Films

Here Lies (2015). A bewildering metafictional journey through the labyrinth of a film within a film, exploring the underbelly of treachery, ambition, and dissolution. The filmmaking itself becomes a character within the drama. Luckily for me, I worked with a talented group of actors and filmmakers who didn’t balk at the inherent complexities of not conforming to expectation. Bravo.

Boogie Woogie (2010). A stellar cast and a well-honed crew, with John Mathieson as DOP. The art world is forever thankful I made this film, and I modestly accept their continuing congratulations, even all these years on from its release. Viewing it today is worthwhile, and I recommend having a drink in hand.

Art Documentaries

These film encounters with artists have been a real joy to make. Exploring their practices through the language of film has resulted in an archive that has, in part, contributed to their broader understanding. I’m forever grateful for the experience and hope that you, the viewer, may feel the same way.

Art and Space (1996)

An experimental film which looks at journey-making as an act of art collection. The accumulative memory of the journey provokes the idea that the past, present and future time can be accessed through the journey.

Tarasewicz (1992)

An introduction to the world of the Bielorussian artist Leon Tarasewicz.

Brian Eno Imaginary Landscapes (1989)

A documentary which explores Brian Eno’s fascinating approach to the way in which he manifests his work. Brian Eno is an English anomole: multi-talented, who doesn’t fit conveniently in any pigeon hole, and to that end the documentary seeks to qualify his curious niche.

Kantor (1986)

An introductory interview exploring the legendary theatre director Tadesuz Kantor theoretical position on his theatre works, filmed over a period of 2 years.

Theatre (Archives)

Making theatre is a raw, demanding process. I’m forever indebted to Tadeusz Kantor and his Cricoteka theatre company for inspiring me to create my own works. Working with the wonderful actor Roddy Maude-Roxby helped me direct my attention in such a way that the outcomes justified the means. Collaborating with the composer Janusz Podrazik brought a heightened level of creative musicianship to each piece, enhancing and augmenting the work. We had a fantastic time making these curious pieces. My note to anyone prepared to listen is this: make your own theatre.

Last Night - In The Life of Antonin Artaud

London 2000
Conceived and Adapted by Duncan Ward from the letters, speeches, manifesto's and other writings of Antonin Artaud Including Artaud’s play “A spurt of blood”.

Directed by Duncan Ward
Produced by Duncan Ward & Rupert Skinner
Music by Janusz Podrazik
Set design by James Bain-Smith
Sound by Byfergus O’Hare
Music Production: MRAC Publishing Limited
Costumes by Karen Concannon & Claire Hosegood
Special Propes Jemma Dickens
Assistant Director Charlotte Gwinner
Stage Manager Lara Denyer
Production Co-Ordinator Felicity Coupland
A Found Theatre Company Production
© 2000 Filmakers Limited

Beelzebub Sonata

London 1998
A 1925 absurd drama, original translation by Daniel Gerould and Jadwiga Kosicka. Play by Stanislaw Ignacy Witkiewicz

“There is no idea, no fact, which could not be vulgarised and presented in a ludicrous light.” – Dostoevsky
“Customer must be satisfied. Misunderstandings are ruled out.” – Witkacy’s motto

Adapted & Directed by Duncan Ward
Produced by Duncan Ward & Richard Strange
Music by Janusz Podrazik
Music Production: MRAC Publishing Limited
Lighting & Set Design by Jo Manser
Costumes by David Whiteing
A Found Theatre Company Production
© 1998 Filmakers Limited

Comedy, Irony, Satire & Other Deeper Meanings

The Gate, London, 1997
Play by Christian Grabbe.

Director Duncan Ward has adapted Christian Dietrich Grabbe’s chaotic script, which was written in 1822 and is still popular in Europe. In what is only arguably the play’s central plot, three men are vying for the hand of Liddy, a wealthy baroness; the Devil just happens to be in town to stir the pot. Grabbe frequently and frustratingly wanders from this story to focus on other characters or to take potshots at the literary pretensions of his time: Liddy’s uncle rants about audiences and critics, the drunken Village Schoolmaster reads his fish wrap to keep up with what’s popular, and the poet Kilratt immediately warms to the Devil when the latter says, “Don’t be afraid. I’ve read your poems.” We get the comedy, and some of the satire, but a few judicious cuts might have helped keep things on track.
Adapted & Directed by Duncan Ward
© 1997 Filmakers Limited