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    in situ: Julius Caesar project cast
    A murderous mob in in situ:'s Julius Caesar Project

    Odyssey Project

    £220.00

    Homer’s Odyssey is one of the foundational texts of Western literature. It has influenced everything from Greek Tragedy to James Joyce to Science Fiction to computer games. It’s the prototype for all journeys beset with dangers and thrills and challenges. Such journeys are called “odysseys”.

    It’s a long and extraordinary poem full of atmosphere, character and incident, including the one-eyed man-eating Cyclops; the goddess Circe who turns men into pigs; the Sirens, whose beautiful singing lures men to their deaths and much much more. It offers unparalleled riches for theatrical exploration of all kinds.

    For further information, telephone Richard Spaul on 01223 211451.

    Winter Term: January – March 2022
    Venue: St. Andrews Hall, Church Street, Chesterton, Cambridge CB4 1DH
    Time: 8:00pm – 10:00pm

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    Description

    The Course

    Led by Richard Spaul – actor, director and founder member of Cambridge Experimental Theatre and in situ: – the course will explore texts from different periods of Ibsen’s artistic life, working on many aspects of stagecraft and acting technique.

    In Odyssey Project we will be using a wide-range of theatrical techniques to explore this diverse and exciting ancient text. These will include:

    • Voice Work
    • Choreographic Theatre
    • Storytelling Skills
    • Improvisation
    • Text Work
    • Devising
    • Writing for Performance

    Classes typically begin with games and warm-ups, moving on to focus on a new technique or approach or develop an established one, and culminating in a group-created performance. The atmosphere is inclusive and friendly, the work challenging and stimulating and the teaching skilled and experienced.

    Participants sign up for a term at a time, but Odyssey Project is a three-term project
    culminating in a series of public performances in summer 2022. Participants can do one
    term, two terms or all three terms as they wish.

    Classes take place in St. Andrews Hall, a large space which is fully Covid-secure.

    The course is open to all and beginners are welcome. The work is ambitious and we will be pushing a few boundaries, so while it’s demanding, it’s also great fun, with a friendly and welcoming atmosphere.

    The course will appeal to actors and artists with an interest in acting technique, how to work with a text, experimental theatre and, particularly, site-specific work and effective techniques for devised theatre.

    We hope you can join us for this enjoyable and stimulating course.

    Your teacher, Richard Spaul, is a founder member of in situ: and one of the company’s artistic directors. He was also Artistic Director and founder of the pioneering experimental group – Cambridge Experimental Theatre, active in the 80s and 90s. He has trained in vocal technique with Noah Pikes, Enrique Pardo and other members of the Roy Hart Theatre; In addition to teaching Voice, he also teaches Text, Shakespeare, Storytelling and Improvisation. Recent work includes a solo performance of Hamlet and a series of solo performances, including the popular Ghost Stories, focussing on Artists of the Uncanny.

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    Odyssey Project Cancelled Odyssey Project Cancelled
    We are very sad to announce the death of Cyrus Pun We are very sad to announce the death of Cyrus Pundole, who died of lymphatic cancer on January 29. He had been ill for two years.

Cyrus had been involved in in situ:’s work for more than fifteen years and had been a member of our Board of Trustees for more than ten.

It’s hard to put into words his unique presence as a performer.

I think most of us would use the word : ENERGY.

He had an intense, wiry, electric physicality which was compellingly watchable; a wonderful mobile face that was by turns funny, terrifying and sad, and a huge voice which emerged surprisingly from his slight frame.

Many of in situ:’s performances take place outdoors and cover large areas of space. Cyrus was very fit and a very good runner and he brought a breathtaking athleticism to much of his work. In King Lear (2009), for example, he would think nothing of running up and down a hill a few dozen times and talking non-stop. A very exciting, talented performer.

Cyrus spent more time doing the work than talking about what it felt like, but, from several conversations, I got the impression that performing was for him a transcendental practice. He loved the focus and discipline of performing and felt that, when performing, he was in a special place. I think he felt happy, grounded and fulfilled when he was performing. I think it was a spiritual exercise for him. 

So, there was his dedicated organisation and his amazing creative work.

But it wasn’t really even his work.

It was him.

He was kind, funny, wise, and, more recently, extremely courageous during a dreadful illness. He was absolutely bursting with life, and Death had its work cut out eventually getting the better of him. 

All of us that worked with him and loved him are reeling at the loss of our friend, devastated by the suffering he endured and joyous with our memories of him. 

Our thoughts go out to Cyrus’ family and his many other friends. 

Richard Spaul. February 2022.
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