Rosalind Parker is a director who works with opera. She is currently pursuing the following lines of
enquiry. . .
Rosalind held the Alma Royalton Kisch post for arts and inter-faith for the Cambridge Interfaith Programme, was director of productions for Ulfah Arts and Media, muslim women’s social enterprise (UK, Kosovo) and was the founding Arts voice on the European Network on Religion and Belief .
She has always explored faith beyond the bounds of liturgy and church, questioning in intellectual enquiry and practical exploration how collective audience experience of religion can be expressed through the arts.
Through her work she offers conversation with religious praxis, interfaith dialogue, and British Muslim relations post-9/11. Her book ‘Religion and Aesthetics’, invites this dialogue further into the space of theological implication, including for the Duke Cambridge exchange Theology, Modernity and the Arts.
Site-specific performance: opera beyond the concert hall, opera without the orchestral pit.
Discovering a sound-led approach; Pierrot Lunaire in the Edwardian Bath-house
The School of Early Reflections, directorial - acoustic partnership with Pedro Novo, Max Fordham (Acoustic Engineer).
Exploring the practice of directing ‘triggering material’, creative work in conversation with psychopathological research, therapists and psychiatrists.
Implications for performing and receiving bodies as we stage the unstageable. Addressing the practice of ‘trigger warnings’.
Directing Returns, conscious objector Iraqi-war veteran Joshua Casteel's experience in Abu Ghraib for York Minster.
This is a multi-disciplinary project funded by Cambridge Research for Arts Social Sciences and Humanities, with Dr Ian Burrows (Cambridge English).
Environmentally led approaches to production. This is a site-specific Noye’s Fludde, developed with the community, co-created with young people and those of all ages, and created on principles of sustainability. What is it to forage for an entirely natural performance, aspire towards being carbon neutral, and to give all back to the environment after the curtain.
Opera as re-purposed; enabling work to speak on an organic flow between creative teams and spaces. Establishing a much needed language, that as an art form we are behind on.