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Happy New Year everybody!
We hope your 2016 is looking bright. Did you make any resolutions? We didn’t either, but we did set some goals.
We are thrilled to announce that Pip and Twig have set their sights on the Edinburgh Festival Fringe! Sian and Kara will be packing up and heading over to the WORLD’S BIGGEST ARTS FESTIVAL for a 3-week run of their original play The Convolution of Pip and Twig this August. Hamner Theater is once again presenting the show as the umbrella organization and Matt Joslyn is joining the adventure as co-producer. We will update you on upcoming performance information on both sides of the ocean, and keep you updated on the progress of our crack Fringe team! (photo by Will Kerner)
But wait, there’s more exciting news: Jennifer has begun rehearsals for NO WAKE, an original site-specific performance and community collaboration that is the culmination of her Public Artist residency at the Bridge PAI. NO WAKE is an adaptation of Jennifer’s play of the same title. She is collaborating with PEP members Sian on actor training and Martha on script adaptation. The performances will take place in downtown Charlottesville, VA, from March 17 to April 16, 2016. More details to come! (photo by Lisa Eller: Sydney Wynn and Deandra Irving in rehearsal)
Jennifer’s new play NO WAKE has been chosen for the Hollins Playwrights Festival at Mill Mountain Theater this summer! It will receive a staged reading with badass theater artists from all over in town to give feedback.
Mill Mountain Theatre’s Waldron Stage
20 Church Ave SE
Roanoke, Virginia 24011
“Each year, our New Works Advisory Board reads between 50 and 100 plays taken from the cumulative body of work of student playwrights who will be coming for the current summer session. These plays are ranked and vetted, and ten are selected for staged readings in collaboration with directors associated with our program–Certificate students, visiting faculty and guest artists. These readings are presented free to the public, but there is limited seating. We also bring in more than a dozen guest responders who are active working theatre professionals from across the country. Many of our festival readings have gone on to be published, produced and won major awards. Come see tomorrow’s stars today! Our festival is presented in collaboration with Mill Mountain Theatre on their Waldron Stage.” – Hollins Playwright Lab
You can now purchase tickets to our upcoming show through the Live Arts box office.
Tickets are now available ONLINE HERE, or by phone at 434.977.4177 x123. ($1.50 credit card fees apply). You can also pay with check or cash by visiting the Live Arts box office in person at 123 East Water St, Charlottesville, VA.
*Pay-what-you-can tickets will also be available (for cash only) at the door opening night.
February 25 – March 1, 2015
Presented by PEP in conjunction with The Hamner Theater
● Wed Feb 25 – 8pm*
● Thur Feb 26 – 8pm
● Fri Feb 27 –8pm
● Sat Feb 28 –8pm
● Sun Mar 1 – 2pm & 8pm
$20/Adults $15/Children under 12 General Admission
Pip and Twig take Live Arts! Mark your calendars…
Thank you to all who came to see the debut of this new work in December and for all the feedback. We learned a lot and are looking forward to getting back on stage with Pip and Twig for our next run:
The Convolution of Pip and Twig
Founders Theater at Live Arts
February 25 – March 1, 2015
Presented by PEP in conjunction with The Hamner Theater
Wed Feb 25 – 8pm*
Thur Feb 26 – 8pm
Fri Feb 27 – 8pm
Sat Feb 28 – 8pm
Sun Mar 1st – 2pm & 8pm
Tickets on sale soon through Live Arts box office.
$15/children under 12
*Pay-what-you-can tickets will also be available (for cash only) at the door opening night
The Convolution of Pip and Twig is a story of twins navigating the light and the shadow of a complicated love, through well-worn routines, and epic adventure.
DECEMBER 10-14, 2014 8pm
Round Room Dance Studio
The Old Michie Building
609 East Market St, Suite 211
Charlottesville VA 22902
(Street parking on Market St or 7th, or in the Market St Parking Garage across the street)
$15 – Cash and check at the door only
Email us here if you would like to reserve a spot
(tickets not claimed ten minutes prior to show time will be released for sale to others)
Wed 12/10 and Thurs 12/11 are currently FULL – if you cannot come another night, you may put your name on the waiting list in case there are cancellations
Appropriate for ages 10+
THE CONVOLUTION OF PIP AND TWIG
Presented by The Hamner Theater
Created and Performed by Siân Richards and Kara McLane Burke
Directed by Martha Mendenhall
Text contributed by Jennifer Hoyt Tidwell
Music and Lyrics by Jim Waive
Lights by Rowena Halpin
Sound Effects Hunted Down by Opal Lechmanski
Stage Managed by Opal Lechmanski
Lights and Sounds Operated by Opal Lechmanski
Set and Costume assistance by Jim Waive, Corey Lloyd, Laura Covert, Lisa Eller, Zap McConnell, Will May, Jennifer Tidwell
Hair by Leslie Morgan Lowry
Graphic Design by Vu Nguyen with photo by Rich Tarbell (see attached image)
Box Office and general PEP Backup – Jennifer Hoyt Tidwell and Doreen Bechtol
If you can’t make it to our December run of The Convolution of Pip and Twig, you will have another chance to see us in February 2015:
Live Arts Founders Theatre
Details to come
Call 434-806-9506 for questions
Follow us on Facebook for info about performances, workshops and others PEP activities
Hi everyone, it’s Siân and Kara. For over a year now, we have been at times wandering and at times striding toward a two-person show of our own design. We are almost there.
The Convolution of Pip and Twig is a story of twins navigating the light and the shadow of a complicated love, through well-worn routines, and epic adventure. We are creating and performing this show with direction by Martha and text contributions from Jennifer. We are grateful to The Hamner Theater, who is giving us assistance as our presenter.
The play will have it’s inaugural run December 10-14 in the Round Room dance studio in the Old Michie Building in Charlottesville VA. Audience size will be very limited there, but the show will run again with room for a larger audience at Live Arts’ Founders Theater at the end of Feb 2015.
Keep an eye out here or follow us on Facebook for details and updates. We will be posting peeks into source material and our approach to play development, for those of you who like that sort of thing, and the wheres, whens and hows, for those of you who just want the facts. Thank you to Vu Nguyen for the groovy poster image above.
Now, we should probably get back to work!
Until next time,
Siân and Kara
Hello Friends! It’s time to catch you up the current activities of our collective members here in Charlottesville and beyond:
Kara and Siân are in the process of creating a new (as-yet-unnamed) play with direction by Martha and text contributions by Jennifer. We will be posting more about this project here and on PEP’s Facebook Fan Page as the show moves toward performance in December 2014 and February 2015. We hope to see you there!
Jennifer has begun work on an MFA in Playwriting and has been working on her project, “While You Wait”, a “microgallery of mystery that is on an endless tour of our city. The Attendant asks you to spend 5 minutes alone with whatever is in the box”.
You can keep up with her here: https://www.facebook.com/whileyouwaitcville
On the other side of the mountain, Doreen has been in the thick of teaching MFA students in the Shakespeare and Performance program at Mary Baldwin College. She just finished directing a devised show with the students called Little Life. Based on three Shakespeare plays (Twelfth Night, Romeo and Juliet, and The Winter’s Tale) and one play by Thomas Middleton (A Chaste Maid in Cheapside) this original performance traced the lives of the four heroines, or “lost girls,” from birth to death. Next up on her plate she’ll be directing, Metamorphoses, by Mary Zimmerman for the undergraduate drama department at Mary Baldwin College.
In other news, Martha has been working toward her MFA in screenwriting. We gathered with some friends recently to read through her screenplay, Artist of the Beautiful. It was a perfect reason to spend time with some of our favorite people, to quietly inaugurate a friend’s beautiful new studio space, Native Pond, and to give Martha a chance to hear all of her (many times revised) words out loud.
Thank you for your support!
PEP is now offering the following workshop at Live Arts in Charlottesville:
Creating Physical Material for Performance
5 participants min/10 participants max
Learn how to create physical scores (actor-generated “material”) that can be used to create characters, blocking, and scenes for performance.
In the first few classes, actors will create a short physical score and learn every part of it with precision in mind. Then we will move on to manipulating this score with various treatments, such as speed and size. We will also marry these physical elements with text to investigate the potential possibilities for performance.
This class will introduce actors to tools they can use to deepen their control of their physical and vocal work and expand their range.
Please come dressed and ready to move. We will work in bare feet. You should also come with a short piece of text (5/6 lines) you have completely memorized. It doesn’t matter at all what the text is.
Who? This class is designed for all levels of actors.
When? Sundays 4:00pm-6:00pm, Jan 12-Mar 2
Where? 123 East Water Street, 4th floor (Rehearsal A)
Tuition: $160, $144 for Friends of Live Arts
Here are some photos from the past 4 months of our physical training workshop. Thank you to all who participated!
We are offering a workshop on the methods PEP uses for actor training and building work. Martha Mendenhall will be leading the workshop the second weekend of each month, March through June 2013. We are asking that participants sign up for the whole shebang as each month will build on the work that came before.
There will also be an optional two hour training session every Thursday during this time, facilitated by Siân Richards and Kara McLane Burke. These are included in monthly training cost.
Here are the details:
March 9 & 10
April 13 & 14
May 11 & 12
June 8 & 9
Additional Thurs training:
March 14, 21, 28.
April 4, 11, 18, 25,
May 2, 9, 16, 23, 30, June 6th.
Miki Liszt Dance Studio (our gracious sponsor)
McGuffey Arts Center, Charlottesville
$60 for each month,which is a total of $240 for the series.
Due in advance or in two installments (Thursday training included.)
Registration closes March 1st.
Whether this is completely new to you, or you want to go deeper with the training (Madwomen and men!), we hope you consider signing up. Below are some of Martha’s thoughts on the value of this training, and what you can expect if you join us.
Please email us with questions at firstname.lastname@example.org
All the best,
The three cornerstones of the training we will pursue are:
1. PRECISION. The precision of the form – training exercise, etude or set
group form — is the first step. This means learning something
completely and thoroughly by heart, which is only really possible with
lots of repetition. Strive to reach the place where you can execute
the form without having to grasp for/worry about what comes next and you
have mastered the form’s elements. For training purposes, an element
is any piece of an exercise, etude or form. I usually refer to an etude’s
elements as physical material. Your combined physical material makes
up the personal material that has been created by you.
Keep in mind that:
Each element, each part of the whole form, must be thoroughly comprehended.
A useful treatment tool for developing precision is honing in on one
element within a form and repeating it numerous times and/or executing
it backwards as well as forwards. You can also deepen the specificity
by asking yourself questions such as: Where is my weight? Which part
of my body is leading? What is my hand/foot/head doing at this moment?
No matter how much treatment (use of a tools such as speed, size, etc.)
you apply when working with a form, the precision of each element must
not be lost. If precision gets fuzzy, drop the treatment and go back to
simply executing the form.
2. TRANSITIONS. It is generally common to rush through transition moments –
the moments that come between the individual elements – assuming that the
transition between elements — the journey — doesn’t hold the same value as the
gesture itself – the destination. Making use of the moments of transition
between elements is the key to allowing opportunities for change and
surprise into your work. Often, it is the transition between elements
that holds the potential, the moment of possibility in which the
audience will either be fascinated, wondering what will happen next, or
bored, already a few beats ahead of what is about to, predictably,
Begin by identifying natural transitions. In physical work, natural transitions
occur when you change levels, begin or end a piece of material, or just
before or after you step or leap through space.
As your work develops, it will become vital to challenge yourself by avoiding the
natural transition points and, instead, investigate less obvious (even
self-imposed) ones. Playing with the placement and timing of
transitions will increase the rhythmic possibilities in any action. The
use of pauses comes in to play here, and we will also address the
notion of sats, as it relates to transitions.
At first, transitions are about the ability to consciously manifest change, an
internal event. Ultimately, transitions are about receiving an impulse,
instigated by an external event, to change. You will begin by
consciously identifying or choosing points of transition, but the real
goal is to remain open to the impulse to change that is given from
outside – other performers, sounds, etc.
3. TREATMENT. Treating your material is all about the how rather than the what of
your physical material. At first, you’ll be treating your material in
order to expand the range of possibilities that you employ in your
performance work. Actors (as does everyone) have natural affinities for
certain speeds, sizes and ranges of sound and movement. Your first
task with any treatment should be to explore the extremes – from very slow to very fast,
very large to very small. This will obviously push you past your comfort zone, but it will
provide you with a much wider physical and vocal rage of possibility.
It will also increase your stamina. Working at the extremes challenges
you to invest yourself 100% in what you are doing.
Working, at first, with extremes in treatments also makes it easier to keep track of
what you are doing when you change from one treatment and another. At
first, stick to working with only one or two types of treatment each
time you go on the floor. In this way, while working, you will be less
likely to loose track of or forget what you are working on. There will
always be time to become more complex. Keep it simple. You want to
have control of your work, not allow it to frustrate or stymie your
ability to experiment. Simpler, at this stage, is probably better.
Treatment tools include:
Reversing the sequence of action
Intensity or force
Rhythm (examples: flowing, staccato, chaotic, or lyrical)
Working with sats
Physical dynamics (more on this later)