Stephen Shelley

Creativity, Art, Lifestyle

hide

Read Next

The Future of the Theater is not in Theaters

I've been involved in the performing arts for nearly 30 years, having acted, directed, produced and presented various types of performance, I managed a world class dance company and know, have known or know of, many world leaders in our vibrant and dynamic global community. And yet, not before in my lifetime, nor I believe for many lifetimes before mine, have we been in front of such a vast unknown as that which stretches out before us now. We stand on the cusp of perhaps the most exciting and riveting time of creativity since the time of the Greeks and, I predict, these shifting sands will cause us to rethink virtually every component of our artform.

My thesis is that the future of the theater is not in theaters. Or, more accurately, the scale of possibility for works of performance OUTSIDE of the traditional structure is far greater than inside the familiar, traditional structure AND that there is a corresponding hunger amongst existing and potential audiences for work which offers an active experience over a more traditionally passive one. This not only applies to performance which takes place outside of the traditional structure of a physical theater, but also to all of our structures: team building, administrative work, fundraising, boards...it's all changing. The "future", therefore, lies mostly outside of these classic, more traditional structures. The innovation at our fingertips is large and exciting and invites an exploration into how this is literally redefining every facet of the performing arts.

And, in case you haven't noticed, it's already begun...

Could it be that the action for which we all describe the artform of live performance, the "theater", is seemingly evolving past its namesake? Why, now, are we witnessing such a radical revolution away from work which is presented in the traditional space? What fundamental shift has happened, or even more accurately, is happening, that has suddenly thrown into question virtually every fundamental fact of our artform? And, if this is true, where is it going and how do presenters, producers and other institutions respond?

My vision reveals to me an artform moving more and more outside of traditional spaces and into all kinds of different spaces. Public, religious, private, artsy, corporate, manufacturing, floating. We are witnessing the emergence of new and dynamic forms of performance: immersive, popup, mashup, site-specific, flash mob and more. Even the conventional notions of the “actor”, “director”, “writer” are changing. Given these fundamental shifts, our models of presentation, communication and administration are also being reworked.

Spotlight - Russian Ball

On A-LISTED

For the first time since 1921 Venski Bal Moskva announced the arrival of the Russian Ball to London’s Royal Albert Hall. The Russian Ball brought royal tradition spanning over 200 years straight to the heart of London. The glamourous traditions of the Ramanov era were thouroughly enjoyed by the guests. From the imaginative culinary dishes to the stars of Jazz: Igor Butman and Semen Milstein all added to the ambience. Evgenia Viktorovna Obraztsova Prima ballerina of the Bolshi Theatre was spectacular and our favourite in this star-studded evening, further embellishing the contributions of Russian’s artists.

A-Listed interviewed debutante couple, Niina Golikova and AlexanderSidukov to find out more about their Russian heritage and taking part in the Russian Ball.

Tell us about where you grew up?

Ninna - I grew up in Estonia, in a small town called Sillamae. Today Sillamae is a strategic trading EU port, the closest to Russia.

Rendering New Theme...