Pure Research with Nightswimming

In association with the University of Toronto's
Graduate Centre for the Study of Drama

Note: Pure Research will be on hiatus in 2009/10.
Our next deadline will be in spring 2010 for research sessions in 2010/11.

There are few places in Canada where in-depth theatrical research can be
explored without the pressures of developing and/or performing a new work. Nightswimming’s unique Pure Research program provides space, money and resources to artists who are pursuing a provocative theatrical question.

Our Pure Research 07 workshops were conducted in December at the University of Toronto's Glen Morris Studio by Moynan King & Sherri Hay (The Unsuspecting Audience); Rebecca Singh and Nick Carpenter (The Choral Revolution); and Erika Batdorf, Kate Digby & Denise Fujiwara (Kinesthetic Transference in Performance). Reports on their research will be posted on this site in March 2008.

Pure Research 06 workshops were conducted by Moynan King & Sherri Hay (exploring costumes in social and theatrical environments); Camellia Koo (studying extreme audience/performer spatial arrangements); and Cathy Nosaty (investigating the theatrical possibilities of Ableton Live audio software). Reports on these workshops are now available.

Now in its fifth year, Pure Research is designed to foster theatrical experiments which are not linked to a particular project. In the spirit of inquiry, we assist artists to discover what they need to explore in order to further their work. We want you to tell us what you don’t know, and how you might be able to answer your questions through a Pure Research workshop.

What does that mean?

If you have a theatrical question, and can pose it in terms of an experiment, then we’re interested. We will supply studio space for up to three days, a fee for the lead researcher and a small budget for performers and materials.

Pure Research workshops have included:
• 'Voice, Music and Narrative Theatre' by Martin Julien (experimentation with the influence of live vocal musical sound on theatrical narrative);
• 'Beneath the Poetry: Magic not Meaning' by Kate Hennig (an exploration of voice for the theatre, investigating alternative models of illuminating text in rehearsal);
• 'Singing to Speaking' by Guillaume Bernardi (examing the moment of transition from speech to song);
• 'The Voice Made Visual' by Heather Nicol (in which a visual artist worked with actors to explore improvised vocal texts and abstract sound).

All Pure Research projects are documented and the results posted on Nightswimming’s website. Researchers are required to submit a full report within one month of completing their experiment. Nightswimming staff will be present to observe and to offer assistance if requested.

Pure Research at the University of Toronto

In 2005 we launched a new partnership with the University of Toronto Graduate Drama Centre. We were very excited to open our program to graduate students and to benefit from the resources of the Centre.

We conducted three research workshops:
• Nick Fraser and Justin Haynes explored theatrical improvisation from their point of view as musicians, and examining the similarities in improv techniques in the two disciplines. Bruce Hunter served as coach.
• Lois Brown and Liz Pickard from St. John's, Newfoundland, investigated humour, specifically the structure of jokes and gags and how those devices can be applied to other situations.
• Toronto's Shadowland Theatre worked with a lighting designer to explore what they call 'theatre of illumination' - investigating a myriad of lighting ideas to further their use of shadow and image.

Pure Research - Submission Details:

• Submission Deadline: TBA.
• Pure Research projects dates to be confirmed.
• Workshops will be held in Toronto.
• Please read the submission criteria below.
If you have questions about applying, contact us.


Submission Process

We need a concise but detailed proposal outlining:
• your question and what you want to learn from it
• how you intend to conduct the experiment – this is the most important section
• practical details such as time, people and equipment required
• any relevant support material such as text or prior research

We are particularly interested in:
• exploring poetic or stylized text in any form or genre
• integration of sound, movement, technology and text
• artists who view research and development as a long-term process, rather than simply as a short-cut to production
• an artistic spirit of inquiry

What to send us:

• a cover letter introducing yourself and defining the application: preferred dates, amount of time requested, budget, specific goals
• a project description of no more than two pages
• a list of collaborators, if known
• c.v. of principal artist
• videos: only to introduce physical artists to us. Please provide a brief explanation of where and when the video was shot
• do not send press clippings, photos, programs, press kits or folders

Also:

• be honest about what you know, what you don’t know, what you want,
what you’d like to achieve
• all applicants will be informed of results by mail or email
• please provide a self-addressed, stamped envelope if you want your material returned
• we will contact those whose submissions intrigue us, before making our final decisions
• NOTE: applications will not be accepted by email or fax.

Applications from artists outside Canada will be accepted, but the realities of our budgets means we will focus on Canadian submissions.

REMEMBER that this is not a developmental workshop for a new piece of theatre.

Please send application to:

Brian Quirt, Artistic Director
Nightswimming
55 Mill Street
Building 74, suite 310
Toronto, ON, M5A 3C4
Canada

Thanks for your interest in Pure Research.
We look forward to reading your application.

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