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    • Home / Courses / Staging and Interpretation

    Staging and Interpretation

    £199.00

    An eight-week course exploring ways of making text come alive in performance.

    During this course we will be exploring many different approaches to the staging and interpretation of text, especially dialogue. This will include approaches to the creation of character; the use of space; the different possible approaches to interaction with and positioning of an audience and many other aspects of staging. We will be looking at mainstream approaches to all this but also at more radical, exploratory and experimental ones, which are every bit as interesting and are a special feature of in situ:‘s performance work.

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    Description

    We will be concentrating on two sets of dialogues, one from Shakespeare’s formidable tragedy King Lear and another from a play by the great Norwegian playwright Henrik Ibsen, called Hedda Gabler.

    Through working on these two pieces we will have the opportunity to explore the world of Shakespeare – especially Shakespeare’s language which is fabulously good but not always easy for people who are not used to it; while the Ibsen will give opportunities to explore more modern psychologistic approaches amongst other things.

    This course is open to all, but some previous performing experience, not necessarily with in situ:, is an advantage. If you’re not sure if it’s the right course for you, get in touch and find out more.

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    Terms

    Spring/Summer, Autumn, Winter

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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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