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ITALY: W2oyzeck 8-21 July Performances: 19 & 20 July @ 22.00 GIARDINI BOMBICCI, Fucecchio, Firenze The project is in collaboration with and supported by Fucecchio City Council, Ente Cassa di Risparmio S.Miniato; Florence University, Faculty of Architecture; University of Siena, Faculty of Media and Communication Sciences. WALES: W3oyzeck 12 Aug-7 Sep Performances: 4-5-6-7 September @ 7.30pm Aberystwyth THE GREAT HALL, Aberystwyth Art Centre The project is created with and for the National Youth Theatre of Wales. INDIA: W1W2W3 15 Oct-30 Nov Research and Training Programme: INDIA CITY LIMITS: Exploring IDENTITY/CEREBRAL MAPS, PERFORMANCE, IN-ROADS-OUT-ROADS-INNER CITY-OUTER-CITY-URBAN LANDSCAPE-SCENOGRAPHY-ARCHITECTURE The project is in collaboration with The Seagull Foundation, Theatre and Television Associates (New Delhi), independent artists: Kathak Dancer Vikram Iyengar and Film-maker Tanvir Mokammel (Bangladesh); current affairs journalist Aparna Sharma (Delhi). Dialogue and exchange with the Attakkalari Centre for Movements Arts (Bangalore), OPERATION ELAN is a cultural operation offering: CREATION TRAINING INTERNATIONAL COOPERATION & NETWORKING ELAN aims to: * Encourage knowledge, cross-fertilisation and appreciation of cultural diversity * Help redefine cultural processes without erasing identity * Develop and disseminate a concept of training which is active, empowering, inspiring, open to experimentation (not simply as passive acquisition of skills) and in which the artist-trainers are themselves engaged in the act of creating (not merely teaching). * Address communication through a programme of art-as-survival: activities taking place within an artistic framework which promotes true integration of races, gender, ability and cultures as well as of artistic languages. * Offer the performance/montage as a vehicle in which individual and collective creativity can be unlocked and flourish in a comparatively short period of time releasing positive energy for change. * Build bridges between transnational creative centres exploring long-term strategies for innovation, experimentation and training opportunities within performance and contexts for developing practice. * Establish a dialogue with the architecture, history, social condition, immigration, infrastructures of the territories in which the operation takes place. * Build bridges between universities, the community, the cultural industries, and professional practitioners by initiating projects which encourage creativity, experimentation and training at the highest professional level. ACTIVITIES ELAN is committed to researching, designing and sharing training in all aspects of performance and to creating new work in the form of highly visual/physical, small and large scale performances often pioneering new locations and new forms of cultural expression. The work encourages and promotes a dialogue and collaboration between different cultures, languages, cultural minorities, marginalised groups, by using different art forms, including theatre, opera, dance, live music, visual and time-based arts. In twelve years of ctivities ELAN have created projects in Wales, Europe and USA in which performers from different cultures have supported and inspired each other. In 1989 Firenza Guidi created the first performance/ montage, a term which defines a unique and intensive research/training period leading to a public montage performance as an integral part of the training process. The performance/montage has proved an original, powerful and extremely adaptable vehicle for training and presentation at both community and professional level as well as a highly successful medium for establishing artistic relationships which have been flourishing in time and across countries. THE CONTEXT: wwWoyzeck is part of CREAtIO. creative power-stations. A transnational programme which focuses on the main question: What is creativity and how does it relate to the environment? Does creativity need training? How is creativity sparked off? Where does creation reside in the brain? Can creativity be enhanced by certain activities? Is creativity useful? Good? Desirable? How is creativity fed or kept alive? Is creativity inhereted or acquired? How is creativity tested, measured, gaged, monitored, documented? How does it relate to culture, science, technology: does it work in the same way in all three? Is creativity estranged from analytical process? Can creativity be taught? The programme intends to link up with different companies, bodies, venues, groups of artists and individuals working as promoters, catalysts, and facilitators in the cultural industries. These may belong to very different realities and operate in very different ways but they will all be active practitioners in researching, designing, facilitating, promoting and/or carrying out activities which focus on - and explore - the meaning of creativity. They may do so by engaging in training, laboratory, process-based activities, events, platforms, residencies and presentations with a clear investment in providing the individual with the means to create own work. The different nature of our collaborators is exemplified in the following list: Established Performance and Drama Schools (Universities, Colleges, BTEC, etc) Seasonal Performance Schools Visual Arts Departments Music Schools and Conservatoires Performance Studies -Theatre Film and Television Studies Creative Writing Departments Theatres programmers and Presenters Community Umbrella Organisations City Council Departments - Culture, Training, Tourism, Youth Policies Officers Community venues promoters Arts centres programmers and promoters Theatre/Performance/Other companies committed to research, training and new work Festivals with a clear emphasis on training, creativity and process Main theatres who may have a parallel programme supporting and promoting training and performance events with a high level of experimentation and risk Secondary Schools Youth and Day Centres Individual artists Publishers |
| Elan Wales web site: www.elanw.demon.co.uk |
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Tuesday, July 2, 2002 |
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