GRIFFIN ARTIST BLOG

NEW BLOG

Mon, 14 Jan 2013 21:11:05 -0500

It’s official. We’ve moved. To start off the new year with a bang we’ve made a new blog. Keep in touch here.

2012 NSW Premier's Literary Awards: winners and shortlists

Tue, 04 Dec 2012 12:01:14 -0500

Our very own Vanessa Bates, whose production of Porn.Cake. was part of Griffin Independent this year, has been selected as joint winner of the 2012 NSW Premier’s Literary Awards with Joanna Murray-Smith.

Here are the Judges’ comments on both winning plays:

‘Porn.Cake.’

Judges’ comments

Two reasonably well-off couples with no kids in a contemporary city have hit middle-aged ennui. They know the world is complex and full of mysterious things, some of which they have sensed and experienced, but they prefer instead to be gripped by the ephemera of modern living: text messages, cooking shows, affairs, conspicuous consumption, porn fetishes, the temporary wonders of the internet, and so on. Through intimate monologues and the repetition of key phrases and scenes, Bates charts the decline of two interrelated couples as they move from passivity and listlessness, loneliness and disappointment to feelings of deep loss and sadness. Ultimately, however, our quartet garner a glimmer of compassion and understanding, both for themselves and those they profess to love.

Honest, often cringe-makingly so, funny and heartbreaking, this play contains writing for the stage of the highest standard. The rhythmic contrasts between the cake scenes and the monologues are refreshing and invigorating — one judge commented that the writing is indeed delicious. What is especially remarkable about the play is its employment of a genuinely innovative and inventive approach to storytelling. Fugue-like in its precision, passages are repeated with variations until a new and richer theme develops. In this sense this is a powerful work for the theatre, one that embraces the notion that a playscript is a blueprint for performance. This is the work of a wise, funny, gifted writer with a highly original mind.

And ‘The Gift’

Judges’ comments

Two couples meet at an exclusive resort. The older couple are almost retired, comfortable and have his trade machine business to thank for it. The young couple — there because they won a competition — have a young daughter and are trying to make a go of it in the arts, him as a conceptual artist, her as a journalist. They bond over a mutual love of honesty and lack of pretence, though there is a wariness from the older couple, Ed and Sadie, about the worth, sense or point of the young Martin’s choice of career. When Martin saves Ed from a near-drowning, the rich older couple offer to give Martin and Chloe anything they want. Anything. When they meet again in a year’s time, Martin and Chloe tell the childless older couple that what they want is for them to take their four-year-old daughter.

Smart, witty and funny, this play takes huge and courageous bites at some contentious aspects of modern living — the self-obsession of the affluent, entitlement with regard to creative self-actualisation, middle-aged marital stasis, pretension and aspiration, and the unchallenged belief that self-fulfillment ranks above all else in the hierarchy of human needs and responsibilities. The combustible combination of all of the above leads us along the path to a shocking moral compromise. It is a very thoughtful, highly intelligent and skilfully crafted play by a writer at the height of her powers.

To check out the comments for the other shortlisted plays, click here.

STC appoints three Resident Directors

Mon, 03 Dec 2012 12:01:25 -0500

Sarah Goodes, Kip Williams and Sarah Giles will take up positions of Co Resident Directors at Sydney Theatre Company from 1 January 2013. Each will direct a main stage show in 2013 and as part of their roles will conduct workshops and script developments, take part in STC’s Rough Drafts program and facilitate readings and dramaturgical assignments. They will participate in artistic programming and propose development projects, while exploring opportunities for career path development for emerging artists. Additionally they will represent STC at industry events and take part in the company’s education and community programs.

Andrew Upton said “I’m very excited that these three directors, each of whom have developed and honed their skills at STC in recent years, will play key roles in the day to day artistic life of the Company. They bring to their roles intelligence, a keen awareness of the issues facing our industry and an inspiring understanding of the power of theatre. I’m looking forward to working closely with them in developing a defining vision and style for the STC of the future.

“STC is a big company that produces a broad range of work and I feel very strongly that we need more working directors embedded in the centre of the action. With the whole artistic team I’m keen to really nail the kinds of works that only STC can pull off, in terms of style, scale and quality. While they have established their own credentials as directors, Sarah, Kip and Sarah are in the early stages of their careers and so will bring a new energy and point of view to the Company’s work” Upton said.

To read the rest of the article, click here.

deadpaint: Jean-Baptiste Greuze, Young Girl Weeping for her...

Fri, 30 Nov 2012 13:20:37 -0500

deadpaint:

Jean-Baptiste Greuze, Young Girl Weeping for her Dead Bird

Cut & Paste Christmas Special

Fri, 30 Nov 2012 10:40:30 -0500

To mark the end of a massive year, we’ve put together a Yuletide edition of CUT & PASTE at The Bondi Pavilion Theatre.

It’s a late afternoon kick off (bar open from 3pm) and we’ll have a BBQ on the balcony, DJ’s in the bar and a bad santa (that’s Leland Kean btw).
…

Plus we’ve got these presents hidden underneath the Christmas tree for you…

CALEB LEWIS
RICHIE CUTHBERT
GRETA LEE JACKSON
TOM CAMPBELL
CAIT HARRIS
CODY DILLON
TAMI SUSSMAN
BENNY DAVIS
Plus more acts TBA

When: Sunday December 9th. 5pm doors.
Where: The Bondi Pavilion Theatre
Damage: All tickets $15
Book: http://rocksurfers.org/2012/11/cut-paste-xmas-special/

What: CUT & PASTE is a bi-monthly performance evening showcasing new work including short plays, comedy, music and theatrical works-in-progresses.

Cut & Paste is presented by Tamarama Rock Surfers with the support of the City of Sydney.

PD PLAYREADING - SPROUT BY JESSICA BELLAMY PD has a Christmas...

Thu, 29 Nov 2012 13:20:30 -0500

PD PLAYREADING - SPROUT BY JESSICA BELLAMY

PD has a Christmas treat for you - our final play-reading of the year - the winner of the 2011 Rodney Seaborn Playwriting Award - SPROUT by Jessica Bellamy. Get along to the SBW Stables Theatre this Sunday @ 5pm to experience this inspiring play before it goes into production in 2013.

SPROUT - a new Australian play by Jessica Bellamy

Directed by Gin Savage

Sunday 2 December 2012 @ 5pm @ the SBW Stables Theatre, 10 Nimrod Street, Kings Cross, Sydney

Tickets: $15 / $5 PD members

Bookings: 02 9361 3817 or
online here.

ABOUT THE PLAY:
Sprout is a vision of an environmentally ravaged Australia of the future, where everything has dried up, run out or fled. Amongst this desolation, four people start new beginnings. They grow new roots. They crack through dirt. They bud and sprout.

Teen Diary Readings 3: Bullet with Butterfly Wings Edition

Thu, 29 Nov 2012 10:40:14 -0500

After sell out events at The Sydney Writers Festival and Wheeler Centre in Melbourne the public thirst for humiliation and pain remains unabated. Teen Diary Readings returns to it’s ancestral home at the Surry Hills Library this December!

Come join writer Zoe Norton Lodge, NOTV’S Lucy Phelan, The Wonderful Lucinda Gleeson, Unconventionally Rugged Looking Enya Enthusiast and “self published” Novelist Patrick Magee, screenwriter Niki Aken, Producer/Musician Christopher Sharp and others as they read from that tome of angst and self hatred: their teenage diaries.

Thursday December 6.

Free Event.

Book here.

AUSTRALIAN POETRY SLAM NATIONAL FINAL

Wed, 28 Nov 2012 13:20:26 -0500

Slams began in Chicago in 1986, made it through hit TV and radio shows, were spit by Kanye West and David Chapelle. Miles Merrill brought them to Australia in 1996 and took it national in 2007. Now Australia’s Poetry Slam reaches it’s finale at Sydney Theatre.

In small towns and suburbs across the country, communities have gathered in libraries, youth centres, bars, and festivals to choose their local poetry heroes and send them off to storm stages in capital cities.

Almost 1000 Australians opened up in front of the mic this year. Now two slam champions from each state and territory will face an epic finale at Sydney Theatre. They will wrestle your imagination, wet your lashes, inspire you to, raise your fist and shout, “HELL YEAH! ME TOO!”

Selected audience members decide who will win a $12,000 tour to the China Bookworm International Literary Festival, the Ubud Writers’ and Readers’ Festival and Sydney Writer’s Festival.

Featuring Australian Poetry Slam Champion 2011, Luka Lesson and NZ Poetry Slam Champion, Ali Jacs. Music by DJ Tom Loud and hosted by Miles Merrill.

Saturday 1 December

8pm

Sydney Theatre

$30

Your ticket to the National Final also doubles as entry to a free screening of ‘Louder Than A Bomb’ - Wednesday, 28th Nov, 6pm at State Library NSW.

BOOK HERE.

mirroir: Gustaw Gwozdecki | Moon, c. 1908

Wed, 28 Nov 2012 10:40:14 -0500

mirroir:

Gustaw Gwozdecki | Moon, c. 1908

STRUDEL CLUB: KEYNOTE LECTURES If theory’s your thang,...

Tue, 27 Nov 2012 13:20:18 -0500

STRUDEL CLUB: KEYNOTE LECTURES

If theory’s your thang, Professors Anne Marsh and Ed Scheer go head-to-head in our Keynote Lectures, covering (and uncovering) gender in the visual arts.

Professor Edward Scheer
Typical Males? Masculinities in performance art embodied and outsourced.

This lecture considers a number of examples of performance art from the perspective of ‘masculinities’ as pluralised embodied practices. Beginning with the stereotypes of the typical male, we move into a discussion of what happens when these types are produced and performed by differently sexed bodies.

Professor Ann Marsh
Sexing the Picture

This illustrated lecture will consider the shifts and changes in visual culture in relation to representations of sex and sexuality. It will focus on visual and performed representations from the 19th to the 21st century and consider how gendered, queer and transgendered identities have been framed. Pornography and the porn debates inside feminism will be discussed. The aim will be to unpack stereotypes, re-read the would-be canon of art history and reinsert a radical pulse.

All Tickets $10

THURSDAY NOVEMBER 29

BOOK TICKETS HERE.

deadpaint: Isaac Israels, Reading Nude

Tue, 27 Nov 2012 10:40:36 -0500

deadpaint:

Isaac Israels, Reading Nude

NIDA's hot young things doing their thing.

Mon, 26 Nov 2012 13:20:33 -0500

At NIDA this week are the directors’ productions - they’ve spent all year in a sweltering hot-house of inspiration, so this is probably not one to miss.

Studio Program

Caligula
By Albert Camus
Translated by David Grieg
Directed by Pierce Wilcox
‘I feel a violent need for impossible things.’
The Emperor Caligula returns to Rome after three days and three nights in the wilderness.
He has one desire: to change the world.

The Witches
By Roald Dahl
Directed by Lucas Jervies
‘Witches, with silly black hats and cloaks riding on broomsticks? No. They’re for fairy tales. I’m talking of real witches.’ Roald Dahl.
The Witches - A one man show.

Play House
By Martin Crimp
Directed by Luke Rogers
Sex, work, pregnancy, parents, weird neighbours, cleaning the fridge and dancing: Play House explores a young couple’s attempt to set up a home and build a life together. This new play by Martin Crimp uncovers the fragility and volatility of love and relationships and the unspoken truths behind our every act and word.

Book here.

Space Program

Faust (part one)
By Johann Wolfgang von Goethe
Translated by Robert David MacDonald

Directed by Harriet Gillies
The Gretchen Tragedy according to Goethe’s Faust. A performance that explores what it means to be part of an audience in a theatrical event, following the journey of one of the most iconic female protagonists in dramatic history.

I Love You, You’re Perfect, Now Change
Book and Lyrics by Joe DiPietro
Music by Jimmy Roberts
Directed by Derek Walker
Everything you secretly thought about dating, romance, marriage, lovers, husbands, wives and in-laws, but were too afraid to admit!

The Company of Wolves
Adapted from the novel by Angela Carter
Directed by Phillip Rouse
Ever wanted to stray from the path? Could you make your way in the woods by night? Angela Carter sensuously re-imagines the Red Riding Hood fairytale, exposing the latent urges and needs that fuel Red’s coming of age in a dark wilderness.

Book here.

joncarling: ‘The mouth’

Mon, 26 Nov 2012 10:40:28 -0500

joncarling:

‘The mouth’

ARTIST OF THE WEEK: Q&A WITH TIM SPENCER What are you...

Sun, 25 Nov 2012 18:28:00 -0500

ARTIST OF THE WEEK: Q&A WITH TIM SPENCER

What are you working on at the moment?

I am performing in a production of Daniel Keene’s ‘The Share’ directed by Corey McMahon at the Reginald, Seymour Centre. It’s a really sharp script and its been a great challenge to take on.

What was the most inspiring thing you saw recently?

Dr. Brown’s Befrdfgth at the Old Fitz. He spent an hour and a bit listening to the audience and the result was a really special performance.

Best piece of advice you’ve ever been given?

This is a tie between ‘don’t be so busy with yourself’ and ‘people come to the theatre to see you, not your shitty ideas’. They’re kind of related actually, come to think of it.

If you could have a meal with anybody, who would it be and why?

F. Scott Fitzgerald. He seems to know what he’s talking about.

THE SHARE

Tex and Sugar are best mates. They have lived together on the streets since they were kids. They are unemployed, broke and looking for trouble. A chance meeting with a one-eyed kid sets off a chain reaction of events that will change their lives forever…

A poetically brutal exploration of violence, masculinity and sexuality by award winning playwright Daniel Keene, produced by Peter Gahan in association with one of Adelaide’s most outstanding young companies.

Performed with a live music score, prepare yourself for a funny, dark and fierce theatrical experience.

The Share is part of the 2012 Reginald Season

21 November - 8 December

Times: Tue 6.30pm, Wed – Sat 8pm, Sat 8 Dec 2pm & 8pm

Duration: 55 mins (no interval)

Tickets: Preview/ Groups (8+) $22, Adult $30, Conc $27, Student Rush $15

deadpaint: Zdzislaw Beksinski, Unkown Title

Sat, 24 Nov 2012 10:40:26 -0500

deadpaint:

Zdzislaw Beksinski, Unkown Title

We could be the Berlin of the Antipodes!

Fri, 23 Nov 2012 13:20:41 -0500

I came across this really excellent article on artsHub a couple of days and it is vital that it gets read by as many people as possible.

I read Esther Anatolitis’ view of arts festivals with considerable interest. As a former director of the Fringe Festival it isn’t surprising that she feels there can never be too many festivals. There is a great feeling of energy around the Fringe Festival, hundreds of shows, thousands of performers, visual artists, techs, directors and producers, crowds of young arts lovers going to events across the (inner) city. But it’s one thing to be in a funded environment (i.e. the organizer) and quite another to be a venue or performer doing their damndest not to go under in a sea of performance created debt.

My view is that of the independent venue, and the independent (and mostly unfunded) performers. For us, festivals tend to suck the oxygen out of the air. Try getting media coverage for a production during the Comedy Festival (sponsored by Fairfax). Try getting an audience during Melbourne Festival (with virtually no hope of print media coverage of any sort or perhaps a grudging review from an overloaded critic).

While Festivals make politicians feel good (all those free tickets and priority seating at grand events) they tend to depress those of us who don’t quite fit the festival mode, who just want to present good theatre and build up loyal audiences. Take a look at the numbers of shows giving away tickets on various websites or half tix every day of the week and it becomes obvious just what a battle making theatre can be – in a city that prides itself on its arts loving audiences.

For those of you who don’t know fortyfivedownstairs, this is an in dependent, not for profit theatre and gallery which has now been in existence for over ten years. We charge rent for the space plus expenses and have a small number of private donors who help keep the doors open. One of my passions is new Australian work (there hasn’t been all that much of it on the mainstream stages since we began in 2002) Unlike the mainstream theatres we have presented many works by Australian women writers – Patricia Cornelius, Kit Lazaroo, Dina Ross, Rachel Berger, Linda Jaivin, Moira Finucane & Jackie Smith, Noelle Janaczewska, Lally Katz, Bagryana Popov

But over the past decade it has become a lot tougher as yet another festival emerges. Let me take you through the scenario: companies, writers and directors approach me to present a season at fortyfive and we start to talk about timing: It turns out that March/April is out because of the Comedy Festival. Every second year Next Wave takes up most of another month, and now the new Cabaret Festival takes over in July. The Fringe cuts out three weeks in September/October for many companies, and as far as October and the Melbourne Festival is concerned, if you’re not in it, you might just as well take off overseas for a break.

So (hypothetical here) you decide you have to join in, if you’re not to stay shut for half the year. But you discover that the Comedy Festival wants you, but doesn’t really want you to compete for audiences with their own productions. And everyone knows that the Town Hall is the place to be if you’re to get any support from the Festival, beyond listing in the program. Many performers will approach us, but really as a fall back position in case they don’t get into the Town Hall. And then, if you do fill three slots a night, you discover that the venue isn’t marked on the map at the Town Hall – only their own managed venues have that privilege. The last year we had anything to do with the Festival (2009) I asked for one of the bright pink flags which I’d seen on other venues in Flinders Lane, so that people knew we were part of the Comedy Festival. But I was knocked back because (a) they were expensive (I offered to pay) and (b) they were only for Festival-run venues.

The situation with the Melbourne Festival is different, but can be equally tricky. Most recently we have proposed productions which have been accepted as part of the Umbrella program of the Festival. That means you have the prestige of being part of a really wonderful event but no funds are available to assist. In our most recent experience we proposed a season by New Zealand’s national Maori theatre company, Taki Rua, which has performed in many parts of the world, but never at a capital city festival in Australia. Apparently exposure in the Festival brochure is valued at $40,000 (page 38, half a left hand page) Despite several four star reviews, and audiences leaving the theatre raving about the performance, we lost some thousands of dollars on this production, something which an unfunded venue like fortyfivedownstairs cannot afford to do.

When I was a journalist, and an arts reviewer, I loved Arts Festivals, and during Comedy Festival I would go to three shows a night. At the Melbourne Festival I saw wonderful productions from all over the world, as one can do today. But looking now from the other (unpaid) side of the fence, I can also see that the proliferation and expansion of arts festivals can have an unintended, but sadly negative effect on the local performance scene. In these times there are limited discretionary dollars to go around and a huge amount of them are going to the Festival imports, at the expense of the local independent scene.

All those big festivals are underwritten to the tune of many millions of dollars by taxpayers. I don’t want to seem overly parochial but imagine what might happen if some of those millions were used to support local companies? We could be the Berlin of the Antipodes!

Mary Lou Jelbart is an arts journalist and Artistic Director of fortyfive downstairs.

deadpaint: Frederick Simpson Coburn, The Letter

Fri, 23 Nov 2012 10:40:40 -0500

deadpaint:

Frederick Simpson Coburn, The Letter

Singapore Creative Writing Residency – Call for Applications!

Thu, 22 Nov 2012 13:20:18 -0500

Application for the Singapore Creative Writing Residency programme is now open. Created to promote creative writing, this is the first such writing residency in Singapore. It is jointly organised by the National University of Singapore’s University Scholars Programme (NUS USP) and The Arts House (TAH).The Residency aims to:

1. Provide time and opportunity for the Resident to complete or make substantial progress with a written work (the “Work”) in English of substantial length and content.

2. Generate interaction and critical discussion among potential writers and stimulate new writing from them through public programmes organised by the Resident in Singapore.

The work, which can be fiction or non-fiction, cover any topic, and should be in one of the following forms; prose, verse, stage play, radio play or screenplay. The completed Work, or, part of a work must be of publishable standard, and part must be for a public reading/lecture by the end of the Residency, or shortly thereafter.

The residency will be for a period of 6 months from 01 July 2013 to 31 December 2013 and the resident will be required to take up residence at Cinnamon College, the USP residential college at National University of Singapore. The resident will receive a monthly stipend of $3,500 as well as a bonus at the end of the residency (which is subject to performance). The resident will be provided with board, lodging, a computer, and supporting peripherals during the tenure of his/her residency.

WHO MAY APPLY

The programme invites applicants of any nationality. Applicants must:

Be a published writer of English-language works;

Not be enrolled as a full time student in an undergraduate or graduate programme, or fully employed by any organisation at the time he/she is granted the Residency. Applicants of all nationalities are welcome to apply.

ASSESSMENT CRITERIA

Selection for the Residency will be based on:

Artistic achievement and potential of the applicant;

The strength of his/her proposal for activities during the Residency to conduct public programmes involving students and potential writers; and

Interview performance (for shortlisted candidates only)

APPLICATION PROCEDURES

Application form is available HERE

CLOSING DATE

Application form and all supporting materials should be postmarked no later than 18 January 2013.

deadpaint: Balthus,Nu au Chat

Thu, 22 Nov 2012 10:40:21 -0500

deadpaint:

Balthus,Nu au Chat

David, saying some words.

Wed, 21 Nov 2012 13:20:00 -0500

There is currently on artsHub, which is an edited extract of the NTEU lecture delivered by David Williamson at the University of Notre Dame on 15 November 2010. Some interesting reading.

If creativity is the single most important driver of both economic growth and a rich and interesting life, why is it under such a short-sighted assault by both sides of the political divide?

The state governments of Queensland, New South Wales and Victoria are hell bent on ripping money out of the TAFE system and the area in which the cuts are most savage are the creative arts. Creative courses on university campuses are under just as much threat, but here it’s not the bloody minded anti-arts mentality of conservative state governments that’s to blame but the gradual python squeeze of less and less university funding for which the federal government must take the blame.

Despite increases in university funding by the Labor Government, these increases have not kept up with inflation or increasing student load and in essence our universities are asked to do more with less. Funding levels for higher education have dipped to just 0.7 percent of GDP as against the OECD average of 1 percent.

The funding squeeze on universities affects all areas of study adversely but the creative arts tend to suffer the most. There are several reasons why the creative faculties tend to do badly when money is short, even when it’s known that the arts sector contributes $30 billion a year to the GDP, more than agriculture, forestry and fishing combined.

Funding in a university flows from the number of students you teach and how effective you are as a research institution. Many faculties have responded to funding pressures by decreasing the staff student ratio. Tutorials of a dozen were commonplace thirty years ago, now the normal size is thirty. While this has decreased the effectiveness of teaching in all faculties, it’s still possible in most of them to get an acceptable outcome.

In creative pursuits, however, learning is only partly possible by discussion; it’s actually doing the activity, and getting precise and informed feedback from talented teacher/practitioners that enables a student to flourish. Industrial design students must design, then be assessed by a top grade practitioner if they are to learn.

In creative arts the teaching often has to be one-on-one. The experienced and talented practitioner must give honest and valuable feedback to the student. There’s no other way. In first year Physics at Melbourne University, I sat in a lecture theatre with two hundred and fifty other students and was still able to make reasonable sense of it. With the arts, that kind of teaching is fruitless. Staff student ratios can’t dip below a necessary level which makes creative arts an often expensive discipline to teach.

Often space and infrastructure needs are larger in creative arts training than in other faculties. You can’t teach dance in a tutorial room. And you need a sprung floor to make sure your dancers survive into their second year.

You can’t teach javelin throwing in a tutorial room either, but in the arena of sport, high quality one on one teaching and hugely expensive facilities are par for the course and never begrudged by governments. The overall cost of our Olympic gold medals was in excess of $17 million dollars per medal but that was thought to be not nearly enough investment by many who oversee our elite sports institutions. Why as a society we think it’s legitimate to spend huge amounts on our sportsmen and women, but seemingly don’t think the relative pittance we spend on developing a potential Cate Blanchett or Geoffrey Rush is as justifiable, has to say something about our national and political priorities.

Check out the rest of the article on here.