DrElizabeth de Roza

Academics

Dr Elizabeth de Roza

Senior Lecturer, BA(Hons) Acting
Thumbnail
  • PhD (Theatre and Performance) Goldsmiths, University of London, UK
  • MA (Fine Arts), The Open University, UK
  • BA (Communication Studies and Theatre & Drama Studies), Murdoch University, Western Australia

Elizabeth de Roza is internationally known as an artist-scholar, performance maker, theatre director, actor-movement trainer. She co-convenes the Embodied Research Working Group within the International Federation for Theatre Research. She is part of the faculty teaching team of the International Graduate Semester Transcultural Collaboration Programme in Arts and Design spearheaded by Zurich University of the Arts and in collaboration with five universities and LASALLE College of the Arts. She also serves as an Assistant Editor for the Journal of Embodied Research.

Her methodology in performance-making and actor-movement training comes from an embodied foundation of traditional Asian theatrical training/performing methods, martial arts (kalaripayattu) and soft-fireworks – a contemporary, cross-cultural performance practice that she developed and established.

Elizabeth's research interests focus on embodied experiences, thinking and practice through making, embodied cognition and cross-cultural performance at the intersections of both decolonial and feminist theories. She has presented her research and methodology at various international conferences, universities, theatre conservatories and led master workshops for theatre companies.

As a practising artist, Elizabeth's works range from site-specific socially engaged performances, cross-cultural disciplinary performances to intense black box physical performances. She has collaborated on many international performance projects with a focus on embodied cultural memories in conjunction with other disciplines and presented them at various prestigious contemporary theatre festivals in South America, Europe, UK and Asia. One such work was her collaboration with two Mexican artists on a physical piece Re:Inventing Sita. This was supported by the Singapore International Foundation and Cultural Embassy of Mexico and presented at two festivals in Mexico, Cervantino International Festival and Caminos Teatrales 7in 2011 and here in Singapore. The work was mentioned in SIF inaugural launch of Diversities.

She was an Associate Artist of The Substation from 2001–2011 and under the scheme, she was able to develop her artistic research on embodied memory and refine her approaches to inter/cross-cultural performance making. This led her to create cross-cultural solo performances: Suria (2002), Innocence (2003), Landscapes (2004) and Still Flight (2005), which were also presented at the various International Magdalena Theatre Festivals, Rhode Island USA (2005), Singapore (2006), Santa Clara, Cuba (2008); Transit – Odin, Denmark (2009 and 2016);Vertice Brasilia(2010). In 2003, with the support of The Substation and the National Arts Council, she attended several performance workshops at the Centre of Performance Research in Aberystwyth led by internationally renowned artists such as Goat Island, La Pocha Rostra and several others. It was there that she first met Phillip Zarrilli and was introduced to the South Indian martial arts kalaripayattu. This encounter led to her continuous pursuit of the practice of kalaripayattu as a methodology of working with the body and as a tool for somatic expressions.

She formed TheatreStrays (2008–2013) a physical/sensorial performance research (training) group creating intimate, sensorial, physical, inter-medial and non-linear performances in unconventional spaces. The performance research group presented three interactive site-specific performances in Singapore such as Lower Depths@65 Kerbau Road by Gorky, What the Dog Knows inspired by Inesco and Paper BoatPaper Boat, which deals with memories, first premiered in Myanmar and performed in Brazil, Singapore (as part of The Esplanade's Studio Series and ArtScience Museum) and Berlin (as part ofVernissage: Intimate Moments, an Interdisciplinary Art Exchange project).

Publications

Articles and Essays

  • Case Study: Paper Boat – an embodied response to sites/places and memories (co-authored book chapter) Embodied Performativity in Southeast Asia: Multidisciplinary Corporeality (ed. Stephanie Burridge. Routledge) (forthcoming 2020).
  • Training Utopias, Performance Research 25:8, issue editor with Professor Michael Earley and Dr Felipe Cervera (forthcoming 2020).
  • Landscapes of Memories (contributor). Emergency INDEX: An Annual Document of Performance Practice, vol. 8. edited by Yelena Gluzman, Sophia Cleary, Katie Gaydos.
  • The Lion and the Breath: Combining Kalaripayattu and Fitzmaurice Voicework Techniques. Towards a New Cross-Cultural Methodology for Actor Training (co-authored) Journal of Embodied Research, 1 (1), 1 (20:41). DOI: http://doi.org/10.16995/jer.6 (2018).
  • Landscaping a Personal Myth (contributor) Emergency INDEX: An Annual Document of Performance Practice, vol. 6 edited by Yelena Gluzman, Sophia Cleary, Katie Gaydos.
  • Close Encounters (contributor) The MagdalenaProject@25 Legacy & ChallengeThe Open Page Publication; Denmark (2011).

 

Performances (Choreographer)

  • Cassettes 100 – presented as part of National Gallery Singapore’s exhibition Suddenly Turning Visible: Art and Architecture in Southeast Asia (1969–1989) (Nov 2019).
  • Landscapes of Memories – presented as part of LASALLE College Of The Arts’ inaugural embodied research symposium and as part of Teatro dell Radici’s, (Lugano, Switzerland) 30th International Masters’ series laboratory – Auteur (May 2018/Aug 2019).

 

Performances (Director and Performer)

  • Landscaping a personal myth, presented as part of the Faculty Performing Arts Performance Lab series (May 2016) and part of Transit 8 Festival, Beauty as a weaponTheatre, Women, Conflict, Odin Teatre; Denmark (Jun 2016).
  • other/s – a country directing country project, Upstairs theatre, Paradise Factory, Planet Theatre Connections Festivity; New York, US (Jun 2014).
  • other/s – a country directing country project, RAW at the Esplanade Studio; Singapore (Apr 2014).
  • Country Directing Country, a cross-cultural exchange between Singapore and NYC, La MaMa experimental theatre, New York, US (Nov 2013).
  • Reinventing Sita, TheatreStrays (Singapore) and Treatro Kaipatos (Mexico), Sculpture Square; Singapore (Nov 2012).
  • Lower Depths – 61 Kerbau Road, Little India; Singapore (Jun 2010).
  • Palettes of Desire, Crossroads International Festival of Women in Contemporary Theatre; Singapore (Jul 2006).
  • Still Flight– Magdalena US, International Festival of Women in Contemporary Theatre; Rhode Island US (Aug 2005).
  • Still Flight (v.1), The Substation; Singapore (Dec 2004).
  • Vertigo, The Substation; Singapore (Dec 2003).
  • Innocence, The Substation; Singapore (Jan 2002).
  • Maya, The Substation; Singapore (Sep 2001).
  • Suria, The Substation; Singapore (May 2001).

 

Performances (Performer)

  • Paper Boat, a movement piece, A New Direction International Performing Arts Festival; Sri Lanka (Dec 2013).
  • Paper Boat, Vernissage: Intimate Moments, An interdisciplinary Art Exchange Project Platoon Kunsthalle; Berlin, Germany (Jun 2013).
  • Relooking at Regina, cross-disciplinary work, part installation, part dance, The Substation; Singapore (May 2013).
  • Reinventing Sita, TheatreStrays (Singapore) and Treatro Kaipatos (Mexico), Sculpture Square; Singapore (Nov 2012).
  • Paper Boat, a performance installation at ArtScience Museum; Singapore (Apr 2012).
  • Paper Boat, a performance installation byTheatreStrays at Esplanade Theatre Studios; Singapore (Aug 2011).
  • Reinventing SITACervatino International Festival; Guanajuato, Mexico (Jul 2011).
  • What the Dog Knows, The Substation; Singapore (Feb 2011).
  • UntitledGraey Festival, The Substation; Singapore (Nov 2010).
  • Performance exchange & dialogue with Pro Radopi (Bulgaria), The Substation’s Septfest; Singapore (Sep 2009).
  • Curry Devil, Odin teatre, Transit VI International Theatre Festival; Denmark (Aug 2009).
  • The Karang Guni Man imagines Utopia, Performance Studies International 15; Zagreb, Croatia (Jul 2019).
  • Curry Devil, The Substation’s SeptFest; Singapore (Sep 2008).
  • Un-writtenReal Presence, a site-specific performance installation with visual artist Laura Soon; Belgrade, Serbia (Aug 2008).
  • Still Flight (v.3) – Magdalena Sin Fronteras II; Santa Clara, Cuba (Jan 2008).
  • Still Flight– Magdalena USA, International Festival of Women in Contemporary Theatre; Rhode Island, US (Aug 2005).
  • How to Peace, M1 Singapore Fringe Festival The Arts House; Singapore (Feb 2005).
  • Still Flight (v.1), The Substation; Singapore (Dec 2004).
  • 3 Men Meet 3 Women, The Substation; Singapore (Jul 2004).
  • Vertigo, The Substation; Singapore (December 2003).
  • The Royal Hunt of the Sun, The Substation Garden; Singapore (Jul 2003).
  • Innocence, The Substation; Singapore (Jan 2002).
  • Maya, The Substation; Singapore (Sep 2001).
  • Suria, The Substation; Singapore (May 2001).
  • Under the Last DustThe Necessary Stage, Victoria Theatre; Singapore (Oct 2000).
  • Sita,The Substation Garden; Singapore (Dec 2000).
  • History will teach us nothingThe Substation; Singapore (Dec 1999).
  • Exodus, Gay World Stadium; Singapore (Oct 1999).
  • L’Expression Corporell, Telok Ayer Performing Arts Centre; Singapore (Oct 1999).
  • If they should come in the nightBerlin Ghost Festival at Tacheles Arts Centre, Berlin and Telok Ayer Performing Arts Centre; Singapore (Sep 1999).
  • The Gateless Gate, Jahangar University, Bangladesh and The Substation; Singapore (Aug 1998).
  • The Elusive SongbirdThe Substation; Singapore (Jul 1998).
  • The Sunflower, Drama Centre and Fort Canning Park; Singapore (Nov 1997).
Awards
  • Academic Qualification Fund, LASALLE College of the Arts; Singapore (2014–2019).
  • Research Project Fund, LASALLE College of the Arts; Singapore (2014).
  • Local Arts Scholarship, National Arts Council; Singapore (2007).
  • Overseas Arts Bursary, National Arts Council; Singapore (2004).
Research Interests
  • Embodied research and practices. 
  • Decolonising embodiment and theories.
  • Feminist practices and theories.
  • Cross-cultural performance practices and collaboration. 
  • Cross-disciplinary performances. 
  • Site-specific social engagement works. 
  • Directing.
  • Actor-movement methodology.
  • Devising and performance making.