Mrs Rosie Garton

Rosie is a Senior Lecturer and Programme Leader of Performing Arts. She is also a performance maker, director and writer. She is Co- Artistic Director of Anglo-German performance company Zoo Indigo, who make nationally and internationally touring multi-media performance work. She has mentored a range of emerging performance makers, and acted as a dramaturg for emerging and established artists. 

 Rosie's current teaching interests are:

• Contemporary performance making
• Interdisciplinary practices
• Multi-media performance
• Music in contemporary theatre.  

Her key research interests include:

• New technology in contemporary performance 
• Autobiography in Performance 
• Walking as a performative practice 
• Audience interactivity 
• Maternal performance and performance with family

DAPPER (Digital Arts Performance Practice - Emerging Research)

Institute of drama, dance and performance studies

Virtual relationships on stage, The performance of motherhood, Collaboration models, Relationships between HE and Professional Theatre, Integrative digital technologies in performance, The role of women in popular film, Walking as a devising process,

• Post Dramatic Performance
• Contemporary Music Theatre
• Deconstructing Performance
• International Performance Project
• Performance Company
• Research Project
• Postgraduate supervisor

• MA  Performance and Live Art. Nottingham Trent University 2005
• BA (Hons) Theatre Arts. De Montfort University 2001

• Drama Studies BA (Hons)
• Performing Arts BA (Hons)
• MA Performance Practices
• MA Arts

Nominated for Vice Chancellor’s Distinguished Teacher Award in 2013, 2014, 2015

• Reckless Sleepers- Board Member 
• Hand Made Theatre – Board Member 

2016:  Zoo Indigo  - associate artists of Derby Theatre. 

Currently touring (nationally and international) with Zoo Indigo’s multimedia performance works  ‘No Woman’s Land’ and ‘Celluloid Souls’. Performance paper to accompany the work is also being programmed at arts/academic conference, for tour dates of both see: www.zooindigo.co.uk

Garton, R., Rippel, I (2018) No Woman's land (paper presented) at Univerity fo Belgrade, Serbia 'International Federation of Theatre Research'

Garton, R., Rippel, I (2018) Borders and beyond (presented paper) at University of Notitngham: 'Biography and Public History'

Garton, R., Rippel, I (2016) Maternity and border lands: a reflection on No Woman’s Land (presented paper) at Chulalongkorn University, Bangkok: ‘International Conference on Culture,  Communication and Transnational Societies’

Garton, R., Rippel, I (2016) Performing Maternity (presented paper)  atEdge Hill University:  Performance and the maternal

Garton, R., Rippel, I (2015) Under the Covers: an interactive audience (presented paper) atThe University of Utrecht:  ‘Play, Perform, Participate’  The International Society for  Intermedial Studies

Garton, R., Rippel, I (2013) Under the Covers: re-creating film (presented paper) at Université Lumière, Lyon: The International Cinema in Theatre Conference   

Garton, R. (2012) Between me you and the breast pump: the performance of  motherhood in public spaces (presented paper) at University of Leeds: PSI Conference

Garton, R., Rippel, I (2012) Virtual distance: conversations between virtual and real spaces (presented paper) at University of Worcester: Space and place conference

Garton, R., Rippel, I (2010) This is now, this is live: Virtual parenting (presented paper) at Brunel University: DRHA – sensual technologies

Garton, R., Rippel, I (2010)  This is now, this is live: Virtual parenting  (presented paper) at University of Sussex:  (re) Performing the posthuman Conference

Garton, R., Rippel, I (2010) This is now, this is live: Audience responsibility (presented paper) at Reading University: JAM The Audience Spectacular Conference

Garton, R. (2009) This is now, this is live: Immediacy of virtual relationships (paper presented) at University of Chester: MA symposium          

Garton, R., Rippel, I (2009) This is now, this is live: Immediacy and unpredictability of live virtual presence (paper presented) at University of Exeter: Performing Presence Conference

Garton, R., Rippel, I (2009) This is now, this is live: Virtual relationships (paper presented) at Lincoln University      

 Published

 Rippel, I. & Garton, R. (2017) Maternal Ruptures/Raptures, Performance Research Journal, 22:4, 36-43

 Garton, R. & Rippel. (2016) Fantasizing Motherhood, Live Art and the Maternal, Live Art Development Agency (online study guide)

 Garton, R. & Rippel, I. (2016) Constructing Performance, The Drawing Board (online journal)

 Garton, R. (2016)Collaboration is a curious lover, Collaborations Choreography

and Dance  (online journal)

 Garton, R. (2015) Reflecting on partnerships between Higher Education and Professional

Theatre Practices in Higher Education and Theatre Conference 2015 (online)

 Rippel, I. & Garton, R. (2011) This is now, this is Live, Body, Space and Technology Journal (online)

 

Awaiting Publication

Garton, R. & Rippel, I (2019) ‘Great Escapes: Kinesthetic Empathy and the Maternal Migrant Body' (working title), in Meerzon, Y. and Pewny, K [eds.] Dramaturgy of Migration: Staging Multicultural Encounters in Contemporary Theatre, Routledge

Garton, R. & Rippel, I (2018) Borders of time and transportations of digital image in

Intermediality in Theatre, ed. Crossley, M. London: Routledge

 

Under review

 Garton, R. & Rippel, I (2021) My feet, My actions in an extended version of Dramaturgy of Migration ed. Romanska, M. & Meerzon, Y.

 

 

Zoo Indigo’s performance work features in:

Komporaly, J (2016) ‘Making a Spectacle: Motherhood in Contemporary British Theatre and Performance’, Theatre History Studies. Vol 35 USA: University of Albama Press

Senior, A (2016) ‘Natality: Performance’s Ontological Other and the Arendtian Appearance of Children in Contemporary Performance’,Theatre Research International. Vol 41, Iss 1 P70-84. Cambridge: Cambridge University Press

Meyer-Dinkgräfe, D (2013) Observing Theatre. New York: Rodopi

Public projects

No Woman’s Land  - performance(2015 – continued)

No Woman’s Land  - documentary film(2016 – continued)

Celluloid Souls –performance (2016 – continued)

Flat Out – street performance (2013)

Blueprint - performance(2010-2012)

Circle Symphony – site specific performance(2011)

Under the Covers - performance (2009 – 2013)

For further practice as research projects please see www.zooindigo.co.uk

Mentor:  Rosie worked as a mentor for Creative Partnerships, supporting practitioners in developing community and educational practices. She also mentored a range of emerging artists.

Dramaturg: Various established and emerging arts companies

Producer/manager (previous): Reckless Sleepers and Retina Dance

Manager/fundraiser (previous): Access 2 Arts (Nottingham), Project 2 Project (Nottingham)

Co-curator (previous): circuit performance platform 

This is a sample of external grants for Zoo Indigo projects. The company has received commissions and funding for performance projects and mentorship schemes from a variety of sources since 2002, for details of further grants please contact Rosie Garton. As an independent fundraiser and project manager for a range of arts organisations, Rosie has raised funds from organisations such as Arts Awards, Paul Hamlyn Foundation and the Esmee Fairbairn Foundation for outreach projects and dance/theatre touring projects.

2018

Project: Research and development for Britizenship

Details: Research in Romania, Ireland and Hungary - re-tracing our British-ness (or lack of it) in a post-Brexit Britain

Funders: Arts Council England

 

Project: Yes/No/Maybe

Details: touring performance work exploring binary code

Funders: AHRC

2016

Project: Organisational Development
Funders: Arts Council England

 

Project: No Woman’s Land - performance
Details: Multi-media performance exploring a history of expulsion and walking mothers post World War II
Funders: In Good Company and Arts Council England

Nationally and internationally touring project

Project: No Woman’s Land – a film documentary
Details: An experimental film documentary following the Zoo Indigo duo across Poland and Germany retracing the footsteps of Lucia Rippel in 1945
Funders: In Good Company and Arts Council England

Nationally and internationally touring project

Project: Celluloid Souls - performance
Details: A multi-media performance using the cinematic experience to examine gender and cultural roles in cult films
Funders: Arts Council England and In Good Company
Commission: Pilot Nights, Birmingham

UK touring project

2015

Project: No Woman’s Land – walking project
Details: International project walking across Poland and Germany, research and creation of film documentary
Funders: Arts Council England and In Good Company (Derby Theatre, Attenborough Arts Centre, Create Theatre)

2012-2013

Project: Blueprint - performance
Details: Multimedia theatre/science collaboration
Commissioned: Lakeside Arts Centre, Nottingham
Funded: Arts Council England

Nationally and internationally touring project

Project: Flat Out  - Street Performance
Details: Intervention performance work exploring public mothering
Commissioned: Hatch, Nottingham and Hazard Festival, Manchester

2011

Project: Circle Symphony – large-scale site specific performance
Details: Site-specific durational project at Nottingham Playhouse; part of NEAT11 festival
Commissioned: Nottingham Playhouse
Funded: Arts Council England

2009

Project: Under the Covers - performance
Details: Multi media performance collaboration with ventmedia exploring virtual mothering
Commissioned: HATCH Nottingham, Forest Fringe (Edinburgh);
Funded: Arts Council England

Nationally and internationally touring project 

2008

Project: Cultural exchange project
Details: Research project making links with artists in Nottingham’s twinned city Karlsruhe
Funded: Arts Council England and Nottingham City Council

2006

Project: White as Snow, Red as Blood - Performance
Details: Collaboration with multi-media artist Barret Hodgson exploring the relationship between Grimms Tales and the modern day woman
Funded: Arts Council England 
Commissioned: Loughborough Town Hall, NTU

2004/05

Project: Dress Code: Indigo (unplugged) - Performance
Details: Collaboration with musicians of the Knife and Forkestra. 
Funded: Arts Council England

UK touring project

2003

Project: Lounge Living - Performance
Details: Collaboration with FLYdance dance company and Barret Hodsgon digital artist
Funded: Arts Council England 
Commissioned: Derby Dance
Supported by: Power House, Nottingham and The Place, London

UK touring project

Project: Private I – Performance
Details: Investigative collaboration with dance artist Kerryn Wise and multi-media artist Barret Hodgson
Funded: Arts Council England 
Commissioned: Bonington Gallery, Nottingham 

Komporaly, J (2016) ‘Making a Spectacle: Motherhood in Contemporary British Theatre and Performance’, Theatre History Studies. Vol 35 USA: University of Albama Press

Senior, A (2016) ‘Natality: Performance’s Ontological Other and the Arendtian Appearance of Children in Contemporary Performance’,Theatre Research International. Vol 41, Iss 1 P70-84. Cambridge: Cambridge University Press

Meyer-Dinkgrafe, D (2013) Observing Theatre. Rodopi

Zoo Indigo Projects – Audience attendance figures – ongoing

No Woman’s Land (touring performance) (2015 – continued): to date 5 performances, to total audience of 450. Expected further audience in 2017/18: app 1750

Related article about the work:

Komporaly, J (2016) ‘Making a Spectacle: Motherhood in Contemporary British Theatre and Performance’, Theatre History Studies. Vol 35 USA: University of Albama Press

Quotes:

‘One of my all time favourite shows, funny, moving and sadly never more topical’

Michaela Butter, Director Attenborough Arts Centre

‘A funny, dark, moving, snarling cabaret that breaks your heart’

David Parkin, Reviewer

‘A clever, funny and powerful show’

Simon Hollingworth, Programmer

No Woman’s Land (documentary film) (2016 – continued):to date 4 installed public screenings, total app. Audience 690

Quotes;

‘An absorbing and poignant film, an engaging contemporary narrative of historical events and family endeavour’

Tracey Kershaw, Curator

‘The contrast between Europe than and Europe now, between yesterday and today, suffering and relative comfort, is established without fuss in this moving and powerful film’

Mark Patterson, Nottingham Evening Post

Under the Covers (touring performance) (2009 – 2013):25 performances, total audience 1750

Related article about the work:

Senior, A (2016) ‘Natality: Performance’s Ontological Other and the Arendtian Appearance of Children in Contemporary Performance’,Theatre Research International. Vol 41, Iss 1 P70-84. Cambridge: Cambridge University Press

Quotes:

“An unexpected show. A lot of laughs, ingenious involvement of the disarmed and willing audience, and some seriousness too. Great ending. I hope more people can see it.”

Caryl Churchill, Playwright

“Crying with laughter, and with sadness, an emotional rollercoaster. I must say I don’t laugh out loud that often, you had my sides splitting! Amazing work, well done! “

Audience member, Nuffield Theatre, LICA Lancaster

Celluloid Souls (touring performance) (2016-current)to date 2 public work in progress performances, to date total audience of 65