Pyn is a theatre practitioner, storyteller and mask maker. Her interest and passion for community / educational theatre began when she was invited to work with Jac Wilkinson (then mime animateur for Bedfordshire) to co devise and deliver a Theatre In Education piece that toured to Schools in Luton.
By the time she was 20 she had already set up a Wakefield based T.I.E company that specialised in Interactive History Projects. She left in 1990 to train in The Department of Drama and Theatre Arts at Birmingham University, specialising in Community Theatre and Theatre Design.
Since graduating in 1993 Pyn has worked for a number of companies including Kazzum Arts Project, Big Fish Theatre Company, Baobab Puppets, Clean Break and as a Designer for Bare Essentials Youth Theatre and Michael Chase.
She has directed students in B.t.e.c Performing Arts and led practical options on A Level Theatre Studies Courses and a Mask Making Module to undergraduates at Birmingham University.
Pyn continued to pursue her practical training through an apprenticeship in Mask Making with Michael Chase (The Mask Studio, London 1997) and a wide range of courses and residencies including John Wright, Geese Theatre, Cre8us and most recently Familie Floez.
Through all these experiences Pyn has developed a vibrant visual style that is underpinned by a strong sense of narrative.
As a freelance artist she has over 15 years’ experience creating exciting, innovative projects and performances in community and education settings. She creates accessible, participant led projects, with people of all ages and abilities, that seek to develop creative learning.
She has a particular interest in combined arts collaborating regularly with artists from a range of disciplines to develop new work. Pyn also creates masks for use in workshops and for commissions.
Her current Research and Development is with Mike Chase Mask Lab
- Mask Lab – working with a core group of performers and Michael Chase to explore the way we can work with mask spontaneously. Using a research approach around questions of ritual and performance, in order to open up the parameters of mask practice.
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