2020 NPAPW

[Domenico Vicinanza <>]

Good morning and happy new year to all!!

I agree with Claudio and like very much the idea of including it in the 
theatre panel.
Looking forward to the next meeting and to seeing you all soon.

Kindest regards,
Domenicow``eeeeea`ea

-- 
Domenico Vicinanza, PhD MIEEE FHEA
Senior Research Engagement Officer
 
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On 07/01/2020, 08:28, " on behalf of Claudio 
Allocchio" < on behalf of 
> wrote:

    
    On Tue, 7 Jan 2020, Tom Gorman wrote:
    
    > Hi all (and happy new year),
    
    same to all!!
    
    >
    > I've received a late submission from the 'Virtual Conservatoire' based 
between Bristol Old Vic Theatre School (BOVTS), Central School of Ballet, 
London Academy of Music and Dramatic Art (LAMDA), Royal Academy of Dramatic 
Art (RADA), Royal Academy of Music (RAM) and Royal College of Music (RCM). 
They attended the Copenhagen NPAPW but didn't think they'd get the funding 
for 2020 but they have. I think it would make a good fit for the theatre 
panel and I'm unsure if Diana from Romania will be able to attend in person 
(she's still seeking funding). Here's the submission below:
    >
    > ‘The Virtual Conservatoire’ is a four-year collaboration between 
Bristol Old Vic Theatre School (BOVTS), Central School of Ballet, London 
Academy of Music and Dramatic Art (LAMDA), Royal Academy of Dramatic Art 
(RADA), Royal Academy of Music (RAM) and Royal College of Music (RCM) and 
backed by HEFCE / Office for Students Catalyst Fund.
    >
    > Together, the six Conservatoires are transforming their facilities into 
state-of- the-art digital spaces that enable creative collaboration between 
the consortium’s students and partners across multiple locations, in real 
time. The result is a new template for conservatoire training, which pioneers 
digitally enabled pedagogy and practice, and the scope to transform live 
performance art into a multi-location experience.
    >
    > To test the technology, students from across the conservatoires hosted 
a series of ‘scratch nights’ that culminated in a formal production created 
with immersive theatre makers, Raucous. The performance of ‘Otis and Eunice’ 
saw two interconnected shows played out simultaneously to two audiences, in 
two venues from two different cities, creating a dual perspective on the tale 
of Orpheus and Eurydice.
    >
    > This presentation will explore challenges of the creative process from 
inception to first night, investigating how LOLA and other technologies 
stimulated a multi-institution, multi-site exchange to deliver two 
interlocking and interdependent live performances for two audiences in two 
cities.
    >
    > https://www.rcm.ac.uk/oe/
    > 
[https://www.rcm.ac.uk/media/Virtual%20Conservatoire%20artwork%20960x640.jpg]<https://www.rcm.ac.uk/oe/>
    > Otis & Eunice | Royal College of Music<https://www.rcm.ac.uk/oe/>
    > We hope you enjoyed Otis and Eunice, a modern retelling of the Greek 
mythological love story Orpheus and Eurydice written by Sharon Clark.. This 
production is the culmination of a four-year Virtual Conservatoire project 
involving musicians, actors, dancers and a creative team from six UK 
conservatoires.
    > www.rcm.ac.uk
    
    I think Tom's idea to fit into the theater panel is a good one and we 
    should try to make this happen...
    
    BTW, time to really start promotion!!
    
    >
    > All the best
    >
    > Tom
    >
    > Dr. Tom Gorman BA(Hons), M(Phil), D(Phil), PGCE
    > Senior Lecturer In Theatre
    > School of Media and Performing Arts
    > Faculty of Arts and Humanities
    > Ellen Terry Building
    > Coventry University
    > Priory Street
    > Coventry
    > CV1 5FB
    >
    > http://telepresenceintheatre.coventry.domains/
    >
    >
    > 
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    > 
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    >
    > [1504859475599_image010.png]
    >
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    > Guardian University Guide 2016-2020
    >
    >
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    > based on student trips abroad from HESA 2017/18 UK data
    >
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    > Times Higher Education UK metrics ranking 2017
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