Productions written, produced, directed by, or featuring certified Fitzmaurice Voicework® teachers - alphabetical by project title
The Odyssey Project™, founded by Michael Morgan in 2011, is a program of UCSB (Santa Barbara) which benefits and seeks to "rescue" (or transform) incarcerated youth, using the arts. It involves them, with peers, in a production. It brings them into a setting where they can start to recognize that maybe they do belong and have real options. It gives them a camera to chronicle their journey home as filmmakers. And it helps them make positive life choices. In the big picture, Odyssey Project acts as a societal solution, encouraging fewer boys to evolve into habitual offenders, career criminals, and forgotten numbers in the criminal justice system.
RESEARCH GROUP EOLIA
Performance, healing and social transformation
We’re researching ways of using performative language to talk about current and past events that had an impact in people’s lives. Together with a group of “performers,” we create a space where the audience has the chance of taking an active role and have it's own voice, reversing in that way the focus of attention, the audience being the one seen and heard in the piece.
The Waves is a new play about birth, motherhood, and post-partum depression, written by Laura Quigley. The Waves was written for mothers, pregnant women, obs, midwives, doulas, birth activists, fathers, health care practitioners, and anyone who has a mother.
WOMB OF FIRE
Womb of Fire is a new production, co-conceptualised and directed by Sara Matchett. Set against an episode from the Indian epic, The Mahabharata, the play interweaves personal narrative and contemporary realities with the lives of two women from the founding years of the Cape Colony to interrogate the Womb of Fire that birthed South Africa. The making process explored the body as a site for generating images for purposes of performance making. As such Sara’s method of performance making, that has Fitzmaurice Destructuring at its core, addressed how the post-slave body practically translated the archival narratives, and in articular how these intersected with the biological/personal. The process interrogated the potential of breath to act as a catalyst for activating and translating memories, stories, and experiences held in the body of the performer.