NOW 20 | WEEK 1

Daniel Oliver makes up awkward participatory performance worlds.  They layer precariously maintained fantasies with clunky, immanent reality – foregrounding the liveness inherent in working with unprepared participants. They are unashamedly dyspraxic, embracing his lightly off-kilter relationship with co-ordination, social interaction and executive planning. He has published writing on awkwardness, participatory performance, and neurodiversity and currently teaches in the Drama department at Queen Mary University of London. His forthcoming book, Awkwoods: Dyspraxic Adventures in participatory performance will be published by the Live Art development agency and is available in June.

www.danieloliverperformance.com/
@canibedaniel

Frauke Requardt is a German-born, London-based choreographer. Her choreographic work is characterised by physically challenging choreography, a strong theatricality, dark humour and an overall sense of surrealism. She uses text and live music and a mixture of abstract and emotionally based movement to deliver highly engaging work. Frauke trained in Germany, New York and London. Although her main pursuit is choreography, she has also performed in Lea Anderson’s work as a Cholmondeley for several years. 

Frauke was an associate artist at The Place between 2004-6 and alongside Work Place she is also an associate artist at Greenwich Dance. Frauke has presented her work in the UK and internationally, having enjoyed residencies in Colombia, Portugal, Italy, the Netherlands, Ireland and Germany.

Her full-evening works to date include Jammy Dodgers, a fantastical world, with a rolling line up of bands from the London contemporary Jazz scene; the Lynch-esque Roadkill Cafe; and Pequenas Delicias, an absurdist site-specific piece for cafes and restaurants. Her work Episode premiered at The Place in June 2011. Frauke has also created a series of works in collaboration with experimental theatre director David Rosenberg: Dead Club (2017), The Roof (2014), Motorshow (2012) and Electric Hotel (2010).

www.requardt-rosenberg.com/

Eirini Kartsaki is a performance practitioner, writer and Lecturer in Drama at East 15 Acting School, University of Essex. She is the author of Repetition in Performance: Returns and Invisible Forces (Palgrave 2017). Her writing is concerned with notions of desire, repetition and the unfulfilled. Her practice has been presented nationally and internationally (Sadler’s Wells, V&A, The Basement, Whitechapel Gallery, Arnolfini, Soho Theatre, Palais de Tokyo, Biennale d’art contemporain de Lyon). Her collaboration with Angelina Kartsaki as Tante&Tante has received the Audience’s Award (2016) at BE Festival and the Champ Libre Award (2017).

www.eirinikartsaki.com/
@eirinipoulaki

Tasos Stamou is an electroacoustic music composer and performer, alternative electronic music instrument maker, tutor and sound technologist. 

During a decade of sound performances and recordings, Tasos Stamou has developed a unique style of live electroacoustic music composition. Long and continuous pieces are created in situ using a “portable electroacoustic music studio”. His work explores the space between ancient and contemporary transcendental music, using both traditional and advanced media.
His gear consists of acoustic (prepared strings, reeds, recorders, objects) and electronic instruments (self-made electronics, modular synthesizer system and live processed feedback loops). Based on sustained tonal textures and free improvised instrumental solos, his live compositions create a particular and unique atmosphere of ritual noise.

Although mainly a solo performer and recording artist, he frequently collaborates with other sound artists, improvisers and experimentalists (such as Adam Bohman, Steve Beresford, Alan Wilkinson, London Improvisers Orchestra, Mike Cooper, Andrea Parkins, Kuupuu & Lau Nau, Terry Day, Adachi Tomomi, Ilan Manouach, Ignaz Schick, Magda Mayas, Arma Agharta, Thodoris Ziarkas, etc.) at various venues and festivals for innovative music. 

@tasosstamou