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Playwriting (level 2) with John Burgess

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Note: this is the second week of a progressive two week series. The first session is here: www.campfr.com

"John has the most extensive knowledge of theatre past and present of anyone I know."(Sarah Daniels)

"Over three decades he has guided me to my greatest writing, has tempered my excesses, encouraged me to continue, to continue, to strive and be better; I fear I may have disappointed him, he has never disappointed me." (David Spencer)

"Scrupulous and considerate, he always made you feel you mattered - a rare experience for playwrights. He didn't say, 'this line is bad'; he identified something good you had done, and made you immediately want to make the rest as good. In John's world, writing and integrity and humane values have always been inseparable." (Meredith Oakes)

John Burgess has worked as a director and producer of new plays for over forty years. He helped found the National Theatre Studio with Peter Gill in 1984 and he was Head of New Writing at the National theatre 1989 -1994. Writers whose work he has premiered include Nicholas Wright, Sarah Daniels, Jonathan Harvey, Judith Johnson, David Spencer, Stephen Wakelam and Meredith Oakes. His productions have been seen at the National Theatre, the Royal Court, the Donmar, the Bush, Stratford East, Riverside Studios and BBC Television as well as abroad in Switzerland, Scandinavia and the US.

Since 2011 John has been running a highly successful writers' group whose graduates have had their work performed at the National Theatre, in the West End, at the Soho Theatre, the Queen Elizabeth Hall, the Arcola, BBC Radio 4, the Traverse Theatre Edinburgh, the Finborough and Hampstead Theatre and published by Faber and Nick Hern Books. For more details, see John's website.

These five days are about the practice not the theory of playwriting.

Days will be divided into 2 intense two-hour group sessions with assigned reading and set exercises in between, making for eight (or even nine) hour days focused on the practical business of writing for the stage. This second five day period builds on skills acquired during the first week, exploring further, more complex topics such as images, letters, science, group scenes, history, work, and the rhetoric of persuasion

Participants will be guided towards finding individual solutions to specific problems of writing for the stage, enabling beginners to find firm ground beneath their feet and giving the more experienced an opportunity to refine and extend their skills.

Following the success of last year's course CAMP are now offering two consecutive weeks with a second follow-up five day period exploring further more complex topics such as images, science, group scenes, history, work, and the rhetoric of persuasion. If you would like to attend both weeks, we encourage you to apply for a grant here and mention in your application that you intend to come to both courses. Applicants attending both weeks will be awarded a grant towards the cost of the second week.

"Since completing John's course I have gone on to have my first full length play premiered at the Traverse Theatre, a play that will also receive its US premiere in 2017" (Ross Dunsmore)

"I was invited to write for the 40th Miniaturists event at the Arcola Theatre in April 2013, I've had two short plays performed by Script Sessions at the Courtyard Theatre and the New Britannia Theatre. I've recently landed my first seed commission by winning first prize in A Play for the Nation's Youth. This was a national playwriting competition run jointly by Salisbury Playhouse, Nick Hern Books, Out of Joint and BBC Writersroom. None of this could have happened without John's help." (Fiona Doyle, www.curtisbrown.co.uk/client/fiona-doyle)

"John combines an extraordinary knowledge of world drama with a musician's ear for rhythm, tone, atmosphere and feeling. He is the best teacher you will ever have, and he is an artist in the truest sense." (Denise Keane)

Keyword ( Tags ):

Level:

Duration: 
5 days
Date: 
Wednesday, August 14, 2019 - 09:00
Price: 
€1299 - grants, bursaries and discounts available, see www.campfr.com/funding

Host & Provider:

Address: 

CAMP, Rue Principale, Aulus les Bains, 09120 France

Contact: 

Email: hello@campfr.com | FB: www.facebook.com/campfr | Twitter: www.twitter.com/camp_fr | Instagram: www.instagram.com/camp_fr

Playwriting (level 1) with John Burgess

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"John has the most extensive knowledge of theatre past and present of anyone I know."(Sarah Daniels)

"Over three decades he has guided me to my greatest writing, has tempered my excesses, encouraged me to continue, to continue, to strive and be better; I fear I may have disappointed him, he has never disappointed me." (David Spencer)

"Scrupulous and considerate, he always made you feel you mattered - a rare experience for playwrights. He didn't say, 'this line is bad'; he identified something good you had done, and made you immediately want to make the rest as good. In John's world, writing and integrity and humane values have always been inseparable." (Meredith Oakes)

John Burgess has worked as a director and producer of new plays for over forty years. He helped found the National Theatre Studio with Peter Gill in 1984 and he was Head of New Writing at the National theatre 1989 -1994. Writers whose work he has premiered include Nicholas Wright, Sarah Daniels, Jonathan Harvey, Judith Johnson, David Spencer, Stephen Wakelam and Meredith Oakes. His productions have been seen at the National Theatre, the Royal Court, the Donmar, the Bush, Stratford East, Riverside Studios and BBC Television as well as abroad in Switzerland, Scandinavia and the US.

Since 2011 John has been running a highly successful writers' group whose graduates have had their work performed at the National Theatre, in the West End, at the Soho Theatre, the Queen Elizabeth Hall, the Arcola, BBC Radio 4, the Traverse Theatre Edinburgh, the Finborough and Hampstead Theatre and published by Faber and Nick Hern Books. For more details, see John's website.

These five days are about the practice not the theory of playwriting.

Days will be divided into 2 intense two-hour group sessions with assigned reading and set exercises in between, making for eight (or even nine) hour days focused on the practical business of writing for the stage. Topics covered will include basic dialogue, rhythm, lists, action, silence, stichomythia, exits and entrances, music, vulnerability and direct address.

Participants will be guided towards finding individual solutions to specific problems of writing for the stage, enabling beginners to find firm ground beneath their feet and giving the more experienced an opportunity to refine and extend their skills.

Following the success of last year's course CAMP are now offering two consecutive weeks with a second follow-up five day period (more info here) exploring further more complex topics such as images, science, group scenes, history, work, and the rhetoric of persuasion. If you would like to attend both weeks, we encourage you to apply for a grant here and mention in your application that you intend to come to both courses. Applicants attending both weeks will be awarded a grant towards the cost of the second week.

"Since completing John's course I have gone on to have my first full length play premiered at the Traverse Theatre, a play that will also receive its US premiere in 2017" (Ross Dunsmore)

"I was invited to write for the 40th Miniaturists event at the Arcola Theatre in April 2013, I've had two short plays performed by Script Sessions at the Courtyard Theatre and the New Britannia Theatre. I've recently landed my first seed commission by winning first prize in A Play for the Nation's Youth. This was a national playwriting competition run jointly by Salisbury Playhouse, Nick Hern Books, Out of Joint and BBC Writersroom. None of this could have happened without John's help." (Fiona Doyle, www.curtisbrown.co.uk/client/fiona-doyle)

"John combines an extraordinary knowledge of world drama with a musician's ear for rhythm, tone, atmosphere and feeling. He is the best teacher you will ever have, and he is an artist in the truest sense." (Denise Keane)

Keyword ( Tags ):

Level:

Duration: 
5 days
Date: 
Wednesday, August 7, 2019 - 09:00
Price: 
€1299 - grants, bursaries and discounts available, see www.campfr.com/funding

Host & Provider:

Address: 

CAMP, Rue Principale, Aulus les Bains, 09120 France

Contact: 

Email: hello@campfr.com | FB: www.facebook.com/campfr | Twitter: www.twitter.com/camp_fr | Instagram: www.instagram.com/camp_fr

AR & VR ART WITH SUTU AND PAISLEY SMITH

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Aulus les Bains

NESTLED IN THE FRENCH PYRENEES AT 750M ALTITUDE, 10KM FROM THE SPANISH BORDER AND SURROUNDED BY SNOWCAPPED PEAKS, WATERFALLS AND FORESTS, IS THE PICTURESQUE THERMAL TOWN OF AULUS-LES-BAINS. IN THE TOWN, HOUSED IN A BEAUTIFULLY RENOVATED 19TH CENTURY HOTEL, IS CAMP - THE FIRST OF A NEW BREED OF ARTS RESIDENCY.  CAMP RUNS A SHORT SERIES OF FIVE-DAY ARTS, MUSIC, WRITING AND ARTS-ACTIVIST SESSIONS. THESE ARE NO ORDINARY COURSES - THEY ARE INTENSE, ARTISTIC CATALYSTS RUN BY INTERNATIONALLY ACCLAIMED PRACTITIONERS; CREATIVE FLASHPOINTS DESIGNED TO CHANGE THE LIVES OF EVERYONE INVOLVED. THE COURSES COMBINE WORK IN OUR WELL EQUIPPED FACILITIES WITH PROJECTS CARRIED OUT IN THE MOUNTAINS

 

AR & VR ART WITH SUTU AND PAISLEY SMITH 

Course dates - 19/06/2019 - 24/06/2019

When Google's Tilt Brush launched in 2016, digital artists hurled themselves at it - with its powerful control of textures, volumes and geometry, Tilt Brush was rapidly proven as the most versatile tool around for creating immersive virtual reality artwork, environments and experiences. The same year, Bjork launched "Bjork Digital", her ground-breaking exhibition of 360-degree VR music videos accompanying tracks from her album Vulnicura. It was a pinnacle year for VR, but Google were stepping into a rich, existing scene - artists had been working towards the creation of VR works since Morton Heilig's Sensorama (1956), Myron Krueger's VIDEOPLACE (1975), the StereoGraphics company's experiments throughout the 80s, SEGA VR and Nintendo Virtual Boy in the 90s, and the arrival of sophisticated and lightweight VR tech in the early 2010's.

The current generation of hardware and software allow for the fast, fluid creation of VR worlds (and the insertion of AR elements into the real world) which can be mass-experienced, blurring the limits of gaming, reality, storytelling and art. Reality can be seamlessly augmented with digital artworks, distinct virtual realities can be networked, shared and adapted by audiences, the artist becomes world-maker, the audience is no longer passive; in this brave new world, art does not reflect life - art forms the myriad worlds in which life takes place.

Sutu (aka Stuart Campbell) uses art and technology in new ways to tell stories. He has been commissioned by the likes of Marvel, Google and Disney to create VR art for properties such as Doctor Strange and Ready Player One. He has also created three VR documentaries; Inside Manus for SBS, Mind at War for Ryot Films and The Battle of Hamel for the Australian War Memorial. He's known for his interactive comics including Nawlz, Neomad, Modern Polaxis and These Memories Won't Last. He holds a Honorary Doctorate of Digital Media from Central Queensland University, is a 2017 Sundance Fellow and is the co-founder of EyeJack, an Augmented Reality company.

Paisley Smith is a Canadian filmmaker & virtual reality creator based in Los Angeles. She created Homestay, an interactive VR documentary produced by the National Film Board of Canada Interactive, with Jam3. She received the 2018 Sundance Institute and Robert Rauschenberg Foundation Fellowship for her forthcoming VR experience "Unceded Territories", a collaboration with acclaimed artist and VR pioneer Lawrence Paul Yuxweluptun; she's a visiting artist at USC's Mobile & Environmental Media Lab, led by Scott Fisher, and is admin of the thriving Women in VR/AR Facebook group.

Over the course of the week, this workshop will follow two twin trajectories - split into small groups, participants will divide their time equally between two different but complimentary sides to the VR/AR creative process, working towards the creation of new work, formation of new collaborative relationships, and honing of VR painting and creation skills.

Sutu will lead sessions in VR painting using Tilt Brush, exploring the painting process, filming the resulting work, and outputting 2D and 360 films. He will show how 360 content can be exported to 3D formats, for further use in other programs such as Unity. Advanced techniques covered will include creation of 3D scans for import into Tilt Brush.

Paisley will lead participants through a world-building process, where details of your story-world are established. From the basic seed of a world, brought to the session by each participant, Paisley will help you to imagine what that world would look like in VR, working to create a prototype of the world using real-life model making techniques before moving into VR.

You don't need prior experience of VR to take part - by the end of the session, you will have developed the skills, tech knowledge and increased imaginative potential to create new VR worlds, artworks and narratives.

PRICE €1299 - grants, bursaries and discounts available

INCLUDED IN THE COURSE FEE: FIVE DAYS OF CLASSES AND ACTIVITIES, A COMFORTABLE PRIVATE ROOM AT CAMP, ALL MEALS - BREAKFAST AND LUNCH AT CAMP, DINNER AT AN EXCELLENT LOCAL RESTAURANT, UNLIMITED USE OF OUR RECORDING STUDIOS, EDITING SUITES, REHEARSAL STUDIOS, LIBRARY AND OTHER FACILITIES, POST-COURSE BENEFITS & SUPPORT

Level:

Duration: 
5 days
Date: 
Wednesday, June 19, 2019 - 09:00 to Monday, June 24, 2019 - 09:00
Price: 
€1299 - grants, bursaries and discounts available

Host & Provider:

Address: 

CAMP, Rue Principale, Aulus les Bains, 09120 France

Contact: 

Email: hello@campfr.com | FB: www.facebook.com/campfr | Twitter: www.twitter.com/camp_fr | Instagram: www.instagram.com/camp_fr

Ecoacoustics with Annea Lockwood And Leah Barclay

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Info & bookings: https://www.campfr.com/ecoacoustics

The lived in world can be sensed in many ways. During this course, two of the world's leading protagonists of field recording and ecoacoustics will delve into sound as a means of exploring and understanding the environments that surround us. Using various approaches to listening, recording and composing, this course will extend field recording as a practice existing between the aesthetic, the artistic and the scientific.

Acoustic recordings of the environment provide extremely valuable information about the health of ecosystems and offer viable means to understand and document the temporal and spatial complexities of changing environments. The emergence of the interdisciplinary field of ecoacoustics has resulted in a dramatic increase in the practice of field recording for artistic and scientific purposes. While the scientific advancements of ecoacoustics have provided valuable ecological information and clear evidence on the future possibilities - listening has not played an active role in many existing studies. Acoustic sensors are often deployed in the field by scientists and analysed using automated algorithms without listening to the environment or the resulting data. Yet listening and our comprehension of sound can inform every stage of the process and dramatically increase our abilities to collect precise information - from selecting locations in the field to recording techniques and analysis.

This course is underpinned by the creative possibilities of sound in understanding our environment. We will explore the importance of listening, the aesthetics of sound and the value of our auditory perception in the comprehension of acoustic data. From micro acoustic sensors to sophisticated spatial sound diffusion, this course will introduce the latest interdisciplinary research and ignite our auditory perceptions to interpret our sonic environment through listening, recording, analysis and creativity. The course will include field recording expeditions, theoretical workshops, experiments with new technologies and listening to immersive sound compositions that examine the health of ecosystems. Participants will have the opportunities to develop their own creative works and will explore how ecological sound artists and composers have propelled scientific research in ecoacoustics. This course will demonstrate the value of our auditory perception in ecoacoustics and the future possibilities of understanding our environment through sound.

Born in New Zealand in 1939 and living in the US since 1973, Annea Lockwood is known for her explorations of the rich world of natural acoustic sounds and environments, in works ranging from sound art and installations to concert music. Her interest in field recording and environmental sound has continued throughout her career. Jitterbug (2007), commissioned by the Merce Cunningham Dance Company for the dance eyeSpace, incorporates Lockwood's recordings of aquatic insects, and two improvising musicians working from photographs of rock surfaces. Her sound installation, A Sound Map of the Danube, has been presented in Germany, Austria, Hungary, Romania and the USA. This is a surround 'sound map' of the entire Danube River, incorporating a wide variety of water, animal and underwater insect sounds, rocks from the riverbed and the voices of those whose lives are intimately connected to the river.

Recent projects focused on the natural world include Wild Energy (2014 ), a collaboration with Bob Bielecki - a multi-channel site-specific installation focused on geophysical, atmospheric and mammalian infra and ultra sound sources, commissioned by the Caramoor Festival of the Arts. A double CD collaboration with Christina Kubisch, The secret life of the inaudible (Gruenrekorder) was released in April 2018, and includes a reconceived stereo version of Wild Energy, together with Kubisch's Nine Magnetic Places and newly composed acousmatic works created by each composer from shared sound files.

Leah Barclay is an Australian sound artist, composer and researcher working at the intersection of art, science and technology. She specialises in acoustic ecology, ecoacoustics and sound art through research projects that investigate environmental patterns and changes through sound. Her work has been commissioned, performed and exhibited to wide acclaim internationally by organisations including Smithsonian Museum, UNESCO, Ear to the Earth, Al Gore's Climate Reality and the IUCN. She composes complex sonic environments, immersive live performances and interactive installations that draw attention to changing climates and fragile ecosystems. Leah leads several large-scale research projects including Biosphere Soundscapes, an interdisciplinary venture exploring the changing soundscapes of UNESCO Biosphere Reserves and River Listening, which examines the future possibilities of freshwater ecoacoustics in collaboration with the Australian Rivers Institute. Leah is the president of the Australian Forum for Acoustic Ecology, the vice-president of the World Forum of Acoustic Ecology and serves on the board of a range of arts and environmental organisations. She is currently a research fellow at Griffith University in Australia where she is leading a portfolio of research in acoustic ecology and climate change.

Outcomes for participants:

> Heightened auditory perception through the applied study of ecoacoustics, acoustic ecology, field recording, ecological awareness and deep listening practices introduced through critical enquiry, historical context, interdisciplinary perspectives and practical activities.
> Practical skills in field recording for both artistic and scientific purposes
> Practical skills in editing and analysis of acoustic recordings for both artistic and scientific purposes
> Practical skills in soundscape composition and live diffusion

The session will include daily sound walks, field recording sessions, lectures, practical sessions, listening sessions, editing and analysis workshops, composition workshops, one-to-one tuition meetings and a final concert of work produced. Following the session, participants will benefit from ongoing artist support from CAMP, Fuse Art Space and our array of specialised record labels and publishing imprints, including release, performance and installation/exhibition opportunities.

Keyword ( Tags ):

Level:

Duration: 
5 days
Price: 
€1299 - grants, bursaries and discounts available, see www.campfr.com/funding

Host & Provider:

Address: 

CAMP, Rue Principale, Aulus les Bains, 09120 France

Contact: 

Email: hello@campfr.com
FB: www.facebook.com/campfr
Twitter: www.twitter.com/camp_fr
Instagram: www.instagram.com/camp_fr

Video & Installation Art with Laure Prouvost

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Info & bookings: https://www.campfr.com/laureprouvost

In 2013, Laure Prouvost won the prestigious Turner Prize for her work Wantee - a video installation telling the true/fictional story of her grandfather's relationship with Kurt Schwitters. The work, commissioned by Grizedale Arts and the Tate Britain, is a poignant example of Laure's immersive filmmaking style, her tangling of narratives and her bewildering montage echnique. Words separate from their normal meanings; objects, imagery, drawings and symbols combine in dizzying combinations; the artist tunnels through established truth and fiction, creating an onslaught of sensory and logical stimulus. She has exhibited at Carlier Gebauer (Berlin), Tate Britain (London), Consortium Dijon, MMK Frankfurt, Kunstmuseum Luzern, CCA Laznia (Gdansk), Walker Art Centre (Minneapolis), Witte de With CCA (Rotterdam), Hangar Biccoca (Milan), State of Concept (Athens), Fahrenheit (Los Angeles), Haus Der Kunst (Munich), e-flux (NYC), CAPC Musée d’Art Contemporain de Bordeaux, New Museum (NYC), Extra City Kunsthal (Antwerp), The Hepworth (Wakefield) and at many other institutions around the globe.

Laure's films are often combined with sculptural/3D installations, creating immersive environments in which her unruly conceptual ruptures can unfold - her 2015 work Dear dirty dark drink drift down deep droll (in der dole) starts with a bookshelf stacked with poetry and travel tomes - the bookshelf hides a secret door which plunges disorientated visitors into a pitch-black corridor, through which they will eventually feel their way to the screening room.

Laure's course will burrow deep into the labyrinthine business of conceptual installation art, examining a diverse range of aspects influencing her practice, and the field in general; examining key ideas, moments and questions from the history of conceptual installation art; exploring technical possibilities, techniques and the position of technology in conceptual art. Group sessions in our state-of-the-art classrooms will cover a wide range of topics, and individual sessions will develop your practice and projects.

Duration: 
5 days
Price: 
€1299 - grants, bursaries and discounts available, see www.campfr.com/funding

Host & Provider:

Address: 

CAMP, Rue Principale, Aulus les Bains, 09120 France

Contact: 

Email: hello@campfr.com
FB: www.facebook.com/campfr
Twitter: www.twitter.com/camp_fr
Instagram: www.instagram.com/camp_fr

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