I’M NOT A PIECE OF MEAT: Anna Furse, CAPP Commission with Create & Live Collision. Photo: Abigail Denniston for Live Collision (2016).
I’M NOT A PIECE OF MEAT: Anna Furse, CAPP Commission with Create & Live Collision.
Image credit: Abigail Denniston for Live Collision (2016).

Create and Live Collision are delighted to announce that Anna Furse will create a new digital artwork as a Collaborative Arts Partnership Programme (CAPP) commission.

I’M NOT A PIECE OF MEAT: Anna Furse is a commissioned digital artwork and an immersive digital experience that steps beyond the parameters of traditional artform conventions to innovate and expand the theatre space, and transfer it into new experiential online, virtual and augmented experiences of live performance. I’M NOT A PIECE OF MEAT presents research and production materials - text, video, medical art, sound scores, still images and ‘out takes’ from the performed work. However, Instead of representing documentation, the digital artwork will endeavor to generate a digital interface that is interactive and experiential, investigating the parameters between dissemination, live performance and remote critical engagement.

The viewer is invited to embark on a journey and enter the realm of Renaissance European Anatomy Theatres, contemporary dissections labs, myth and taboo - the world of THE ANATOMY ACT. The spectator is drawn into a meditation on the reality of the body in life and death, the status of the cadaver, and the moral and ethical issues surrounding our attitude, past and present, to the parsed and opened body. Designed to appeal to students and scholars as well as artists interested in the body, I’M NOT A PIECE OF MEAT is a bespoke voyage of curiosity into complex and fascinating cultural ideas that cluster around our bodies’ interiors, what we know of our insides, and what we fear and disavow.

In addition there is series of commissioned writings from artists, scholars, cultural critics, anatomists and curators as well as new writing by Furse herself, accompanied by a specially commissioned soundtrack composed and performed by world-renowned saw-player David Coulter.

This digital artwork is the last of three projects that have involved veteran theatre and performance writer and director, Anna Furse. Within her overarching project THE THEATRE OF OUR BODIES, this new online work both archives and extends the research and development into the production of her performance lecture ANNA FURSE PERFORMS AN ANATOMY ACT: A SHOW AND TELL that was commissioned by CAPP and Create in 2016 and premiered at LIVE COLLISION INTERNATIONAL FESTIVAL in November 2016. In this project Furse worked with anatomists both in Trinity College Dublin and at Kings College London.

Anna Furse / Athletes of the Heart

Anna Furse is one of the early feminist theatre makers in the UK. Following training with the Royal Ballet in the 1960’s, where she won Choreographic prizes from Leonid Massine and Sir Frederick Ashton respectively, she quit dance for theatre in 1971, assisting and translating at Peter Brook’s International Centre for Theatrical Research (ICTR) Paris. Following a BA at University of Bristol she was selected for paratheatre work with Jerzy Grotowski’s Teatr Laboratorium in France and Poland. After a P.G.C.E. at Goldsmiths, in the 1980s she was a New Dance activist, maker and performer with X-6 collective, co-founder of Chisenhale Dance Space, and co-editor of New Dance Magazine. At this time she was one of 4 performers (Transitional Identity) to introduce Contact Improvisation into the UK HE system. She concurrently taught internationally, was Head of Movement at Rose Bruford, and co-founded her pioneering feminist physical/visual company BloodGroup (6 international devised touring productions and Clam (by Deborah Levy), with the ICA its London venue). Artistic Directorships include Paines Plough (1990 -1995) where her controversially innovative mission brought writers to collaborate with dancers and live artists and work site-specifically. Her bi-lingual co-production Down and Out in Paris and London in a disused abbattoir (France/UK, 1992) involved 100 extras and was presented at the Theatre de Gennevilliers in Paris. Her Time Out award-winning Augustine (Big Hysteria) (1991) toured to emerging post-glasnost Russia and was featured in Channel 4 TV’s Are Women Mad?

Anna has directed over 50 productions touring Europe, the USA, Asia and the Middle East, ranging from small scale to regional repertory theatres, theatre-in-education, disabled theatre (GRAEAE), with the RSC, and with many professional companies including Womens Theatre Group (Sphinx), Theatre Centre, New Midlands Dance, Scarlet Harlets and The Little Angel. An internationally published/performed writer, her play The Peach Child was selected for the National Theatre New Connections 2008, staged in 13 Theatres all over the UK, at the Cottesloe Theatre, and produced internationally. Her Methuen anthology Theatre in Pieces, Politics, Poetics and Interdisciplinary Collaboration (2011) includes her Don Juan.Who?/Don Juan.Kdo? co-produced with Mladinsko Theatre, Ljubljana, that headlined the FeEAST Festival at Riverside Studios (2008). This project was evolved in cyberspace with a geographically dispersed company, inventing new ways to harness technology for collaborative creation. Among several more recent smaller scale works, are Sea/Woman (with Maja Mitic, Dah Teatar, Belgrade) and her solo When We Were Birds premiered at the Cantieri Culturali Zisa, in Palermo in 2013, presented at Live Collision and GIFT Festivals in 2014. Her most recent project Other People’s Shoes was commissioned by the Michael Cakoyiannis Foundation in Athens (2016) in a Residency that included a Symposium on Activism and Performance.

Founding Athletes of the Heart in 2003 with a Wellcome Trust Impact Award, she directed a 10-year project on reproductive issues, The Art of A.R.T (Assisted Reproductive Technologies) producing works both live and on BBC radio. Athletes’ partnerships to date have included: 2 hospitals, 2 Assisted Conception Units, a museum, schools, festivals and international venues, including co-productions in Serbia and Slovenia and performances in Beirut, Palermo, Athens, Dublin and the UK. A video installation on Augustine (Big Hysteria) was part of the Mad, Bad, Sad exhibition at the Freud Museum in 2013 -14, alongside works by Louise Bourgeois, Tracey Emin and Sarah Lucas. Aside from the media critics, her work is critiqued and cited in a range of academic books and journals.

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Logo: Co-funded by the Creative Europe Programme of the European Union

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