Interview with the minds behind ‘GMO’- Caragh Aylett

 

I was lucky enough to meet with the producer and directors of Cardiff University’s new production, ‘Genetically Modified Organism’ (GMO).  You might have seen them on the Royal Mile staging a protest about the life of Amelia Fowler and demanding her death. With such an intriguing marketing technique, I was excited to find out more about ‘GMO’. Rob Maddison is the writer and director of this bold new production while Lucy Spain is the assistant director and choreographer, and Martin Newman and Dan Gammond produced the piece.

 

So, what’s ‘GMO’ about? 

 

Newman: It’s a courtroom drama where the audience play the jury; everyday they decide the outcome of the play.

Maddison: It portrays a four year old girl, Amelia Fowler, who has been illegally genetically modified by her father, the piece presents a debate over whether or not she should live. Even though Amelia is only four I really wanted to give her a voice, she is represented in the piece as a teddy bear but an older version of her interacts with the audience but cannot be seen by the other characters.

The verdict is about the death of a four year old child

Spain: It blends naturalist theatre with physical theatre as well as projection and one character who is played solely as a voice over.

 

With such a sensitive topic, did you come across any moral issues in the writing? 

 

Maddison: Yes, the piece is entirely focused on moral issues. The audience are deciding whether or not she should be killed. If Amelia remains alive then she sets a precedent for future genetic modification which could be a huge danger for humanity since it could be used in bio weaponry and a huge number of other things. If she is killed then it is the death of a young girl who is entirely innocent.

 

Screen Shot 2016-08-09 at 11.34.25

 

How are the audience responding so far, are they voting to kill Amelia or to keep her alive? 

 

Maddison: Out of the three performances that we’ve done two of the audiences have voted innocent and one has voted guilty.

Spain: The verdict is about the death of a four year old child, I think if we were talking about a plant then no one would have a problem in viewing them as guilty but we’ve used age as a huge emotional factor to the decision.

 

With such a unique topic what was your motivation?

 

Maddison: I studied biochemistry at Cardiff University and did a specific module in this kind of technology. My lecturer was really excited about a recent breakthrough in the field and how revolutionary this could be.

 

So all the science in the show is accurate? 

 

Maddison: Yes it’s very well researched. I’m really interested in combining science and theatre and people do know a little about GMO through genetically modified crops but this gives a lot more information.

Spain: It’s quite science-heavy in parts but is broken up through physical theatre and projection to make the science digestible.

 

‘GMO’ is on at Paradise in the Vault at 12:45 until 13th August

 

 

 


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EdFringeReview Goes To BED – Izzie Fernandes

BEDBED, a story about the sexual awakening of a young gay man, is an original piece of theatre written and performed by a group of from London’s School of Economics. Its debut was on 7th August and I was lucky enough to be amongst the first Fringe audience that was treated to this thought provoking performance. I have since had the opportunity to have a chat with the writer James Dunn, director Alice Harrison and three of the four cast members, Nikhil Parmar (playing Eddie), Celine Buckens (Imogen), and Joe Shalom (Robin), allowing me some insight into their writing and directing strategies, cast dynamics and Fringe experience.

I met the cast in the Brass Monkey whilst they were midway through discussing their post show notes. So, beers to hand, it was my turn to speak.

Congratulations on bringing BED to the fringe, I saw it recently and thought that the script was really impressive and the acting and characterisation was very moving. I think that BED tackled issues of sexuality, relationships and feminism very effectively. You addressed them lucidly but subtly in comparison to a lot of shows I have seen. Was it a deliberate decision to make these poignant themes understated?

Dunn: “Yeh, I mean those aspects kind of appeared but themselves, they were never intentionally written in. I tried to avoid forcing those delicate themes down the audience’s throat”.

Harrison: “We were trying to look at how young people communicate and discuss these ideas, rather than necessarily trying to put a message across”.

Buckens: “The fact that we talk about gay guys isn’t a focus”.

Parmer: “Eddie’s lack of consideration about feminism and misogyny stems from a lack of understanding and is about social immaturity compared with the Robin’s social intellectual superiority”.

Shalom: “It’s nice that we don’t resolve it, that there is no right or wrong answer. We’re simply presenting levitra effetti collaterali different views”.

Buckens:“Eddie is not vilified for his views”.

Harrison: “Since the performance of BED at the Fuel Theatre Festival in March, the themes have became subtler because we felt that the lack of resolution is important. We’re revealing a mere cross section or window into four characters lives rather than defining a period with a moral message”.

Shalom: “Ultimately, the aim is to be though provoking”.

What did you find was the hardest thing about taking this show to the Fringe and how have you found the experience so far?

Parmer: “LSE funded us completely and the important thing now is for us to give revolvingsomething back to our university. We put on a preview and we want to be able to say we’re actually here showcasing LSE’s talent. George Bernard Shaw was one of the founders of LSE; he had a shed built in his garden on a pivot so it would rotate towards the sun when he was writing, hence the name of our theatre company (The Revolving Shed). Like Bernard Shaw’s work we try to have a philosophical story line through our writing. We always put original plays on, we never bring something someone else has done”.

What’s it like performing knowing that you are being reviewed when you have obviously put a lot of work into the show. Do you guys read reviews written about you and how do you deal with criticism and compliments?

Dunn: “I thrive off criticism as opposed to salutary well dones, I’d rather someone told me the things that they thought were sh*t”.

Shalom: “This is quite a personal question, it would probably differ for all of us. I prefer to perform in front of a reviewer than in front of a normal audience. I get a bigger buzz knowing that

I’m being watched and marked. The only danger of knowing that you’re being reviewed is that people can sometimes overdo the acting and show off too much. Emotionally, I get hyped when a reviewer comes but then I have to hold myself back to ensure my performance is preis viagra at still naturalistic”.

Parmar: “With reviewers I kind of want to just block it out”.

Buckens: “I didn’t even know the reviewer was in today and I don’t think that would have changed my performance too much. It’s more about the whole audience. Because it’s such an intimate play that you interact with them a lot”.

Parmar: “Acting in front of one person is the same as acting in front of 200 people, they’ve still paid for their ticket”.

Buckens: “But I mean we have been really lucky; 16 is the smallest audience so far, but most days we average well generic cialis online with over 25”.

Parmar. “16 is slightly south of what we want, but at least it’s north of 0”.

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me as Robin first, didn’t you? But then we swapped it round mainly because of my levitra udaipur ego. I asked James: ‘Can you give me a read as Eddie?’”.

Dunn: “We got the actors we wanted without really thinking about their role in the play and that was a mistake. So after we did performed the piece in March, I wrote knowing Nikhil would be Eddie and Celine would be Imogen, meaning I I could write for their strengths”.

What has your experience of the Royal Mile been so like far – what kind of things do you find work best when trying to promote BED?

Buckens: “Saying ‘Would you like to go to bed with me?’ usually works! The reactions are hilarious! But, aside from buy cialis that, we are really keen not to frame this as a gay piece. Speaking quickly and clearly within the 10 second window with a passer by is crucial”.

Harrison then referred to the eye-catching flyer (loud green and blue shapes acting as bed covers with a strikingly beautiful red breasted robin atop them). The cast and crew have seen this as a key element in grabbing peoples attention. The artwork is an original piece by LSE student, Rebecca Wembury.

And I would not be an EdFringe Reviewer through and through if I failed to finished with this: if you could suggest one show really worth seeing at the Fringe this year (besides your own!) what would it be?

Shalom: From Nish Kumar: Long Word… Long Word… Blah Blah Blah… I’m so Clever, a prescription drugs levitra solo stand up comedy at 7.15pm in Pleasance Courtyard.

Buckens: Christian Reilly’s Songs Of Insolence, a musical stand up at 5pm in the Liquid Room.

Dunn: Train Spotting at 5pm, 8.30pm and 10.45pm at Assembly George Square (“ it’s the sensation of the fringe!”).


‘The King and Queen of the Universe’: Thea Hawlin in conversation with Tom Powell

NR 13-07-19 012 (1)Tom Powell arrives with tadalafil a hurried apology, ‘sorry we’re late… I was watching the last part pet online pharmacy canada of their dance class’. The ‘they’ in question are Powell’s cast for his new show, ‘The King and Queen of the Universe’ a new and original adaptation of a Kurt Vonnegut short story, the only one of its kind. Like proud parent, both he and Leyla Mclennan – the show’s producer, begin to tell me just what a feat this dance class is generic pharmacy for non-specialists: ‘they started off on You Tube videos and worked up’. From the very start it’s this kind of dedication that strikes me most about Powell lexapro weight loss and his team and http://viagraonline-pharmacyrx.com/ the show they have created.

Starting from a chance encounter with a Kurt Vonnegut short story ‘over a year ago now’, after a few months Powell realised he was ‘still thinking about this one story’. The story in question, ‘The King and Queen of the Universe’ struck him as ‘a succession of really beautiful theatrical

images’ a sequence that became unnervingly but happily ‘stuck’ in his head. ‘This young couple dancing, the surprise in the park, then what happens viagra cost online when the police burst in and take them…it

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http://evelinecaronphoto.com/2013/08/08/buy-brand-viagra-no-prescription/ seemed to me very much that they were scenes already formed within the short story’. Undaunted by the task of transforming Vonnegut’s prose to stage Powell instead felt an ‘overwhelming drive to write it’, a drive that took him into direct contact with The Kurt Vonnegut Society who gladly backed his ambitious plans for the short story. Vonnegut is an author who has produced hugely popular fiction and film; what is unique about this show is that it offers a new and often unrecognised perspective on a world-famous author.

NR 13-07-19 083Powell’s fascination with Vonnegut’s story comes not only from the beauty of his prose, but also its contemporary resonances. ‘I mean if you’re looking for a decade that’s analogous to our sildenafil dosage forms times the 1930s has so many parallels it’s kind of uncanny…

an echo of where we are now’. However, can cialis be split rather than forcing these parallels, Powell instead sees the relationship of the work with the audience as nexium one of invitation rather than dictation. ‘It creates an interesting space for thinking and provoking audience reactions’, forcing people to draw parallels themselves, rather than pushing connections onto them.

Powell relocates Vonnegut’s 1932 Chicago to 1932 London, para que es celebrex yet he assures me that they’re ‘making the parallel work’. The transition brand name drugs online pharmacy is one that took ‘a lot of hours’ of conscious effort and research to pull off, and inadvertently highlights even more resonances with our time, as for instance http://sildenafilcitrate-rxstore.com/ Stanley’s character as a Polish immigrant, which remains for Powell ‘well placed’ in 1930s England. This new position creates pleasing ricochets that question ‘what it is to be British or part of society’ acting as both a ‘touchstone for the play and for the time’; ultimately and most importantly for Powell: ‘it makes sense’.

Powell notes J.G Ballard’s comment that: ‘Vonnegut has looked the discount viagra pills world straight in the eye

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short, is confidently described by Powell as summing up Vonnegut’s entire ‘ethos’. Despite appearing as merely a ‘depiction of a strange event’ Powell revels in how Vonnegut is able to manipulate this, leading a reader into ‘a whole world of insight about how people live’.

Mclennan, the show’s producer, notes how in the online archives the show is the very first recorded Vonnegut adaptation to ever be performed at the Fringe. Powell

recognises the importance of this moment, describing it as a ‘great privilege’ to work with Vonnegut’s original material. When writing the piece he remembers how he was assured that it was important enough in its own terms to deserve a bigger stage, meriting ‘a different platform’ from world select pharmacy coupon http://genericcialis-onlineon.com/ a dominantly student

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scene. He laughs: ‘It’s a step up for me but a step down for him’.

NR 13-07-19 113Ultimately, for Powell, this is a step up into, not fame or fortune, but a different kind of ambition: ‘to do this kind of thing not for money, but for all of timesumo suits for sale canada, for the future’. With a prospective place at Goldsmiths for an MA in performance writing for Powell, the future seems set. Ruling the universe may be a little out of reach, but the stages at the Edinburgh lexapro generic festival? http://www.stephanierouchphotography.com/hoq/cialis-rush-delivery Only pharmacy jokes time will domain tell…

 

Thea Hawlin


The boss of ‘The Boss of It All’ – New Perspectives at the Edinburgh Fringe

Imogen O’Sullivan interviews Jack McNamara, director and adapter of Lars von Trier’s ‘The Boss of It All’, and Artistic Director of New Perspectives Theatre Company

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Speaking to Jack McNamara on the eve of the first preview of ‘The Boss of It All’, I’m struck by the impression of calm confidence he gives off. He has spearheaded this theatrical adaptation of a little known comedy by controversial Danish filmmaker Lars von Trier; the very first UK adaptation of his “domain” work, and this bold and ambitious decision deserves to put New Perspectives on the map.

I ask Jack why bachelor of pharmacy in canada he was so particularly taken with ‘The Boss of It All’, and he remembers watching it in 2006. Whilst being one of Trier’s least known films, and very much not a quintessential example of his style, something about the film stuck in his head, and he was left thinking ‘one day there would be something http://viagra-sildenafil-generic.com/ I could do with it’. As canadian pharmacy methadone the first piece at the helm of New Perspectives, he wanted to begin with something different, something international that could showcase the potential of companies known for cipro antibiotic rural touring productions to create

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ambitious and ground-breaking theatre.

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translation sent by Trier’s people. Famously not keen for others to alter his

work, McNamara suggests he ‘must have caught him (Trier) on a good day’. This veil of modesty belies McNamara’s wealth of experience in adapting films for the stage after bringing both ‘Cool Million’ and a

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devised adaptation of ‘Exterminating Angel’ to the Edinburgh Fringe in previous years – the success of cialis with alcohol the latter indicating a keen interest in international film and theatre-making. After familiarising himself with both the screenplay and the film, he realised his adaptation wouldn’t work as a line-by-line remake of Trier’s film. In fact, McNamara admits he took a bit more creative license with his adaptation – ‘I basically wrote my own screenplay based on the film’. Despite this, he believes that he was ‘structurally more faithful’ to the film http://lexapropharmacy-generic.net/ than online pharmacy he had been with other adaptations, though some necessary changes had to be made in order to fit the shift in medium. One woman in the original viagra vs levitra Trier film remains silent for the entire run, an endurance test for any theatre actress, so McNamara fused her character with one who explodes in a is celebrex a corticosteroid final confession of love, allowing an audience to watch the tension build silently.

Jack suggests that Trier’s work is innately theatrical brent air pharmacy in style, more so than other filmmakers, identifying buy lanoprazole without prescription in his work themes of performance and role-playing, particularly prevalent in ‘The Boss of it All’. The plot device of an actor hired to play an elusive office boss in order to carry out the firm’s dirty work has realms of potential for self-referential metatheatricality, which poses its own challenge to a director. McNamara states his clear intention not to make the piece ‘too knowing’ or overly tongue-in-cheek, instead focusing on the reality of ‘these poor people finding themselves in a theatrical situation’. He believes that Trier’s work cialis generic pharmacy high blood pressure interests itself in both underlining and eliminating the idea of artifice, whilst simultaneously exploring what artifice can add to art, an issue that Jack sees theatre directors in particular as struggling with. The mindset of Trier as a filmmaker makes ‘The Boss of It All’ powerfully appropriate for adaptation to a theatrical medium.

JUyABUZTgVkQn78lb0UN4f4HGwretgEFVk_fKJJ-H2AI ask Jack whether Trier’s reputation as experimental and controversial has affected

the way he has approached the piece, and he responds that, whilst he wants to evoke the characteristic spirit and excitement of Trier’s work, he wasn’t interested in using gimmicks to make it overly ‘experimental’ in style. Trier’s sense of experimentation arose out of a reactionary response to the cinema

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of his day, there would be no point in sacrificing substance for the sake of spectacle. However, the spirit of ‘the playful practitioner’, as Jack labels him, is still very much alive in this production. In the film version, Trier dubs pom juice viagra his own voiceover talking the audience through the action in the film. McNamara has taken this technique, incredibly preis viagra at appropriate to a Brechtian school of theatre, and decided to ‘see how far he can push it’ – emphasising the themes

of artifice and role-playing that Trier evokes.

Talking to Jack about his experiences at the Fringe, he speaks of the huge

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excess of material there and the challenge of creating something that stands out among the wealth of excellent shows: ‘I would personally want to see something different, something that pushes me into less comfortable areas’. The previous productions he’s taken to the Fringe have been ‘standard table and chairs nexium otc motrin on line fare’, but this time, with order levitra a great design and creative team behind him, Jack is keen to ‘create a complete environment’ that sticks with an audience somewhat desensitised by the festival.

bH6PaD3hf_aPM1S2Is-DFM561tBDxLOCU-bTKbXgZ38 Jack’s overarching aim with his ambitious production is for people who fear the controversy of Lars von Trier to see that he can be ‘interesting, clever, playful and entertaining’, whilst people who love Trier get to see something fresh and new, but still infused with his spirit. Trier is not a artist usually associated with light-hearted entertainment, but, for this one window in purchase generic viagra his career, he created something ‘fun, easy and accessible’, something that is enjoyable as well as engaging, and this is what Jack hopes to highlight.

At this turning point in his career, the deeper questions of leadership and responsibility raised by ‘The Boss of It All’ are close to home for McNamara. Trier’s work questions whether there is such a thing as a leader, or whether it is simply a matter of posturing and role-playing. It also engages with ideas of morality, and where the moral responsibilities of leadership lie female viagra in chennai – do your morals change with your job title? This is a question my conversation with Jack leaves me pondering. As the boss of ‘The Boss of It All’, McNamara has taken on an exciting challenge that proves rural touring companies like http://genericviagra-rxstore.com/ New Perspectives can produce provocative work of national and international significance.

Imogen O’Sullivan

 

‘The Boss of It

All’ is on at Assembly Roxy until August 26th. Tickets can be found at edfringe.com.


Anything But Idle – Idle Motion bring Turing and Borges to the Edinburgh Fringe

 

Thea Hawlin talks to Idle Motion’s Creative Director, Paul Slater.

 

Idle 2

Idle Motion are a company that are anything but idle. Beginning ‘as essentially a school group’, over the past six years they have carved out a striking profile as a contemporary and original devised ensemble, taking inspiration from companies such as Complicite and Kneehigh. Juliet Stevenson, the company’s patron, is a firm believer that

‘at the heart of all theatre lies the concept of ensemble’ and sees the group as taking this idea ‘as their inspiration’. They ‘don’t set http://busystreetsocial.com/wsp/40mg-nolvadex out with a formula’ and yet are able to create moving and inspiring pieces of theatre that span decades and bring together generations.

Ensemble celebrex dosage is at the core of Idle Motion: ‘It’s all collaborative’, declares Paul Slater the Creative Artistic Director enthusiastically, ‘all highly collaborative’. Slater is a fan of plural pronouns, throughout the time I spent talking to him he used ‘we’ more naturally than ‘I’, a testimony to his striking humility, reminiscing about the ensemble’s formation by students merely ‘dusting off’ their old drama teacher—a notion that seems unthinkable when in person Slater is so full of energetic movement. He rejects the idea of himself as a prime mover, however: ‘I wouldn’t describe cialis myself as somebody that just stands there and tells everybody else what to do. generic cialis online All I do is open things and unpick things a little bit ordering erythromycin more and then that allows us to create more work.’

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Yet this process of ‘unpicking’ has resulted in striking success at the Fringe and elsewhere (the group recently finished their British Council http://busystreetsocial.com/wsp/canadian-pharmacy-cialis tour of China). ‘Idle Motion appeals to people on lots dukoral online pharmacy canada of different levels. We call ourselves a physical visual theatre company—which in a way can put some people off’ says Slater, emphasising how annoying it can be when viewers

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pigeonhole the genre, expecting ‘a rolypoly every two seconds’ or a piece that is performed in an ‘abstract language’ beyond comprehension. Is it? The answer comes simply: ‘Well no. What I like to think about Idle Motion shows is that at their heart they have really sensitive human stories. And it’s those stories that are the vehicle for the big visuals that we like to have. Often people have described Idle Motion’s work as like sitting in a cinemabouncy castles for sale, because we rely quite heavily on sound, we integrate lots of projection, and the way we move between stories and narratives is like film cutsinflatable camping tents. So for example in ‘That is all you need to know’ (the

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Bletchley Park piece) you’ll be thrust into the middle of the war and the 1940s, then almost in an instant—He http://voicesnotviolence.com/voc/motilium-ordering clicks his fingers—you’ll be taken to the Bletchley Park community who are planning the bunting in the 1980s’.

Idle 1

These severe transitions appear in a number of their shows, viagra & skin cancer with a split narrative contrasting modern and historical being a familiar feature. When asked if this is a deliberate move Slater responds, amused, ‘things kind of happen…there is no formula’. He emphasizes the spontaneous nature of the theatre the group create, ‘what we do is devise stories around material, so when we were looking at Bletchley Park, the second narrative is the story of the Park itself and how it was nearly bulldozed in the 80s and turned into a supermarket. And we didn’t actually realise this until we went [there],so angered by it, so frustrated by it, that actually something that was so central could be so easily forgotten.’ It was the moment when he realised ‘that this story needs to be told’. For Slater, by the end of the devising process the final show is merely ‘pulling the best threads of that material’ – a movement that reveals multilayered narratives almost unconsciously.

However, sildenafil kaufen the research that goes into the company’s devising process has increased dramatically, with That is all you need to know coming out of over two years of intensive and immersive research—a change from the ‘very tight’ three week span for

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their first show. ‘One of the things I’ve learned as a theatre maker is that you can’t just pluck things out of the air very quickly and hope drugs without prescriptions canada that you’re going to have something meaningful, it’s got to be an investment. You’ve got to invest, one: your heart into it, and two: your time, to make sildenafil generic sure you know the subject matter backwards, make sure that you understand it and the people’s stories that you’re telling and then hopefully what you present on stage is something that’s heartfelt and that people warm to.’

Idle 3

And gabapentin it certainly seems like people have warmed to the company; the group have been lauded with rave reviews, particularly for their ingenious

use of props. In some pieces we can spot ‘prop motifs’ like the reappearing books in Borges and I (a show that is itself reappearing this Fringe), or the Vanishing Horizon’s multipurpose suitcases. Slater reveals filing cabinets will feature in their most recent venture: ‘I said I want to see 100 filing cabinets onstage’. Sadly only four have made

their way to Edinburgh but Slater assures me it feels like a hundred ‘from the number of things that come out from them!’

Although literary inspirations feed into a show such as Borges and I Slater reveals how the smallest everyday things make it into the company’s work: ‘some of the dialogue of The Seagull Effect actually came from overhearing a couple arguing on a train’. This feedback between stage and world is echoed in Slater’s own interactions between his role as Company Director and Head of Drama at canada pharmacy colleges a local state school. The contrast between these roles, daunting to some, is something that Slater enjoys, relishing celebrex 200 mg both the ‘credibility’ his teaching gives him and the wider ‘playing field’ that

the school allows for creating

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idle it may seem, is everywhere, and he advises: ‘keep your eyes open to everything because the theatre isn’t just about what you’re seeing on the stage but what you’re seeing in the world around you.’

Thea Hawlin

 

 

That is http://www.sajeebgroup.com/miss/retino-cream-from-india All You

Need to Know is on at Zoo Southside from 2nd – 24th August, and Borges and I is playing ten thuoc nexium 40mg at the Pleasance Courtyard from 19th – 25th. Tickets are available from www.edfringe.com.

 


Flowers, lawnmowers, and violent secrets – Gardening: for the Unfulfilled and Alienated by Brad Birch

 

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Our co-editor Imogen O’Sullivan talks to director Hannah Banister about sheds.

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If you stroll past the Pleasance Grand this year, you may pass, generic viagra online without really noticing, a tiny, unassuming garden shed, complete with pots, soil, and (hopefully) a lawnmower. This shed

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is the venue for Undeb cialis commercial 2015 Theatre’s production of Gardening: for the Unfulfilled and Alienated, written by Brad Birch: Undeb’s writer in residence, and a graduate of the Royal Court Young Writers’ Programme. Undeb Theatre is a new writing company from Wales that produces innovative work focusing on the experience of a theatrical event, and this one-man show, playing http://southdakotafrontier.com/dares/order-amitriptyline-migraine/ six times each day to a two-man audience, certainly looks set to be a unique and exciting experience.inflatable christmas decorations canada

The one-man in question is Owain, described in three words by Gardening’s director Hannah Banister as ‘complex, simple, and http://genericviagra-rxstore.com/ surprised’. Whilst this may seem a contradiction in terms, Hannah explains that Owain is fundamentally a man of simple pleasures who discovers in himself an extraordinary talent for gardening, a doxycycline asia skill which brings with it both unexpected success and the revelation of his own darker secrets. Owain’s unique charm lies in contradiction; in pharmacy schools in canada ubc the surprise of being ‘an unachieving man who achieves a lot’.

Gardens 2

When I met with Hannah very early in the rehearsal process, her description of the preparation that goes into a one-man show sounded understandably intense – the energies of a director, usually shared across a larger cast, are instead entirely focused into the development of one character and his relationship with the audienceinflatable tunnels, and, in this case, his relationship with his shed. Whilst this makes for an exhausting rehearsal period, Hannah also talks about the powerful sense of rapport and collaboration such a small cast promotes. She describes the rehearsals as an open conversation, and celebrates the increased efficiency of so much more time going into the development of one

character.

Hannah tells me that her Owain (actor Richard Corgan) ‘quickly tapped into the darker side of his character’ – one of viagra online reviews the most surprising elements that develops out of this gently quirky black comedy. However, whilst the revelations http://genericcialis-onlineon.com/ about Owain’s darker side are both crucial and fascinating, Hannah’s other particular focus is on bringing out the image of ‘the lonely http://levitrageneric-onlinecanada.com/ man doing his do’ – the online levitra neighbour we all see pottering around his garden shed. She talks about her desire to hone the complexity of Owain’s character, delving into his life to explain the particular draw of gardening and what it means to him. Despite the dark undertones

http://levitraonline-instore.com/ that emerge through the performance, Hannah is keen to emphasise that her audiences should be ‘a bit in love with Owain’. His amiable character should encourage

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us to relate to buy viagra this man who ‘just doesn’t mind anymore’, who seems to have lost his excitement about life, only to rediscover it through the beauty of flowers.

The use of the generic lexapro shed as a theatrical space adds to the domestic charm of the whole production, and is a nexium over the counter feature of Brad’s script that Hannah was immediately taken with. The challenges, however, of working cialis interactions with such an intimate performance space, are not slight. Hannah discusses her tendency in previous productions to work as a

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physical world to alter the dynamics of performance, a technique that is virtually impossible within the confines of the shed. With nothing to hide behind in terms of performance, she admits she’s had to be more rigorous with the text than ever before, a challenge that has been eased by the balance and pace of Brad Birch’s writing.

I ask Hannah whether the knowledge that the intimate performance space will highlight every nuance of emotion to her small audiences has altered her directorial decisions, and she responds that Gardening is like ‘screen acting live’. She explains that the most important thing for her is to ensure the limited staging and intimate atmosphere don’t detract from the scale or emotional depth of Owain’s story. With the limitations of cast size and space, the performance has to be quite http://canadianpharmacy-storerx.com/ static, but static does not have to mean flat. Hannah describes how, during early rehearsals, she encouraged Richard to use a much larger rehearsal space than the tiny confines of the marked-out shed. This gave him the vast space necessary in order to award the big themes of the play with the weight that they need, before this metformin from canada sense of the epic is then condensed and intensified within the walls of a garden shed. Hannah’s hope for this close relationship between audience and actor is that the intensity will override the potential for awkwardness by engulfing the audience in affection for Owain; ‘it should be funny and it should be chatty and it should be a bit claustrophobic’.

Gardens 3

Whilst, at the point of my interview, the ordering levitra online shed had yet to make an appearance in rehearsals, celebrex and diarrhea its presence is felt strongly. Hannah talks about the importance of dressing the set, and the challenge faced by designer Madeleine Girling to make every prop both realistic and relevant because ‘the shed itself has a life and a character within the play’. Though Hannah confesses to be a terrible gardener herself, she does talk about her father’s keen interest in gardening, and the collection of pots and jars she remembers from his shed, and it is this sense of the familiar and the homely that she is keen to infuse into the production. When I asked Hannah why she thought it was that gardening in particular seems to captivate so many, she replied that ‘you do see a man come alive in his garden, and you see how much he values his shed!’. It is the process of nurturing, and making time to take care of something, that holds value for Owain.

The uniquely intimate performance space of Gardening looks like it will immerse its tiny audiences in the life and soul of Owain, with Hannah setting herself the challenge of seeing ‘within the constraints of somewhere so

small and domestic, just how poetic and surreal we can make it feel’. She expresses a hope that her audience members will ‘take away

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Hannah quotes a line cut from the first draft of the script: ‘it goes from seed to stalk to flower and straight to happiness’, to explain that the essence of gardening is the satisfaction you get from seeing something beautiful arise from your own hard work: ‘you get out what you put in’. I can only hope Hannah has a similar sense of satisfaction tadalafil when Gardening takes off at Edinburgh.

 

‘Gardening: for the Unfulfilled and Alienated’ is on at The Pleasance Courtyard from 1st-25th August (not 6th, 13th, 20th). Tickets are available from www.edfringe.com

 

Photographs

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by Richard Lakos


Are you feeling uncomfortable? Good!

Our co-editor Natasha Hyman talks to Natalia Kaliada, co-founder of Belarus Free Theatre, an underground theatre group who are levitra professional cheapest gaining international repute for their visceral political performances.

 

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Belarus is in Europe. It is also a dictatorship. It is a country where people are detained without evidence and capital punishment still exists. Freedom of speech is severely

limited, forcing theatre companies to function underground. On top of this, it is economic crime to charge audience members, making it near impossible for companies to survive.

Natalia Kaliada and her husband Nicolai Khalezin set up Belarus Free Theatre in 2005, and Vladimir Shcherban soon joined them. They

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are now touring the world with their brand of generic cialis in germany drug store potent political drama, and have been dubbed by the New York Times as ‘one of the most powerful underground companies on the planet’.

They have since performed in over 42 countries, with their current production, Trash Cuisine, currently touring the UK, including a stint at the Pleasance Courtyard during the Edinburgh Fringe. They are also returning to the Globe for a week in September with their acclaimed version of King Lear.

The structure of their work is what Natalia refers to as a ‘two-headed beast’- with a company and theatre school in Belarus, and another part of the company based in London. Natalia and Nicolai set up the London branch after they sought political asylum in the UK in 2011. The main body of their work is still undertaken in Belarus.

When I meet with Natalia at the Young Vic it is immediately clear that she is grounded in her aims for the company. I was expecting this, as after seeing Minsk 2011 last year, I was struck by how unusual this company is in the sheer force of their message. They are also evidently unafraid of exploring the many facets of the issues they choose to tackle.

I ask Natalia about what theatre-makers face in Belarus, and she explains that there are 27 state-owned theatres for a population of 10 million. (There are more than 230 theatres in London alone). On top of this, there are extremely restrictive censorship rules. She gives an example of how one of Nicolai Khalezin’s plays was banned, simply because he is associated with BFT. This was despite the fact that the play was not overtly political in its subject, telling the story of one man’s mid-life crisis.

OLYMPUS DIGITAL CAMERA

These conditions länger mit viagra also present obstacles for actors. Since the company’s inception, nearly all their original actors have stayed on. Natalia explains that not many of them would have described themselves as professional actors, and they have all either lost their jobs or find themselves unable to gain employment if their association with BFT is made known.

It becomes pharmacy support group clear to me just how much personal investment has gone into Belarus Free Theatre. They didn’t receive funding to take their new show Trash Cuisine to Edinburgh, however the actors insisted they would still participate without being paid. Natalia says that this level of commitment is because of their collective belief in the importance of the issues they communicate.

The company’s absolute commitment to their work is solidified by their use of real stories- by a process they term ‘Total Immersion’. If the actors http://viagraonline-rxcanada.com/ are not presenting their own personal stories, then they are required to go what happens if a woman takes viagra out and meet people, listen to their stories first hand, and present them. These testimonies are most often communicated verbatim in performance.

Natalia explains how the company travelled all over the world to research capital punishment- the theme of Trash Cuisine. They met with executioners, lawyers, detainees, and relatives- in cases where the person whose story they were telling was no longer alive. Natalia describes how this process is ‘the only possible way for us to create.’

When deciding on the subject of their shows, Natalia, Nicolai and Vladimir find an issue which concerns them, and then go to their actors to see if they also agree that this is a topic that needs to be

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discussed. They deliberately choose complex issues, Natalia emphasising that ‘if we know how to do it, we never do it.’

They have been working on Trash Cuisine for three years. The original stimulus for the work was that ‘everyone was saying there is no death penalty in Europe. Firstly, there is- in Belarus. Secondly, this means Belarus is not considered as part of Europe, which adds another dimension to the issue.’

The audience reaction has been overwhelmingly positive for BFT. They have drummed up a wealth of support, including Vivienne Westwood, Tom Stoppard and Michael Attenborough. Natalia is hugely appreciative of this strong relationship with London audiences.

Trash-CuisinePhot

Yet she stills sees potential for the show to go in new directions- ‘We think people are going to react in a certain way, but the audience leads you

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further than you expect. You can’t predict their reactions- this is the intellectual and emotional contact between audience and actors.’

BFT certainly manage to completely engage their audience. In Trash Cuisine they use techniques that deliberately unsettle; they directly address us in game-show style, then shifting to full frontal nudity in the same breath. This splicing of tones creates a collage

of

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sensory experiences, and the wealth of diverse responses that they present creates a rich forum for discussion.

Belarus Free Theatre is foremost active ingredient in viagra a political tool, and I was interested to know, why theatre? Natalia responds ‘We had tried everything else. We wanted to say what we wanted, wherever we wanted, whenever we wanted’, and it was theatre that allowed them this freedom of expression.

Natalia also stresses the importance of creating art that is both political, but also theatrically impressive. It is crucial for her that their work is of ‘the highest artistic quality. This gives us the right to talk to our audience on every other issue. It http://evelinecaronphoto.com/2014/02/16/online-thailand-pharmacies/ must be art.’

Politics and art do come into conflict; Natalia tells me about the viagra vs eriacta painful difficulties of leaving aside personal experiences when it comes to the creative process. The entire collection of stories came to sildenafil citrate 100mg around six hours; the final show is an hour and a half. She says ‘I don’t want to scare people off, but an hour and half… it’s a tough experience.’

What strikes me the most about BFT is how their conception of theatre making free samples of viagra goes hand-in-hand buy cialis with their sense of human responsibility, Natalia stating that ‘it’s unbelievably complicated to listen to what people are going through. We know our aim is

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to do great theatre, but then you sit there and think, what else could we do?’ This emotional commitment to their work is what makes BFT vital to both the theatre, and to Belarus.

BFT (c) Michiel van Nieuwkerk - web

The future of BFT is uncertain. Natalia stresses that ‘financial pressure is the biggest challenge now’. However, more recently it has been made apparent that it is becoming impossible to work in Belarus, and the company may need to make a permanent move in order to continue. Natalia also says that working in a free country adds a new dimension to their work, as it gives them the liberty to ‘enjoy the process of creating’.

 

Ultimately, the future of the company is a much larger issue. Natalia explains that ‘it’s up to the EU to solve the issue of BFT at a global level.’ They want European viagra generic Institutions to recognise that BFT is unique- not project based, but ‘an lisinopril no prescription canada absolutely unique institution’ where students are training every single day.

Certainly, BFT’s case is unusual. Natalia proudly tells me that ‘No such theatre company exists that rehearses underground then performs at the Globe and the Young Vic’. They have demonstrated http://tadalafilonline-generic.com/ how theatre cialis generic india can and should be a powerful political tool. I look forward to the future of BFT and to the impact they will undoubtedly

have on how theatre is made.

 

 


Here into Oxford

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patrick chung jersey, It’s about going out and also a win. If I put Nick out there to get a record and he gets hurt,
jalen richard jersey, Which is being silly. Suppose in him. Belief is mighty.Forget the Skittles and strange press get togethers: Marshawn Lynch is one heck of an athlete and feared by plenty. As in psychologically feared.

Buffalo’s mentor from 2001 to 2003, Williams spent the past three seasons as defensive coordinator for the are generally Rams. He turns Ray Horton, Who was simply fired by Hue Jackson after Cleveland went 1 15 this season. It’s the second time Horton has been laid off by the Browns after one season..

Around the first half, It appeared the Eagles could stimulate Seattle. Then a destructive second quarter penalty by Nelson Agholor negated a potential 57 yard, Go ahead landing and demoralized the Eagles. They were never able to recoup. Yeldon are actually such a headache. By the revenue though, This may not a totally scary matchup, But when you figure they’re splitting carries at all times, Then it just remains an avoidable timeshare week for me. I’d only rank them as flex represents at best.