Trained at L’Ecole Internationale Jacques Lecoq and with Pantheatre in Paris, Kenneth Spiteri completed dramaturgical studies with the WIW Akademie in Germany. He has worked internationally as a theatre maker collaborating extensively on the creation of new dramatic works and contemporary dance-theatre. Kenneth has acted in multiple national and international theatre productions as well as feature films. He has worked as an actor on numerous productions at The Street Theatre, Melbourne Theatre Company, Sydney Theatre Company and Downstairs Belvoir. Stage credits include Purcell’s King Arthur (Lautten Compagney), The Crucible (Teatru Manoel) and engagements with legendary theatre director Beaneath Hill 60 Peter Zadek in Germany and Zurich. Feature film credits include: (Australia), Abschuss Fahrt (Germany) and Paul, Apostle of Christ (Sony, Affirm Productions). He directed his first opera Il Matrimonio Segreto by Cimarosa for the Wan Sha Performing Arts Centre in Taiwan.
THE STREET TALKED TO KENNETH ABOUT ITS EARLY PHASE PROGRAM TAKING IDEA TO CONCEPT ALL WITHIN THE COMPANY CONTEXT OF THE STREET.
TELL US ABOUT THE IDEAS YOU ARE PURSUING WITH THE SUPPORT OF THE STREET?
I am exploring (re-creating) the story of the man crucified to the left of Jesus – the “impenitent thief”. And what it could mean to be the B-story to the Son of God’s death and come to terms with having failed at life.
Why ever? I think it’s an interesting idea with enormous theatrical potential.
WHAT ARE SOME OF THE THEMES, CONCERNS AND EXPERIENCES YOU ARE DRAWING ON TO DEVELOP YOUR CONCEPT?
Failure. Shame. Dying alone.
WHAT PROCESSES ARE YOU USING AND WHO ARE YOUR COLLABORATORS?
The priority is to find the writer/s and begin to explore both the character’s voice as well as the conventions (styles) through which his story will be narrated. I’m also starting to look at what design possibilities there may be to support the work dramaturgically.
WHAT HAVE BEEN SOME OF THE DISCOVERIES FROM CONVERSATIONS WITH PEERS ABOUT THE CREATIVE PROCESS, FROM AUDIENCES TO COMMUNITY TO PROGRAMMING, THAT ARE INFORMING YOUR THINKING?
I’ve yet to make those discoveries.
WHAT DO YOU HOPE TO GET OUT OF THE EARLY PHASE PROCESS?
Clarity of concept, an inspiring treatment, and a team of collaborators to take the idea into pre-production, as well as meeting other theatre makers and observing the development of their work.
WHAT KIND OF THEATRE DO YOU WANT TO MAKE WITH THE STREET IN A POST-COVID WORLD?
I think I have always tried to make compelling theatre. And that’s what I would like to continue to do.
WHAT HAVE BEEN AND CONTINUE TO BE THE CHALLENGES OF WORKING DURING COVID-19?
I guess, they’re the same as they are for most other theatre makers and live-performance artists.
WHAT DO YOU SEE ARE THE POSSIBILITIES OF LIVE-DIGITAL SETTINGS FOR THEATRE WORKS?
My understanding of theatre is that it requires a shared physical space in real time with the presence of real people who are engaged in a process of exchange that is vibrational: it is fundamentally an analogue medium.
I am however, fascinated by 3D VR film (immersive reality) as a digital medium and am interested in exploring it’s potential to evoke kinetic responses similar to those experienced in live performance, particularly dance.
WHAT’S INSPIRING YOU CREATIVELY AT THE MOMENT?
Not a great deal.
WHAT ARE YOU READING/WATCHING CURRENTLY?