Incubation, in association with Nicholas Barton -Wines, Amy Conway and Harry Josephine Giles, produced by Stephanie Katie Hunter.
Incubation was a research and development project that will interrogate the role (and needs) of both artist and producer alike. Led by Stephanie Katie Hunter featuring the work of Harry Josephine Giles, Amy Conway, and Nicholas Barton-Wines, Incubation was a direct response to the coronavirus pandemic, and our need to be supported to engage and maintain our creative practice(s).
The work completed as part of Incubation formed the foundation on which Scissor Kick - Stephanie’s production company - was founded.
Daily Questions
As part of the creative work led by Nicholas Barton-Wines, he asked daily questions throughout November to encourage a moment of reflection on personal hopes. These questions were asked daily via email as well as on Twitter and Instagram.
A document will be made to collate all of Nicholas's questions. Should you be interested in being kept up to date, and informed when this document has been created, please do let us know by completing the 'contact' page form.
Deep Chats
In addition to Daily Questions, Nicholas looked for individuals interested in having creative discussions about hope and our relationship to it. These conversations took place on Zoom for one hour on November 27th 2020. Through reflection, storytelling and sculpting their own hope-object with supplied materials offered participants a moment for them to check in with themselves.
Call - Out for Trans Actors and Live Role-Playing Gamers (Paid)
The deadline for applying to this call-out has passed.
Harry Josephine is looking for a small group of trans people to take part in two workshops as part of research for an interactive digital performance project. They are making a performance about and set in online trans community, and will be running creative improvisation and devising workshops to explore some very early ideas.
This work would suit trans people who:
- Are actors with experience in devised theatre and/or who have good experience of live role-playing games (such as TTRPGs and LARPs)
- Have participated in online trans communities, or who identify as Being Very Online
- Are comfortable working primarily in text and voice, rather than video or in person
- Live or have lived in the UK
By "trans" we mean anyone who identifies as trans, non-binary, genderqueer, from a minoritised gender, or who otherwise finds the word useful.
The two workshops will take place entirely online. They will each last one working day and will be in November 2020 and January 2021, with the date determined by team availability. The fee is £120 per day on a freelance basis.
We will be using the results of these workshops to make a funding application for further development, but further work is not guaranteed.
If you would like to apply, please email hj@harryjosephine.com with roughly 250 words about you and why you are interested in this project. Helpful things to mention are details of what art/games/creative things you make yourself, your experience with both games and theatre, what about online community matters to you, and any links to your wider work. Headshots are not required. You can include a CV if you think it's relevant. Please also email if you have any questions.
Created as part of Cumbernauld Theatre Company’s innovative Invited Guest programme, LipSync is an intensely intimate exploration of life with an invisible illness.
Two performers simultaneously work their way through one story, one script, and one life. While making its way through challenging personal themes, such as living with a hidden disability and a life-threatening inherited disease, this new play sees Cumbernauld Theatre Company explore the joys of breath, and breathing.
Featuring several part spoken and part sung songs, LipSync asks how can we have honest, caring and non-sentimental conversations about illness. By asking the audience to think about the things in life we all conveniently ignore, our performers anchor us in these difficult dialogues by always bringing us back to the experiences of a woman for whom every breath is precious, and for whom singing brings joy.
Production Company - Cumbernauld Theatre
Directors - Amy Angus and Edmund Robson
Producer - Stephanie Katie Hunter
Performers - Ailsa Davison and Kirsty Young
Dramaturg - Jenna Watt
Composer/Sound - Tyler Collins
Stage Manager - Craig Crawford
FRINGE FIRST AWARD WINNER 2016
SUMMERHALL LUSTRUM AWARD WINNER 2016
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
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
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"
The National
"Live Art review: Into the New, Pearce Institute, Govan"
The Herald
"The young Scots theatremakers leaping into the new""
The Scotsman
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?
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.
'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?
The Arches Commons: The New Bill // The Arches Commons: The New Bill (Amended) // #BHVR2015 - STEPHANIE KATIE HUNTER UNVEILS THE NEW BILL FOR #ARCHESCOMMONS
