Julia Bardsley

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Julia Bardsley
Julia Bardsley.jpg
NationalityBritish
EducationBA Performance Arts
Alma materMiddlesex University
OccupationArtist
Known forKnown for its experimental use of character, solo performance, and elaborate video
Websitejuliabardsley.co.uk

Julia Bardsley is an artist working with performance, video, photography, sculptural objects and the configuration of the audience[1].

Bardsley began her career in theatre directing, writing and adapting works for the stage[2], and was joint artistic director of the Leicester Haymarket & Young Vic Theatres (1991-4)[3]. Her work has become known for its experimental use of character, solo performance, and elaborate video and set work in a performance art/visual art context.[4]

Bardsley's work is significant in its disruption of traditional understandings of theatre[5]; her hybrid practice first developed in collaboration with designer Aldona Cunningham in the 1990s through their innovative work on Hamlet at the Young Vic, which in turn led to a five-year long creation process combining theatre, performance and photography, resulting in the work 12/Stages/3 (a Memory Theatre) as part of the British Festival of Visual Theatre in 1999[6].

From the late 1990s onwards her film and video works have been selected for film festivals internationally[7] and collected and represented in collections such as Lux Artists Films[8] and the University of the Arts British Artists' Film and Video Study Collection[9]. She has also created video art work for theatre productions including An Ocean of Rain, at the Almeida Theatre, London, 2008[10], and Suenos composed by Simon Holt[11], premiered at Queen Elizabeth Hall, London in 2007[12] [13]. Her work has toured extensively in the UK and internationally.

Key works

The Divine Trilogy

(2003-2009) presented in London, Glasgow, Portugal, Spain, Slovenia, Croatia, Belgium, and Italy.[14] The three parts of which are titled:

  • Trans Acts used religious imagery, combining video, installation and performance, premiered at The National Review of Live Art (2006)[15], and went on to show at Shunt, London (2007)[16]
  • Aftermaths: A Tear in the Meat of Vision (2009) Commissioned by the SPILL International Festival of Performance[17] uses the character of a cowboy evangelist to evoke apocalyptic and catastrophic visions of a world in chaos.[18]
Improvements on Nature: a Double Act (2009)

Produced for Chelsea Theatre, Sacred Festival, Improvements on Nature: a Double Act explored themes of science using imagery of amputations. 'It's the science of Charles Darwin incubated by the traumatised imagination of Mary Shelley.'[19]

Medea: dark matter events (2012)

A performance project inspired by the Medea myth; drawing on themes of sexuality, eroticism and electricity.[20]

Further reading

  • Glendinning, Hugo. (2009). Artsadmin 30. London: Artsadmin. ISBN Special:BookSources/978-0-9524337-6-7|978-0-9524337-6-7. OCLC 609533968.[21]
  • Johnson, Dominic (2015), "The Skin of the Theatre: An Interview with Julia Bardsley", The Art of Living, Macmillan Education UK, pp. 219–236, ISBN Special:BookSources/978-1-137-32220-3|978-1-137-32220-3, retrieved 2020-03-05[22]
  • Johnson, Dominic, (2014) The Subtle Aggressors; a conversation with Julia Bardsley and Simon Vincenzi, in Theatre and Adaptation: Return, Rewrite, Repeat, edited by Margherita Laera, Bloomsbury Publishing, ISBN 9781408184721
  • Pacitti, Robert., Ghelani, Sheila., SPILL Festival of Performance. [Great Britain]: Pacitti. SPILL festival of performance: on agency[23]
  • PACITTI, ROBERT. WALKER, LUCY. (2014). THINK TANK WORKBOOK. [Place of publication not identified],: PACITTI Company.[24]
  • Staranje = Aging. Silič, Melita. Ljubljana: City of Women - Association for the Promotion of Women in Culture. 2012. p. 100. ISBN Special:BookSources/978-961-92182-6-6|978-961-92182-6-6. OCLC 875322290.
  • Bardsley, Julia, (2014) "'U' See the Image of her "i"', (London: BopBardsProjects: An Eye Eye Gym book).[25]

In the media

        

References

  1. Online, LADA-Live (2018-06-14), Artists On: Being an Artist - Julia Bardsley, retrieved 2020-03-22
  2. Johnson, Dominic (2016-04-29). Critical Live Art: Contemporary Histories of Performance in the UK. Routledge. p. 146. ISBN 978-1-134-90743-4.
  3. Staff, Guardian (1999-10-13). "Now you see them". The Guardian. ISSN 0261-3077. Retrieved 2020-03-21.
  4. Johnson, Dominic (2016-04-29). Critical Live Art: Contemporary Histories of Performance in the UK. Routledge. p. 141. ISBN 978-1-134-90743-4.
  5. Johnson, Dominic (2015-07-31). The Art of Living: An Oral History of Performance Art. Macmillan International Higher Education. p. 219. ISBN 978-1-137-32222-7.
  6. Staff, Guardian (1999-10-13). "Now you see them". The Guardian. ISSN 0261-3077. Retrieved 2020-03-21.
  7. ArtFacts. "9e Biennale de l'Image en Mouvement | Exhibition". ArtFacts. Retrieved 2020-03-21.
  8. "Snow". LUX. Retrieved 2020-03-21.
  9. "Results – Search Objects – UAL". collections.arts.ac.uk. Retrieved 2020-03-21.
  10. "An Ocean of Rain". Almeida Theatre. Retrieved 2020-03-21.
  11. Wheatley, John (2008). "London, Queen Elizabeth Hall: Simon Holt's 'Sueňos'". Tempo. 62 (244): 35–35. ISSN 0040-2982.
  12. "Performances - Wise Music Classical". www.wisemusicclassical.com. Retrieved 2020-03-21.
  13. Charlton, David (2017). The Music of Simon Holt. Boydell & Brewer. ISBN 978-1-78327-223-5.
  14. "Julia Bardsley". Theatre and Dance. Retrieved 2020-03-22.
  15. Klein, Jennie (2006). "Genre-Bending Performance: The National Review of Live Art Glasgow, Scotland". PAJ: A Journal of Performance and Art. 28 (1): 58–66. ISSN 1520-281X.
  16. Gardner, Lyn (2007-04-13). "Trans-Acts/Untitled (Syncope), Shunt, London". The Guardian. ISSN 0261-3077. Retrieved 2020-03-22.
  17. Company, Pacitti (2013-08-21), Aftermaths: A Tear In The Meat Of Vision Julia Bardsley, retrieved 2020-03-22
  18. Johnson, Dominic (2015-07-31). The Art of Living: An Oral History of Performance Art. Macmillan International Higher Education. p. 220. ISBN 978-1-137-32222-7.
  19. Programme, Sacred Festival, 2009, Chelsea Theatre, London, 10 November
  20. Laera, Margherita (2014-10-23). Theatre and Adaptation: Return, Rewrite, Repeat. Bloomsbury Academic. p. 111. ISBN 978-1-4081-8472-1.
  21. Glendinning, Hugo. (2009). Artsadmin 30. London: Artsadmin. ISBN 978-0-9524337-6-7. OCLC 609533968.
  22. Johnson, Dominic (2015), "The Skin of the Theatre: An Interview with Julia Bardsley", The Art of Living, Macmillan Education UK, pp. 219–236, ISBN 978-1-137-32220-3, retrieved 2020-03-05
  23. SPILL festival of performance : on agency. Pacitti, Robert., Ghelani, Sheila., SPILL Festival of Performance. [Great Britain]: Pacitti. 2010. ISBN 978-0-9565447-0-4. OCLC 751752908.CS1 maint: others (link)
  24. PACITTI, ROBERT. WALKER, LUCY. (2014). THINK TANK WORKBOOK. [Place of publication not identified],: PACITTI Company. ISBN 0-9565447-1-1. OCLC 975029157.CS1 maint: extra punctuation (link) CS1 maint: multiple names: authors list (link)
  25. Bardsley, Julia, (2014) "'U' See the Image of her "i"', (London: BopBardsProjects: An Eye Eye Gym book).

External links

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