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    • Home / Courses / Tragedy in Performance
    Tragedy: in situ:'s Choephoroi (photo: Christine Cellier)

    Tragedy in Performance

    £199.00

    Tragedy has been the most powerful and sublime dramatic form since the Ancient Greeks created it. The greatest playwrights from Aeschylus to Beckett and beyond have worked in this medium, producing some of the most famous plays in existence.

    This lively and entertaining course explores the daring new techniques in situ: has applied to old masterpieces such as Sophocles’s Oedipus Rex, Ibsen’s Hedda Gabler; Beckett’s Krapp’s Last Tape, Aeschylus’s Oresteia Trilogy, and Shakespeare’s Macbeth, Hamlet and Measure for Measure.

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    Description

    This course explores the many fascinating aspects of Tragedy, looking at texts from The Greeks, Shakespeare and the Modern Period; experimenting with the acting techniques associated with Tragedy, such as Mask and Chorus; and using some of the experimental approaches to text and staging that in situ: has developed over the past decade and a half.

    Participants will be asked to learn short dialogues from Greek, Shakespearean and Modern Tragedy which will be supplied on booking.

    As with all of in situ:’s work, there will be a strong emphasis on physical and vocal technique. And, needless to say, the subject might be Tragedy but the classes are, first and foremost, FUN!

    Dates: Wednesday 11th October – 6th December 2017 (no class 15th November)
    Time: 7:30pm – 10:00pm
    Venue: St. Philips Church  Centre, 185 Mill Road, Cambridge CB1 3AN | Map

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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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