Application deadline: 14th February 2020
Arts organisation Metal and Eastern Angles Theatre Company have joined forces with University Centre Peterborough to offer a week-long residency programme in July / August 2020 that supports emerging talent. The residencies are available to
The residency offers successful applicant(s):
The selection process is aimed at those looking to develop their practices or with a specific idea or project to develop – this might be one initiated through your degree course or a new area of research. The residency is open to applications from individuals or small collectives.
There will be a fee of £250 for each residency awarded which can be used towards the applicant’s expenses or to pay towards bringing in specific expertise or mentoring etc.
In 2020, the residency will take place in August/September – dates confirmed in consultation with the successful applicants.
Our Emerging Talent Residencies offer the following resources to artists at Metal’s and Eastern Angles venues:-
Metal’s Venue: Chauffeurs Cottage – Peterborough
Originally a residential property in the Cathedral grounds, Chauffeurs Cottage, in the heart of Peterborough’s city centre, was renovated by Metal in 2012 into a hub of flexible office, studio, performance and meeting spaces. We have a main 7m x 6m rehearsal space plus dedicated facilities for sound recording, a large courtyard with outdoor stage and planting from our 2014 award winning Hampton Court Garden. Our venue is used regularly for small performances, networking evenings, training and other events. Chauffeurs Cottage has a number of other creative organisations who lease offices inc Red7Productions, Cine-Sister, The Green Backyard and Eastern Angles Theatre Company. Artists from across the city use the venue as a hub for hot-desking. Chauffeurs Cottage is wheelchair accessible and has a loop system in our main performance space. The building offers:
Eastern Angles Theatre Company Peterborough venues:
In Peterborough Eastern Angles has an office base at Chauffeurs Cottage alongside Metal. Our pop-up theatre in Peterborough is The Undercroft. The venue is located at Serpentine Green Shopping Centre in Hampton. The Undercroft is a vibrant space for community groups, drama workshops, theatrical shows, live podcasts and cabaret nights. The venue has a studio space for performances, a large Front of House area, which can also be used for exhibits, and a rehearsal space for workshops. Since 2018, Korp has become the resident artist at The Undercroft, with his Studio 4, hosting paint jams and workshops.
Criteria for artists applying for an Emerging Talent Residency must be:-
Those who are selected for a residency are expected to be self motivated, self organising and self contained and to meet all their own expenses other than working space.
Please note: These residencies do not offer a fee or any per diems. Whether you have a fully formed idea or just need time and space to develop your work the Emerging Talent Residency programme offers a hugely valuable experience to help expand your professional practice and focus on the creation of new work.
Application is via a short online questionnaire which you can click here
The online application form asks you for:
Applicants may be invited to meet with representatives from UCP, Metal and Eastern Angles before final decisions are made. If so, the notification would be end March 2020.
If you have any questions, or to check if you’re eligible, then please contact email@example.com or call 01733 893077
About the partner organisations: Metal and Eastern Angles Theatre Company are both on Arts Council England’s national portfolio. They each have bases in different cities in the UK.
Still not sure if this is for you? Here are a few words from our 2019 emerging talent residencies about what it meant to them:
This opportunity is so unique and has honestly helped reignite my drive for performance, as well as helping to break that isolation the many graduates face after leaving university.
Residencies like this are so important because leaving university and not being in a rehearsal space for a long period of time feels as though the opportunity will never come around again. Having opportunities like this reignites that buzz, as well as giving you the breathing space to see what is possible in regard to your work and practice.
A big success was being able to develop a performance idea that I’ve had for the past few months, being able to have a space to work on it practically, and to see if it flopped or not (happy to report of no flopping). Another success was being able to network and engage with other artists from a range of different artforms. Asking for their advice and hearing the projects they were working on was educational, as well as help to break that idea that you’re working alone as others are in the same position as you. Linked to this was being able to work with other graduates who were on the residency and being able to make a connection with them.
Graduating from University was both an exciting and daunting time – there wasn’t a set out, defined career path – working in the arts sector is something which requires independent exploration. Therefore, the residency was so valuable as an emerging artist – it felt like a natural first stepping stone in my career post university – I had the freedom to use the space I was given as I wish, all whilst knowing that there was also a support network as and when I needed it.
As an artist in residence, there was a lot of opportunity to network with other creatives – I was sharing the space at the Undercroft with Lamphouse Theatre, and just to have a professional theatre company in the space was in itself a really valuable asset of the week. It clearly demonstrated how supportive and close knit the creative community is – and it was certainly a comfort for someone who is only just starting their career.
Although it may sound clichéd, I gained a lot of confidence during the residency because I found that I was capable of planning and leading a week-long show development, as well as initiating working relationships with creatives and artists in the city. I learnt the importance of taking the creative process at a steady pace, whilst being realistic when setting goals. At the start of the residency, I was keen to get through the whole of the script I had written; however, it was a lot more worthwhile focusing on a particular section – giving the week a clear focus. In my case, it’s a case of understanding that when writing, it is a long process, and there really is no rush to get it done – it’ll happen organically.
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