October 3rd, 2011
“The New School” (USA)

“In 1992 Jack Persekian founded Anadiel Gallery, the first and only independent gallery for Palestinian artists in Jerusalem. Persekian later founded the Al-Ma’mal Foundation to continue the gallery’s mission and to further promote, instigate, and disseminate the production of art in Palestine. In his talk, Persekian will share his experience – the challenges and the outcomes – of creating a space for Palestinian artists in Jerusalem. Have the methods for working in contested spaces, such as Israel, changed over the years? Does art have the potential to engage a zone of conflict in a different way than politics? Persekian was Head Curator of the Sharjah Biennial (2004–2007), Artistic Director of the Sharjah Biennial (2007–2011), and Director of the Sharjah Art Foundation (2009–2011).”

Al-Ma’mal Foundation:  www.almamalfoundation.org

The “Zones of Emergency: Artistic Interventions – Creative Responses to Conflict & Crisis” Fall 2011 lecture series investigates initiatives and modes of intervention in contested spaces, zones of conflict, or areas affected by environmental disasters. The intention is to explore whether artistic interventions can transform, disrupt or subvert current environmental, urban, political, and social conditions in critical ways. A crucial question is how can such interventions propose ideas, while at the same time respecting the local history and culture.

More information at the Zones of Emergency Blog: http://zonesofemergency.mit.edu/

Cultura21 is a transversal, translocal network, constituted of an international level grounded in several Cultura21 organizations around the world.

Cultura21′s international network, launched in April 2007, offers the online and offline platform for exchanges and mutual learning among its members.

The activities of Cultura21 at the international level are coordinated by a team representing the different Cultura21 organizations worldwide, and currently constituted of:

- Sacha Kagan (based in Lüneburg, Germany) and Rana Öztürk (based in Berlin, Germany)
- Oleg Koefoed and Kajsa Paludan (both based in Copenhagen, Denmark)
- Hans Dieleman (based in Mexico-City, Mexico)
- Francesca Cozzolino and David Knaute (both based in Paris, France)

Cultura21 is not only an informal network. Its strength and vitality relies upon the activities of several organizations around the world which are sharing the vision and mission of Cultura21

Go to Cultura21

Mo`olelo workshopped the first draft of this script last year; Ms. Bilodeau and Mo`olelo’s Artistic Director Seema Sueko journeyed to Montreal in January of this year to workshop the script at Playwrights Workshop Montreal with Inuit and Quebecois actors; and we will now host the third and final workshop reading of this script on May 24. We invite you to join us. For those who saw the reading in 2010, the script has gone through significant adjustments, with some characters “being fired,” and a tightening of the story.

Details

What: a reading of Sila by Chantal Bilodeau

When:   Tuesday, May 24, 2011 with 5:15 PM Potluck reception & mingle with the artistic team and 6:00 PM Reading

Where: The 10^th Avenue Theatre, 930 10^th Avenue, San Diego, CA 92101

Reservations: Space is limited. Email: tickets@moolelo.net or call 619-342-7395

Admission: Bring something to drink (bottle of wine, soda, whatever you fancy), food to share (cheese & crackers, hors d’oeuvre, or some other munchie), or make a $10 donation at the door.

www.moolelo.net

About the play:

The Arctic is melting and everyone wants a piece of it.

In the race to shape the future of the region, four characters – an ice scientist, an Inuit activist, an officer for the Marine Communications and Traffic Services and a polar bear – see their values challenged as their lives become intricately intertwined.

(This post was originally posted on the TCG Think It, Do It, Blog It as part of  The MetLife/TCG A-ha! Program.)

By Anthony Runfola, Childsplay

It’s been just over a year since we had our first meeting about our Think It! Grant. Today is my last day in the office for 2010 and I’ve spent it looking over the notes from those meetings as well as from our three sustainability summits.

At Childsplay, we will begin our 2011/2012 season planning in earnest next month. With that comes the opportunity to start laying the groundwork for some of the organizational changes we have been talking about throughout this past year.

So, in the spirit of the season, I present to you my Sustainable New Year’s Resolutions for 2011!

• Encourage our artistic director to hire teams of designers that work on at least two shows within the season to see if each production can share resources.
  • Many theatres have been doing this already to address financial concerns. But a great side effect is that you may be reusing certain units between shows.
• Challenge our designers to think about sustainability when designing.
  • As we noted in our post from this past May, designers thought differently about what they would design when challenged to “make it sustainable.” Of course, we are going to have to be more specific than that when we try to do this for real.
• Include production staff in design meetings from the very beginning.
  • Not surprisingly, communication emerged as an essential component to creating more environmentally conscious scenery. I will venture to have our TD work along with the director and designer beginning at the very first meeting.
• Ensure all metals used in scenery get recycled.
  • This really is a no-brainer. It will cost a bit more to make this happen, but certainly the price is nothing next to the cost of continuing to dump metal into the ground.
• Be proactive in trying to find a taker for our used scenery before strike.
  • To be fair, I’ve tried this before without much luck. But I will keep trying!

via Sustainable Revolutions — TCG Circle.

Here in New York City we have commercial theater, experimental theater, really bad theater…but who knew we also have green theater, too!?

9Thirty Theatre Company is one of New York City’s first eco theater companies, and we happen to think they’re pretty darn neat. By having the environment serve as a character, theme, or the plot of their shows, 9Thirty seeks to raise awareness and take action on pressing environmental issues.

On Sunday, July 25, the theater company with a heart of gold will present THE BIRDS” TO SAVE BIRDS — a benefit reading of “The Brown Pelican” by George Sklar. The event will raise money for both 9Thirty and Tri-State Birds – a non-profit organization dedicated to saving and rehabilitating birds in the Gulf of Mexico.

“After the oil spill I found myself feeling helpless about what I could do to make a difference,” says artistic director Jeff Burroughs. “As of June 1st 658 birds, 279 turtles, and 36 mammals have been found dead. So I created an avenue to DO something! I contacted Tri-State Bird Rescue to put together a benefit.”

Besides the reading, the benefit will also feature organic food and drinks, a good old fashion raffle, and coupons for special discounts on future productions.

Sound super cool? Stop by 9TTC.org to get more information and purchase your tickets!

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Actor Mark Rylance, who will be in the upcoming revival of David Hirson’s La Bête at the Comedy Theatre, visited the theatre’s current exhibition, “Recycled Comedy.” Rylance will be starring in La Bête alongside Joanna Lumley and David Hyde Pierce at the Comedy Theatre from 26 June until 4 September.

The “Recycled Comedy” Exhibition showcases replica costumes from past productions that have played at the theatre made entirely from recycled and recyclable materials. Each costume sits in its own ‘environment’ which is complemented with light and sound. For the past month front of house, management, crew and box office staff at the Comedy Theatre have been working hard to develop and realize the exhibition which promotes recycling and raises environmental awareness.

Rylance, who has a strong interest in environmental and recycling issues, won two Olivier Awards with his roles in MUCH ADO ABOUT NOTHIN and JERUSALEM. He was also honored with a Tony Award for BOEING BOEING. He served as the Artistic Director of the Shakespeare Globe Theatre from 1995-2005.

The Comedy Theatre is owned by the Ambassador Theatre Group (ATG). ATG is committed to achieving the highest standards of environmental performance, preventing pollution and minimising the impact of its operations on the environment.

ATG believes it is both good business practice and our duty to protect natural resources and therefore aim to conserve energy, water, wood, paper and other resources – particularly those which are scarce or non renewable. ATG also aims to reduce waste through re-use and recycling and by using refurbished and recycled products and materials where such alternatives are available.

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You can download the latest Green Theater Choices Scorecards here: http://www.tcg.org/pdfs/events/fallforum/Scorecards_for_TCG_Fall_Forum.pd

via more greening news « Mo`olelo Blog.

via greening mo`olelo new york style « Mo`olelo Blog.

”As for the Prague Quadrennial in 2007, there were almost 30,000 visitors and more than 5,000 professionals and students from all over the world. One of our aims for the upcoming PQ therefore was to look for a new place, which would not only correspond to the growing interest of the public, but would also be an important source of impulse for the PQ itself. The connection with the National Gallery offers new context for the Prague Quadrennial, which presents scenography as an artistic discipline between visual and performing arts,“ says Sodja Lotker, the PQ Artistic Director .

The main objective of the PQ is to draw attention to current works of scenographers and architects to the broader public. Apart from the professional aspect, the PQ’s organizers are planning to introduce a number of events meant for the general public and kids. At this moment there are 57 countries signed up to participate in the next PQ. There are a number of traditional PQ participating countries registered, such as the USA, Germany, and Norway, but also countries like India and Kazakhstan. For more detailed information, please go to www.pq.cz/en.

Preparations for the next Prague Quadrennial are already in full swing. Great attention, however, has turned to the new PQ project, the Intersection. It is a unique project combining workshops, symposia, and last but not least, the artistic event itself. The Intersection is clearly the most extensive project of its kind, connecting various fields and genres of contemporary art, related to performance and performance design – theatre itself, dance, art installations, video art, performance, body art, fashion, new media, architecture, and site-specific pieces, among others. As a result of several years of effort, there will be a performance/installation in the Prague city center, where people will be able to see performances throughout the day, or where one can see installations or video art. The importance of this project is not only marked by the participation of 8 other important institutions as Victoria and Albert Museum or Kretakör Theatre Company, but also the fact that the project was awarded the Culture Grant of the European Union, where it succeeded among 296 applications. The first part of the project – the international theoretical symposia took place in Autumn 2009 in Amsterdam and Zurich.

The quintessential element of the PQ program, however, will traditionally be connected to the Section of Countries and Regions. Individual country’s concepts will represent all current stage design directions: the stage, costume, lighting and sound design, etc. and their mutual connections. As in previous years, plenty of space will be also dedicated to the Student Section. Aside from the expositions of particular art schools from around the world, this section will also host the Scenofest – an educational project based in workshops and site-specific performances. The question, “what is a theatre now?” will be the main topic of the Architecture Section, which will mainly focus on the diversity of forms of theatre space in the 21^st century. This section will not only take spectators from the theatre building to site-specific spaces and all the way to virtual space, also it will also create dialog among architecture, scenography, and contemporary performance.

The three main competitive sections of the Prague Quadrennial, where participating countries and artists may win the main prize, the Golden Triga, as well as other awards, will be accompanied by several programs meant to address the broadest international public. There will be a new project concerning costumes, a sound and light project, and the traditional PQ for Children project, which will take place directly in the streets of Prague.

The Veletržní Palace is one of the most important functionalist buildings in Prague. Built by Josef Fuchs and Oldřich Tyl, the building was completed in 1928 and was, in its time, highly praised for its size, modern concept, and unusual façade. The six floors of the building served its original purpose until 1939 when it began to be used for many different purposes. Destroyed by fire in 1974, the building was reconstructed in the early 1990s and today it serves as the home of 20^th and 21^st century art for the Czech National Gallery.

For more information please contact:

Ondřej Kopička

International PR

Prague Quadrennial

M: +420 608 540 360
E: press@pq.cz

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The proposed anthology of essays, interviews, and artist statements will include papers dealing with ecocritical concerns as they relate to theatre and performance. The editors are especially interested in explorations that employ the science of ecology as a critical framework, or employ environmental history to contextualize performance.

The topics welcomed include, but are not limited to:

• the ecological situatedness of language
• the dialogic relationship between onstage/offstage ecological discourses
• intersections and complications of landscape/body
• performances that participate in/reflect ecological debates
• ecology, technology and representation
• the cultural (de)construction of ‘nature’
• performative intersections of social justice and ecological issues
• partnership projects in the arts and sciences
• ecological dramaturgy
• community/place and ecology
• the body as a site of ecological intersections
• the ecologies of theatrical space
• semiotics of ‘nature’
• subjectivity/inter-subjectivity and the ecological self
• animal representation on/off stage
• eco-activism/community-based performance.

Available at http://www.tcg.org/pdfs/grants/Toolkits.pdf – be patient, it may take a moment to download.

Leave your feedback here:  Think it, Do it, Blog it: Green Feedback!.

FROM SEEMA:

Hello Think it, Do it, Blog it readers:

We’ve posted the updated Green Theater Toolkit scorecards for Wood Products; Plastics and Foams; Metals; and Glass, Ceramics, Earthen Materials here. Please take a look and post your comments and feedback – feel free to be as direct as you wish with feedback. These scorecards arent final, so your ideas will be extremely valuable to their development. If you dont feel comfortable posting your feedback on this public blog, you can email me directly at seema@moolelo.net please write “Green Theater Toolkit” in the subject line.

Some questions for you to consider:

1) Do you understand the charts below?
2) Is any of this useful for your theater-making process?
3) Are there any materials you wish were on the list; or anything you wish were not on the list?
4) Are there any surprises for you on this list?Thanks for taking the time to contribute to this project!

Aloha,

Seema Sueko
Artistic Director
Mo`olelo Performing Arts Company

NewTown Presents:

On the trail of A Half Mile of Al Fresco Installations, sculptures and performances

Karen Bonfigli & Andreas Hessing
Neil Fenn
Thadeus Frazier-Reed and Cassia Streb
Libby Gerber
John P. Hastings
Stanton Hunter
Huckleberry Lain
Richard Newton
John O’Brien & Cielo Pessione
Toti O’Brien
Miguel Olivares
Joseph Ravens
Karen Reitzel

June 6, 11:00 AM to 7:00 PM
June 7, 10:00 AM to 7:00 PM
Hahamongna Watershed Park (see below for directions)
Free
A stroll through art and nature

**Contact Information**
Richard Amromin, Artistic Director
info@newtownarts.org
www.newtownarts.org
(626)398-9278 or (626)240-7787 (show dates only)

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This is how Rachel Rosenthal begins her keynote.  Here at EMOS, it’s perfect. Artistic Director Theresa May has just given her a fantastic introduction. She is in a room full of full-out EcoDrama nerds, folks who don’t need an explanation of the guttaral relationship between earth and body, who know her and her work, or who at the very least don’t need a speech about earth-saving. They know Arteaud wrote “The Theatre and its Double,” and chuckle. She knows her audience.

Rosenthal junkies at EMOS got a major fix: a presentation which included her first performance in almost 10 years, an opportunity to buy Moira Roth’s Rosenthal anthology and have it signed by the artist, and the next morning, an analysis of her work by a panel of her former students and devoted independent scholars. Heady.

Rosenthal did not, in fact, know Arteaud, but he did “save her life:” his writing gave her a logical basis to begin creating her own unique brand of performance: eco-feminist, deeply personal, and dramatically sharp. Clips shown over the weekend included L.O.W. in Gaia, in which she writes her age on her bald head in lipstick and drags bags of trash behind her on the stage, and The Others, which included 42 “non-human animal” performers.

In a presentation days later given by Deke Weaver, an interesting conversation arose. What is the line between sharpened meduim and effective message? How do you articulate an important issue without pandering, how do you push the form without driving away your audience? Rosenthal is famous for creating a body of work that is made of her own body, stories and trembling articulations. Whether or not watching Gaia rise from a pile of garbage is your idea of an endurance test, it is deeply rooted in a sobbing, grappling love for the earth. Rosenthal was saddend to learn that Arteaud never saw his idea of theater realized onstage. But of her own methods, she decries: “I will not die without having seen it, because it’s MINE.”

Go to the Green Museum

Thorne is quick to emphasize that PCS’ vision for its new building, an old armory that they saved from impending demolition, encompasses far more than just environmental stewardship.  Expanding on the advice of designer Ed Schlossberg, who suggested that they work to “move the proscenium outward, so that the audience is on stage as soon as they walk in the building,” they decided to work toward a new model whereby the meeting of audience and organization is not just a “transactional relationship”, with spectators entering the doors to head straight to their seats.  Rather, they envisioned a model in which the theater is a locus of the community, with spaces that function as public arenas and events that enhance the work presented on their stages.

Two views of the PCS lobby

This meant, first of all, the creation of a lobby space open to the public at all hours of the day.  A gorgeous cafe with wireless internet sits just in the doors; at lunchtime, the upstairs lobby is host to tai chi and yoga classes; and as audiences file through the doors, seminars and parties are often underway in an adjoining area.  The theater’s design facilities an open, communal feel, with the oval space of the lobby conveying a sense of swirling movement.  “The project was about creating a building people could identify with us,” said Thorne, and there is little question that a visitor to the Gerding might forget its interior.

Thorne oversaw the work during the Gerding’s retrofitting, and he recounted the process that led them to the decision to move into it.  At the time, they were sharing space with the Symphony and Ballet in a multi-use facility nearby, but the 900-seat house was too large and not well suited to their needs.  A commissioned study of the Portland arts scene recommended that PCS be given its own home, and Coleman was brought on as artistic director in part because of his commitment to that process.  Although the financing was tricky, and required the concerted efforts of a number of dedicated partners, they managed to raise the funds necessary for the move.

And when Norris Lozano, the president of the project funding partner Portland Family of Funds, a newly formed organization tasked with bringing New Market Tax Credits to Portland projects, insisted that the new theater be a showcase for green technologies and aim for LEED status, the learning curve was steep.  In particular, Coleman and Thorne were worried that the concessions they would have to make to earn the points necessary for certification would alter the design of the two spaces that had worked so carefully to craft.  However, the result is a magnificent building with two gorgeous theaters, and has been, as Thorne says, “Better than we could have hoped.”

As for its green credentials, the building was the first on the historical register and the first performing arts facility to achieve LEED platinum status, a mark not easy to hit.  It helped that they were able to reuse the shell of the old building: the recycling of building materials earns a number of points.  However, meeting some of the other measures proved somewhat difficult — it took some persuading to get their seating manufacturer to work with fabric made from recycled soda bottles.  And not all of the green features proved easy to use at first.  The cold water sent from a plant on top of a nearby Whole Foods (also supplied to a number of other area buildings, as the Gerding is part of a larger green development project) was, at first, sent at pressure high enough to blow off a number of the building’s valves.  And properly calibrating the motion and daylight sensors, both meant to reduce lighting usage, has taken some time.  Thorne is quick to point out, thought, that some of the technology the installed was still freshly developed when they installed it and might be far easier to use in this day and age.

Some green measures proved too expensive.  Installing photovoltaic panels on the roof or microturbines in the basement — both of which would have gone some way toward decreasing the theater’s carbon footprint and saving money in the long run — would have added significant expense to the project.  Moreover, under the current LEED standards, set to be changed later this year, these elements would have only garnered a point each, whereas a much less costly step such as installing scrape grates at the entrance doors was also worth a point.  Thorne says that, although it might be tough in this economic climate, they are still looking to add such features to the building, and that they might be able to do so with the increase in funds and tax credits being directed toward green energy projects.  And as the building’s LEED accreditation is set to expire after five years, he’s looking ahead to adding features that will make it eligible for LEED-EB (existing building) status.

Going green has drastically increased PCS’ local and international profile.  Groups of green architects and designers from around the world, drawn to Portland because of its high number of green projects, have taken tours of the building.  Just that day, a group of 100 school high school students in the midst of an environmental education course had come by to learn about the building’s rainwater reclamation tanks, chilled beams, and CO2 monitoring system.  Community Programs Manager Tim DuRoche put their tour in context by explaining that most of Portland’s energy came from coal and that PCS’ efforts would reduce the amount they had to draw from that non-renewable energy source.

Although PCS might have rested on its laurels with a green building, it has continued to try and make its operations as green as possible.  They’ve banned the use of spray paint whenever possible; they use recycled paint from a local city agency whenever they can; and they use Zipcars for local staff transportation.  And they’ve taken an even more significant step by opting to purchase green tags — tradable renewable energy certificates — from the Bonneville Foundation.  Of course, living in a city with the green consciousness of Portland, employees are already fairly mindful of their environmental impact.  They’ve had little luck persuading designers to work with less wattage and fewer materials, however, as most of them are reluctant to change their working methods, and Thorne said he thought it would take a revolution in education before younger, environmentally-conscious designers began to rise through the ranks.

Before I went, I had been told that PCS’ younger demographic had increased significantly with the move to the new building, and I asked Thorne if that could be attributed to their new green credentials.  “Not necessarily, but it has played a part,” he said.  More importantly, he said, was that the new building, and the new model that it represented, had increased PCS’ presence and integration with the city’s residents.  “They feel a sense of pride and ownership.”

Links:

“The Four Pillars” (theater, community, history, and sustainability), PCS website

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Field is inspired by the fact that now there is technology accessible to help us address these issues. The issue is at the forefront of our minds, and now city and governments are willing to help, which Field says is “going to change everything. It’s not just going to be little cliques. It’s going to be well into the social fabric.” She adds, “Now we’re going to put some money where our mouth is,” and that’s just what TNC has been doing.

TNC has taken extensive steps to make its facilities and productions more sustainable, and they have ambitious plans to continue their sustainability efforts. TNC has already taken the following steps to green their theater:

• They have replaced all the incandescent light bulbs in their theater offices and public spaces with compact fluorescents
• In their lobby, which they use as an exhibition area and art gallery, they have installed a system that senses the availability of natural light and decreases electric lighting accordingly
• Recycling of paper, plastic, glass, and metal has always been a priority, and they recently initiated a battery recycling program
• Reusing show programs: TNC asks audiences to return their programs for reuse if they don’t want to keep them as souvenirs
• Hosting Green Cabarets, which feature a variety of readings, dances, and musical acts, all inspired by green issues

Beyond these initial steps, however, an ambitious green renovation plan is in the works.  TNC is currently seeking funding from the Kresge Foundation, local businesses, and charity events; once a set goal is reached, the city of New York, which has become very active in green issues via its ambitious PlanNYC, will cover the remainder of the costs.  Features of the renovation are set to include:

• A green roof, the flagship component of the renovation, will feature vegetation and solar panels which will reduce their carbon footprint by gobbling up CO2 and releasing oxygen, insulating the theater (reducing heat/cooling energy needs), and generating power to run the theater from the solar panels.
• Planting trees and shrubs on the sidewalk in front of the theater to increase visibility of their efforts
• Installing more efficient stage lighting lamps
• Complete renovation of the Chino Theater, including green lighting and mobile seats
• Water-saving measures
• Rennovating the scenic shop to make it more energy efficient
• An audio/visual recording studio downstairs
• All renovations will use sustainable wood and the most environment-friendly products possible, and they plan to reuse or recycle as much of the remaining material as possible

Field says that their emphasis on a green roof came about for three reasons.  Firstly, wanting to create an urban green space but without extra land of their own, they decided to turn to an unused space of their own: the roof.  The space will not only reduce their carbon footprint and improve the air quality in a crowded city, but also provide organic food for the community.  Secondly, they’re hoping that it serves as a model for other local theaters, saying, “If all theaters in New York City followed our example, the reduction of our collective carbon footprint would be extraordinary. “  Lastly, they realized that it would cut down on their long-term energy costs by reducing heating and cooling expenses, and might even help to prolong the operational life of the roof itself.

TNC’s plan is ambitious, and the obstacles to fundraising in today’s economic climate are many, but Field remains positive and determined to keep working towards a greener planet. She urges relentless perseverance and gradual change: “One small step and then another small step that is obtained with blood sweat and tears. But, you know, we don’t have slavery in this country anymore, right?” She believes Americans have the ability to recognize their mistakes and change their ways. She jokes, “We smoked, and then we got cancer. But then we gave it up. We learn.”

When asked what recommendations she would give to other theaters looking to go green, Field suggests that they start with green committees made up of staff and audience members, and that they address how the theaters can save money right away by greening their basic operations, from buying green janitorial products, to switching out lightbulbs, to recycling everything possible.  She advocates going online to learn about the basic ways to green a business and to start applying those practices. Lastly, she suggests that you “start talking about green on your own website. Put your plans on your website and people will start to contact you who want to get involved.”

According to Field, it is the theater’s job to be a part of the solution: “The theater is going to tell us that things can be solved.” She maintains that theater is good at reinforcing the message of going green to people who already support that cause – the converted. “The converted need inspiration to go on and do the work that needs to be done. Theater is of great value in that way.”

Links:

More information on TNC’s green roof via their website

“What is a green roof?” via HowStuffWorks

Greenroofs.com and Liveroof.com

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After more than 40 years of existence, the Prague Quadrennial International Exhibition of Scenography and Theatre Architecture is changing its name to the Prague Quadrennial of Performance Design and Space, with the goal of breaking down the often imaginary differences between the performance fields. “In the next edition we want to include a wider range of disciplines and genres connected to performance design and to observe current trends in contemporary performance,” explains Sodja Lotker, Artistic Director of the PQ. This is also the reason for widening the international team of curators and commissioners for each section and project. Boris Kudlička, Slovak stage designer, was appointed the General Commissioner of the PQ.

The Prague Quadrennial will be traditionally divided in three main sections: the Section of Countries and Regions, the Architecture Section and the Student Section. “In these days we officially call for countries from all over the world to take part in all three sections and we announce the deadline for applications – 30th June 2009,” says Pavla Petrová, the Director of the PQ and the Arts and Theatre Institute. The event is focused on professionals and general public.

The Prague Quadrennial is announced by the Ministry of Culture of the Czech Republic and it appoints the Arts and Theatre Institute to be the organizer. More information can be found at www.pq.cz.

The Prague Quadrennial of Performance Design and Space is the largest event of its kind in the world – presenting contemporary work in a variety of performance design disciplines and genres – costume, stage, light, sound design, and theatre architecture for dance, opera, drama, site specific, multi-media performances, and performance art, etc. Every four years, since it’s establishing in 1967, the Prague Quadrennial has presented work from more than seventy countries, from five continents, in individual countries’ expositions in three competitive sections. The Golden Triga is awarded for the best exposition as well as gold medals.

The largest part of the PQ 2011 will be again the Section of Countries and Regions that represents works from all performance design disciplines in each country and region in the past six years. The organizers hope that the national curators will have a strong concept that will introduce unique and specific contemporary trends in a given country or region. Works can be presented in a group exhibition, a monographic exhibition of a single artist or an exposition/installation that it itself is performance space. Organizers hope to strengthen presentation in all scenographic disciplines at the PQ 2011 and relations among them. Fifty-one countries from five continents took part in this section in 2007.

Like in the previous years, vast space will be dedicated to students of art schools in the so-called Student Section. After great success of the last edition of the PQ, the project Scenofest will strengthen the educational aspect again. It is a common project of the Prague Quadrennial and the International Organization of Scenographers, Theatre Architects and Technicians (OISTAT). The program of Scenofest will consist of workshops, lectures, performances etc. The great interest from the students in the PQ 07 demonstrates the importance of the event; 2.200 students of theatre and art schools took part in it.

The Architecture Section will deal with the question “What is a theatre now?”. The section aims to strengthen a dialogue among theatre architecture, stage design and contemporary theatre. It is conceived as a gathering ground for stage designers and other theatremakers with creators of theatre space. The section will focus on all types of theatre space: constructed (built), performed (improvised) and imagined (unbuilt) in the 21st century.

Although the exhibition takes place in 2011, the deadline of the applications for the countries and regions which are interested in participating in the PQ 2011 is 30th June 2009. Each country participating in the PQ must appoint its own curator who sends the obligatory application for the individual sections and coordinates the representation of their country in the PQ. Further artistic and organizational conditions of participation in the PQ are stated in the Statute and Concept and can be found at www.pq.cz.

Other programs that will address the international public will accompany three exhibition sections of the Prague Quadrennial. Programs are designed to create a platform for creative exchange between the theatre professionals, students and public. A successful program in the streets of Prague will be repeated, as well as the program PQ for Children.

The PQ 2011 is prepared by an international team of professionals. Dorita Hannah, an architect and stage designer from New Zealand was appointed a Commissioner of the Architecture Section. A leading British sound designer Steven Brown became a curator of sound design. Simona Rybáková, Czech costume designer and the winner of the Golden Triga in 1999, is a curator of a costume project Extreme Materials. American lighting designer Cindy Limauro will lead Scenofest. A German director and theatre researcher Thea Brejzek was appointed the curator of theory. A Czech stage designer and director Tomáš Žižka is in charge of a project focused on African theatre. An interactive installation/performance called Intersection will be an important part of the PQ 2011 with many international partners. The whole event will be accompanied by a rich program composed of lectures, presentations, discussions, costume shows, meetings and theatre performances.

A Slovak stage designer Boris Kudlička is the General Commissioner for the Prague Quadrennial 2011. Kudlička works mainly for opera, ballet and film. He has collaborated with many leading scenes in Europe and the USA and important directors and conductors like Mariusz Trelinski, Roman Polanski, Keith Warner, Dale Duising, Kent Nagano or Placido Domingo. Boris Kudlička has taken part in three editions of the PQ and he won the Golden Medal for the best use of theatre technology in 2007. He also received Dosky 2003 award, Norwid Award (Polish Theatre Institute), the Award of the Minister of Culture of Poland Gloria Artis.

The core of the PQ management is Pavla Petrová – Director, Sodja Zupanc Lotker – Artistic Director, Daniela Pařízková – Deputy Director and Petr Prokop as Head Manager. 

The place and date of the PQ 2011 will be announced during 2009 because the left wing of the Industrial Palace that hosted the PQ in previous years was destroyed by fire in October 2008.

Detailed information including a concept, status and archive of past editions of the Prague Quadrennial since 1967 are available at www.pq.cz