After only 9 months of incubation, five
myles was awarded a prestigious
OBIE Award and grant in May, 2000 at the 45th annual OBIE Award
ceremony. The OBIE citation reads:
“Avant-garde theater, some critics like to argue,
is elitist and self absorbed, speaking only to a narrow upper-class
These critics, obviously, have not been to this exciting new
theater space, where magnificent contemporary works fully engage
in the neighborhood. The work might be a stunning, symbolist
version of Salome or a bustin' block party of a performance
fest, or an
imaginative staging of a Peter Handke play, but it is always
masterfully crafted, driven by a generous spirit and produced
on a shoestring.
The judges are happy to present an OBIE Award grant to Brooklyn's five
Tierney is a performing and visual artist, whose work has
been produced in New York by the Brooklyn Academy of Music, the
Sculpture Center, the Guggenheim Museum, the Henson Foundation
International Festival of Puppet Theatre: across the U.S. and in
numerous Festivals in Europe.
Soltanoff's recent work includes i/o, a live art piece in collaboration with composer Joe Diebes presented at Theatre Garonne (Toulouse) and The Fuse Box Festival in Austin, Texas. Other original and site-specific work includes to whom it may concern (The Belgrade International Theatre Festival), Strange Attractors (Mass MoCA), five movements for people and sound, TIME/PIECE, wrench, Experimental Actions (Mass MoCA), Peter Handke’s The Hour We Knew Nothing of Each Other and LEMNATION (Mass MoCA). Since 2002, Mr. Soltanoff has created two works with CIE111, based in Toulouse, France. These two collaborations, PLAN B and MORE OR LESS, INFINITY have performed at many theatres including Kampnagel (Hamburg), Eurokaz Festival (Zagreb), Trafo (Budapest), Vidy Theatre (Lausanne), Maison de la Danse (Lyon), Queen Elizabeth Hall (London), Patra Vadi (Bangkok), Theatre de la Ville (Paris) and the New Victory Theatre (NYC) among others.
Institute of Useless Activity
Conducting workshops in creating theatre
Theatre training has linked itself almost exclusively to the
Why am I not working?What am I doing wrong?
Will this training
make me a better actor?
Will it improve my chances of getting
I.U.A. rejects these notions. IUA believes that the vitality
of play, deep play, is compromised by commerce.
considers the action of deep play as an end in itself.
The most creative work is always done outside the boundaries
of convention. Training programs instill convention as a rule.
SO IUA rejects:
The notion of ‘good’ work
Pledging allegiance to technique
IUA believes in learning from an experience,
not an expert. Learning from doing, not from technique. IUA
rejects failure as a possibility, more significantly, it rejects
success as an aspiration.
IUA considers uselessness a radical philosophy--
It takes great courage to embrace the act of not getting anywhere,
to see what happens if I…..
Theater as a way of being in the world