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Clear Insight Productions

Updated on February 16, 2017
Dancer Sandra Grinberg in film directed by Deborah Claire Procter for Oscar Edelstein's "Rivers and Mirrors", 2006)
Dancer Sandra Grinberg in film directed by Deborah Claire Procter for Oscar Edelstein's "Rivers and Mirrors", 2006)

Shared Vision

Clear Insight Productions makes theatre, opera, film, music and dance productions that present the opportunity to find wider perspectives and new ways of seeing the world. We develop artistic ventures that create a sense of community, history and shared vision, often offering communities and individuals the chance to participate, as well as witness. Clear Insight has a growing team of collaborators throughout the world who are interested in the role of the arts in creating change.

Mae Gweledigaeth Glir yn gwneud cynyrchiadau theatr, opera, ffilm, cerddoriaeth a dawns sy'n cyflwyno'r cyfle i ddarganfod safbwyntiau ehangach a ffyrdd newydd o edrych ar y byd. Rydym yn datblygu mentrau artistig sy'n creu naws o gymuned, hanes a gweledigaeth a rennir, yn aml yn cynnig cyfle i gymunedau ac unigolion gyfranogi, yn ogystal â gweld. Mae gan Clear Insight dîm o gydweithwyr sy'n ehangu ac yn fyd-eang a gyda diddordeb yn y modd y gall y celfyddydau greu newid.

Background

Clear Insight Productions was set up by Deborah Claire Procter who is a performer & multi-media artist from Cardiff (Wales). Her masters degree is in Fine Art from University of Wales, Cardiff, and her bachelors is in theatre from Exeter University. In 2005 she received the Creative Wales Award. Her solo multi-media performances have been shown in various theatres and galleries galleries such as The Ferens (Hull), Spacex (Exeter), Hemsley (Madison), and Museum Theatre (Madras). In 2004 she received a research grant from Wales Arts International to visit Argentina and began training with Oscar Edelstein to make vocals for different theatre productions such as Insanas (2006) by Silvia Pritz, and Oscar Edelstein's productions such as El Caballo Fantasma (2011), La Carta Imaginaria (2014).

Her focus as an independent producer and performer is to create unique performative experiences.

From years of working first as a volunteer, then as a marketing assistant, workshop producer and leader for leading international production company Centre for Performance Research has inspired her approach to making possible international collaborations. She draws inspiration from their goals as described in their website;

Inscribed within every project is the desire to affect change, with the key objectives being investigation, discovery and sharing. These objectives are to enable audiences and practitioners to engage with traditional and emerging ideas, methods and theatre practices from around the world and, through this dynamic interchange, foster a vibrant and distinctive theatre ecology in the UK. (Centre for Performance Research)

Research projects & Work in Progress

Clear Insight Productions as a project funded independent company has various projects in different stages of development.

The following projects are recent examples:

Deborah Claire Procter, Gwion Llŷr, & Oscar Edelstein. Clockhouse - Aberystwyth © Keith Morris
Deborah Claire Procter, Gwion Llŷr, & Oscar Edelstein. Clockhouse - Aberystwyth © Keith Morris

Clockhouse (2012 - )

- One point that contains all / Un punto que lo contiene todo / Un pwynt sydd yn cynnwys oll -

A small house | An intimate performance

I was inspired by a quote from poet Sanders Lewis saying that he wrote his poem, "In praise of un-inhabited places" and to "houses of leaf not of wood, stone or nobility." Beginning with this quote and a long held fascination with the line between land and sea at Aberystwyth Harbour, and how we notice our landscape, I began working on a project called "Look You Hear Now" in 2011. In May 2012 I was lucky enough to succeed in receiving an Arts Council of Wales 'Small Project Grant". This allowed me to develop the idea working with composer Oscar Edelstein significantly developed and elaborated the themes, connecting strongly with ideas of home and the stories of people who have to, or choose to leave. If it all has to fit in one bag, what do you take with you? Your language? Your culture? Your skills? Your recipes? Your music? D.C.Procter

Working together with composer Oscar Edelstein, the initial ideas were developed into a structure conceived by Edelstein as a cycle in a spiral of seven parts.

1) The Arrival

2) A Bottle in the Sea

3) My Kingdom for a Horse that Talks

4) In another land Gaucha (Patagonia)

5) We Have to Jump

6) A Ghost Haunts Europe

7) You Have to Leave

Funded by Arts Council of Wales / Aberystwyth Town Council

"A Horse Bleeding Shakespeare"

Source

"We were a people bred on legends." R. S. Thomas

"How to capture the sense of the landscape? What is Wales today? How do you make a song of a space or a portrait of a landscape? Those curving roads? That ever-turning land? Thick green. A seasickness of hills - Swelling, swaying, seducing." D.C. Procter

Theatre, music, dance, and video blend in a new opera about our sense of place and sense of national identity.

Performer and director, Deborah Claire Procter (2005 winner of the Creative Wales Award), researched and developed some of these themes, spending a period of time in Tregaron & Uplands, near the Pafiliwn performance space in the midst of magic West Wales. Part of the research involved visiting Tregaron Male Voice choir who meet once a week, singing in Welsh. As well as spending an afternoon at Carreg Dressage to experiment with Jane Lloyd-Francis who has produced many live performances with actors and performers; and with performer, Rebecca Woodford-Smith who is a full time lecturer in Theatre and Performance at Glyndŵr University and has worked many times with Japanese experimental theatre company Gekidan Kaitaisha (Theatre of Destruction).

The new work has developed into the idea of the creation of an opera which will be written by composer Oscar Edelstein (Argentina). together with Procter. The work will be a trilogy to be performed in Wales and Argentina as a recognition of the historical and emotional connections between the two countries.

In May 2010, Procter and Edelstein worked together with dancer and choreographer, Sean Feldman (choreographer and former dancer with Siobhan Davies), and performer-director, Jane Lloyd-Francis (co-director of Carreg Dressage, performer and founder of Equilibre Horse Theatre). After a few days of research and rehearsal at Carreg, they video-ed on Ynyslas beach, accompanied by Georges Dewez (Carreg Dressage).

Funded by Arts Council of Wales

Rivers and Mirrors: Part I

A piano recital by Oscar Edelstein with video and vocals by Deborah Claire Procter, based on the idea "to be in the mirror or to cross the river?" The video was made in Buenos Aires in the former national library where Borges once worked.

The dancer Sandra Grinberg, from the Trisha Brown Dance Company was invited to Buenos Aires to work with Procter to create a choreography for the video. The images move from a grey industrial building with an atmosphere of destruction, to an architecturally magnificent building that is only glimpsed through the mirror that the dancer, Grinberg, manipulates.

Funded by Arts Council of Wales / Wales Arts International

More information

Website

Inspirations

The choreography of Trisha Brown is famous for her exploration between the lines of trained and untrained movement, combining the pedestrian and every day with technique.

Sally Banes outlined in "Terpsichore in Sneakers" this new post modern thinking where virtuosity for virtuosities sake was questioned. Pedestrian movements such as walking or falling were seen as equally relevant in a choreography as would be a jeté or arabesque. The important shapers of this new approach to dance were Judson Dance Theatre, Simone Forti, Yvonne Rainer, Steve Paxton, Trisha Brown, David Gordon, Deborah Hay, Lucinda Childs, Meredith Monk, Kenneth King, Douglas Dunn and The Grand Union. Each one found their own manifesto in order to move through and beyond the restrictions of classical technique, and choreographers like Brown took to exploration of alternative performance spaces.

These researches were in the back of the mind of Procter whilst working with Sandra Grinberg.


Seapiece (2002)

 "Seapiece" - directed by Deborah Claire Procter, Aberystwyth Harbour 2002
"Seapiece" - directed by Deborah Claire Procter, Aberystwyth Harbour 2002

Yn dathlu symudiad cyso | A celebration of constant motion

"Seapiece" was a four hour long site-specific performance devised and directed by Procter in 2002. Over 25 performers gathered on the seawall in Aberystwyth in a structure directed by Deborah Claire Procter with performers from Equilibre Horse Theatre (Jane Lloyd-Francis); Dance India Wales (Kiran Ratna & Megan Lloyd), Gorwellion community group; Katak dancer, Vikram Ivengar; Stuart Bowden (Diversions Dance Company); Performer, Martial Artist & Taiwanese folk dancer, Su Chu Lu; Contemporary dancers, Sarah Mumford & Jan Davis; and participants from the Centre for Performance Research Summer School, directed by Richard Gough.

Funded by Arts Council of Wales / Wales Council for Voluntary Action / Ceredigion County Council.

"An extraordinary experience - quite moving! "

"A beautiful & unique experience"

"Amazing feat, I watched for 4 hours transfixed"

"Most original work"

"Evocative!"

"Great! Very moving"

"Marvellous depiction of people and landscape: very moving."

(Commentaries from audience comments-book)

Site specific inspiration

Companies like Welfare State International were pioneers in taking theatre out of building and into new contexts. They were a fascinating collective of radical artists and thinkers who explored ideas of celebratory art and spectacle between 1968 and 2006. Their book 'Engineers of the Imagination', was their Handbook and was used to help spread their ideas and techniques worldwide.

Part of the company philosophy was put into the following statement in 1999.

Welfare State International is a company of artists who pioneer new approaches to the arts of celebration and ceremony in the U.K. and internationally.

We are seeking a culture which may well be less materially based but where more people will actively participate and gain power to celebrate moments that are wonderful and significant in their lives.

We advocate a role for art that weaves it more fully into the fabric of our lives; that allows us to be collaborators rather than spectators:

Building our own houses, naming our children, burying our dead, announcing partnerships, marking anniversaries, creating new sacred spaces and producing whatever drama, stories, songs, ceremonies, pageants and jokes that are relevant to these new values and iconography.

We design and construct performances that are specific to place, people and occasion.

Roots

The simple and heart-felt dreams of Clear Insight Productions can be found deeply rooted in the belief in the power of arts and culture to transform society and offer alternatives.

The approach to theatre and performance is taking the idea of the "play-wright" being a person who engages manually and physically to construct a performance, just as much as the imaginative and mental process of "writing." Like a "wheel-wright" or a "ship-wright", a "wrighter" of performance draws on many construction processes that border on many art forms.

Inspirations in this line come from the legacies of companies like Welfare State International; director Peter Brook; play-wright Samuel Beckett and his working relationship with actress Billie Whitelaw, and the grand-fathers of these freedoms from convention that began with the wild musings of Antonin Artaud, and the political passions of Bertolt Brecht.

From other art forms, one would think of Joseph Beuys for his connection to un-usual materials, and performance artist Bobby Baker for her skill at manipulating every day objects in an intriguing narrative and conceptual way.

In this journey to the source it is hard not to also pay tribute to the choreographer Pina Bausch for her expertise in walking a line between the theatrical and the classical; and then of course choreographer Trisha Brown for her understanding of the lines between the trained and un-trained body.

"Communitas"

Anthropologist Victor Turner talked about "communitas" - the ability and power of culture to link people. He used the term to describe that often rare and transient personal experience of togetherness.

Turner was drawing upon Van-Gennep's triadic model of the Rite of Passage. Van-Gennep identified rites of passage rituals as being divided into three phases: preliminary, liminaire (liminality) (which was the stage that Turner studied), and postliminaire (post-liminality).

Arnold van Gennep (23 April 1873 – 7 May 1957) was a noted Dutch-German-French ethnographer and folklorist. He is best known for his work regarding rites of passage ceremonies and his significant works in modern French folklore. He is recognized as the founder of folklore studies in France.

Art and culture can make you look and look again.

Inter-continental

The concept of Clear Insight Productions is impossible without the search for new bridges between different worlds. With strong roots in Wales, the company has new extensive links to Argentina following artistic director, Deborah Claire Procter's first visit in 2003 with artist Angharad Taris, through the support of Wales Arts International.

The surprise of hearing your mother-tongue - a minority language - being spoken 13,000 kilometres from home is something that takes time to emotionally assimilate.

In this way the company is interested in working between the local, the national and the international; balancing the human drives of retreat and extension, and exploring the questions of identity that this generates.

Movement

Behind the work of Clear Insight Productions is a strong interest in different movement form and also in improvisation.

This included Deborah Claire Procter being selected in 2003 for a two week process of training and experimentation for Welsh Independent Dance’s “Dance Bytes for Camera” in 2003

As part of a team she was mentored by Dan O’Neill, founder member of the award-winning Featherstonehaughs, who performed with many other leading dance companies, including DV8, Second Stride, and Toronto Dance Theatre, and is a choreographer and film-maker.

Procter has received training from Gardzienice Theatre Associationin Poland as part of working on a performance with Theatre Alibi, and also extensively trained in Body Weather, Skinner Release Technique, and the India martial art Kalaripayattu.

© 2009 ClearInsightProds

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