Sunday, 8 August 2010
What is theatre?
At the Cornerhouse galleries there is an exhibition going on at the moment involving proposals for possible exhibitions of all types which you can the rights to realize for a mere £50. There is one in particular that I found at once really interesting and totally gross. Basically, it's an idea to showcase artistic defecation. But that's not the interesting part, the ethos the artist wrote along with it I found really insightful. See if a man just takes a shit in the street and calls it art, is it art? Is it art simply if he convinces another party that he's committed this act in the name of art? Or puts it in a gallery? Sometimes you have to ask "What is Art?" Or in our case "What is Theatre?" As I prepare myself for holy pilgramage to Edinburgh Fringe this question of what is art and what is theatre will be at the forefront of my mind constantly. Because I've chosen to be as daring as possible in my selection process for Fringe, this question becomes especially pertinent. I tried to go as fringey as I could get. A part of me really wanted to see the classics I've never gotten a chance to see over the years like Ovid's "Metamorphosis" and Williams' "Vieux Carré" but when I read "Site-specific", "devised" or "grotesque" I just can't help but buy into it when something new and exciting is promised. I've heard many a warning about such entreaties when it comes to the Fringe. But fear not! Alas I have chosen wisely. I think. I'll be seeing along with Alex and Baba, "Teenage Riot", which is the latest offering from Ontroerend Goed, the Flemmish group I wrote about in my last post. I plan on seeing a bit of puppetry, vaudeville, masks, Butoh and much, much more! But back to the question of art and theatre. It's not just a difficult question to answer but just as difficult to ask because it's hard to know exactly what one means when one asks "What is theatre?" For instance, it's much easier to expedite the question itself in favour of asking what is good theatre. It's a much more direct question. But when challenging the contructs and general perception of what theatre is in itself is quite a feat. Does one simple need to convince another party that some form of performance is taking place in order to qualify itself as theatre. If I take a shit in the street, is that art? Or how about if I take a shit in a gallery, or a stage? I'm not encouraging you to go out and committ acts of unsettling vandalism. But I think if we challange ourselves to ask the question, to have doubt, to seek an answer, we get more.
Tuesday, 13 July 2010
The Smell of Rain Reminds Me of You
I'm devastated to be missing this on Saturday so I urge everyone else to go check it out:
http://www.facebook.com/event.php?eid=113517902028782
As you can see it's a kind of sophisticated flash mob. You're invited to download an audio track on to your mp3 player 24 hours before the event and then meet up at Piccadilly Gardens at 5pm on Saturday to listen to it together. So it's a sort of private performance en masse.
Let me know what you think. I met Hannah during a Theatre Sandbox workshop when she had first created an idea for a really innovative piece of pervasive media performance. This isn't exactly what she was pitching but I have a feeling it's a part of this grander project to come...
Do excuse me while I act as the fountain of creative events sharing, but next week Contact will be taken over with Contacting the World, with events produced by young people all over the world. There's some great events and workshops lined up, see here:
http://www.contact-theatre.org/whats-on
I don't completely know what to expect but then isn't that always part of the fun! I'm expecting diversity of styles and a standard level of Contact vibrancy. Think it sounds like fun? Of course you do, I'll see you there!!
Contact are being so good to us... Rach and I had a programming feedback meeting about a week ago. We talked theatre we'd seen, theatre we'd like to see, what's next for Contact and, dun dun duuuun, our trip to The Festival Fringe in Edinburgh!!! We're off!! The four of us will be spending a couple of nights up at The Burgh in August, scouting around for new performance.
Here at Re:CON, we've been getting into the grand old habit of meeting up after Contact meetings to basically wave our arms around and talk about everything which makes us excited to be part of the team. Let me tell you Edinburgh trip featured pretty strongly in that discussion. I LOVE this festival. It's the theatre equivalent of a jumble sale but when you find 'That really amazing show' you just want to shout about it. This year I'll actually have a theatre venue to shout about it to! Wonderful!
Next meeting, Baba has promised to reveal the programme budgeting spreadsheet. Yes, yes, there are going to be numbers aplenty and it is going to get technical. I can't wait.
Toodle Pip
http://www.facebook.com/event.php?eid=113517902028782
As you can see it's a kind of sophisticated flash mob. You're invited to download an audio track on to your mp3 player 24 hours before the event and then meet up at Piccadilly Gardens at 5pm on Saturday to listen to it together. So it's a sort of private performance en masse.
Let me know what you think. I met Hannah during a Theatre Sandbox workshop when she had first created an idea for a really innovative piece of pervasive media performance. This isn't exactly what she was pitching but I have a feeling it's a part of this grander project to come...
Do excuse me while I act as the fountain of creative events sharing, but next week Contact will be taken over with Contacting the World, with events produced by young people all over the world. There's some great events and workshops lined up, see here:
http://www.contact-theatre.org/whats-on
I don't completely know what to expect but then isn't that always part of the fun! I'm expecting diversity of styles and a standard level of Contact vibrancy. Think it sounds like fun? Of course you do, I'll see you there!!
Contact are being so good to us... Rach and I had a programming feedback meeting about a week ago. We talked theatre we'd seen, theatre we'd like to see, what's next for Contact and, dun dun duuuun, our trip to The Festival Fringe in Edinburgh!!! We're off!! The four of us will be spending a couple of nights up at The Burgh in August, scouting around for new performance.
Here at Re:CON, we've been getting into the grand old habit of meeting up after Contact meetings to basically wave our arms around and talk about everything which makes us excited to be part of the team. Let me tell you Edinburgh trip featured pretty strongly in that discussion. I LOVE this festival. It's the theatre equivalent of a jumble sale but when you find 'That really amazing show' you just want to shout about it. This year I'll actually have a theatre venue to shout about it to! Wonderful!
Next meeting, Baba has promised to reveal the programme budgeting spreadsheet. Yes, yes, there are going to be numbers aplenty and it is going to get technical. I can't wait.
Toodle Pip
Wednesday, 7 July 2010
There and back again
WOW.
Here it is the blog that you've all been anxiously waiting for (well, Baba has prompted me many times at least). Prepare for an update of epic proportions, stories and spontaneity. I hope you will all enjoy it (and understand/appreciate my bad attempts at dry, sarcastic and typically British (sorry Phil & Baba) humour)). It's been a long time coming. I have been rather busy!
Captains blog...
...Recently finished my second year of BA Politics, Philosophy and Economics at the University of Manchester .. phew. Over the last week or so I have got back from Glastonbury Festival (front row for Stevie Wonder!) , successfully found and moved into a new house within 48 hours, then the next day trekked to Beaconsfield (just outside London) to help out on my friends TV Sketch Show Pilot at NFTS (the National Film and Television School)! 'Mad!' you say? Well, I like to keep busy you see..
Whilst helping out on the TV Pilot I was quite surprised for my friend Ian (doing MA Directing and Producing Television Entertainment) to hand me over a script and say: "You need to learn these lines as one of the Actors hasn't turned up!". It was quite intimidating learning lines for something that was going to be shot in an hour, a multi-camera studio, 4 cameras pointing at me and professional actors to the left and right.
Don't worry I will link you all to the sketch that I'm in where I play a rudeboi named...'Bizzle'!
Yes, yes..
..I am writing to you from some student 'halls' (they're quite disgusting - free buffet breakfast is a perk though) in Camden, London that I've rented out while I am doing work experience at Flynn Productions (a high end music promo and commercials company) http://www.flynnproductions.com/home/ - they produced the Jay-z - 'On To The Next One' music vid, which has over11 million hits on youtube and stirred up quite a lot of controversy due to some subversive and ambiguous imagery!
As members of the four person team 'Re:CON' (Young Producing and Programming Team) we've attended various theatre pieces to seek out what works, what doesn't and why and how we can incorporate what we've learned into programming innovative pieces at Contact Theatre. As well as this we act as producers scouting out artists and talent that may be able to bring something new to the venue.
I'm going to give quick reviews of what I've seen at Contact and at other places we've been sent to! I hope what I've documented below gives you an insight into some of the activities we are involved in as team Re:CON!
My first piece - with my Re:CON hat on - was seeing 'Raspberry' (24/4/10) a musical with Actors and Actresses with physical disabilities. The title 'Raspberry' was used because of the cockney rhyming slang of 'Raspberry Ripple' which means cripple. Although the play (like it's title) had many elements of self-mockery leaving one sometimes bemused whether it was politically correct or moral to laugh at points. The play really left me emotionally high after being through a roller coaster of stories and a fantastically written musical score. I would definitely like to see this company again at Contact or another venue. An eye opener to disability theatre and the unsung talent out there!
Shortly after being appointed part of the Young Producing and Programming Team/Re:CON I was invited to go with Baba Israel (Artistic Director/CEO of Contact) to sit on a pitching panel at Bristol Old Vic(17/5/10) for a project called Theatre Sandbox . Theatre Sandbox is a commissioning scheme for six theatre artists & companies to research and develop new ideas which use pervasive media technologies. Baba invited me down specifically as he is very aware that I am interested in digital theatre and cross media technologies. I've worked with the National Youth Theatre previously with digital theatre experimentation, so I was very excited to be seeing what potential ideas full-time artists had brewed up.
The experience of sitting on a panel and having my opinions taken very seriously on the various reflections on the pitches was refreshing. To be given a deal of responsibility so early added to the experience, especially the surreal element of sharing views amongst a Development Executive from the BBC and the Executive Director of Lyric Hammersmith to name a few..! The various members of the panel were representing the six venues (Bristol Old Vic, Soho Theater, Lyric Hammersmith, Birmingham Mac and The Junction) that would be selecting the artists to have their work developed and exhibited at each respective venue.
Baba and I saw some very interesting ideas being pitched; from using IPADs as digital maps, to experimentation to how one reacts emotionally to different everyday urban sounds such as the sound of an ambulance siren compared to a police siren for example. The many artists we met were quite characters with booming personalities to add to their ideas, which certainly kept us on our toes! It was the personalities that really sold some of the panel members, their passion and commitment for the work they wanted to develop rather than the idea itself, which was supposed to be in a state of working progress, instead of a finished piece.
The day certainly got my creative juices flowing and I left with a lot of food for thought! On the train journey back Baba and I met a young lady who was curious to discover that the beats she heard on the train were coming from Babas' mouth and not an MP3 player! Baba then offered for him to demonstrate the art of the human beatbox when we arrived in Manchester Piccadilly station...
...Now, I cannot remember if I offered or Baba put me on the spot. But in the mix of Baba dropping beats.. I was rapping! We drew up quite a bit of attention. But, that is the nature of being with Baba Israel. One minute you're on the train thinking about pervasive media technologies, the next you're doing an impromptu street performance for a young lady you met moments before! I sneakily quite enjoyed being put on the spot. Shushh..don't tell Baba, as he is likely to do it again!!
I saw a piece in April called 'Asylum Dialogues' (produced by Iceandfire Productions) this was shown in a Basement of the University of Manchester, Northern Campus' Students Union. A strange location for this piece and I believe it deserves a better platform. I thought we could definitely bring to Contact in some shape or form. The short play explores the positive experiences between asylum seekers and British citizens. Drawn from real-life accounts, it doesn't try to preach or to depress but rather it tries to break down the barriers that often exist between refugees and citizens. Have a look > http://iceandfire.co.uk/outreach/scripts/asylum-dialogues/
I had a little tear in my eye watching the performance, but it doesn't take much apparently! I've been affected in some way by almost every piece since I've thrown myself into the realm of theatre as of January this year!
In May I saw Mouth Music, a performance of various musicians that solely used their mouth as instruments. I attended with a few CYAC (Contact Young Acting Company) colleagues and couldn't help but joining in, I couldn't sit down actually! I especially liked the solo performances from Hobbit and Bellatrix (World Female Beatbox Champion)! I would definitely like to see how mouth music in general can be incorporated into theatre and move away from the attachments of something that has to be in the Hip-Hop environment, so it can progress as an art form in it's own right.
At Contact in May I also saw a piece by (Contacts' own) Peter Grist and Company - a varied performance of Contemporary dance, which I was very inspired by - and when I find the time - I'd like t get involved with Mixed Movement at Zion Arts Centre/Contact.
'Desert Boy', a story which finds a young inner city boy taken on a journey through his ancestors life in colonial history - was an ambitious piece which I was concerned about as I believe the audience size didn't reflect the quality of the piece - Guardian Review > http://www.guardian.co.uk/stage/2010/may/27/desert-boy-review.
I think Rachel can provide a good review of what we saw at the Martin Harris Centre in June. So Rach.. I'll leave to you!
I have been away from Manchester for a while and will be for another week or so. I did manage to shift my work experience placement around so that I can be in Manchester for the entirety of CTW (Contacting the World)!
I look forward to seeing the artistic voices of many international production companies in July! (Yeah... I just re-read that last line too..)
I expect all of you to come to the next Anticx Asylum - September 26th, he's a sneak preview.
http://vimeo.com/13099092
See you soon around Contact,
Alex
Here it is the blog that you've all been anxiously waiting for (well, Baba has prompted me many times at least). Prepare for an update of epic proportions, stories and spontaneity. I hope you will all enjoy it (and understand/appreciate my bad attempts at dry, sarcastic and typically British (sorry Phil & Baba) humour)). It's been a long time coming. I have been rather busy!
Captains blog...
...Recently finished my second year of BA Politics, Philosophy and Economics at the University of Manchester .. phew. Over the last week or so I have got back from Glastonbury Festival (front row for Stevie Wonder!) , successfully found and moved into a new house within 48 hours, then the next day trekked to Beaconsfield (just outside London) to help out on my friends TV Sketch Show Pilot at NFTS (the National Film and Television School)! 'Mad!' you say? Well, I like to keep busy you see..
Whilst helping out on the TV Pilot I was quite surprised for my friend Ian (doing MA Directing and Producing Television Entertainment) to hand me over a script and say: "You need to learn these lines as one of the Actors hasn't turned up!". It was quite intimidating learning lines for something that was going to be shot in an hour, a multi-camera studio, 4 cameras pointing at me and professional actors to the left and right.
Don't worry I will link you all to the sketch that I'm in where I play a rudeboi named...'Bizzle'!
Yes, yes..
..I am writing to you from some student 'halls' (they're quite disgusting - free buffet breakfast is a perk though) in Camden, London that I've rented out while I am doing work experience at Flynn Productions (a high end music promo and commercials company) http://www.flynnproductions.com/home/ - they produced the Jay-z - 'On To The Next One' music vid, which has over11 million hits on youtube and stirred up quite a lot of controversy due to some subversive and ambiguous imagery!
As members of the four person team 'Re:CON' (Young Producing and Programming Team) we've attended various theatre pieces to seek out what works, what doesn't and why and how we can incorporate what we've learned into programming innovative pieces at Contact Theatre. As well as this we act as producers scouting out artists and talent that may be able to bring something new to the venue.
I'm going to give quick reviews of what I've seen at Contact and at other places we've been sent to! I hope what I've documented below gives you an insight into some of the activities we are involved in as team Re:CON!
My first piece - with my Re:CON hat on - was seeing 'Raspberry' (24/4/10) a musical with Actors and Actresses with physical disabilities. The title 'Raspberry' was used because of the cockney rhyming slang of 'Raspberry Ripple' which means cripple. Although the play (like it's title) had many elements of self-mockery leaving one sometimes bemused whether it was politically correct or moral to laugh at points. The play really left me emotionally high after being through a roller coaster of stories and a fantastically written musical score. I would definitely like to see this company again at Contact or another venue. An eye opener to disability theatre and the unsung talent out there!
Shortly after being appointed part of the Young Producing and Programming Team/Re:CON I was invited to go with Baba Israel (Artistic Director/CEO of Contact) to sit on a pitching panel at Bristol Old Vic(17/5/10) for a project called Theatre Sandbox . Theatre Sandbox is a commissioning scheme for six theatre artists & companies to research and develop new ideas which use pervasive media technologies. Baba invited me down specifically as he is very aware that I am interested in digital theatre and cross media technologies. I've worked with the National Youth Theatre previously with digital theatre experimentation, so I was very excited to be seeing what potential ideas full-time artists had brewed up.
The experience of sitting on a panel and having my opinions taken very seriously on the various reflections on the pitches was refreshing. To be given a deal of responsibility so early added to the experience, especially the surreal element of sharing views amongst a Development Executive from the BBC and the Executive Director of Lyric Hammersmith to name a few..! The various members of the panel were representing the six venues (Bristol Old Vic, Soho Theater, Lyric Hammersmith, Birmingham Mac and The Junction) that would be selecting the artists to have their work developed and exhibited at each respective venue.
Baba and I saw some very interesting ideas being pitched; from using IPADs as digital maps, to experimentation to how one reacts emotionally to different everyday urban sounds such as the sound of an ambulance siren compared to a police siren for example. The many artists we met were quite characters with booming personalities to add to their ideas, which certainly kept us on our toes! It was the personalities that really sold some of the panel members, their passion and commitment for the work they wanted to develop rather than the idea itself, which was supposed to be in a state of working progress, instead of a finished piece.
The day certainly got my creative juices flowing and I left with a lot of food for thought! On the train journey back Baba and I met a young lady who was curious to discover that the beats she heard on the train were coming from Babas' mouth and not an MP3 player! Baba then offered for him to demonstrate the art of the human beatbox when we arrived in Manchester Piccadilly station...
...Now, I cannot remember if I offered or Baba put me on the spot. But in the mix of Baba dropping beats.. I was rapping! We drew up quite a bit of attention. But, that is the nature of being with Baba Israel. One minute you're on the train thinking about pervasive media technologies, the next you're doing an impromptu street performance for a young lady you met moments before! I sneakily quite enjoyed being put on the spot. Shushh..don't tell Baba, as he is likely to do it again!!
I saw a piece in April called 'Asylum Dialogues' (produced by Iceandfire Productions) this was shown in a Basement of the University of Manchester, Northern Campus' Students Union. A strange location for this piece and I believe it deserves a better platform. I thought we could definitely bring to Contact in some shape or form. The short play explores the positive experiences between asylum seekers and British citizens. Drawn from real-life accounts, it doesn't try to preach or to depress but rather it tries to break down the barriers that often exist between refugees and citizens. Have a look > http://iceandfire.co.uk/outreach/scripts/asylum-dialogues/
I had a little tear in my eye watching the performance, but it doesn't take much apparently! I've been affected in some way by almost every piece since I've thrown myself into the realm of theatre as of January this year!
In May I saw Mouth Music, a performance of various musicians that solely used their mouth as instruments. I attended with a few CYAC (Contact Young Acting Company) colleagues and couldn't help but joining in, I couldn't sit down actually! I especially liked the solo performances from Hobbit and Bellatrix (World Female Beatbox Champion)! I would definitely like to see how mouth music in general can be incorporated into theatre and move away from the attachments of something that has to be in the Hip-Hop environment, so it can progress as an art form in it's own right.
At Contact in May I also saw a piece by (Contacts' own) Peter Grist and Company - a varied performance of Contemporary dance, which I was very inspired by - and when I find the time - I'd like t get involved with Mixed Movement at Zion Arts Centre/Contact.
'Desert Boy', a story which finds a young inner city boy taken on a journey through his ancestors life in colonial history - was an ambitious piece which I was concerned about as I believe the audience size didn't reflect the quality of the piece - Guardian Review > http://www.guardian.co.uk/stage/2010/may/27/desert-boy-review.
I think Rachel can provide a good review of what we saw at the Martin Harris Centre in June. So Rach.. I'll leave to you!
I have been away from Manchester for a while and will be for another week or so. I did manage to shift my work experience placement around so that I can be in Manchester for the entirety of CTW (Contacting the World)!
I look forward to seeing the artistic voices of many international production companies in July! (Yeah... I just re-read that last line too..)
I expect all of you to come to the next Anticx Asylum - September 26th, he's a sneak preview.
http://vimeo.com/13099092
See you soon around Contact,
Alex
Monday, 5 July 2010
Roaming around Manchester
Greetings.
It’s been a corking few months with Contact, working as A Proud Knight of the Mad Castle. Re:con have been bonding LOTS with regular get-togethers (Phil’s housewarming party was a triumph) and of course a whole load of performance scouting.
I was recently reviewing a few shows and events I’ve been to visit over the last couple of months. It occurred to me that I have been extremely Manchester focused. I think this is born out of living in a city which is so abundant with new theatre and art, plus my desire to unearth it all. Here is some unearthing:
A few events I feel I have to write about include Queer Up North which rolled into Manchester across May, bringing with it some of the most engaging performances of the north. Phil and I have already mentioned Susan and Darren & Internal, but as well I have to highlight the collection of works which came together for Three at Contact. All artists were invited to respond to the word ‘queer’ in individual ways. I remember before the performance feeling particularly stressed out and uninspired but I was pulled out of my hole of apathy. I spent the entire evening being surprised and stirred... I still have phrases & images & ideas whirring around in my brain - such as feeling grass beneath your feet & the sensation of feeling exposed – which have been offering me constant inspiration. I will be keeping my eyes open for activity from Chris Goode, Chris Thorpe and Rachael Walton.
Hope to catch Chris G perform in Tim Crouch’s The Author this summer in Edinburgh… http://www.newsfromnowhere.net/
In other news, The Anticx Asylum and The Cabaret Formerly Known as Bucket are two events which I think new artists need to be aware of in Manchester. They’re two regular showcase events for new work in an array of forms, offering a platform for new ideas in a supportive environment. There’s a genuine vibe of encouragement from the organisers, with the hosts of each event popping over to visit each other’s night. They are some of my favourite nights out in Manchester. ‘Ave a look: http://www.facebook.com/profile.php?id=100000778406761&ref=ts
http://www.facebook.com/profile.php?id=100000778406761&ref=ts#!/group.php?gid=23454554933&ref=ts
Another great event in Manchester was the second edition of day-long festival Mill24 at Islington Mill. This particular event featured non other than Picnic from, cough cough, my theatre company Fivethreefive Project. Well come on, if I can’t use my own blog to publicise myself then where can I?! Inspired by the building’s transition from factory to art venue, we invited audiences to help temporarily transform the dusty space into something idyllic & optimistic. We had one hour, several balls of string, paper, scissors, and a bundle load of yummy picnic food:
OH and I’m absolutely delighted to point out Theatre Sandbox has commission Proto-type Theater to create Fortnight with Bristol Old Vic. Theatre Sandbox, with Contact Theatre and various other national venues, have offered 6 commissions to artists/companies creating innovative work with pervasive media. Proto-type Theater are a little close to my heart, having been the first company I worked for after graduating. I’ve known about this project since it was a proposal, so it brings a tear to my eye to know that they’re receiving so much backing to bring the project to life. If you don’t know this company then you should. Proto-type are amazing and Fortnight is going to be epic! Watch that space now:
http://www.theatresandbox.co.uk/fortnight-proto-type-theater/
AND before I go, we’re pleased to announce that Contact’s premiere event of Pitch Party was a success! It’s a new format for Contact Theatre inviting artists who have previously shown an interest in the venue to pitch proposals for creative ideas – performances, instillation, festivals, events, you name it. The hope is to try to support the ideas which really inspire us, whether that’s through recommendations for events or a follow up meeting. The idea is to help build awareness for work happening in the region and build links for artists to the venue. We really enjoyed the event and the ideas so we’re looking forward to Pitch Party becoming a monthly feature. If you want to be involved then drop Contact a line.
Festival season has arrived so I’m off to travel around as much as I can this summer. Any recommendations would be much appreciated!
Until soon,
Jenny
It’s been a corking few months with Contact, working as A Proud Knight of the Mad Castle. Re:con have been bonding LOTS with regular get-togethers (Phil’s housewarming party was a triumph) and of course a whole load of performance scouting.
I was recently reviewing a few shows and events I’ve been to visit over the last couple of months. It occurred to me that I have been extremely Manchester focused. I think this is born out of living in a city which is so abundant with new theatre and art, plus my desire to unearth it all. Here is some unearthing:
A few events I feel I have to write about include Queer Up North which rolled into Manchester across May, bringing with it some of the most engaging performances of the north. Phil and I have already mentioned Susan and Darren & Internal, but as well I have to highlight the collection of works which came together for Three at Contact. All artists were invited to respond to the word ‘queer’ in individual ways. I remember before the performance feeling particularly stressed out and uninspired but I was pulled out of my hole of apathy. I spent the entire evening being surprised and stirred... I still have phrases & images & ideas whirring around in my brain - such as feeling grass beneath your feet & the sensation of feeling exposed – which have been offering me constant inspiration. I will be keeping my eyes open for activity from Chris Goode, Chris Thorpe and Rachael Walton.
Hope to catch Chris G perform in Tim Crouch’s The Author this summer in Edinburgh… http://www.newsfromnowhere.net/
In other news, The Anticx Asylum and The Cabaret Formerly Known as Bucket are two events which I think new artists need to be aware of in Manchester. They’re two regular showcase events for new work in an array of forms, offering a platform for new ideas in a supportive environment. There’s a genuine vibe of encouragement from the organisers, with the hosts of each event popping over to visit each other’s night. They are some of my favourite nights out in Manchester. ‘Ave a look: http://www.facebook.com/profile.php?id=100000778406761&ref=ts
http://www.facebook.com/profile.php?id=100000778406761&ref=ts#!/group.php?gid=23454554933&ref=ts
Another great event in Manchester was the second edition of day-long festival Mill24 at Islington Mill. This particular event featured non other than Picnic from, cough cough, my theatre company Fivethreefive Project. Well come on, if I can’t use my own blog to publicise myself then where can I?! Inspired by the building’s transition from factory to art venue, we invited audiences to help temporarily transform the dusty space into something idyllic & optimistic. We had one hour, several balls of string, paper, scissors, and a bundle load of yummy picnic food:
OH and I’m absolutely delighted to point out Theatre Sandbox has commission Proto-type Theater to create Fortnight with Bristol Old Vic. Theatre Sandbox, with Contact Theatre and various other national venues, have offered 6 commissions to artists/companies creating innovative work with pervasive media. Proto-type Theater are a little close to my heart, having been the first company I worked for after graduating. I’ve known about this project since it was a proposal, so it brings a tear to my eye to know that they’re receiving so much backing to bring the project to life. If you don’t know this company then you should. Proto-type are amazing and Fortnight is going to be epic! Watch that space now:
http://www.theatresandbox.co.uk/fortnight-proto-type-theater/
AND before I go, we’re pleased to announce that Contact’s premiere event of Pitch Party was a success! It’s a new format for Contact Theatre inviting artists who have previously shown an interest in the venue to pitch proposals for creative ideas – performances, instillation, festivals, events, you name it. The hope is to try to support the ideas which really inspire us, whether that’s through recommendations for events or a follow up meeting. The idea is to help build awareness for work happening in the region and build links for artists to the venue. We really enjoyed the event and the ideas so we’re looking forward to Pitch Party becoming a monthly feature. If you want to be involved then drop Contact a line.
Festival season has arrived so I’m off to travel around as much as I can this summer. Any recommendations would be much appreciated!
Until soon,
Jenny
Thursday, 27 May 2010
Internal Light
Days after attending the half-hour theatre experience that was "Internal" I still feel rattled from the emotional juicer I was put through. I'm almost uncertain now as I was when I left the space of how exactly to feel about what I had just seen. Personally, when I think of a piece of theatre that makes me question what's real and what's not, I think of something that needs to be a bit over the top that tricks the eye as well as the mind. However, this was done with just a couple chairs, five actors and maybe a bit of wine for good measure. But it packed just as powerful a punch as any hypnotist or hit of ecstasy could ever conjure up. Edinburgh Fringe favourites Ontroerend Goed, a Belgian theatre-performance group, brought their stagecraft to Queer Up North in Manchester for two nights to stage their intimate social experiment of a show. The format is simple, 5 audience members at a time in 25 minute intervals are lead to a space where 5 actors await them behind a curtain. What happens after the curtain is raised is really up to you and the actor and just how "personal you are willing to get." The space was lent by the Midland Hotel in the city-centre, which couldn't have been more perfect a setting. As you're led through the lobby and up a couple flights to what can best be described as a conference room dressed all in black, you pass by numerous bars filled with patrons having rendez-vous not unlike what you are about to experience. After I was told to stand on an "X" on the floor the curtain in front of me came up and naught but 3 inches in front of me was a stranger staring intently into my eyes. Now I must say, it may just be what I saw as an American, but each actor, with their mysterious foreign accents and pulchritude had the look of someone dreamed up for a game of "Mystery Date". Each as provocative as the next. After a few of the actors switched places I was led to one of 5 romantically constructed alcoves behind black, sheer cloth. I was offered a drink. "A Little Night Music" played in the backround. And a very Belgian stranger, Joeri, kept his gaze fixed and his questions heavy. I guess you could say it's one part speed-dating, one-part fortune telling, and two-parts escort service; minus, of course, that substantial bit at the end of the night. The actor asks their patron questions of love, life, fears, dreams then takes their hands, asking them to close their eyes and say what they see. Where are you now? What exotic setting or twisted dream? It all doesn't sound to hard to imagine but it's more than the usual "let's see how 'real' we can get with the audience." Because in this setting, you can't help but be transported out of a performance and suddenly taken into real life, or a version of it at least. A version where all the juicy bits are kept intact and the minutia thrown away. Hence the feeling of being in an emotional juicer. But how prepared are you to suddenly be thrust into a setting so intimate? How do you simply let yourself be swept away so suddenly. For myself i found it hard to not smile and hold back laughter the drollness of the game i was expected to play. I have a problem keeping my composure in such serious circumstances, I want everything in life to be funny. But the earnest and sincere qualities of these actors steal you away, and suddenly you feel compelled to reveal, to undo your public self, and give way to your privateness. To call it an exercise in vulnerability would be an understatement. It is and exploration and a revelation of human relationships, trust and, like it or not, our inherent loneliness.
The second half of this journey turns into something quite different. You're led from your cozy corners to a circle of chairs. Now comes the group session. Suddenly everything you've said is revealed to all in the circle. Many might feel betrayed, embarrassed or terrified by this. I found this part fascinating because, whether we can help it, these moments of betrayal of trust and ending up with that feeling of nakedness happen in our lives all the time. The actors ask no permission, your now up for grabs and splayed out for the immediate crowd to see. There's a great quote by Diane Arbus. "Our whole guise is like giving a sign to the world to think of us in a certain way but there's a point between what you want people to know about you and what you can't help people knowing about you. And that has to do with what I've always called the gap between intention and effect." Here that gap is exploited, as well as the human need for connection. I know this argument is already starting to get stale, but I must use it here: in this day and age, the slick and quick new ways being created to communicate by the touch of a button, palm, screen just doesn't make up for what it saved us from doing in the first place. Sometimes all we need is the touch of another person, or have someone look into your eyes and say "yes".
The "night" ended with dancing, the odd exchange of address, and awkward glances. It was a treat. I gave my address, you just can't say no to those guys. Much to my surprise, 4 days later, I got a letter. Now, in keeping with the game, I thought I might transcribe it here.Dear Phil,
How light and lively your eyes looked - pity it was so hard for you to look into mine. I admired your decision to move to England out of love and that you got married, which is a beautiful thing. I hope you'll be successful in your theatrical career and find a way to prove relevance to the world, however "big" that might sound...
it was lovely to meet you
kisses,
Joeri
What a peach! And excellent penmanship I might add. This piece really stayed with me after I left the theatre. In my head, my gut and my post box. And that, my friends, is a beautiful thing.
Friday, 14 May 2010
Beady Eyes
Favourite part of being a ‘Young Producer & Programmer’ for Contact is being given a legitimate reason to spend my free time wandering around Manchester watching performances.
Some highlights:
Right now Future Everything is invading Manchester with music & digital performances and interventions. I went to check out the opening of Cu at Palace Hotel last night. Two minutes after entering the space, a host from behind the bar shouted “free wine! Come over here for free wine!” (Warmest welcome ever) I found myself absolutely entranced by a musical instrument created out of a spinning wooden wheel and glass pint glasses. For the atmosphere and eccentricity it is worth a look in.
A few of us will be spending tomorrow at Contact for Play Everything so we’ll post some info about day.
Last week, Quarantine’s unassuming beauty of a performance Susan and Darren featured as part of Queer Up North festival with Contact Theatre. Cripes, I nearly saw twice just so I could take two sets of friends… On a Quarantine note, I’m looking forward to seeing Soldier’s Song which is coming to Manchester Art Gallery for a couple of months from the 15th May. It’s basically an instillation inviting audiences to have a karaoke duet with a serving soldier. I saw a work-in-progress version of this last year in Lancaster & I’ve been keeping my beady eyes open to see if the project got taken up anywhere else.
www.qtine.com/soldiers1
If anyone manages to see this then leave a comment & tell me what you think.
Jenny
Some highlights:
Right now Future Everything is invading Manchester with music & digital performances and interventions. I went to check out the opening of Cu at Palace Hotel last night. Two minutes after entering the space, a host from behind the bar shouted “free wine! Come over here for free wine!” (Warmest welcome ever) I found myself absolutely entranced by a musical instrument created out of a spinning wooden wheel and glass pint glasses. For the atmosphere and eccentricity it is worth a look in.
A few of us will be spending tomorrow at Contact for Play Everything so we’ll post some info about day.
Last week, Quarantine’s unassuming beauty of a performance Susan and Darren featured as part of Queer Up North festival with Contact Theatre. Cripes, I nearly saw twice just so I could take two sets of friends… On a Quarantine note, I’m looking forward to seeing Soldier’s Song which is coming to Manchester Art Gallery for a couple of months from the 15th May. It’s basically an instillation inviting audiences to have a karaoke duet with a serving soldier. I saw a work-in-progress version of this last year in Lancaster & I’ve been keeping my beady eyes open to see if the project got taken up anywhere else.
www.qtine.com/soldiers1
If anyone manages to see this then leave a comment & tell me what you think.
Jenny
Thursday, 13 May 2010
- enemy = our mission = new, revolutionary and exciting theatre.
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