See You all in October in Dublin
Archive for July, 2015
some upcoming productions at the National theatre and some upcoming NT live screenings (21 July – Nov 2015)Posted: July 23, 2015 in Uncategorized
Tags: Laurence Olivier, Lyttelton Theatre, National Theatre, Olivier Theatre, Polly Bennett, Sheffield Theatres
NATIONAL THEATRE LIVE broadcasts The Beaux’ Stratagem from the NT, Hamlet from the Barbican and an encore of the Donmar Warehouse’s Coriolanus
THREE DAYS IN THE COUNTRY Lyttelton Theatre
Previews since Monday night press night 28 July, in repertoire until 21 October
Patrick Marber directs his own new version of THREE DAYS IN THE COUNTRY, after Turgenev, opening in the Lyttelton Theatre on 28 July. The cast includes Amanda Drew, Gawn Grainger, John Simm and Cherrelle Skeete.
Ivan Turgenev’s passionate, moving comedy, A Month in the Country, has been the source of inspiration for films, a ballet and the plays of Chekhov.
Russia. A beautiful country estate. The mid-nineteenth century. A handsome new tutor brings reckless, romantic desire to an eccentric household. Over three days one summer the young and the old will learn lessons in love: first love and forbidden love, maternal love and platonic love, ridiculous love and last love. The love left unsaid and the love which must out.
Patrick Marber’s previous plays for the National are Dealer’s Choice (Evening Standard Award for Best Comedy); Closer (Evening Standard Award for Best Comedy, Laurence Olivier and Critics’ Circle Awards for Best Play), for which he also wrote the screenplay; Howard Katz; and The Musicians for Connections. His latest play, The Red Lion, opens in the NT’s Dorfman Theatre in June.
John Simm’s extensive screen credits include Code of a Killer, Prey, The Village, Mad Dogs, Exile, Doctor Who, Life on Mars, Sex Traffic, State of Play and The Lakes. His most recent stage appearance was in The Hothouse at Trafalgar Studios; previous theatre roles include Jerry in Betrayal and the title role of Hamlet at Sheffield Theatres, and Elling at the Bush for which he was nominated for an Olivier Award.
The production will be designed by Mark Thompson, with lighting by Neil Austin, music and sound by Adam Cork and movement by Polly Bennett; it is produced in association with Sonia Friedman Productions.
Press night: Tuesday 28 July
Contact: Martin Shippen on 020 7452 3233 / firstname.lastname@example.org
OUR COUNTRY’S GOOD Travelex £15 Tickets, Olivier Theatre
Previews from 19 August, press night 26 August, in repertoire until 17 October
Nadia Fall will direct Timberlake Wertenbaker’s OUR COUNTRY’S GOOD, a Travelex £15 Tickets production, opening in the Olivier Theatre on 26 August; with designs by Peter McKintosh, lighting by Neil Austin, choreography by Arthur Pita and sound by Carolyn Downing.
Observed by a lone, mystified Aboriginal Australian, the first convict ship arrives in Botany
Bay in 1788, crammed with England’s outcasts. Colony discipline in this vast and alien land is brutal. Three proposed public hangings incite an argument: how best to keep the criminals
in line, the noose or a more civilised form of entertainment?
The ambitious Second Lieutenant Ralph Clark steps forward with a play. But as the mostly
illiterate cast rehearses, and a sense of common purpose begins to take hold, the young officer’s own transformation is as marked and poignant as that of his prisoners.
A profoundly humane piece of theatre, steeped in suffering yet charged with hope, Timberlake Wertenbaker’s Olivier Award-winning OUR COUNTRY’S GOOD celebrates the redemptive power of art.
Timberlake Wertenbaker is the writer and translater of over 40 plays, including The Grace of Mary Traverse, The Love of the Nightingale, Three Birds Alighting on a Field, The Break of Day, After Darwin and The Ant and the Cicada.
Nadia Fall’s productions for the NT include Dara, Home, The Doctor’s Dilemma, Chewing Gum Dreams and Hymn; her other work includes Hobson’s Choice (Regent’s Park Open Air Theatre), Disgraced (Bush Theatre), and a forthcoming production of Ayckbourn’s Way Upstream at Chichester.
Thanks to its partnership with Travelex, this year the National Theatre is once again offering over 100,000 tickets at just £15 for four productions (Everyman, Light Shining in Buckinghamshire, The Beaux’ Stratagem and Our Country’s Good), with the rest at £25 and £35.
Press night: Wednesday 26 August
Contact: Mary Parker on 020 7452 3234 / email@example.com
PEOPLE, PLACES AND THINGS Dorfman Theatre
Previews from 25 August, press night 1 September, booking until 10 October with additional performances to be announced.
PEOPLE, PLACES AND THINGS, a new play by Duncan Macmillan, opens in the Dorfman Theatre on 1 September. It will be directed by Jeremy Herrin and is the latest collaboration between Headlong and the National, following Mike Bartlett’s Earthquakes in London and Lucy Prebble’s The Effect. Set design will be by Bunny Christie, with costumes by Christina Cunningham, lighting by James Farncombe and sound by Tom Gibbons.
Emma was having the time of her life. Now she’s in rehab. Her first step is to admit that she has a problem. But the problem isn’t with Emma, it’s with everything else. She needs to tell the truth. But she’s smart enough to know that there’s no such thing.
When intoxication feels like the only way to survive the modern world, how can she ever
Duncan Macmillan’s plays include Every Brilliant Thing (Paines Plough/Pentabus, Edinburgh, UK tour & New York), George Orwell’s 1984 (adapted with Robert Icke, Headlong/Nottingham Playhouse/Almeida/West End), Lungs (Paines Plough & Sheffield Theatres, Washington DC), Don Juan Comes Back From the War (Finborough) and Monster (Royal Exchange, Manchester).
Jeremy Herrin is Artistic Director of Headlong. His recent work includes This House for the NT, The Absence of War (Sheffield/national tour), Wolf Hall/Bring Up the Bodies for the RSC and The Nether (Headlong/Royal Court/West End).
The Dorfman Partner is Neptune Investment Management.
Press night: Tuesday 1 September
Contact: Martin Shippen on 020 7452 3233 / firstname.lastname@example.org or Clióna Roberts on 020 7704 6224 / email@example.com
POMONA Temporary Theatre
Previews from 10 September, press night 14 September, in repertoire until 10 October
POMONA by Alistair McDowall comes to the National’s Temporary Theatre from 10 September – 10 October, presented by the Orange Tree Theatre (where it had an acclaimed run in 2014) and in association with the Royal Exchange Theatre, Manchester, where it will play from 29 October – 21 November. The production is directed by Ned Bennett and designed by Georgia Lowe, with lighting by Elliott Griggs, sound by Giles Thomas and movement by Polly Bennett. Pomona is suitable for those aged 14+ and contains adult themes.
Ollie’s sister is missing. Searching Manchester in desperation, she finds all roads lead to Pomona, an abandoned concrete island at the heart of the city. Here at the centre of everything, journeys end and nightmares are born.
Pomona is a sinister and surreal thriller from Alistair McDowall, writer of Talk Show (Royal Court), Brilliant Adventures (Royal Exchange Theatre, Bruntwood Prize-winner) and Captain Amazing (Live Theatre Newcastle).
Ned Bennett has just directed Bruntwood Prize-winner Anna Jordan’s new play Yen at the Royal Exchange Theatre. He directed the first major revival of Philip Ridley’s Mercury Fur, which transferred to the West End, and the UK premiere of Tracy Letts’ Superior Donuts at Southwark Playhouse; he will direct Tom Basden’s new play The Crocodile, based on Dostoevsky, at the Manchester International Festival in July.
Press night: Monday 14 September
Contact: Martin Shippen on 020 7452 3233 / firstname.lastname@example.org
JANE EYRE Lyttelton Theatre
Previews from 8 September, press night 17 September, now booking to 25 October with additional performances to be announced. Bristol Old Vic from January 2016.
Bristol Old Vic’s highly praised staging of Charlotte Brontë’s masterpiece JANE EYRE, originally presented in two parts, will come to the National as a single performance, again directed by Sally Cookson and devised by the company. The cast includes Benji Bower, Will Bower, Craig Edwards, Felix Hayes, Phil King, Melanie Marshall, Simone Saunders, Maggie Tagney and Madeleine Worrall. The production has set designs by Michael Vale, costumes by Katie Sykes, lighting by Aideen Malone, music by Benji Bower, sound by Mike Beer, movement by Dan Canham and dramaturgy by Mike Akers. JANE EYRE will return to Bristol Old Vic in January 2016.
Almost 170 years on, Charlotte Brontë’s story of the trailblazing Jane is as inspiring as ever. This bold and dynamic production uncovers one woman’s fight for freedom and fulfilment on her own terms.
From her beginnings as a destitute orphan, Jane Eyre’s spirited heroine faces life’s obstacles head-on, surviving poverty, injustice and the discovery of bitter betrayal before taking the ultimate decision to follow her heart.
Sally Cookson is an associate artist of Bristol Old Vic, where her productions include Treasure Island and Peter Pan; and elsewhere, Boing! (Sadler’s Wells), Cinderella (St James Theatre), an adaptation of Jacqueline Wilson’s Hetty Feather (West End and UK tour), and Romeo and Juliet at The Rose Theatre, Kingston.
Press night: Thursday 17 September
Contact: Susie Newbery on 020 7452 3061 / email@example.com
wonder.land Olivier Theatre
Currently booking from 27 November, further performances and press night to be announced.
Manchester International Festival 2 – 12 July
wonder.land, a new musical inspired by Lewis Carroll’s Alice in Wonderland, with music by Damon Albarn and book and lyrics by Moira Buffini, will be directed by Rufus Norris in a co-production with Manchester International Festival; commissioned by Manchester International Festival, the National Theatre and the Théâtre du Châtelet. It will open at MIF with performances from 2 – 12 July (previews from 29 June), and come to the Olivier Theatre in November; in June 2016, wonder.land will visit the Théâtre du Châtelet in Paris. The production will have set designs by Rae Smith, with projections by 59 Productions, costumes by Katrina Lindsay, lighting by Paule Constable, sound by Paul Arditti and choreography by Javier De Frutos; the music supervisor is David Shrubsole and associate director, James Bonas.
Welcome to wonder.land, where you can be exactly who you want to be. Aly, 12, loves this extraordinary virtual world. Bullied at school and unhappy at home, wonder.land offers an escape.
Online, Aly becomes Alice: brave, beautiful and in control. But some of the people she meets
– the weird Dum and Dee, the creepy Cheshire Cat, the terrifying Red Queen – seem strangely familiar. And as hard as Aly tries to keep them apart, real life and wonder.land begin to collide in ever more curious and dangerous ways.
Damon Albarn is a Grammy and Brit Award-winning singer, songwriter, producer and composer. His first full-length opera composition, Monkey: Journey to the West, created in collaboration with Jamie Hewlett and Chen Shi Zheng, premiered at Manchester International Festival in 2007. His second opera Dr Dee, co-created with Rufus Norris, premiered at MIF in 2011. Albarn has written music for film soundtracks to 101 Reykjavik, Ravenous and Broken. Releases outside of Blur and Gorillaz also include: Mali Music, The Good The Bad and The Queen, Rocket Juice & The Moon, Africa Express Presents: Maison Des Jeunes and his Mercury-nominated debut solo album Everyday Robots. Blur will release their new album, The Magic Whip, at the end of April and will headline the British Summer Time Festival in Hyde Park in June.
Moira Buffini’s plays include Welcome to Thebes and Dinner for the National Theatre and A Vampire Story for NT Connections; Handbagged for the Tricycle Theatre/Vaudeville (Olivier Award for Outstanding Achievement in an Affiliate Theatre); Dying For It (adapted from Nikolai Erdman’s The Suicide) and Marianne Dreams (adapted from Catherine Storr’s book) for the Almeida Theatre; Loveplay for the RSC; and Silence for Birmingham Rep (Susan Smith Blackburn Prize). Her screenplays include Tamara Drewe, Jane Eyre and Byzantium. She recently directed her first short film, Father.
Rufus Norris became Director of the National Theatre in April; his NT productions include Everyman, Behind the Beautiful Forevers, The Amen Corner, Table, London Road, Death and the King’s Horseman and Market Boy. His other work includes Feast, Vernon God Little and Tintin for the Young Vic; the Olivier Award-winning Cabaret in the West End and on tour; Les Liaisons Dangereuses on Broadway; Festen at the Almeida, West End and New York; and Doctor Dee at the Manchester Festival in 2011 and ENO in 2012. Screen work includes Broken, which won the British Independent Film Award for Best Film, and the film of London Road which will be released in June.
Did you read the Buzzfeed piece that came out last month, about writing workshops and Pride and Prejudice, by Shannon Reed? “If Jane Austen Got Feedback From Some Guy In A Writing Workshop.”
You should. It’s very funny.
I don’t usually read chick lit, but I didn’t hate reading this draft of your novel, which you’re calling Pride and Prejudice. I really liked the part where Elizabeth and her aunt and uncle went on a road trip, which reminded me of Chaucer’s Canterbury Tales (also about a road trip — check it out!).
I won’t lie. I like to think I’m not as sexist and priggish as this guy. Still, parts of Reed’s piece made me cringe in self-recognition.
In a writing workshop, it’s easy (easy at least for me) to develop the exact tone (superior…
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Back on a dull, dark day in January I was invited along to the Hawk’s Well Theatre in Sligo to have a chat about possibly having a photography exhibition there. I was thrilled to be asked! The exhibition was to be landscape images of the North West and with the help of my friend Heidi the ‘Wild Atlantic Wayfarer’ was born.
Little did I know at the time the immense journey it would bring me on. If you follow the blog you will know I love exploring and I’m passionate about this wonderful gem called Sligo that I’m so lucky to call home. Not only did I get to see more of Sligo with this project but I also got to see parts of Mayo, Leitrim, Roscommon and Donegal that’d I’d never been to before. I met some amazing people along the way and it’s been a life-changing experience.
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There is an interest for women poets in how media presents electoral processes like the recent Oxford Professor of Poetry appointment. Just as there is an interest in how media views poetry generally.|
“I would like to see something different at the next election. I would like to see the media discussing women poets and the benefits that they can bring to the chair, and how their role can influence emerging women poets. I feel that this can be achieved by speaking to women candidates with intelligence and not utilising them as filler material in your ossified view of what poetry is.” (VIDA)
I started Poethead as a platform that could create visibility for women poets and their translators. Poetry is primarily a process of creation, media meets poetry at the point where it has become a product, a published book. This convergence of media and poetry…
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Greg Wilson, the man who brought electro to Manchester in the early eighties. Plucked from a residency at Legends (now 5th Avenue) – the club at which Stu Allan would also break new music in the city – Greg was mixing tracks together when it was a new phenomenon. Recruited to play at the Hacienda by Mike Pickering, Greg had already appeared mixing on Piccadilly Radio and on Channel Four’s The Tube, a youth-oriented music show that was breaking cutting edge music. On that show, he demonstrated to a young Jools Holland exactly what this DJ mixing lark was all about, while Mike Shaft helped to explain the process to Jools and describe Greg as being, “one of the top guys in the field”. Greg’s innovative and fresh style earned him the Friday night Hacienda residency in the summer of 1983
You’re originally from Merseyside. Did you feel that, in the early eighties, Manchester as a city had something to offer you that Liverpool didn’t in terms of being somewhere that you could break the exciting new music that you wanted to?
Greg: Liverpool had major racism issues at club level post-riots in ’81, whereas Manchester had become more cosmopolitan, with students and artists moving into Hulme, which had a prominent black population, bringing about a melting pot environment. This is what gave Manchester its edge, and what would inform the course of the city’s music during the Madchester years – the black/white mix, as I called it. The Hacienda embraced this mix of people, something that could never have happened like that in Liverpool at the time.
Q: If you had a time machine and could pop back to early ’84, would you tell your younger self to take another path and perhaps keep DJ’ing, not even necessarily out of any regret, but just to see if your career evolved differently?
Greg:I needed to get away from it all. I knew instinctively, but hadn’t made any contingency in case problems arose after I’d stopped (which they did). I was cast adrift and it was bumpy, but I never fully capsized, so, at the end of the day, the discomfort was not only worthwhile, but totally necessary. Had I continued I’d have been going through the motions, and that’s not something I’m able to do – I’d fallen out of love with the club life and needed fresh nourishment in my life. It was the right thing for me, although it could certainly have been a better planned retirement!
Q: During that break, you produced music and managed bands. Even without the DJ gigs, that must have been a time when you gained valuable experience about other aspects of the music industry that have served you well today?
Greg: Many of the lessons of the music industry are unpleasant ones, stuff you’re often better off not knowing – ignorance can be bliss in certain cases. The music business wore me out. It was once the domain of mavericks – people who believed in the artists they signed, even when success failed to happen immediately. Without this type of support you could wipe so many artists, who had a bumpy start to the careers, out of Pop history. For example, David Bowie had released 4 non-charting albums (aka flops) before Ziggy Stardust set him on the way to mega-stardom, and the previous albums that had prompted such a lack of mainstream interest all of a sudden started selling like proverbial hot cakes. This couldn’t have happened in the 90’s, once the accountants had taken over the industry and everything was rationalised. Problem being that music isn’t a rational thing, but works most deeply with emotion. Yes it’s a business, but it’s music – there should be a balance. I say bring back the mavericks.
Q: Hip-hop has changed a great deal over the years and there are have been many sub-genres within it (hardcore, gangsta, jazzy, commercial, etc.) and styles that have some debt to it (bassline, grime, breakbeat, etc.). What do you think of the current state of hip-hop? Is it now a commercial monster earning millions for moguls that has forgotten its roots, or is there still an underground movement out there that is true to the urban spirit that gave birth to it?
Greg: Hip-Hop was the most successful music form of the late 20th century – it started out as a street form and ended up as a multi-billion dollar industry. That’s the fact of the matter, and artists are often taking financial decisions to the detriment of artistic integrity, but they’ve earned the right to do that if that’s their thing. It’s more a case of turning away from the mainstream and looking back underground – finding new branches that are growing from much purer motives. There’s always the underground, but sometimes it’s hidden in the shadows, out of view, and you have to get your torch out and have a good concentrated look about before you find it.
Q: A few years ago electro house popped up as a new genre, and more recently there has been its relative, EDM. Do you feel that giving the former’s sound that name was a misnomer and didn’t really have any relevance to actual electro, or do you see a connection between it, a relevance, to anything that was happening 30 years ago?
Greg: There’s a kind of distant relationship, but a lot of the Funk has been wrung out, and that’s the bit that does it most for me. We’re in an era where previous descriptive terms are often re-adapted to a contemporary form, which confuses the issue somewhat. For example, I still find it difficult to view myself as a Disco DJ in the current context, but that’s the term that’s most associated with the music I play nowadays, although, when I think of it, the range of stuff I play would probably have been placed in the Balearic category at a different point. I suppose it just leads to greater confusion when there’s more than one Electro, or more than one R&B, but that’s the way things are and you’ve just got to get on with it.
Q: As a DJ that’s credited with introducing new music to audiences, where do you think the next frontier might be? Do you think there’s anything new and exciting on the horizon, or is dance music just recycling itself and renaming its own sub-genres? Is it even possible that the best dance music has already been created and from here, it’s just homages and also-rans?
Greg: At the very moment you believe it’s all been done, something always comes along to shock you, and I’m sure this will be the case again, although I’m not sure of where and when. We’re going through a period, and a necessary one I believe, where people are re-connecting with the past in a way that’s never been possible before – via the wondrous scope of the internet. This is the heritage of younger generations, especially in a country like the UK, which has produced so many incredible recording artists, whilst embracing the greats from overseas, not least the black American artists who had such a huge bearing on the course of music and popular culture here in Britain. We’ve been in an era of taking things apart to see how they work, then copying what went before, whereas the next phase will have something to do with re-contexualising the past, rather than trying to re-create it. I’m hopeful that we’re approaching a more artistic time, where risk takers will gain more admiration, and the same-old same-old will be seen for what it is. It’s all about refusing to accept mediocrity – people need to strive for something more.
Q: Which contemporary Manchester clubs/events, if any, do you have respect for, that push boundaries in 2014 and you feel are making their mark on the city’s clubscene?
Greg: I played at Antwerp Mansion recently and really liked the environment. A great, slightly off-the-beaten-track venue with bags of character and a top attitude from those who run it. I really think this can be an important space for Manchester.
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The Moore Institute Visiting Research Fellowships
in association with the College of Arts, Social Sciences & Celtic Studies,
James Hardiman Library &
Galway University Foundation,
National University of Ireland, Galway
The Moore Institute for Research in the Humanities and Social Studies will award a number of Visiting Research Fellowships in the arts, humanities and social sciences for the period September 2015-June 2016. The Fellowship Scheme is designed to enhance the research culture of the University through collaborations between visiting fellows and staff at NUI Galway. Fellowship recipients will also benefit from working with the many rich collections within the James Hardiman Library and will have the opportunity to interact with the vibrant research community in the university, city and region.
Visiting Fellows will be provided with space in the dedicated Hardiman Research Building (HRB) where the Moore Institute is located. The HRB has seminar rooms, offices, and desks for a diverse community of researchers, including 16 postdoctoral fellows and 300 postgraduates in different disciplines. The HRB also has a research technologist (David Kelly) to assist with digital humanities projects and dissemination. The building provides the focus of research activity in the six Schools of the College (the School of Education, the School of Geography & Archaeology, the School of Humanities, the School of Languages, Literatures, & Cultures, the School of Political Science & Sociology, and the School of Psychology). Disciplines represented include Psychology, Education, Women’s Studies, Archaeology, Geography, English, History, the Huston School of Film and Digital Media, Irish Studies, Journalism, Old & Middle Irish, Philosophy, Classics, French, Gaeilge, German, Italian, and Spanish. Other research hubs at NUI Galway include the Centre for Drama, Theatre, and Performance; the Huston School of Film & Digital Media; Acadamh na hOllscolaíochta Gaeilge; the Irish Centre for Human Rights; the Whitaker Institute; and INSIGHT (formerly known as the Digital Enterprise Research Institute).
The Moore Institute will host fellows during their tenure. Its work is supported by the Andrew Mellon Foundation, the European Research Council, the EU Framework Programme, the Marie Curie scheme, the Irish Research Council, and the Higher Education Authority’s Programme for Research in Third Level Institutions.
The James Hardiman Library has major print and archival holdings housed in Special Collections in the HRB, including 300 separate collections of books and manuscripts. These range from resources for theatre and performance research led by the Abbey Theatre Digital Archive, the papers of the Druid Theatre, Lyric Theatre, An Taibhdhearc (the Irish language national theatre), and Thomas Kilroy, to the papers of John McGahern and Joe Burke, as well as two major collections dealing with the recent ‘Troubles’ principally the papers of Ruairí Ó Brádaigh and Brendan Duddy. Special Collections also features the Douglas Hyde collection as well as other extensive folklore collections in manuscript and other formats. For details regarding the collections and access please consult http://www.library.nuigalway.ie/collections/archives/.
The Library offers excellent electronic resources covering all of the major academic journals. It also possesses substantial contemporary and historical printed resources; the latter include States Papers Online, Early English Books Online and Eighteenth-Century Collections Online. The University’s longstanding commitment to the Irish language provides further opportunities for engaging with the traditional arts of the Connemara Gaeltacht. Visiting fellows will have access to all the major repositories on the island of Ireland.
Moore Institute Fellowship Application
Fellowships will be administered through the Moore Institute and all queries can be directed in the first instance to email@example.com.
The Moore Institute Visiting Fellowships are open to all disciplines within the arts, humanities and social sciences. As part of the award, all Fellows will be designated a staff sponsor during their period of stay. Fellows will have available desk space in the Moore Institute, with library and online access.
The closing date for receipt of applications is Friday 7 August 2015. Applications must be submitted by email to firstname.lastname@example.org.
Eligibility: All applicants must hold a PhD or have a substantial record or profile of practice or performance. EU citizens and other nationals are eligible to apply. Awards are subject to the successful meeting of visa and any other requirements which are the sole responsibility of the applicant to organise.
Application: A complete application consists of a four-page proposal (maximum).
Proposal Page One: List your name, institutional affiliation, email address, telephone number(s), the period of fellowship requested (max. one month), the subject area of your research in terms of discipline or department, and a brief project title. Please also indicate where you learned about the Moore Institute Fellowships.
Proposal Pages Two-Three: Provide a summary of the proposed research project that explains the context, significance and projected outcome and impact (journal article, book, edited volume, performance, or other public dissemination) of your period of research in the Moore Institute. Please describe the people and resources important to your project in NUI Galway and where potential exists for future collaboration. NB: We also ask you to include a brief letter of support from a member of the NUI Galway staff relevant to your project.
Proposal Page Four: Provide an abbreviated one-page curriculum vitae stressing relevant publications and awards, and two named referees who are qualified to judge the proposal. No other items should be appended to the proposal, which should not exceed four pages in length.
The applicant should submit all materials together to email@example.com. Complete applications for 2015-16 Moore Institute Fellowships must be received by Friday 31 July 2015. Applications received after this deadline or transmitted by post or fax will not be considered. Incomplete applications will also not be considered. All applications will be acknowledged by email so please ensure that you include your email address in the correspondence.
Decisions will be announced by email on or before 1 September 2015. Queries about applications in process cannot be acknowledged. Fellowship recipients and their research projects will be acknowledged in Moore Institute publicity.
Award Terms and Conditions:
Moore Institute Fellowships must be taken up during the period September 2015-June 2016. The Fellowship term is to a maximum of one month. There is no stated minimum. The amount of the award varies according to the length of stay and the available overall budget, up to a maximum of €2,500 per month (to cover reasonable travel and living expenses). During the research period, fellows are expected to have a significant presence at the Moore Institute. Fellows will be asked to deliver one public lecture/workshop or seminar, which may be recorded, and to consider consultation with students at the undergraduate and/or postgraduate level.
The Moore Institute must be accredited as follows in any publication or other outcome pursuant to the award:
The Moore Institute Visiting Fellowships are supported by the Galway University Foundation, the James Hardiman Library, and the College of Arts, Social Sciences and Celtic Studies.
Applications will be judged according to the following criteria:
- Research profile and institutional affiliation of the candidate
- Quality of the research project
- Extent to which the proposed project would enrich partnership between the School/Institute and external research institutions and individuals
- Extent to which the proposed project would make use of Galway-based resources
- Proposed outcome(s)
For any further query, please contact firstname.lastname@example.org