Julia Bardsley
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]. She was awarded an Honorary Doctorate from Middlesex University in 2007[4]. Bardsley lectures at Queen Mary, University of London, and Central Saint Martins, University of the Arts London[5]. 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.[6]
Bardsley's work is significant in its disruption of traditional understandings of theatre[7]; 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[8].
From the late 1990s onwards her film and video works have been selected for film festivals internationally[9] and collected and represented in collections such as Lux Artists Films[10] and the University of the Arts British Artists' Film and Video Study Collection[11]. She has also created video art work for theatre productions including An Ocean of Rain, at the Almeida Theatre, London, 2008[12], and Suenos composed by Simon Holt[13], premiered at Queen Elizabeth Hall, London in 2007[14] [15]. 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.[16] 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)[17], and went on to show at Shunt, London (2007)[18]
- Almost the Same (feral rehearsals for violent acts of culture) a performance in three sections titled Nigredo, Rubedo and Albedo[19]
- Aftermaths: A Tear in the Meat of Vision (2009) Commissioned by the SPILL International Festival of Performance[20] uses the character of a cowboy evangelist to evoke apocalyptic and catastrophic visions of a world in chaos.[21]
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.'[22]
meta_Family (2010-11)
A modular ensemble piece, the meta_Family, presented in Teresina & Rio, Brazil & Outside AiR - QMUL, London. In 2012 editions of the project were presented at Trouble#8 Festival, Brussels & City of Women Festival, Ljubljana.'[23]
Medea: dark matter events (2012 - )
A performance project inspired by the Medea myth; drawing on themes of sexuality, eroticism and electricity.[24]
Further reading
- Glendinning, Hugo. (2009). Artsadmin 30. London: Artsadmin. ISBN 978-0-9524337-6-7. OCLC 609533968.[25]
- Johnson, Dominic (2016) Critical Live Art: Contemporary Histories of Performance in the UK ISBN 9781134907434 Search this book on
. - 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[26]
- 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 Search this book on .
- Pacitti, Robert., Ghelani, Sheila., SPILL Festival of Performance. [Great Britain]: Pacitti. SPILL festival of performance: on agency[27]
- PACITTI, ROBERT. WALKER, LUCY. (2014). THINK TANK WORKBOOK. [Place of publication not identified],: PACITTI Company.[28]
- Staranje = Aging. Silič, Melita. Ljubljana: City of Women - Association for the Promotion of Women in Culture. 2012. p. 100. ISBN 978-961-92182-6-6. OCLC 875322290.
- Bardsley, Julia, (2014) "'U' See the Image of her "i"', (London: BopBardsProjects: An Eye Eye Gym book).[29]
References
- ↑ Online, LADA-Live (2018-06-14), Artists On: Being an Artist - Julia Bardsley, retrieved 2020-03-22
- ↑ Johnson, Dominic (2016-04-29). Critical Live Art: Contemporary Histories of Performance in the UK. Routledge. p. 146. ISBN 978-1-134-90743-4. Search this book on
- ↑ Staff, Guardian (1999-10-13). "Now you see them". The Guardian. ISSN 0261-3077. Retrieved 2020-03-21.
- ↑ "Bardsley, J - School of English and Drama". www.qmul.ac.uk. Retrieved 2020-03-21.
- ↑ Martins, Central Saint (2018-06-20). "Julia Bardsley". Central Saint Martins. Retrieved 2020-03-21.
- ↑ Johnson, Dominic (2016-04-29). Critical Live Art: Contemporary Histories of Performance in the UK. Routledge. p. 141. ISBN 978-1-134-90743-4. Search this book on
- ↑ 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. Search this book on
- ↑ Staff, Guardian (1999-10-13). "Now you see them". The Guardian. ISSN 0261-3077. Retrieved 2020-03-21.
- ↑ ArtFacts. "9e Biennale de l'Image en Mouvement | Exhibition". ArtFacts. Retrieved 2020-03-21.
- ↑ "Snow". LUX. Retrieved 2020-03-21.
- ↑ "Results – Search Objects – UAL". collections.arts.ac.uk. Retrieved 2020-03-21.
- ↑ "An Ocean of Rain". Almeida Theatre. Archived from the original on 2020-03-21. Retrieved 2020-03-21.
- ↑ Wheatley, John (2008). "London, Queen Elizabeth Hall: Simon Holt's 'Sueňos'". Tempo. 62 (244): 35. ISSN 0040-2982. JSTOR 40072789.
- ↑ "Performances - Wise Music Classical". www.wisemusicclassical.com. Retrieved 2020-03-21.
- ↑ Charlton, David (2017). The Music of Simon Holt. Boydell & Brewer. ISBN 978-1-78327-223-5. Search this book on
- ↑ "Julia Bardsley". Theatre and Dance. Retrieved 2020-03-22.
- ↑ 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. doi:10.1162/152028106775329688. ISSN 1520-281X. JSTOR 4139998. Unknown parameter
|s2cid=ignored (help) - ↑ Gardner, Lyn (2007-04-13). "Trans-Acts/Untitled (Syncope), Shunt, London". The Guardian. ISSN 0261-3077. Retrieved 2020-03-22.
- ↑ Johnson, Dominic (2016-04-29). Critical Live Art: Contemporary Histories of Performance in the UK. Routledge. p. 150. ISBN 978-1-134-90743-4. Search this book on
- ↑ Company, Pacitti (2013-08-21), Aftermaths: A Tear In The Meat Of Vision Julia Bardsley, retrieved 2020-03-22
- ↑ 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. Search this book on
- ↑ Programme, Sacred Festival, 2009, Chelsea Theatre, London, 10 November
- ↑ Bardsley, Julia (2020-03-20). "Profile". Unknown parameter
|url-status=ignored (help) - ↑ Laera, Margherita (2014-10-23). Theatre and Adaptation: Return, Rewrite, Repeat. Bloomsbury Academic. p. 111. ISBN 978-1-4081-8472-1. Search this book on
- ↑ Glendinning, Hugo. (2009). Artsadmin 30. London: Artsadmin. ISBN 978-0-9524337-6-7. OCLC 609533968. Search this book on
- ↑ Johnson, Dominic (2015), The Art of Living, Macmillan Education UK, pp. 219–236, doi:10.1007/978-1-137-32222-7_11, ISBN 978-1-137-32220-3 Missing or empty
|title=(help);|chapter=ignored (help) - ↑ 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. Search this book on
- ↑ PACITTI, ROBERT. WALKER, LUCY. (2014). THINK TANK WORKBOOK. [Place of publication not identified]: PACITTI Company. ISBN 978-0-9565447-1-1. OCLC 975029157.CS1 maint: Multiple names: authors list (link) Search this book on
- ↑ Bardsley, Julia, (2014) "'U' See the Image of her "i"', (London: BopBardsProjects: An Eye Eye Gym book).
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