![]() ![]() It was in 1999, that she first met Phillip Zarrilli and was introduced to his methodology of pre-performance training and to the South Indian Martial Arts, kalaripayattu. In 1999 to 2003, with the continuous support of The Substation and the National Arts Council (Singapore) she was able to attend several performance workshops at the Centre of Performance Research in Aberystwyth led by international renowned artists such as Goat Island, La Pocha Rostra and several others. She was an Associate Artist of The Substation (This led her to create these cross cultural solo performances: Suria (2002), Innocence (2003), Landscapes (2004) and Still Flight (2005), which was also presented at the various International Magdalena Theatre Festivals, 2005 Rhode Island USA (2005), Singapore (2006), Santa Clara, Cuba (2008) Transit – Odin, Denmark (20) Vertice Brasilia (2010). She worked extensively under the late William Teo in 1996 till his passing in 2001. Her encounters with Teo, inspired her to research, experiment with various Asian theatrical training/performing methods. She has presented her research and methodology at various international conferences, universities, theatre conservatories and led master workshops for theatre companies.Įlizabeth credits her formative years in creating inter/cross cultural performances to the late William Teo, Artistic Director and Founder of Asia-in-Theatre Research Centre (Singapore). Her research interests focus on embodied experiences, thinking and practice through making, embodied cognition and cross-cultural performance at the intersections of both decolonial and feminist theories. She believes that this approach creates new possibilities for collaboration, critical thinking and imagining.Įlizabeth’s methodology in performance-making and actor-movement training comes from the foundation of traditional Asian theatrical training/performing methods, martial arts (kalaripayattu) and soft-fireworks, a contemporary, cross-cultural embodied technique in performance practice that she developed and established. As a performance-maker, her process draws upon human capacities, faculties and cultures through social and cultural interaction and human understanding. She is constantly negotiating the spaces between the Asian forms she is trained in and contemporary art practices. ![]() She also serves as an Assistant Editor for the Journal of Embodied Research.Įlizabeth believes in collaboration, and all of her artistic works and pursuits are in constant flux and flow with other artistic disciplines (principally dance, media and fine arts). She co-convenes the Embodied Research Working Group within the International Federation for Theatre Research and holds a PhD (Theatre and Performance) from Goldsmiths, University of London. Artist-scholar|educator, performance maker, theatre director, actor-movement trainerĮlizabeth de Roza is an artist working as a practitioner-researcher, educator, performance-maker, director, dramaturge and actor-movement trainer. ![]()
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