Goat Howl generates theatre and ritual experience. Whether working with text or devising collaboratively, at the core of every piece is a question about ourselves and about our community. We begin by probing, and investigating our position to the question, our will-to-know, and in performance affirm the unknowable.
Only some things can have fixity – essays and academia will always write things down – but, not performance, the unfixed, unbounded, fluid knowing. Our answers are not answers but proposals, playing in time/space line/design in front of/with/around an audience. We open basic themes to new meaning-making together with our ensemble and with our audiences.
We want to shake up sedimented meaning systems with our moving ensemble. We point the eye to the kaleidoscope forms created. Do we invite the audience to make meaning? Yes. Do we make meaning? Come and see.
Goat Howl is lead by Co-Artistic Directors Maria Wodzinska and Oliver Jane
Regular Collaborators include J. Miah Edgar, Stephanie Carpanini, Eliot Feenstra, Melanie Leon, Chloe Payne, Anna Sapershteyn, Nora Smtih, Hilary Wear, and Amelia McCarthy Blaine
Maria Wodzinska (“she/her”) began her training at Humber College working with physical theatre practices from the Barba, Grotowski and Lecoq tradition. Later inspired by mask and movement workshops in London at LAMDA with Mark Bell, she continued physical theatre studies and graduated from L'ecole Jacques Lecoq in 2015. Concurrently she studied under Pascale Lecoq in the Laboratory of Movement (LEM). LEM focusses on the language of movement of scenic objects, masks, and object manipulation. Additionally, she has worked with Raymond Bobgan of the Cleveland Public Theatre on physical theatre training from the Grotowski tradition. Her current interest is to develop a blended pedagogy from these two traditions, Lecoq and Growoski, and evaluate their possibilities for applied theatre contexts. This is the focus of her Major Research Project for her MA Studies at York University, funded through SSHRC research fellowship. www.mariawodzinska.com
Oliver Jane (“they/them”) is a Toronto based multi-disciplinary artist, devised theatre director, and theatre producer. Canadian-born, US-raised Oliver Jane began creating and producing original works in Philadelphia starting in 2013. Oliver currently resides in Toronto where they dedicate themself to creating immersive installations and theatrical experiences to address the questions that nag Oliver throughout their daily life. To date, Oliver’s work walks a delicate line between clown, dance, performance art, art-installation and ritual experience. In Philadelphia Oliver has presented work part of Between A Boat and Green Place at Bartram’s Garden, Four Weeks in January, FringeArt’s Scratch Night, INVISIBLE RIVER, and SoLow Fest. Origional works include The Gathering of the Mother Moth People; an exploration of ritual and spiritual pursuit guided by some widely naïve clowns (1fiftyone Gallery, 2015), and David & Oliver: Mystic Masters; a collaboration with playwright David Jacobi about their collective experiences as students of metaphysics (SoLow Fest, 2016). Oliver has been Assistant Director for a variety of projects with the Pig Iron Theatre Company, including PayUp! (2013), I Promised Myself to Live Faster (2015), and SWAMP is On (2015), and for director Hinako Arao on her project Milky Way. As a performer Oliver has appeared in Surge Protector (MFA Thesis 2016), David & Oliver: Mystic Masters (2016), Mad Forest (d. Alex Torra, 2014), 99 Breakups (Pig Iron Theatre Company, 2014), The West (d. Alex Bechtel, 2013), and Dinner With Madness (Goat Howl, 2018). Oliver graduated summa cum laude from Drew University with a BA in Theatre Studies, and is a graduate of the inaugural class at the Pig Iron School for Advanced Performance Training and completed a Master’s Degree in Devised Performance at the Pig Iron School/University of the Arts in 2016. www.oliverjane.com