Drone is a live jam of sound, visuals and poetic storytelling. Telling the fragmented story of a military drone’s lives and fears, Drone imagines her as part weapons system, part office worker, part tense background hum. Live sound and spoken word entangle like human and machine, environment and technology, noise and sense. The bleak humour and tender fury of Drone sees the unmanned aerial vehicle as the technology of a neurotic century, surveilled and surveilling, asking how anxious bodies can live as part of systems of astonishing destruction.
Originally conceived by the Forward-shortlisted poet Harry Josephine Giles, Drone is a multimedia collaboration with international sound artist Neil Simpson (Buffalo buffalo buffalo Buffalo buffalo) and digital artist Jamie Wardrop (Beats, The Dwelling Place). The performance is mixed new every night, a live cabaret band of three artists in three different media. Drone was first performed at Summerhall in the 2015 Edinburgh Fringe, was supported for further development by Creative Scotland in winter 2017, and is touring Scotland in spring-summer 2019 as the culmination of the creative work.
Written and Performed by Harry Josephine Giles
Audio by Neil Simpson
Visuals by Jamie Wardrop
Directed by Rob Jones
Produced by Stephanie Hunter
A Glas(s) Performance and Platform Co-Production, presented as part of Luminate Festival 2017.
Do you remember when we used to go camping?
And when you helped me make an ATM out of cardboard for my school project?
Do you remember when you bought a big plane from town and showed me how to build it?
Do you realise what a big impact you have had on who I am?
OLD BOY is a brand new show from award-winning theatre company Glas(s) Performance about the unique bond between grandfathers and grandsons.
It features the real relationships of men and boys of various ages from Glasgow in an attempt to explore the love that is shared between men in families and the legacy passed down through generations in Scotland.
Devised and Performed by Sam Murray and Peter Hennessey, Kai Johnstone and Les Johnstone, Eoin McKenzie and Eoin McIntyre
Devised by Joyce Hennessey
Devised and Directed by Jess Thorpe and Tashi Gore
Devised and Designed by Rachel O’Neill
Lighting Design by Kate Bonney
Production Management by Babette Wickham-Riddick
Sound Design by Harry Wilson
BSL Interpretion by Robert McCourt
Produced by Stephanie Hunter
Untitled #0.5 – Who, What And Where Is Anna is part of Anna Krzystek’s new Untitled Series exploring the premise of Nothing. A video installation for 3 screens, Untitled #0.5 – Who, What And Where Is Anna explores notions of fact, ction, truth, the self, the body and the object.
The work subtly and playfully captures the slipperiness between fact and ction through mercurial qualities of both documentary and ctional lm making as well as the random live- streamed incidences of the everyday. Within this framework of lm making, the performer confronts her existential dilemmas. These are expressed through the use of costuming – examining the role of the performer as costumes are put on and taken off. Looking at the performer void of costume and vice versa, the costume void of performer. Costumes as gross exaggerations of the body and as clichéd props for role play are used to distort and disguise the body and, at times, objectify the performer. This transformation to abstracted ‘thingness’ further probes both emptiness and presence intrinsic to the over all premise of Nothing.
Created and performed by Anna Krzystek
Made in collaboration with Simon Fildes, Meri Ekola, Heather MacCrimmon, Rosanna Irvine, Tom Murray and Nick Millar
Produced by Kim Simpson of Shift and Stephanie Katie Hunter supported by the FST Producer Placement Bursary
Thanks to Steve Slater
Supported by Tramway, Oblivia, Fabrik Potsdam, Goat Media and Macrobert Arts Centre
Supported by the National Lottery through Creative Scotland
UNFIX is a festival of performance and ecology led by Paul Michael Henry (Artistic Director).
In 2016, I produced UNFIX ReBirth!
UNFIX ReBirth! was a communal event urging CULTURAL // SOCIAL // ECONOMIC // ENVIRONMENTAL // PSYCHIC renewal.
A follow up to aCOPalypse Now! (December 2015), UNFIX ReBirth! brought together artists and activists to explore themes of birth, death and sustainability.
Birth is literal, metaphorical and happening all around us. It’s often painful and traumatic, gestating and exploding. Rebirth is the cyclical process of renewing ourselves, either intentionally or because we’re forced to.
What to do? Where can we source hope and renewal? How can we resist the death rattle?
Into The New is the annual festival of performance from graduates of the Contemporary Performance Practice programme at the Royal Conservatoire of Scotland.
During 2016 and 2017, I worked in close collaboration with the students and staff of the Production Technology and Management programme and the Contemporary Performance Practice programme to realise the festival.
As a producer of Into The New, I supported the creative processes of nine artists, liaised with the box office and front of house staff at the Royal Conservatoire of Scotland, created and signed off all marketing materials, scheduled the technical contribution to the festival and managed the day to day running of the event.
"Into The New takes challenging performance art into Govan"
"Live Art review: Into the New, Pearce Institute, Govan"
"The young Scots theatremakers leaping into the new""
In 2016, I produced the work of Paul Michael Henry which included the development of SHRIMP DANCE.
Coupled with (consensual) audience participation and audiovisual presentation of scientific research findings to probe the emotional logic of depression, late capitalism and austerity, SHRIMP DANCE explored what it means to be human in today's current political and social climate. The work aimed to pass through the darkest places of human psychology to a space of deep connection with each other and our environment, with the unlikely aid of the humble shrimp.
SHRIMP DANCE had it's first stage of development in October 2016 with the kind support of Dance Base and Creative Scotland.
Thousands of volunteers took part in a UK-wide event on Friday 1 July 2016, as a modern memorial to mark the centenary of the Battle of the Somme. 19,240 men were killed on the first day of the battle in 1916 – the bloodiest day in British military history.
we’re here because we’re here saw around 1400 voluntary participants dressed in First World War uniform appear unexpectedly in locations across the UK. Each participant represented an individual soldier who was killed on that day one hundred years before.
Working as the Assistant Producer of the Scottish leg of the project, I recruited participants, set up the hub spaces for the production team and performers, and aided the evaluation process.
You can read more about the project here.
'Dream On! was a collaboration between the Royal Conservatoire of Scotland, Glasgow School of Art, University of Glasgow and the BBC. The live event included contributions from students whose practices include, but are not limited to, costume design, digital interaction design, curation, acting, devising, composition and directing.
As the Assistant Producer, I supported the coordinators from the four partner institutions, aided the creative process with a specific interest in accessibility (for both process and performance) and liaised with the core team to ensure the production week ran smoothly. I was largely responsible for ensuring each institution felt supported and appreciated during the process of the project. I aided this high profile event to come together for a local and national audience by ensuring all artists were involved at each stage of the work.
You can watch the performance on the BBC's website here.
I was keen to learn more about the relationships between training and practising artists within Glasgow.
In 2014, I began a placement with Sarah Munro during her time as Head of Arts for Glasgow Life. Our conversations were centered around her role as Head of Arts and my role as student.
Sarah and I's conversations often led us to the same question.
In response to this question, I set up The New Bill - a research collective for those aged 16-25. Commissioned by the Arches I presented two events for the Arches Commons as part of Behaviour 2015.
For the purpose of the Commons, The New Bill aimed to start a conversation about what the creative industries in Scotland asks of young people.
Since setting up The New Bill and taking part in Behaviour 2015, I continue to ask myself how best to approach a professional practice as a young person. I'm currently facilitating The New Bill to experiment with performance. What can this collective of people offer each other? What does it mean to be a young person in charge of your own representation on stage? What is the transaction between audience and artist?