Arts Lab

Music festival Medieval Music in the Dales, Castle Bolton, Yorkshire

Dr Eva Moreda Rodríguez will perform her Roman de Silence programme at the festival, as well as working with musicians and public in attendance on a medieval liturgical drama workshop.

13-15 September 2024

Tarrarà by Luigi Pirandello

With excerpts from Cap and Bells and The Rules of the Game

Adapted by the Director, Mario Gaziano

English surtitles by Enza De Francisci and Ruggero Bianchin (PhD researcher, Glasgow)

Generously supported by the AHRC and the University of Glasgow

Friday 28 June 2024

Empedocleo Agrigento, Sicily

Amplifying Queer Composers: Understanding Marginalized Composers and the Impact that has on Student Engagement and Learning Outcomes, presenting a number of newly composed works for tuba

Lecture recital by Steph Frye-Clark (Eastern Tennessee State University)

30th May 2024, 4.30pm

Club Room, 14 University Gardens

Music festival Música no Claustro, Tui, Galicia

Dr Eva Moreda Rodríguez will be writer-in-residence throughout the festival, working on a translation of the 1924 article "Music in Spanish Galicia", by J. B. Trend. In conversation with musicians and the general public, she will discuss what the significance of this article is as a source to learn more about historical Galician traditional music and foster exchange between Galicia and the UK

1-7 May 2024

Lab directors:

Eva Moreda Rodríguez is Reader in Music at the University of Glasgow. Originally a scholar of Spanish music under Franco and in exile, in the last few years her work has centered performance more decidedly: her Cambridge Elements monograph Singing zarzuela, 1896-1958: Exploring portamento and musical expression through historical recordings (2024), as well as several journal articles and chapters, have pioneered the study of singing performance practice in Spanish zarzuela. She is also interested in singing performance practice in the Middle Ages, working mostly with repertoires from the 11^th to the 13^th centuries, and integrating her practice as an organettist and singer in her research.

Ongoing and recent projects:

Rethinking Early Recordings as Sources of Music and Performance History. This AHRC-funded network, which ran between 2021 and 2023, brought together researchers, performers, curators, technicians and collectors from all over the world who use early recordings (roughly defined as pre-Second World War) as sources for the study of music history and music performance, pioneering ways in which practical, hands-on approaches can influence critical, contextual and empirical ones, and vice-versa. The network has since morphed into the Early Recordings Association.

Performing a 13th-century romance: the Roman de Silence. This project puts together a programme of 13^th-century English and French music to illustrate the Roman de Silence, drawing upon historical performance practice, notions of collage and authorship, and multimediality in medieval manuscripts. The project will culminate with a performance by Eva at the festival Medieval Music in the Dales.

Enza De Francisci is Senior Lecturer in Translation Studies at the University of Glasgow and Programme Director of the Glasgow-Nankai (China) Translation Studies MSc double-degree. Recent publications include her monograph, A “New” Woman in Verga and Pirandello: From Page to Stage (Oxford: Legenda, 2018); her co-edited volume Shakespeare and Italy: Transnational Exchange from the Early Modern Period to the Present with Chris Stamatakis (London-New York: Routledge, 2017); and co-edited special edition, ‘Translation and Performance Cultures’ in Translation Studies (2022) with Cristina Marinetti.

Ongoing projects: 

Translating Pirandello. As Agrigento becomes Italy’s City of Culture in 2025, the project is reflecting on the need to make theatre productions more accessible for in-coming audiences. To support this, the project will maximise the opportunity of the City of Culture celebrations by producing new translation resources (English surtitles, and Italian-English bilingual advertisements and theatre programmes) around a case-study play by Nobel-Prize winning author, Luigi Pirandello (1867-1936), to be staged on Friday 28th June 2024 to mark the anniversary of his birth. The resources will offer an innovative model for safeguarding vulnerable languages. While lesser-spoken languages tend to be dethroned by ‘dominant’ languages in translation processes, the surtitles will allow international audiences to follow the performances in the original language, and the bilingual advertisements and theatre programmes will help spectators to understand the context of the play, while also protecting the original Sicilian language on stage (considered a “vulnerable language” by UNESCO).

Gameli Tordzro is multiple-arts practitioner, educator and artistic researcher. He is Artist in Residence/Lecturer of UNESCO Chair on Refugee Integration through Languages and the Arts (RILA), and is Research Associate of the UKRI Global Challenges Research Fund South-South Migration, Inequality and Development Hub (MIDEQ), at Glasgow University. He is a member of the UNESCO Arts Lab and the Society for Artistic Research, and a founding member of Meli Creatives, the Ha Orchestra, and AdinkraLinks Network. He has produced and directed several research documentary films, such as Music Across Borders (2016), Broken World Broken Word (2017), and Gedzem Kutrikuku (2018). Recent books include Mazungumzo Ya Shairi (2020) and Speaking Beyond (in press).

Anselm Heinrich is Professor of Theatre Studies at the University of Glasgow. He is the author of Theatre in Europe Under German Occupation (2017), Theater in der Region (2012) and Entertainment, Education, Propaganda. Regional Theatres in Germany and Britain (2007). He has co-edited a collection of essays on Ruskin, The Theatre, and Victorian Visual Culture (2009), and is under contract for a volume on institutional dramaturgy in twentieth-century Germany. He is currently working on a book on theatre in Britain during WW2 (for OUP). He has received fellowships at Harvard, Oxford and Marburg, and is co-editor of Theatre Notebook.