Colin Ellwood, Module Year Co-ordinator
Module Year Co-ordinator
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- Professional Practice:
Colin Ellwood was administrator of the Scottish Society of Playwrights 1988-90 and in the same period founded Opening Acts, an Arts Council, local authority and business funded T.I.E. company touring Scotland. Freelance directing included new writing for the Traverse and a local community television project winning ‘Best Dramatised Production’ from the Royal Television Society in 1989.
He joined the R.S.C. in 1991 as an assistant director latterly developing projects for the education department and in new writing, for example staging Peter Whelan’s adaptation of Disraeli’s ‘Sybil’ at the Barbican Pit in 1993, and also coordinated the RSC fringe New Work festival, directing ‘Waiting for Godot’ with Linda Bassett as Lucky. In 1994 he set up Strangers’ Gallery, a company exploring exile and estrangement. Productions included UK premieres of Lope de Vega’s ‘Jewess of Toledo’ and ‘The Innocent Child’, in collaboration with early music ensemble The Dufay Collective; a series of absurdist underground Argentinian plays Tietro Abierto and the premiere of the newly-discovered controversial original version of Rattigan’s ‘Separate Tables at the King’s Head’ with a cast of 17 including Barbara Jefford and Diana Hardcastle.
He joined Rose Bruford College in 2003, becoming Programme Director of the Directing BA in 2009, building a particular strength in new writings including a series of projects and commissions in collaboration with playwright Simon Stephens. He has taught on most programmes throughout the College and also directing at most of the major London drama schools including Central and Guildhall. Other directing work has been seen at Soho Theatre, the Finborough, the Globe and in Norwich Cathedral (Another Dufay Collective collaboration devising a site-specific actor-musician piece based on the writings of fourteenth-century mystic Julian of Norwich for the Norwich Festival). He has led many workshops at the V&A Theatre Museum and the Actors’ Centre. Particular research interests include the teaching and practice of directing and ‘primary creativity’ in performance and performer training.
From image to gesture', in Gordon Lawrence, ed., The Creativity of Social Dreaming (Karnak Books, 2010); 'Non' Stanislavski approaches to actor training', in Kathy Dacre ed., Teaching Stanislavski (Palatine, 2010).