Theatre Design & Technology - Winter 2001 - 16

Figure 6. The first class of the next generation of ESC
students gathered in the conference room at Central St.
Martin's in September 1999.

Figure 7. Pete Brooks and students celebrate the opening of
the Fish and Ships exhibition.
Figure 8. Tomoyuki Ikeda's "What did we get
and lose?" was one of the more traditional
installations in the ESC's Fish and Ships
exhibition, December 1999.

by the Stationhouse Opera at the Royal Festival Hall. This
video-dance performance was one of the higher profile
events in this year's annual British Festival of Visual Theatre. In
all, I attended forty-one performance events in addition to
countless visits to the British Museum, only a five-minute walk
from Central St. Martin's.
The first of the students' three studio projects was an outgrowth of a week-long workshop on object-based theatre, conducted by American performance artist Theodora Skipitares.
She worked with the students from ten each morning till six
each evening (that was the standard work-week for the course).
Using quotations from Giorgio Vasari's seminal study of Renaissance Italian painters, The Lives of the Artists, as a starting point, she led the students through an intensifying set of
exercises that investigated the light-dark conflict, found space,
and the metaphoric value of found objects. These workshops

culminated in each student creating a time-based scenographic performance/installation lasting two to six minutes.
The second studio project was supervised by Pete Brooks
(Figure 7). It investigated the use of cinematic framing and
multi-media techniques in narrative theatre, and it produced
three collaboratively-authored performance pieces that were
about ten minutes long each. These were performed in Central
St. Martin's studio for an audience of about forty. The rectangular studio was bisected on an angle by a wall that had a rectangular opening in it about three feet above the floor. The
opening was approximately twelve feet wide and five feet high.
It had a scrim over it so that the audience watched the performances through a frame that was larger than a television
monitor but smaller than a proscenium arch. The most interesting of the three performance pieces juxtaposed live actors,
large puppets and prerecorded dialogue in more than one lanTD & T

W I N T E R

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15



Table of Contents for the Digital Edition of Theatre Design & Technology - Winter 2001

Contents
Theatre Design & Technology - Winter 2001 - 1
Theatre Design & Technology - Winter 2001 - 2
Theatre Design & Technology - Winter 2001 - 3
Theatre Design & Technology - Winter 2001 - Contents
Theatre Design & Technology - Winter 2001 - 5
Theatre Design & Technology - Winter 2001 - 6
Theatre Design & Technology - Winter 2001 - 7
Theatre Design & Technology - Winter 2001 - 8
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