Productions written, produced, directed by, or featuring certified Fitzmaurice Voicework® teachers - alphabetical by project title
 

box.
Dennis Elkins
This solo-show first premiered as a "work-in-progress" at the Vancouver Freedom & Focus Conference in 2012. Last year, during London's Conference hosted at Rose Bruford College, it was performed in its entirety. The show (an actor and a cardboard box) is a complex and deeply felt examination of life’s unmapped turns, deliberate shifts, blind alleys, and devastating dead-ends of one man’s struggle to traverse the toll-road to middle age . . . in a box. What began as an examination of how we pack our boxes with our most personal possessions, such as our voices, has evolved to include the "why" we pack and keep our boxes (literal and metaphoric). 'box.' will be performed in NY in April and at the Edinburgh Fringe Festival in August.

LA NIÑA NO QUIERE
Marta Fiol
«La niña no quiere» is a solo show that shares the journey of a woman, a vulnerable journey, introspective and vital, through singing and emotion, with a sense of humour, with a touch of self-fantasy and brushstrokes of clown. The character (‘La niña’) rebels against her invisible role in the family by starting a path looking for her own identity. Deconstructing Schubert’s and Händel’s music, and some Catalan and Spanish pieces, she asks herself about sexual identity, feminine desire and intimate relationships with others. A process in which she can see herself reflected, or discover some questions that become a tender invitation to an interior gaze. From when she appears on stage, ‘La niña’ seeks the gaze of the audience and catches their attention in a very easy and mischievous way. She invites us to go into her world, where is accompanied by a piano that allows her to explain her conflicts through her own voice… and music. Voice as a personal tool that will allow her to experience how to create her own identity.

ODYSSEY PROJECT
Michael Morgan
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
Esther Pallejà
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
Laura Quigley
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.

TOO FAR FOR COMFORT
Frankie Mulinix
Who do you become when you're faced with The End? What truths do you have to tell?
Waiting out the apocalypse, residents of The Vestry Apartments face their own shadows.
Too Far for Comfort explores distance, connection, and the ways in which we are all a little bit broken in here.

WOMB OF FIRE
Sara Matchett
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.

 

Teatro Varasanta, Vestigios del Viento, performed at the Fitzmaurice Freedom & Focus Conference, Bogota, Colombia, 2014