Daniel Schlusser’s work has been described as “post-dramatic,” what the hell is that? Over twenty years, a theory and practice has evolved that is interested in complex forms of representation, is informed by Rene Girard’s theories of ritual, sacrifice and mimetic desire, and in the doing, is a fairly consistent, if idiosyncratic tool-kit for creating theatre.
In this workshop, participants will have the opportunity to both observe and create using Daniel’s distinctive methodology. When it works, we investigate how. When it doesn’t work, we ask why. Techniques for collaborating with other theatre artists, processes of material generation and dramaturgical structuring will be among the practical aspects covered and are applicable to a wide variety of theatre forms.
What you need to know:
- The workshop will suit theatre-makers at any stage of their professional career, but especially those who create work through devising, creating with existing text or in collaboration with others.
- The course is open to approximately 15 participants, and will cost $120 per participant, payable by 30 June. Participants need to be members of The Blue Room Theatre.
- Participation will be 9am – 4pm from Monday – Thursday and 10am – 7.30pm on Friday 3 August
- The workshop will be run in Rehearsal Room One at State Theatre Centre of WA and there will be a public showing of generated material at the end of the workshop.
- Applications to participate will close at 5pm, Monday 16 April and you will be advised by May 1
The workshop is being run with the support of the Minderoo Foundation and State Theatre Centre of WA.
Please fill out the short application HERE to take part.
Daniel Schlusser – Biography
Daniel Schlusser is a multi-award winning director and Artistic Director of Daniel Schlusser Ensemble (DSE). With DSE he has created nine productions over seven year: M+M (DSE/TheatreWorks/Melbourne Festival), Menagerie (DSE/Melbourne Theatre Company’s NEON Festival of Independent Theatre), the cross-form opera Ophelia doesn’t live here anymore (DSE/Chamber Made Opera/Bell Shakespeare’s Mind’s Eye initiative), Poet #7 (DSE/Victorian Arts Centre), Life is a Dream (DSE/Store Room), The Dollhouse (DSE at fortyfive downstairs) and Peer Gynt (DSE/Victorian College of the Arts).
Over five eligible productions the Ensemble earned twelve Victorian Green Room nominations winning, amongst others, Best Ensemble for M+M. Other directing highlights include The Histrionic for Malthouse/Sydney Theatre Company, Medea for the 2002 Melbourne Festival, Ostrovsky’s It’s a Family Affair and Gogol’s The Government Inspector for hoist theatre group, Siebensekunden, Genoa 01 and Terrorism for the 2003 Dublin International Festival and numerous premiere productions of new Australian work including Ben Ellis’ Zombie State for Melbourne Workers Theatre, Angus Cerini’s The Barbeque for La Mama and a total of five premiere’s of new plays by Jack Hibberd, also at La Mama. Schlusser was recently commissioned by the Melbourne Theatre Company to translate and adapt Schiller’s Mary Stuart.
His recent dramaturgy credits include co-dramaturg and translator for Complexity of Belonging, a Chunky Move/Melbourne Theatre Company/Melbourne Festival/ Théâtre National de Chaillot/ Berlin Schaubühne co-production that continues to tour internationally. He was dramaturg on Rachel Perks’ Ground Control for Next Wave Festival 2016 and co-dramaturg on The Collected Works of Victor Bergman, which premiered at fortyfive downstairs and was presented at REPETITION/S festival in Ljubljana in September 2016.
Schlusser holds an MA (by research) in Theatre Directing from the Victorian College of the Arts. He has received an Ian Potter, the George Fairfax Memorial Award, a Besen Family Fellowship, an Australia Council Professional Development grant and a Goethe Institut ‘Key Cultural Personnel’ grant. He assisted Bruce Gladwin on Back to Back’s development Tour Guide in Linz, Austria, observed the rehearsal process of Armin Petras at SchauspielFrankfurt, assisted Neil Armfield, and attended the prestigious Young Directors Forum as part of the Berlin Theatertreffen.
Image credit: Lachlan Woods