Allotment

Sustainable Production Award Announced for 2011 Edinburgh Festival Fringe

LOS ANGELS/EDINBURGH — The Center for Sustainable Practice in the Arts (CSPA) has awarded the second CSPA Fringe Award for Sustainable Production at the Edinburgh Fringe to Allotment by Jules Horne and directed by Kate Nelson. The world premiere of Allotment was produced by nutshell at the Inverleith Allotments in this co-production with Assembly.

Allotment is a dark and physical tragicomedy that takes place in a real allotment. It follows green-fingered sisters Dora and Maddy as they live out their rivalry among the plants. When the unexpected rocks their uneasy balance, it’s time to do something radical.

“We chose Allotment because its successful incorporation of its location into the drama.” comments Ian Garrett, Executive Director of the CSPA.  “The show’s honesty and heart is revealed in choosing to set it in a garden, and not build a facsimile on stage. Kudos to nutshell and Assembly for serving an already fantastic play so brilliantly ”

The award is determined by the submission of a questionnaire about how the show was produced along with audience response. Amongst dozens of entries, Allotment stood out in it’s minimal environmental impact, very much a result of it’s setting in the Inverlieth Allotments, requiring very little scenic construction and no additional show technology. Additionally the venue was easily accessible by public transportation, refreshments created little waste, themes of one’s relationship to the natural world were evident and it received excellent audience response. Allotment was also awarded a fringe first award by the Scotsman.

The CSPA Directors, Ian Garrett and Miranda Wright adjudicated the award, along with select CSPA affiliates. For the Edinburgh Fringe, Mhora Samuel and Tim Atkinson from The Theatres Trust’s European Regional Development Fund-backed Ecovenue project have helped the CSPA adapt the criteria for a UK audience, providing guidance on UK equivalents to US name brands, as well as providing insight on measuring conventions and policy. The award simply would not have been complete with out their assistance.

“The CSPA is not just another ‘go green’ organization,” says Wright.  “We hope to gather and distribute information that aids in the sustainability of the earth, the sustainability of our communities, and the sustainability of our art.  And so, the purpose of this award is not to recognize the greenest production.  Our objective in offering this award is to ask questions of ourselves, as theater artists, about the greater impact of our work on the world around us. The fringe model provides an ideal platform to introduce these ideas and the award due to the expectations and scale of the shows.”

“Even more so than we want someone to score perfectly on the questionnaire we use to evaluate shows, we want theater artists to look at the questions and think about how it helps to guide their thinking about sustainability in the their art. There may be questions asked in ways they hadn’t thought, and we hope they ask these questions of their next project and the project after that,” adds Garrett.

Ian Garrett and Miranda Wright founded the CSPA in early 2008 after individually working on each of the programs that now make up the multi-faceted approach to sustainability separately. The organization provides a network of resources to arts organizations, which enables them to be ecologically and economically sustainable while maintaining artistic excellence. Past and Present partnerships have included the University of Oregon, Ashden Directory, Arcola Theater, Diverseworks Artspace, Indy Convergence, York University, LA Stage Alliance and others.

 

Cultivation Field

This post comes to you from EcoArtScotland

 Cultivation Field is a Postgrad exhibition and symposium at the University of Reading (thanks to RANE for circulating) deadline for abstracts 29 July – exhibition and symposium end September 2011.

The premise for this Symposium and accompanying Exhibition is that cultivation is leading to new art practices deserving of critical inquiry and articulation. Whether in the garden or allotment, the soup kitchen or the road, on wasteland or the tower block, or wherever there are cracks in the system, cultivation provokes questions about human being’s relation to and encounter with the earth and its growth systems and operations. The purpose of this Symposium and Exhibition is to encourage discursive exchange and productive encounter between art practitioners and researchers within the cultivation field.   more…

 

ecoartscotland is a resource focused on art and ecology for artists, curators, critics, commissioners as well as scientists and policy makers. It includes ecoartscotland papers, a mix of discussions of works by artists and critical theoretical texts, and serves as a curatorial platform.

It has been established by Chris Fremantle, producer and research associate with On The Edge ResearchGray’s School of Art, The Robert Gordon University. Fremantle is a member of a number of international networks of artists, curators and others focused on art and ecology.
Go to EcoArtScotland

Earth Matters on Stage: Ashden Directory Session


Friday morning at Earth Matters on Stage a small group of us piled into the video conferencing room in the Knight Library at University of Oregon to have a conversation with our interested counterparts in the UK. Our second, but certainly more ambitious, video conference of the day, it harkens back to the discussion surrounding travel, the arts and conferences that has been come up at the RSA here (also to be seen in our archives as part of our feed syndication).

From the Ashden Directory Blog:

Our DVD contribution to Earth Matters On Stage is now online. The interviewees address the question: ‘What Can Be Asked? What Can Be Shown? British Theatre in the Time of Climate Instability.’ (The interviews can also be watched individually.)

Quoting Rilke, Dan Gretton considers the value of quickening the pace of artistic response and cautions against the narcissism of frenzy.

On her allotment, Clare Patey explains how a year-long project changed the quality of the conversation amongst its participants.

In Brazil, João André da Rocha draws attention to the movement and shapes of rural life, especially popular dance, as a way of getting closer to Brazilian culture. (Transcript here.) 

From his office in the East End, Paul Heritage raises the question ofthose who are talked about rather than those who are talking.

With the Lake District as her backdrop, Wallace Heim asks how climate change differs from other political situations and how this might alter the ways in which theatre can be made.

Finally, Mojisola Adebayo performs the first moments of her play Moj of the Antarctic and wonders if some people in theatre think they’re above climate change.

You also can watch each person’s contribution as a separate sequence:
 

dan gretton
Dan Gretton

Dan Gretton, co-founder of PLATFORM 
responds to Mojisola Adebayo’s question, 
‘How far is art worth the damage?’ 
watch here
 

clare patey
Clare Patey

Clare Patey, artist and curator 
responds to Dan Gretton’s question, 
‘Can you talk about the role that slowing down and reflectivity plays, both in your creative process and your interaction with your audiences?’ 
watch here 

João André da Rocha
João André da Rocha

João André da Rocha, performer, producer, People’s Palace Projects and Nós do Morro, Rio de Janeiro, Brazil
responds to Clare Patey’s question, 
‘How can we reunite culture and agriculture through performance?’ 
A transcript is here 
watch here 

paul heritage
Paul Heritage

Paul Heritage, producer, director People’s Palace Projects and Queen Mary’s University 
responds to João André da Rocha’s question, 
‘What steps are you taking to descrease the impact of your life in the world?’
watch here 

wallace heim
Wallace Heim

Wallace Heim, co-editor Ashden Directory, academic 
responds to Paul Heritage’s question, 
‘How can we listen to, see, feel and learn from those who are talked about rather than those who are talking in the great climate change debate?’
watch here 
 

mojisola
Mojisola Adebayo

Mojisola Adebayo, artist, theatre-maker 
responds to Wallace Heim’s question, 
‘What would you keep from theatre and performance practice and what needs to change in response to climate instability?’ 
watch here 

The film is edited by Adam Clarke and directed by Wallace Heim.

‘What can be asked? What can be shown? British theatre and performance in the age of climate instabilit