2016 Artist Residency

Tasmania Performs annual Artist Residency  held at Tarraleah from 21-23 October 2016.

This year (thanks to Oz Co and Arts Tas) we were able to add the Pakana Writers Residency with mentor Peter Matheson. Nathan Maynard curated a group of Aboriginal artists, and Creative New Zealand supported the attendance of our first Maori guest artist.  The weekend at Tarraleah saw 21 artists, working across 18 projects, supported by 4 mentors, 2 staff and 2 guest producers.

Essie Kruckemeyer, Rosie Grayson, Andrea Breen, Sara Wright, Lucien Simon, Marty Spurway-Smith, Zeb Direen, Caitlin Comerford, Gabriel Comerford, Nicole Robson, Glen Murray, Emma Porteus, Cassandra Ng, Tullia Chung-Tilley, Kelsey Schober

Nathan Maynard, Adam Thompson, Eva Grace, Denni Proctor, Michelle Maynard, Amber Curreen (NZ)


Marion is a theatre director, dramaturg and translator. She has worked with an array of the country’s leading theatre companies and has held Artistic Directorships at both Bell Shakespeare (Associate AD) and Malthouse Theatre (AD/CEO). She was Resident Director with Sydney Theatre Company (1995 – 1999) where she directed productions such as The Wonderful World of Dissocia, Volpone, Don Juan, Life After George, Cyrano de Bergerac (co-adaptation and translation), Navigating, Closer, The Herbal Bed, Where Are We Now?; Del Del, What’s The Matter With Maryjane? Pygmalion, The Crucible and The Café Latte Kid. Marion has been nominated for numerous awards and was the Helpmann recipient for Best Direction of a Play in 2006 (The Goat or who is Sylvia?). She was a founding Artistic Directorate member of Hothouse Theatre, a Board member of Windmill Theatre, the curator of the 2003 National Playwrights’ Conference, the Chairperson of World Interplay and a member of the Theatre Board of the Australia Council. For Malthouse Theatre Marion has directed: The Dragon, Hate, Wild Surmise, Blood Wedding, Meow Meow’s Little Match Girl (and its London season at the Southbank Centre), ‘Tis Pity She’s a Whore, Sappho… in 9 fragments, Venus & Adonis and its subsequent season at Auckland Festival (with Bell Shakespeare), and most recently The Riders (with Victorian Opera) and Ugly Mugs (with Griffin). She was Dramaturg on The Shadow King for Malthouse Theatre soon to be presented at the Barbican Theatre, London and established its international program collaborating with the National Theatre of China, Beijing and Jagriti theatre, Bangalore. In 2014 Marion participated in Dramafest, Teatro del Granero, Mexico, directing Latitúd by Verónica Musalem. Marion’s credits with other major Australian companies include: King Lear, Hamlet, Othello (Bell Shakespeare); Grace (Melbourne Theatre Company); Equus, The Torrents, Gary’s House, A Number, The Goat or Who Is Sylvia? (State Theatre Company of South Australia); Constance Drinkwater and the Final Days of Somerset (Queensland Theatre Company); The Story of the Miracles at Cookie’s Table and Wonderlands (Griffin and Hothouse Theatre).

Originally from Germany, Martin is a Sydney-based choreographer and dancer. He is best known for his full-length solos, fusing idiosyncratic movement and intimate storytelling. In recent years, Martin has also built a strong reputation as creator of dance works for others. His preferred form has remained the solo. Anatomy of an Afternoon (2012 Sydney Festival, Sydney Opera House) was a full-length solo for dance virtuoso Paul White. Slow Dances For Fast Times (Carriageworks, 2013) consisted of twelve short solos performed by a diverse group of dancers. The Little Black Dress Suite (Riverside Parramatta, 2013) featured solos performed by acclaimed dancers Kristina Chan, Sue Healey and Miranda Wheen. Martin regularly teaches for a wide range of arts organisations and companies and has extensively worked as mentor, consultant and dramaturg, most notably for solo artist Matthew Day. Martin also writes and frequently contributes to RealTime magazine. In 2012, he was nominated for a Helpmann Award in the category Best Ballet or Dance Work. Martin has also been nominated for two Australian Dance Awards – Outstanding Achievement in Independent Dance (2010) and Best Male Dancer (2005). His work has toured nationally and internationally (UK, Japan, Brazil). Last year he presented Anatomy of an Afternoon at Southbank Centre in London, with great success. Martin is a recipient of the 2015 Sidney Myer Creative Fellowships.

Sue Giles has been Artistic Director/co-CEO of Polyglot Theatre since 2000. Polyglot has an international reputation for contemporary art works that engage in unique ways with children to create experiences that combine theatre, play and visual spectacle. Sue’s distinct child-centred creative processes have been the subject of masterclasses, forums and discussions including key industry events in in 8 countries.  Her works have been performed in 15 countries on five continents in five different languages and have won 8 industry awards. Sue has been a leader in the TYA sector since 2003, and is currently on the Executive Committee of ASSITEJ international.  Sue has been keynote speaker at the YPAA national summit, Artshub national conference, the Create, Connect, Empower Forum in Tasmania, the Drama Victoria conference and on panels for ISPA, ASSITEJ Congress in Denmark and Sweden, Okinawa Festival, Victorian Theatre forum and On The Edge Festival in Birmingham.  She has run masterclasses on her specialty in Melbourne, Singapore, Macau, Berlin, Hobart, Sao Paulo, Norway and Abu Dhabi.

PETER MATHESON – Mentor for Pakana Writers Residency
Peter Matheson is a freelance dramaturg and script assessor living on the north coast of NSW.   Over the last ten years Peter has assessed playscripts for Melbourne Theatre Company, Sydney Theatre Company (Patrick White Award), Queensland Theatre Company, La Boite, Playlab, the Australia Council for the Arts, the Australian Script Centre, Griffin Theatre Company, the Australian Writers’ Guild and PlayWriting Australia/Australian National Playwrights Centre (ANPC).  He has worked dramaturgically with Aislan Traks, The Boathouse Project (Griffith University), Brink Productions (Adelaide), Canberra Youth Theatre, Creative Regions (Bundaberg), Darwin Theatre Company, JUTE in Cairns, Kite Theatre Company (Brisbane), Knock-Em-Down Theatre in Darwin, Kooemba Jdarra in Brisbane, Lampshade Shop in Adelaide, Legs on the Wall/2004 Sydney Festival, M & J Productions in Cairns, Metro Arts in Brisbane, Mudlark Theatre in Launceston, National Institute for Dramatic Arts (NIDA), Norpa in Lismore, Northern Rivers Writers Centre, Perth Theatre Company, QTC (Emerging Writers Program and Queensland Premier’s Drama awards), Queensland Performing Arts Centre (2004 Out of the Box Festival), Real TV, Red Dust Theatre Company, Red Hot Arts in Alice Springs, Riverside Theatre in Parramatta, the Street Theatre in Canberra and Stages WA.  www.petermatheson.com.au/resume.html

A few of the 2016 testimonials

I’ve come away feeling it is absolutely possible to work my ideas into a performance piece, I feel support in pursuing the development of my ideas, the mentors have given me so many ideas, tools, questions to consider.
~ Essie Kruckemyer

The residency has really impacted our understanding of how we should move forward strategically with our project, introduced us to some wonderful artists in Tasmania and it has given us a network to call on to start making the next stage real.  The mentors were incredibly generous with there time and the advice and questions they offered. Being exposed to the mentors has put us in contact with some really exciting artists to collaborate with as well as reconsidering some of our approaches in constructing the work itself.
~Caitlin Comerford

My ideas are usually very scattered so having a weekend to describe my idea to a wider audience and to have assistance in refining and narrowing down what i wanted to do was a really valuable experience. It has especially changed the way I think about approaching new projects and has already started me thinking of next year.  Meeting such a diverse group of experienced mentors has helped me to create and envision works that not only satisfy me as a performer but to also reach an audience, how to experiment outside of the norm and opened a wider world of people to contact for this project and possible future ones.
~Zeb Direen

As my art practice evolves my interest in interdisciplinary projects has also, putting me and my practice in front of theatre makers as a potential collaborator and getting advice and direction from informed professionals is invaluable.  The mentors were clear in their suggestions and there was no confusion in terms of the direction I should take with my project. The advice was also consistent from one mentor to the next. The general arts advice was also invaluable.
~Nicole Robson

I have been through many different kinds of residency/workshop processes and what I have mostly experienced in these situations is that the project has become muddied and I have felt less connected to it by the end. But with this residency I experienced the opposite – what I experienced was a ever increasing clarity with the project and whenever I felt I was pandering or losing my grip on it there was someone there to remind me of or bring me back to the primal/spiritual/essential reason why I was making the work. At the end of the day all I feel is gratitude.
~ Lucien Simon


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