Mischa Twitchin teaches on the MA Performance Making course and on the BA “Modernisms and Post-Modernity” and “Culture and Performance” courses, as well as the Polish Theatre option. He is a founder member of the performance collective, Shunt, and a freelance lighting designer. He also makes his own performance projects, material from which can be accessed at: http://shunt.co.uk/OLD/mischa_twitchin/, and Vimeo: https://vimeo.com/user13124826/videos.
Mischa’s research interests mostly address modernist theatre practices, in particular the relation between visual art and theatre practice, puppetry, the relation between voice and gesture, and “post-dramatic” theatres (in, for example, the work of Antonin Artaud, Tadeusz Kantor, Marguerite Duras, Gina Pane, Peter Weibel, and Romeo Castellucci). His current research is concerned with mimesis and iconography – with particular reference to Aby Warburg, Walter Benjamin, Roland Barthes, and Georges Didi-Huberman.
Selected recent research and practice
As a founder-member of the London performance collective, Shunt, projects include: the award-winning Ballad of Bobby Francois and Dance Bear Dance, and The Tennis Show, Tropicana, Amato Saltone, and Money. Mischa was also a regular curator of the Shunt Lounge.
As a freelance lighting designer projects include: Ridiculusmus’ Tough Time, Nice Time and Total Football, both at the Barbican and touring; and Athletes of the Heart’s Don Juan, who? at the Mladinsko Theatre, Ljubljana, and at Riverside Studios, London.
His own performance projects include:
A Theatre of Death (Six Chapters), a performance-film (in collaboration with Samuel Weber).
Oedipus I & II (synopsis and exponierung), a performance-film (in collaboration with Samuel Weber).
In the Zone of Stones, a performance-film (with text drawn from Beckett's Ill Seen Ill Said, in collaboration with Penny Francis).
Four Impromptus: Beckett and Bernhard, an ongoing project shown at the Shunt Lounge, Judith E Wilson Drama Studio (Cambridge), Mica Moca (Berlin), BHUV Gallery (London), Fimfa Festival (Lisbon), Show Time Festival (Rich Mix, London), Nightingale Theatre (Brighton), AAA Gallery (Berlin).
The Ecstatic Truth of Bruno S. at the Little Angel’s Suspense Festival (2011)
Thanatoscope: A Portrait of the Thought of Death at the York Festival of Ideas (2011)
The Children’s Emperor and The Pianist at the Fimfa Festival, Lisbon (2011);
Island of Voices, an audio piece for Locus Solus, a multi-media exhibition about Raymond Roussel, Benaki Museum, Athens.
1945: A Passion at the Manipulate Festival, Edinburgh (2009)
I Wonder Sometimes Who I Am at the Forest Fringe, Edinburgh (2009), and at the Little Angel’s Suspense Festival, London (2009)
Is Art Lighthearted? shown at the Art Claims Impulse gallery, Berlin (2008)
Two plays, Klamm’s Dream (a dialogue between Kafka and his doubles) and Interjections (a dialogue between Artaud and André Breton), both performed in London and in Reykjavik
Recent conference participation includes:
2014: In Patagonia? (paper at “Thinking Through Tragedy and Comedy” conference, ICI Berlin, December 2014).
2014: What Chance Failure? (paper at TaPRA, Royal Holloway, September 2014).
2014: (Un)timely: Thoughts on War and Death (paper for the Theatre, Performance, Philosophy conference, Paris, June 2014).
2014: Oedipus: Between Synopsis and Exponierung (paper for the Performance Philosophy School of Athens inaugural symposium, Athens, March 2014).
2014: Between Stage and Screen: Beckett's "field of memory" (paper for "From Theatre to Film and Back Again" conference, De Monfort University, Leicester, February 2014).
2013: What does theatre make visible - in theory? (paper in Performance Philosophy panel, TaPRA conference, University of Glasgow).
2013: From Catalepsis to Catastrophe: Some Reflections on “Staging a New Field” (paper at “What is Performance Philosophy? Staging a New Field” conference, University of Surrey).
2013: Medium Matters: the Bare Bones (paper at Reading University/ International Beckett Foundation Conference).
2012: How Wooden Is It? (paper at “Object Theatre: Methodology and Pedagogy” conference, University of Nottingham).
2012: On “the live effigy of man emerging out of the shadows...” (paper at “Übermarionettes and Mannequins” conference, Institut Internationale de la Marionette, Charleville-Mézières).
2011: Thanatascopic (paper at “Ghosts” Conference, University of York).
2010: Supposing the Medium (paper at “Making Sense” Symposium, Pompidou Centre, Paris).
2009: In Support of the Court’s Memory (paper at CongressCath Conference, ‘Concentrationary Memories’, University of Leeds).
2008: Afterwards (paper at “Interregnum”, PSI Conference 14, Copenhagen).
2008: The Acoustics of Memory (paper at ‘European Memory’ Symposium, Reading University).
Sites of Research or ‘no layers of the onion’: Phantom Europe
Twitchin, Mischa. 2017. Sites of Research or ‘no layers of the onion’: Phantom Europe. O A R: The Oxford Artistic and Practice Based Research Platform, 1,
reviews Performing European Memories: Trauma, Ethics, Politics by Milija Gluhovic
Twitchin, Mischa. 2014. reviews Performing European Memories: Trauma, Ethics, Politics by Milija Gluhovic. Contemporary Theatre Review, 24(3), pp. 404-405. ISSN 1048-6801
“On ‘the live effigy of man emerging out of the shadows...’”
Twitchin, Mischa. 2013. “On ‘the live effigy of man emerging out of the shadows...’”. Übermarionettes and Mannequins,
“Shunt”, an article on Shunt and the ‘avant-garde’
Twitchin, Mischa. 2008. “Shunt”, an article on Shunt and the ‘avant-garde’. Théâtre/Public, 191,
“On the ‘Difference Between Preaching an Ideal and Giving Artistic Form to the Historical Tension Inherent in It’”
Twitchin, Mischa. 2014. “On the ‘Difference Between Preaching an Ideal and Giving Artistic Form to the Historical Tension Inherent in It’”. In: , ed. Adorno and Performance. Palgrave Macmillan, pp. 67-81. ISBN 978-1137429872
On the "Difference between preaching an ideal and giving artistic form to the historical tension inherent in it".
Twitchin, Mischa. 2014. On the "Difference between preaching an ideal and giving artistic form to the historical tension inherent in it". In: Will Daddario and Karoline Gritzner, eds. Adorno and Performance. Palgrave Macmillan, pp. 67-82. ISBN 978-1-137-42987-2
Kantor after Duchamp
Twitchin, M.. Kantor after Duchamp. In: M. Kobialka and N. Zarzecka, eds. Tadeusz Kantor's Memory: Other Pasts, Other Futures. TAPAC: Theatre and Performance Across Cultures (London, UK) and the Grotowski Institute (Wrocław, Poland).: Polish Theatre Perspectives (PTP). ISBN 978-1-910203-07-1