This year’s Rough Mix will be the seventh time we’ve run this multi-art form residency, but the first time we’ve taken it outside the Central Belt. The 2016 edition will take place at The Lemon Tree in Aberdeen and is being produced in partnership with Aberdeen Performing Arts.
Each Rough Mix is different, its character created by the mix of artists involved. This year we have a wonderful group of artists from near and far: playwright Arthur Meek will travel 12,000 miles from New Zealand, while visual artist Aminder Virdee will come the 16 miles from Inverurie. It is always fascinating to see how the ideas each artist brings develop over the two weeks. We’ll be blogging regularly during the residency, and you are welcome to join us for a sharing of work at The Lemon Tree on Friday 15th July at 6.00pm. Book a free ticket here.
Rough Mix involves 15 people: 5 experienced artists, 2 emerging artists, 6 performers, a stage manager and me as facilitator. Each contributes to the success of the residency, but the project ideas that the experienced artists bring are at the heart of what happens. Here is a brief introduction to the experienced artists and their projects:
Aminder Virdee is a visual artist based in Inverurie, Aberdeenshire. She graduated in Mixed Media Fine Art from the University of Westminster in 2012, since when her work has been shown in galleries across the UK. Her recent work includes ...And the Odds & Sods - a piece motivated by the ‘Fit To Work’ ATOS scandal in 2012 - which was part of a touring exhibition across London and England with Shape Arts; Keep This Leaflet, You May Need To Read It Again, shown at the Bonington Gallery in Nottingham and the COAST festival in Banff. Exploration of the disabled identity is a crucial aspect in Aminder’s work, influenced by her own experiences. The synergy between her body and her immediate environment is entirely dictated by her physical impairments and she implements different approaches to her work according to the way her impairments manifest themselves at any one time.
Aminder’s project explores stereotypes, connotations and narratives of disability. She plans to create multiple fictional identities for herself as performer, building on her personal experiences. These new-born identities will each have a narrative relating to bodily difference, supported by fictional evidence such as hospital letters, x-rays and scans. By performing these new characters herself, Aminder aims to use the disabled body as a critical aesthetic medium rather than an object. Aminder's sharing of work in progress will be BSL interpreted.
Arthur Meek is a playwright and performer from New Zealand. His plays include Trees Beneath the Lake, On the Upside Down of the World, Charles Darwin: Collapsing Creation (Downstage/ Nelson Festival of the Arts), Dark Stars (Artworks/ international tour), Yolk (Young & Hungry), Mando the Goat Herd (Allen Hall), The Burn (Wellington International Fringe), and The Eeneid (IronBark at the Bush).
He is the co-adaptor of On the Conditions and Possibilities of Hillary Clinton Taking Me as Her Young Lover (La Mama, New York) - which he will perform at the 2016 Edinburgh Fringe – is an original member of the musical comedy band The Lonesome Buckwhips, and was the co-creator and star of the television show Feedback (TV2).
Arthur is exploring Samuel Butler’s 1872 utopian satire Erewhon as the starting point for a new one-man play. The novel draws on Butler’s experiences as a sheep farmer in New Zealand in the 1860s and Arthur’s starting point is the illustrated talk that Butler’s narrator describes giving after his escape from the land of Erewhon.
Katherine Nesbitt is a theatre director. Originally from Belfast, she is now based in London after 10 years in Glasgow. She’s created work for the Tron Theatre, the Arches, Toonspeak Young People’s Theatre, the Scottish Refugee Council, A Moment’s Peace Theatre Company, Prague Fringe and the Edinburgh Fringe. She has also worked as an assistant director with Magnetic North, Oran Mor and the Traverse Theatre.
Her project explores the miscommunications that are present in all relationships, and the compound effect that depression and anxiety have on the ability to speak to one another honestly and clearly. The project will build on the idea of a couple who speak to one another both directly and indirectly on stage – telling each other one thing, and then telling the audience another – but the female character’s direct speech to her partner will be in another language. This idea explores research that has shown that learning a second language can have huge benefits for some sufferers of depression or anxiety. People are found to often be less emotional and more practical in a second language, and Katherine is interested in the idea that this might enable one character to speak more openly to the other about her problems. This openness, though, is only effective when the second language is also understood by the listener, which is not the case with her partner. Katherine will use this as an opportunity to explore how we perform or translate our internal selves to others.
Marisa Zanotti is a film maker, writer and researcher based in Brighton. She originally trained as a dancer at the Laban Centre and has worked extensively in performance, choreography, theatre and installation practice. She co-directed San Diego with David Greig for the Edinburgh International Festival in 2003 and worked extensively in new writing theatre as a movement director from 1996-2002, collaborating with many directors including Vicky Featherstone and John Tiffany, on plays by Abi Morgan, Stephen Greenhorn and David Harrower amongst others.
She has consistently explored new technologies in her work, initially in relation to their role in live work and more recently in transmedia work. In 2012 she developed the UK's first choreographic Web App for phones and tablets with choreographer Ben Wright. She is currently collaborating with choreographer Lea Anderson on the The Pan’s People Papers a transmedia project commissioned by South East Dance with funding from The Arts Council of England.
Her project arises from observing her own behaviour when using connected devices and questioning how this affects society more widely. Are the fragmented attention spans of being constantly connected to different online platforms creating new languages and capacities? She will explore how technologies produce different bodily capacities and experiences in people and how these experiences might be represented and explored in performance, film, text and sound.
Matthew Whiteside is a composer, collaborator and sound designer based in Glasgow. He writes music for concert, film and collaborative installations often-using live electronics within his work. His music has been performed across the world including Dublin’s National Concert Hall, Glasgow City Halls, Salem Artworks in New York and the Belfast International Festival at Queen’s. His debut album Dichroic Light was released in 2015 and includes Solo for Viola d’amore and Live Electronics, recorded by Emma Lloyd. He composed the music for Michael Palin’s Quest for Artemisia, shown on BBC 4, and has scored the feature films Anna Unbound and The Loudest Sound and the short film Edward. He is a founding member and director of Edit-Point, an ensemble dedicated to the performance of electroacoustic music.
Matthew’s project explores physical theatricality within musical performance. His work to date has involved fairly stationary and seated performers but he is interested in the idea of creating a new piece for a small ensemble, singer and dancer. During Rough Mix, he will explore how technology that tracks people’s movements can be used to control live electronics and visuals.