ARCHIVE January 2012
University of Central Lancashire
School of Art Design and Performance
SEE ARTICLE interview of Amy Rome
A Conference dedicated to Pantheatre and to the work of Enrique Pardo
- Presentation w/ Dr. Julie Bokowiec: (Postmodern Approaches to the praxis of voice performance) : ‘Conscious Schizophrenia: psycho-vocality and voice beyond the larynx’
- A workshop/presentation with Dr. John Aveyard & Dr. Lisa Parsons: Intersections between contemporary dance, music and pedagogy
- A concert and workshop with Roberto De-gregori and the Latvian duo OneplusOne
- Pantheatre Performance: Enrique Pardo’s study of ‘Hitler’ - in collaboration with Linda Wise and Sarmen Almond.
This conference was dedicated to the memory of James Hillman(1926-2011) who recently died 27th October, 2011. A leading mind of the 20th century, founder of the School of Archetypal Psychology, James Hillman was the honorary president and inspirational figure to the formation and evolution of Pantheatre’s seminal international work and research. His ‘anima will continue to be ubiquitously present’ within this rare and unique exchange.
This multi-disciplinary conference hosted by the School of Art Design and Performance, brings the
co-founders and international directors of Paris-based Pantheatre Enrique Pardo and Linda Wise, to the University of Central Lancashire for a rare exchange. Housed in University of Central Lancashire’s ‘Media Factory’, this event offers an extraordinary unique collaborative opportunity for both undergraduate and post-graduate students & faculties from: Acting; Contemporary Theatre & Performance; Music Theatre; Contemporary Music Practice; Dance & Fine Arts. In addition the university welcomes to this exchange, invited delegates from the universities of Manchester Metropolitan; Salford University; University of Huddersfield; University of Glamorgan(Cardiff) and Liverpool John Moore University.
Relevant to both Contemporary Performing and Fine Arts, within a series of lectures/presentations, workshops and performances, the conference will explore meetings between the praxes of acting, dance, music & image-making. Examining both ‘research into practice’ & ‘research through practice’ (Frayling), the multi-disciplinary conference will in part, examine the influences of contemporary art on performance practice: how knowledge is shared between the praxes of Contemporary Performance & Fine Arts studies. Examining image-making, the research raises questions specific to aesthetics.
A central theoretical frame for the praxes of Pantheatre, the Post-Jungian psychologist James Hillman traces the geneology of the idea of aesthetics & adopts the ancient Greek notion of ‘aisthesis’. Hillman connotes aethesis ‘as perception rather than a refined sense of beauty.’ Aesthesis in this primordial phenomenological sense involves sensing the things of the world in their particularity & being affected by things as they present themselves. Drawing on this pre-socratic concept of ‘aesthesis’, Hillman is challenging the traditional Western modern notion of aesthetics as a branch of philosophy which deals with the study of aesthetic values as the beautiful; a particular idea of what is beautiful or artistic; how something looks especially when considered in terms of how pleasing it is. Rather, through the praxis of Pantheatre, the investigation strives to explore a post-modern notion of what Professor Kearney describes as the ‘ethical poetical’ imagination. In his book The Wake of the Imagination, Kearney describes what he terms as the ‘ethical poetical imagination’ as ‘imagination radically de-centred in the sense of being opened to the demands of the other in the post-modern here & now’. Rather than painting nihilistic notions of the post-modern imagination as the ‘death of imagination’ where we are condemned to what Kearney describes as the ‘post-modern disease of circularity’. Kearney goes further proposing rather, the new is constantly still to be found in our
inter-subjective experience within the world. He concludes that ‘ethical poetical imagination’ is fully aware ‘that meaning does not originate within the narrow chambers of its own subjectivity but emerges in response to other, as radical interdependence.’ Kearney concludes, in a globalised community ‘the poetical ethical imagination’ is ‘versatile, open-minded, prepared to dialogue with what is not itself, with its other, to welcome difference.’ Exploring 20th century aesthetic shifts away from realism & naturalism, the conference provides an opportunity to further examine how these metaphoric developments influence contemporary pedagogy & the multi-disciplinary nature of the way in which Contemporary Performing Arts approaches the theatrical image in practice.
Organized by Dr Amy Rome Contact EMAIL