with Emily Orley and Chris Heighes, Tara Irani, Johanna Linsley & Abi Conway, Sibylle Erdmann, P.A. Skantze and Matthew Fink
The Pleasance Scratch, London
THE BRIDGE. We want to build a bridge. Right now, in the theatre. A bridge heedless of border controls, territorial disputes, oceans, mountains, walls, maps and distances involved. Out of Britain. And into it. We will need a team of committed and inspired engineers, construction workers and poets. With the help of sounds and objects that we will assemble, we will tell stories about the history of a few notable bridges, real and imagined, such as the Mehmed Pasa Sokolovic Bridge in Bosnia and Herzegovina (as written about by Ivo Andric), the Bridge of Sighs in Venice, London’s Waterloo Bridge (which was partly built by women who were then forgotten), and the seven fictitious bridges that appear on Euro banknotes. And so we propose to build a show about a bridge. Or maybe a bridge inside a show.
Photos: Heather Pasfield
Edited by Emily Orley and Katja Hilevaara
(Forthcoming with Routledge in 2018)
This edited collection of writings, aimed primarily at researcher-practitioners and postgraduate students, brings together a range of examples of how to write about one’s own work in creative yet academically rigorous way. In a world where practice-as-research is becoming increasingly recognised and valued, artistic-researchers are always looking for ways to discuss and analyse their own work without compromising the creative drive that inspired them in the first place. We have collected together a collection of sample writings by leading researcher-practitioners and emerging artists alike, which will serve as examples for students and independent practitioners interested in writing and thinking about their own work in a creative yet critical, alternative yet theoretically rigorous way.