“节日场所:策展实践的公民和集体生活”,采访Deborah Pearson和Joyce Rosario

Keren Zaiontz
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引用次数: 0

摘要

以下是karen Zaiontz于2017年12月对Forest Fringe(她与Ira Brand和Andy Field在英国经营的艺术家团体)的创始人Deborah Pearson和温哥华PuSh国际表演艺术节的副艺术总监Joyce Rosario进行的采访(通过Skype)。在这次谈话的时候,皮尔逊和罗萨里奥都经历了一系列引人注目的职业转变。Rosario,当时的编程总监,作为临时艺术总监掌舵PuSh。诺曼·阿穆尔(Norman Armour)在管理该节日15年后,于2018年4月卸任。自2019年佛朗哥·博尼(Franco Boni)被任命为执行和艺术总监以来,罗萨里奥(Rosario)已升任目前的助理职务。2017年,皮尔森和她的森林艺穗节联合导演在爱丁堡艺术节上策划了十年的开创性作品。他们目前正在制作一部实验性叙事故事片,在海峡群岛拍摄,作为公司驻泽西艺术之家的一部分。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
“Festival Sites: The Civic and Collective Life of Curatorial Practice” An Interview with Deborah Pearson and Joyce Rosario
What follows is an interview (over Skype) conducted by Keren Zaiontz in December 2017 with Deborah Pearson, founder of Forest Fringe, an artist collective she runs with Ira Brand and Andy Field, in the UK, and Joyce Rosario, Associate Artistic Director of the PuSh International Performing Arts Festival in Vancouver. At the time of this conversation, both Pearson and Rosario were in a series of remarkable professional transitions. Rosario, then Director of Programming, was at the helm of PuSh as interim Artistic Director. Norman Armour had stepped down from his position in April 2018, after fifteen years of managing the festival. Since the appointment, in 2019, of Franco Boni to Executive and Artistic Director, Rosario has moved into her current role as Associate. In 2017, Pearson and her Forest Fringe co-directors had rounded off ten years of curating groundbreaking work at the Edinburgh Festivals. They are currently producing an experimental narrative feature film, shot on location in the Channel Islands, as part of a company residency at ArtHouse Jersey.
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来源期刊
Theatre Research in Canada-Recherches Theatrales au Canada
Theatre Research in Canada-Recherches Theatrales au Canada Arts and Humanities-Visual Arts and Performing Arts
CiteScore
1.00
自引率
0.00%
发文量
29
期刊介绍: Theatre Research in Canada is published twice a year under a letter of agreement between the Graduate Centre for the Study of Drama, University of Toronto, the Association for Canadian Theatre Research, and Queen"s University.
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