the 1980s onwards are available at the Theatre Collection, University of Bristol.

Collage images include photographs by Anthony Crickmay, Mark Douet, Hugo Glendinning, Peter Jay, Jane Joyce, Eleni Leoussi, Oliver Manzi, Gergoe Nagy, Matt Nettheim, Jimmy Pozarik, Kris Rozental, Jiri Volek and Robert Workman.

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DV8 and the work of Lloyd Newson - information on the current productions, tours and films.

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The company is led by Scott Graham; Artistic Director and co-founder.
Some of their productions; I Think We Are Alone, The Unreturning, Fatherland, Things I Know To Be True, Othello, Beautiful Burnout, Lovesong, Stockholm and The Believers.

They have commissioned and collaborated with writers such as; Sally Abbott, Anna Jordan, Simon Stephens, Andrew Bovell, Mark Ravenhill, Abi Morgan and Bryony Lavery.

Their distinct creative approach influenced contemporary theatre-making and foregrounded the use of movement directors and choreographers in new dramatic works. It has inspired writers to embrace new creative processes and opened up actors and dancers to new techniques.

They collaborate on other productions and provide the movement direction on the award-winning National Theatre of Great Britain production The Curious Incident of the Dog in the Night-Time as well as for other projects such as the BAFTA nominated British/American TV series Humans (AMC, Channel 4 & Kudos).

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Devised theatre started in the 16th century, Italy (Commedia dell’artea), was a new form of traveling theatre that would showcase players, acrobats and street entertainers, started to become popular.

Commedia dell’arte (“Comedy of Art” or “Comedy of the professional”), means unwritten/improvised performance. This type of Theatre focused more on the performances of the actors rather than the subject of the play used. This company was to be regarded as Professional actors so there was; no writers, directors, choreographers or consistent scripts.

Carlo Goldoni- the first person to name this new art form and referred to it as “professional theatre” in one of his plays called “Il Teatro Comico” (the comic theatre).

Goldoni’s statement was misconstrued as sarcastic irony as he was actually very much against the idea of improvisation in theatre and they preferred strictly scripted literary performances. This style of performance was back in the roman era were it was used to act out old fables. 5 males would use crass humour and ridiculous physical comedy to act out stories. Each male would have a different persona and they would act out these fables unscripted.. Until the late 16th/17th century when Puritans saw the theatre to be nothing but an unworthy pursuit of the liberal arts. They even had influenced in Europe at the time to shut down some theatres.