GALWAY ARTISTS Kristynn Fontanella, SJ Woods, and Fionnuala Doyle-Wade, are this year's participants in Remote Control, the new artist development programme from Brú Theatre Company, the Town Hall Theatre, and Galway Dance Project.
Remote Control is a three-month artist development programme which will run in Galway city until August. The focus is to find new ways to engage with audiences; develop practice; and explore new ideas. It has been designed to be adaptable and responsive to the challenging situation the arts/culture sector now finds itself in due to Covid-19.
'Remorte Control will look at questions around what theatre can be in this new landscape and how we can meaningfully engage audiences'
Fontanella, Woods, and Doyle-Wade will each receive €1,500, take part in-house workshops and in remote mentorships with established artists including Louise Lowe (Anu Productions ) and dancer/choreographer Oona Doherty.
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Kristyn Fontanella is a dancer and choreographer living in Galway. As part of Remote Control, she will investigate new ways of integrating dance and theatre, specifically comedic performances into her creative practice.
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SJ Woods is a theatre-maker and creative producer. Her project will focus on the women’s experiences of the Bon Secours mother and baby home in Tuam. She will use Remote Control to research the experiences of women inside the home and develop ways in which their stories can be presented as an immersive theatre experience.
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Fionnuala Doyle-Wade is a contemporary dance artist from Seattle, now living in Galway. As part of Remote Control, Fionnuala will be creating three choreographic scores exploring how we relate to physical space and how physical space informs the way we move, as dancers and people.
James Riordan, the artist-in-residence at the Town Hall Theatre; artistic director of Brú Theatre; and a performance director for Macnas, is heading the project with the Town Hall and GDP. "I'm very excited to get started and to work with these artists on their projects," he said, "and on questions around what theatre can be in this new landscape and how we as performance makers can meaningfully engage audiences.”
