Ancient Greek Drama

working with ancient greek dramatic conventions in contemporary performance, to explore questions of identity, hierarchy, community + the role of song.

After participating in the European Theatre Convention’s 7th International Ancient Greek Drama Workshop, I realised that ancient greek plays still matter. They hold inside them many of the same questions we are asking ourselves today. Where do we come from ? Who holds power ? Who decides ?

The Lyrical

Ancient Greek Drama is unique in its possession of a lyrical quality in the language. There is thought that the play’s were sung before they were spoken. I will research this quality in english language performance, to connect us more deeply to our origins and open the space between speech and song in the performance of dramatic text.

The Chorus

The chorus function as citizens spoke directly to the ancient greek democratic system. No matter what action the hero decides to take, the chorus; as witness, judge and jury, ultimately decide their fate.

Introducing a chorus presence into new work will interrogate the power of the collective voice vs the individual.

The Divine

the conflict between the divine and the ordinary sits at the heart of many greek dramas. How to work with the divine now ? Is the divine in the process rather than the product ? these questions will inform my work on theatre / opera making processes.

Opera Shorts

working with operatic material to create a series of short films, we are exploring new ways of working, to bring opera into contemporary culture and allow it to reach new audiences.

this research started in collaboration with film director Liubov Sliusareva - in the process of creating a new production of Purcell’s ‘The Fairy Queen’ in March ‘24. Liubov was inspired by a cinematic, contemporary and fun approach to working with baroque opera and imagined scenes from the production on film, happening on the streets of London and other unconventional site’s.

We have since developed teasers and a trailer for my upcoming production of Bellini’s ‘Capulets & Montague’s’ inspired by Wong Kar - Wai’s ‘In the Mood for Love’ and a short - film concept, ‘After the Fairy Queen’ - to work with opera as a soundscape, as speech, and are now looking for support in time, space and technical resource to help us continue these first stages of research.

Still from @ Liubov Sliusareva