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20-862: Originally founded at Oval House, as of 2007 it was located at Toynbee Studios. Raidene Carter is Artistic Director. She replaces Nicky Childs and Mark Godber who served as Interim Co-Artistic Directors, after previous Artistic Director left in May 2023. Lab artists by year: 2024: Alia Hamaoui, Bint Mbareh, Jessica El Mal, Riwa Saab, Tasneim Zyada 2023: Stacy Makishi , Nando Messias, BULLYACHE, Zoë Laureen Palmer, Bebhe & Davies, Katy Baird, Victor Esses, Patricia Doors and Tamara Al-Mashouk 2021: Wendy Houstoun, Rebekah Ubuntu, Katarzyna Perlak, Seke Chimutengwende 2022: Charlie Folorunsho, Jo Fong, Whiskey Chow, Jamila Johnson Small, Chris Dobrowolski, Krishna Istha , Jade Blackstock, Lateisha Davine Lovelace-Hanson, Sheila Ghelani, Sung Im Her Stacy Makishi Stacy Makishi

40-575: A key area of inspiration for the piece. Love Letters to Francis (2009) with Nick Parish, was commissioned by the TATE and B3 Media. The piece was inspired by the painter Francis Bacon . The Making of Bull: The True Story (2010–2013) is based upon the Coen Brothers ' film Fargo (1996). She created a solo show which centred around the film, telling the story through themes of deceit versus truth with comedy and pranks. The performance toured

60-607: A larger trend in live art toward social engagement, and created a website www.split-britches.com/lois Through her solo performance work and her work as the Artistic Director of Split Britches, Weaver's performance practice incorporates public engagement as both a method of creation and performance. Dialogic methods are incorporated into the creation process, through extensive workshops and conversations with target groups. Recent performances like Weaver's solo show What Tammy Needs to Know About Getting Old and Having Sex and

80-552: A research and artistic development programme of their own design. Upon receiving the award, Makishi noted that making Live Art is Like living inside a hole. An ass hole. An art hole. Yes. Art is in that hole. With this Arthole, I will have time and resources to: make it, avoid it, study it, wrestle it, do it, explore it, hate it and love it. I hope to learn a lot while I’m down in my hole … and look forward to share whatever I learn with you.   Tongue in Sheets (1994) premiered at

100-487: Is a Hawaiian -born performance artist , physical theatre and live art specialist. Her work often involves combining autobiographical experience and comedy with inspiration from fictional sources, such as Hollywood movies or novels. She has been identified by The Guardian as part of a new generation of artists making 'innovative shows [ . . .] with and by young people'. Makishi was born in Hawaii , and graduated from

120-536: Is a performance directed by Makishi with Nathaniel J Hall and Nathan Crosson-Smith and produced by Contact. It explores the attitudes of young people towards sex, "questioning myths and breaking down taboos." The piece was supported by Wellcome Collection as it toured the UK as part of SICK! Festival. References to the 1851 novel Moby-Dick by Herman Melville are seen in her solo performance Vesper Time (2015–2017). The piece tackles mourning and paternal absence through

140-619: Is currently a Wellcome Trust Fellow in Engaging Science. Her work centers on feminism, human rights and possibilities for public participation. Active for over four decades, she is the founding member of significant New York theatre companies Spiderwoman Theater (1975), Split Britches (1980) and WOW (Women's One World Cafe) (1980). Weaver came to London to take on the role of artistic director for Gay Sweatshop Theatre Company in 1992. She lives in New York and London. Weaver

160-402: Is known for its imaginative use of text and image, which are juxtaposed for both serious and comic ends. She mixes fact and fiction to create ambiguous forms of autobiography. Weaver's practice has a focus on public engagement , and performance as a means for public dialogue. Weaver was awarded a Wellcome Trust Engaging Science Fellowship to continue this work in 2016. This practice is part of

180-727: The HBO series The Sopranos ’ fictional character Tony Soprano to tell her experience with menopause . She collaborated with Peggy Shaw, Joshua Sofaer, Lois Weaver and Vick Ryder. E.T. the Extra-Terrestrial and Barbra Streisand are both further influences for the solo piece. It premièred at the Chelsea Theatre and toured across the UK and BRUT in Vienna. The performance works alongside Claire Nolan's documentary The Making of The Falsettos . Under The Covers (2015)

200-546: The National Lottery through the Arts Council England and commissioned by The Yard Theatre, Marlborough Theatre, Norwich Arts Centre and Colchester Arts Centre. Lois Weaver Lois Weaver (born October 26, 1949, Roanoke, Virginia ) is a Guggenheim -winning American artist, activist, writer, director, and Professor of Contemporary Performance at Queen Mary University of London . She

220-569: The Theater for the New City . In 1975, Weaver, with Miguel and Miguel's sisters Lisa Mayo and Gloria Miguel, was a co-founder of feminist theatre company Spiderwoman Theatre , whose members focused on using their own stories to address gender roles, economic realities and violence in women's lives. Weaver helped develop the signature Spiderwoman approach to performance creation which they called 'storyweaving', combining improvisational techniques from

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240-696: The University of Hawaii . She appeared in stage and TV productions there, including plays by Hawaiian playwright Edward Sakamoto and a TV series based on Pidgin to Da Max . Makishi moved to California, and worked at the Comedy Store as a stand-up comic. She moved to London after working with Split Britches theatre company in New York. in 2019 she became the second recipient of the Live Art Development Agency 's Arthole award, which provides artists with £10,000 to undertake

260-608: The Baltimore Free Theatre and was exposed to a range of experimental theatre practices. In the mid 1970s, Weaver moved to New York where she worked in a fish market and in Special Education in public schools while pursuing a performance career. Weaver's theatre and performance practice spans collaborative and solo work. In 1974 Weaver met Muriel Miguel , who had worked with the Open Theatre , at

280-860: The Open Theatre, the Hopi goddess of creation's lessons on weaving, movement, and personal stories. While on tour with Spiderwoman in Europe, Weaver and Peggy Shaw met in Amsterdam. Shaw was touring with Hot Peaches throughout Europe. In 1980, along with Peggy Shaw and Deb Margolin , Weaver founded Split Britches , an award-winning company who use theatricality to create work that centers on lesbian and queer identities. Weaver has had productive collaborative relationships with theatre and performance artists Holly Hughes , Bloolips founded by Bette Bourne , Curious, and Stacy Makishi . Weaver's work, both in her solo performances and her work with Split Britches,

300-482: The Split Britches performance Unexploded Ordnances (UXO) involve audience participation as an integral component. Recent engagement and performance work has focused on elders and age related issues. Weaver's curatorial work focuses on feminist practice and non-hierarchical alternatives to existing social structures. This work includes expanded opportunities to emerging artists and under-represented groups in

320-473: The UK, New York, Turkey, Amsterdam, Vienna and Slovenia. Makishi created a large scale audio walk called And The Stars Down So Close that took place in Islington in 2012. The walk refers to John Steinbeck 's novel Grapes of Wrath , using immersive multi-media and installation. This piece was in collaboration with artists Vick Ryder, Lisa Asagi and Will Munroe. The Falsettos (2013) by Makishi uses

340-680: The WOW Cafe, in July 1994. The one-woman show served as Makishi's debut in New York City. Salad of the Bad Café (1999) is a cabaret written by Makishi, Peggy Shaw , and Lois Weaver . It uses the lives of Tennessee Williams and Yukio Mishima as inspiration to explore themes around race, gender and regional stereotypes. Carson McCullers ' 1951 novella The Ballad of the Sad Café is

360-778: The arts, and has resulted in projects like the AiR Project and Peopling the Palace Festival at Queen Mary, University of London. Weaver's social design work is housed in the Public Address Systems project, which creates hospitable spaces for open conversation. This project has three strands, Performance, Place, and the Everyday, and has many forms including the Long Table , the Porch Sitting,

380-596: The use of pop songs and religious imagery. The piece was supported by the National Theatre Studio and was funded by the National Lottery through the Arts Council . It was commissioned by Chelsea Theatre and Colchester Arts Centre. The Comforter (2017–2018) draws inspiration from American Drama series Twin Peaks , Ingmar Bergman and '80s and '90s pop culture in her solo piece. It was funded by

400-694: Was born in Roanoke, Virginia. As a child she began performing with the Mount Pleasant Southern Baptist Church. She graduated with degrees in theatre and education from the all women's college Radford College (later Radford University) in 1972. After graduating Weaver began involved in activism against the Vietnam War, moving to Baltimore to work for a peace and justice center. While in Baltimore, Weaver began working with

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