#dreamthinkspeak

[theowyatt-sitespecific]

IDEA OF AUDIENCE AS A VOUYER

Especially after my presentation where I talked about a Dreamthinkspeak production where the audience is forced to act as voyeur to family drama, I was really interested in creating a unique audience experience, casting them in this voyeuristic role, in a way that fits the space. I fell onto the idea of an audience looking through the bookshelves/cabinets to watch the show, it creates an uneasy feeling that you’re not meant to be watching what you are and is something that could only be experienced in a space like this - justifying the site specific nature of the production

(+ the cardboard model I made to Illustrate the idea)

[architectnews]

The Riwaq, Hove Seafront

The Riwaq, Hove Seafront, Brighton Festival, East Sussex Building Development, English Architecture News

The Riwaq on Hove Seafront

11 May 2022

Architects: Marwa Al-Sabouni and Ghassan Jansiz

Location: Hove, East Sussex, Southern England, UK

Photos: Jim Stephenson

The Riwaq, England

Syrian architects Marwa Al-Sabouni and Ghassan Jansiz bring a unique architectural element to this year’s Brighton Festival by building a temporary community arts space on Hove seafront in the form of a traditional Arabic arcade.

The Riwaq – the Arabic word for colonnade – is a semi-open space based at Hove Lawns providing a unique contrast and framing to the coast beyond. The bespoke horseshoe-shaped structure, a staple of Islamic architecture, spans almost 30 metres in diameter and serves as a transitional creative threshold between the surrounding city and the great outdoors.

The Riwaq will host an eclectic programme of free cultural and community events for the duration of the Festival, running 7 – 29 May. Local organisations and artists staging artistic takeovers include Best Foot Music & In-House Records, whose work celebrates international musicians and the power of creative rehabilitation; award-winning learning-disabled arts company Carousel; and Little Green Pig, showcasing young and underrepresented writers in Brighton & Hove. A wider programme of family events, spoken word and live music and dance performances takes place Wednesdays to Sundays – from Iranian storytelling to screen printing workshops to Bhangra dance sessions.

Marwa Al-Sabouni says: “The Riwaq is often figuratively used in Arabic traditions as a referential space for culture and knowledge: the Riwaq of poetry, the Riwaq of culture, and so on. At Brighton Festival, The Riwaq is going to represent this transitional space of exchange. It will not only embrace the wonderful performances and events which will take place on its stage, but also host a wide array of great and exciting activities under its roof. The Riwaq will be buzzing, filled with visitors contributing and transforming it into a beautiful meeting spot on the charming seafront of Hove.”

Acclaimed author and architect Marwa Al-Sabouni is a Brighton Festival 2022 Guest Co-Director, alongside Tristan Sharps, Artistic Director of Brighton-based theatre makers dreamthinkspeak. Her book, The Battle for Home, is a ‘visionary memoir’ and reflection on the role architecture plays in communities and was chosen by The Guardian as one of the best books of 2016. Her latest book, Building for Hope, published by Thames & Hudson, explores how conscious rebuilding in the aftermath of conflict and crisis might contribute to enduring peace in an increasingly polarising world.

Marwa and Tristan have chosen the theme of Rebuilding as the inspiration for this year’s programme, exploring it from two different yet complementary perspectives.

The Riwaq is made possible with the support of major sponsor Moda Living, alongside additional support from Timber Development UK, setWorks, Webb Yates, DHH Timber and Vanessa Norwood.

Lydia Whitaker, Director of Marketing and Wellbeing at MODA Living said: “The Riwaq project is an inspirational work based on the importance of bringing communities together, and the value of interaction and experience to wellbeing. This is at the heart of what we do at Moda, where we’re dedicated to building sustainable neighbourhoods that have a positive impact and promote collaboration between communities. We’re proud to be a part of the Brighton Festival and look forward to celebrating arts and humanity with people from all over the world.”

Brighton Festival celebrates a return to full capacity in 2022, with an extensive international programme of over 150 events taking place across Sussex from 7-29 May.

Architectural and design highlights from this year’s Brighton Festival include:

Marwa Al-Sabouni (14 May) Festival Guest Co-Director, Marwa Al-Sabouni will reflect on the role of architecture in constructing a future with more hope and less conflict. After running her private architectural practice in Homs until war broke out in Syria in 2011, Marwa decided to stay while many people with the means fled. One of her acts of resistance was to write the autobiographical, The Battle for Home (2016), putting forward her transformative idea that architecture can play a pivotal role in minimising conflict.

In Conversation: Marwa Al-Sabouni & Mohamed Hafez (18 May) Several years ago, Marwa Al-Sabouni came across artist and architect Mohamad Hafez’s work and was struck by its delicacy and sensitivity. As a Guest Co-Director for Brighton Festival 2022, Mohamad was one of the first artists Marwa proposed to stage his exhibition, Journeys From an Absent Present to a Lost Past, as part of this year’s Festival programme. Together for the first time, the pair explore themes central to their lives and work: architecture, home, beauty, and hope in the face of loss.

COP Conversations: What We Build – Diana Darke & Shahed Saleem (29 May) Inspired by references to generational differences in Marwa’s latest book, Building for Hope, Brighton Festival explores the potential for finding revolutionary solutions via an inter-generational approach with curated Change our Planet (COP) online conversations.

Author Diana Darke’s Stealing from the Saracens: How Islamic Architecture Shaped Europe argues that architecture has a history of cross fertilisation and can potentially offer ways to heal the alienation that greets migrants across borders and to help new generations feel connected to the lands of their birth. Diana is joined online in conversation by architect and academic Shahed Saleem to discuss how architecture affects the way we live and how we find our place within the world.

Photography: Jim Stephenson

Explore the full programme at brightonfestival.org – https://brightonfestival.org/

The Riwaq, Hove Seafront images / information received 110522

Location: Hove, East Sussex, Southern England, UK

Sussex Buildings

Sussex Architecture Designs

Sussex Buildings

Bawa House, Hove Architects: Alter & Company photograph : Alter & Company New House in Hove

Hove House Architects: AR Design Studio visual : Nu.ma Hove House

Brighton Buildings

Brighton i360 Tower Design: marks barfield architects image from architects Brighton i360 Tower

Moshimo Restaurant Architects: studioSPOON photo courtesy studioSPOON Moshimo Restaurant Brighton

British Airways i360 in Brighton

Brighton Birdcage Bandstand

English Architecture

English Architect

Comments / photos for the The Riwaq, Hove, East Sussex design by Architects Marwa Al-Sabouni and Ghassan Jansiz page welcome

The post The Riwaq, Hove Seafront appeared first on e-architect.

[theodennywork]

Revisiting the Site Specific Presentation, I looked into Deborah Warner and Dreamthinkspeak performance based pieces as well as Shunt, I found they’re focus of allowing the audience to explore the environment and narrative of these pieces to be rather intriguing. Applying this focus to my exhibition design, I would like to allow the audience to wonder through the exhibition but to feel as though they are on a journey with the narrative unfolding. Starting with the beginning of Steel Pulse, these four boys from Handsworth starting a reggae group and being one of the first Jamaican and Jamaican looking bands to come out of Handsworth to then being involved with this need to protest against the National Front and being involved with the Rock Against Racism movement. 

[year3atual]

For this project I wanted to contact someone who had worked on older films which had limitations that informed the set design, so I contacted Paul Strutt who worked on the original ‘Mary Poppins’ and ‘The Devils’ by Ken Russell. When talking to him he suggested for me to re watch the opening scene of ‘The Devils’ as inspiration for how to emulate space.  Paul Strutt told me that Derek Jarman used a two-toned colour pallet for some of the sets, in order to exaggerate the size and space of the sets. He also suggested for me to look at theatre as well as film.

His help opened my mind up to the paper theatre idea. Paul recommended that I should order a Kays production manual, even though it is expensive as he thought it would be very beneficial for this project and for my future career. He said it would be a good starting point in giving me names of model makers that might be able to help me with this project. I took his advice and ordered a copy. From this I got the name of the 4D Modelshop in East London, this was a really useful shop that gave me advice on lighting and the best materials to use. They also have a website with model makers contact details on it.

I contacted Adrian Hardy who is a freelance model maker who has worked for the BBC, and copious editorial and advertising companies. What interested me was that he is a senior model maker for the theatre company ‘Dreamthinkspeak’, who create site responsive performance film model making and installations and has recently built a model of the Empress Theatre, Blackpool. I contacted him and he suggested that I needed to flesh out my ideas more; he recommended that I visit Mr Pollock’s theatre museum as they have a large collection of paper and small theatres. I found this inspiring and made two prototypes, one a theatre and one a black box with a small viewing hole and lights inside. Both had paper scenery models. Both designs were based on ideas from Mr Pollock’s.

[thetapelessworld]

Spitfire sprinkles SOUND DUST with second collection of unique, strange, and inspiring instruments

Spitfire sprinkles SOUND DUST with second collection of unique, strange, and inspiring instruments

Spitfire Audio is proud to announce availability of SOUND DUST 2 — the second collection of unique, strange, and inspiring instruments created by the company’s collective favourite British sound designer, composer, and aficionado of all things (that sound) weird and wonderful, Pendle Poucher, the innovative brains behind boutique Brighton-based library company Sound Dust (to which the collection obviously owes its magical ‘musical’ name) — as of November 15…

Like its predecessor — originally released by Spitfire Audio as DUSTBUNDLE back in 2015, SOUND DUST 2 acts as another gateway to a playground of sonic discovery — this time to a diverse selection of five of its innovative creator’s namesake company’s most recent hybrid creations. Collecting unique oddities and eccentricities, richly sampled with Pendle Poucher’s radical recording processes and obsessive attention to detail, these range from hip-hop beats through to broken violas and rare, distorted pianos — all as they have never been heard before. Better still, these are truly expressive, intuitive left-field sounds, supremely designed to spark anyone’s imagination. Indeed, as Pendle Poucher posits, “My approach is not as a proper composer; I make organised noise. For me, the sounds are more important than the notes. I’m always thinking about the timbre and the quality of the sound, then I try to make that into a musical thing.”

The thing is, in creating an interesting Sound Dust library, Pendle Poucher does not limit himself to any one type of sound or instrument; rather the only requirements are that interesting noises are made which with he can create something that has not been heard before. By being based at The Toy Rooms Studio in Brighton, UK — a veritable breeding ground for interesting British sounds since it is a hub of renowned film composers, musicians, and producers, such as Nick Cave, Gomez, Jez Kurtswall, and UNKLE, surrounded by a multitude of rare instruments and equipment, perhaps Pendle Poucher’s obsession with strange sounds is all the more understandable. After all, this innovative individual started out by playing guitar in Rough Trade-signed art-pop band Butterfly Child before working on sound and art installations, including a permanent one for the National Trust at Avebury Manor. Meanwhile, he has also spent 10 years working as sound designer and composer for the award-winning DreamThinkSpeak theatre company, as well as writing and producing scores for the BBC and many other television entities in the UK and beyond. But for Sound Dust, Pendle Poucher mostly works alone as he prefers to see a project through from start to finish, with laser-sharp attention to detail: “The whole Sound Dust thing started by accident,” he reveals. “I bought a beautiful old Dulcitone off eBay; it was kind of knackered and I couldn’t really play it, so I decided to sample it. I then started selling the samples, which, to my surprise, were amazingly popular, and it all grew from there. Had I not started with Dulcitone, Sound Dust wouldn’t be what it is today, which is essentially me indulging in my desire to make funny noises.”

Needless to say, a clandestine, Cold War-style meet between composers Christian Henson and Pendle Poucher beneath London's Hungerford Bridge, resulted in one of the most exciting partnerships Spitfire Audio has forged in its illustrious history... history has shown, then, that the original DUSTBUNDLE — recently re-released as SOUND DUST 1 — has become a staple of Spitfire Audio’s 70-plus sample libraries to date; SOUND DUST 2 is surely set to follow suit, thanks to its integration of the following five hybrid creations — each effectively ‘mini’ magical, sample-based virtual instruments in their own right, fit for sprinkling over anything anyone cares to play with them. The FLUTTER dust module could conceivably be considered a truly 21st Century Mellotron, made using existing Sound Dust instruments with added effects and parameters. It is based on recordings of acoustic instruments — just like a Mellotron, albeit with extra functionality to transport its users to places its tape-based Mellotron counterpart’s could only over dream of! Furthering flexibility, FLUTTER dust module features two interfaces — namely, Looper, offering controls on a per-note basis, and Wavetable, with edited, mangled, morphed, and reversed sounds from Sound Dust favourites (such as Autoharp, Cloud Viola and Cello, Dulcitone, Ghosts Piano, Hammr+ and Rubber Bass, Hogwarts Piano, Orgone, Pendleonium, Plucked Grand Piano, and Ships Piano) providing long and complex, multi-sampled acoustic wavetables that can scan in real time to create beautiful, evolving, and unexpected new sounds. Meanwhile, moving the mod wheel results in instant, live fluttering/glitch/jitter effects; playing the coloured key switches produces realtime gating effects. Either way, clicking the chaos button simply serves up a totally different sound each and every time! That said, moving the playhead position or loop points can construct completely new sounds — from delicate ‘flute-otrons’ to majestic organ-celestes and complex polyrhythmic Philip Glass-esque soundscapes. Seeking to make music that inhabits a sonic ‘other’ space by sounding simultaneously acoustic and electronic? Enter the wonderful world of FLUTTER, a world where creating granular sounds and ghostly versions of real-world timbres clearly comes naturally.

Taking its name, naturally, from the time funnel in Kurt Vonnegut’s terrific time-leaping novel, Sirens of Titan, INFUNDIBULUM is a multi-arp workstation and three-part sequencing machine offering a playground of polyrhythmic possibilities — perfect for creating unusual textures, rhythmic textures like ostinatos and interesting cross-rhythms, and different types of sequencing. Since those three arpeggiators all run at different speeds and lengths, featuring chiming piano sounds for an instant Steve Reich vibe, the radical results can be likened to being in a room full of noise generators; bowed, plucked, or struck things; and exotic vintage synths! INFUNDIBULUM is not intended for authentically replicating any of the included sounds — some have been deeply multi-sampled, after all; instead it celebrates what happens when sampling goes too far! Furthermore, holding any chord results in different notes starting to cycle back on themselves in disjointed yet glorious, hitherto unheard ways. With the an amazing multi-arp added into the magical mix — three sounds repeating through different cycle lengths at different speeds, users are already heading halfway towards an out-of-body experience!

Elsewhere, ODDHOP — powered by modular chaos engine #3, no less; imagine, if you will, a 303 and a 909 drum machine fused together with additional quirky percussion machines — makes for disappearing down a rhythmic rabbit hole easier done than said! Since it is packed with hundreds of original acoustic and electronic sounds arranged into five octaves of one-shot kicks, as well as pre-programmed basses, pianos, and vocal samples, ODDHOP is specifically designed for electronic music production and, as such, compatible with Pendle Poucher’s other piano-based instruments for a wonky, eclectic hip-hop sound. Saying that, things get really exciting when using the new drum and bass sequencing engines, each with 12 tracks of drawable-per-note control over nine parameters and polyrhythmic patterns. Put it this way: users will literally never be sure what they are going to get!

Get this, though: PENDLEONIUM comprises six sampled source instruments, intended to create something entirely new. The instruments themselves — two Danelectro baritone guitars, two Fernandez infinite guitars (with Sustainiac pickups and built-in eBows), and a spring viola (hardwired through a Roland Space Echo, creating an endless pad) — are arranged left to right across the main panel. PENDLEONIUM creates sounds reminiscent of Twin Peaks, Radiohead, and an orchestral haze, seamlessly merging organic and electronic elements. Each instrument comes complete with enhanced editing tools to tweak to suit, with effects like dirt, eq, rotor, and reverb, together with delay send and reverb send, for gnarly, lo-fi treatments. PENDLEONIUM produces seismic shifts and deep, rich tones at lower registers, while in higher registers it can be configured to produce sounds like ripples passing through mercury! SHIPS PIANO is fashioned from a selection of three characterful pianos — namely, a ship’s piano; a ‘school hall’ grand, recorded binaurally in a Hogwarts-style school chapel; and a deviously altered home upright, reversed, fed into high-end reverb, and reversed again for a backwards attack effect. Speaking of effects, users can cunningly combine different aspects of each piano — accessing ADSRs, convolution reverb, high and lowpass filters, and vibrato to create impossible-sounding piano hybrids!

Having said all that, so intuitive is this collection of instruments that as soon as users start moving buttons and faders around, magical things start to happen! Is it any wonder, when Pendle Poucher — Spitfire Audio co-founder Christian Henson’s sampling hero — delights in taking left-field routes, resulting in inspiring new sounds and mind-bending sound design possibilities. SOUND DUST 2 can be purchased and digitally downloaded for a time-limited introductory promo price of £149.00 GBP (inc. VAT)/$149.00 USD/ €149.00 EUR (inc. VAT) until November 29, 2018 — rising thereafter to an RRP of £199.00 GBP (inc. VAT)/$199.00 USD/€199.00 EUR (inc. VAT) — from here: https://www.spitfireaudio.com/shop/a-z/sound-dust-vol-2/ For more in-depth information, including some superb-sounding audio demos, please visit the dedicated SOUND DUST 2 webpage here: https://www.spitfireaudio.com/shop/a-z/sound-dust-vol-2/

Watch Spitfire Audio Director Paul Thomson’s ‘traditional’ video walkthrough of SOUND DUST 2 here: https://youtu.be/u3eTyp5bOUI

Watch Spitfire Audio ‘composer-in-residence’ Oliver Patrice Weder’s ‘In Action’ video for SOUND DUST 2 here: https://youtu.be/JCeZy_Dovrc

Watch Spitfire Audio Director Christian Henson showcasing the delights of SOUND DUST 1 and SOUND DUST 2 here: https://youtu.be/ox09fK1ns6w

Watch Spitfire Audio’s An Introduction to Sound Dust documentary here: https://youtu.be/H8sJtqnrGd0

SOUND DUST 2 needs Native Instruments’ free KONTAKT PLAYER (5.6.8 or higher) — included in the purchase — to run as a fully NKS (NATIVE KONTROL STANDARD®) supporting plug-in instrument for Mac (OS X 10.10 or later) or Windows (7, 8, or 10 — latest Service Pack, 32/64-bit), while Spitfire Audio’s free Download Manager application allows anyone to buy now and download anytime.

[londontheatre]

Minefield Lou Armour – Credit Tristram Kenton

In a collaboratively created work with both British and Argentinian veterans, Lola Arias will bring the unanimously acclaimed MINEFIELD back to the UK to a series of venues across the country. With the full original cast, the production will return to the Royal Court Theatre for just 10 performances at the end of the year ahead of a UK tour in 2017/18 that will take it to major cities and military towns across the country.

Widely regarded as a theatrical highlight of 2016, MINEFIELD in a multi-media performance from Argentinian artist Lola Arias that uses archive footage, live feeds, music and projection to present the deeply personal and enduring stories of aftermath of conflict. In her singular style, Lola has worked with veterans Lou Armour, David Jackson, Gabriel Sagastume, Ruben Otero, Sukrim Rai and Marcelo Vallejo to create a production which tells their stories.

Gabriel Sagastume was a soldier who never wanted to shoot a gun, now he is a criminal lawyer. David Jackson spent the war listening and transcribing radio codes, now he listens to other veterans in his role as a counsellor. Marcelo Vallejo was a mortar direction controller, now he is a triathlon champion. Sukrim Rai was a Gurkha and expert with his knife, now he works as a security guard. Ruben Otero survived the sinking of the ARA General Belgrano, now he’s in a Beatles tribute band. Lou Armour was on the front page of every newspaper when the Argentinians took him prisoner on the 2nd April, now he is a teacher for children with learning difficulties.

Lou Armour said ‘What’s driven me to take part in this project is just how beautiful it is. War is awful, it damages not just those on the battlefield but family, friends and wider society. But out of something terrible and ugly has come something very beautiful – a play where humanity and redemption shines through.’

Lola Arias said, ‘War isn’t what interests me, it’s what comes after the war that interests me. What matters to me is what happens to a person who went through that experience. What matters to me is what memory has done, what it has erased, what it has transformed.’

[See image gallery at http://ift.tt/1FpwFUw] In 2014, LIFT commissioned Lola to produce Veterans, a project commemorating the centenary of World War One. The resulting work was a video series of Argentinian veterans recollecting their involvement in war. This project evolved into the 2016 co-commissioned production of MINEFIELD which premiered at Brighton Festival before transferring to the Royal Court Theatre as part of LIFT ’16.

MINEFIELD was originally commissioned and co-produced by LIFT, Royal Court Theatre, Brighton Festival Universidad Nacional de San Martín, Theaterformen, Le Quai Angers, Künstlerhaus Mousonturm, Maison des Arts de Créteil and Humain Trop Humain / CDN de Montpellier.

The 2017/2018 UK tour of MINEFIELD is part of LIFT’s ongoing commitment to taking pioneering, international work across the UK and follows the recent sell-out tour of DEPART, a site specific contemporary circus performance led by Circa that travelled to parks and cemeteries in Hull, Brighton and Blackpool earlier this year. LIFT is currently working with a new network of producing theatres and UK Festivals to collaborate on international commissions and tours to encourage a greater supply and demand of international work across the UK.

LIFT travels the world to bring global stories to London, creating spectacular performances and moments of magic in every corner of the Capital. For over 35 years LIFT has presented shows in partnership with London’s major arts venues, theatres and galleries, but also in countless hidden spaces and places across the city. It works with world-class artists, whose radical imaginations create exceptional work that questions the nature of theatre, engages with the big ideas of our time, and reveals the stories and communities of our incredibly diverse Capital.

Working closely with major theatres, dance houses, museums and galleries, LIFT produces a biennial London-wide festival with commissioning at its heart, as well as year-round activity including large scale projects, artist residencies, national touring and a programme of ground-breaking participatory work, LIFT Tottenham.

Over the last two festivals, LIFT has represented 56 countries and commissioned over 31 new productions and events from around the world including Minefield (Lola Arias, LIFT 2016 and 2017/18 UK tour), Depart (Circa, LIFT 2016 and 2017 UK tour), Phaedra(s) (Odéon–Théâtre de l’Europe, LIFT 2016), Absent (dreamthinkspeak, 2015), The Notebook (Forced Entertainment, LIFT 2014), Symphony of a Missing Room (Lundahl & Seitl, LIFT 2014) and Deblozay (Rara Woulib, LIFT 2014).

Company: Written and directed by Lola Arias With Lou Armour, David Jackson, Gabriel Sagastume, Ruben Otero, Sukrim Rai, Marcelo Vallejo Research & Production. Sofia Medici, Luz Algranti Set: Mariana Tirantte Music: Ulises Conti Light: David Seldes Video: Martin Borini UK tour produced by Matt Burman for LIFT

Lola Arias Lola Arias is a writer, theatre director, and performer. She collaborates with artists from different disciplines in theatre, literature, music, film and art projects. Her productions play with the overlap zones between reality and fiction. Lola Arias’ works for theatre have been performed at festivals including Lift Festival, Festival d’Avignon, Theater Spektakel, Zurich, Wiener Festwochen, Festival Theaterformen, Spielart Festival, Munich, Alkantara Festival, Lisbon, Under the radar, NY, and in venues like Theatre de la Ville, Red Cat LA, Walker Art Centre, Museum of Contemporary Art Chicago, Royal Court London.

Twitter: @liftfestival Instagram: @liftfestival Facebook: theliftfestival

LISTINGS 2 – 11 November 2017 Royal Court Theatre London Bookings open Thu 13 July at liftfestival.com

15 – 17 November 2017 Attenborough Centre for the Creative Arts, Brighton Bookings open Thu 13 July at attenboroughcentre.com

22 – 24 March 2018 Northern Stage, Newcastle ON SALE SOON

28, 29 & 31 March 2018 York Theatre Royal ON SALE SOON

5 – 7 April 2018 Wales Millennium Centre, Cardiff ON SALE SOON

12 – 14 April 2018 HOME, Manchester ON SALE SOON

http://ift.tt/2u4o4Zo LondonTheatre1.com

[lucasprojectrealisation]

The Case Study of Dreamthinkspeak.

Dreamthinkspeak is also one of my influencers regarding the production of my final project. It is an art association sponsored by Breckman & Company, UK. “dreamthinkspeak creates and produces the work of Tristan Sharps and is internationally recognized as a pioneering creator of site-responsive performance.” (Dreamthinkspeak, 2016).

I found their installation examples are sometimes in Sukudo form, the projected visual materials on the wall. Their exhibition “One Day, Maybe” in Gwangju, South Korea, 2013. They used multiple screens to demonstrate the story of how does South Korea get to this point, a democratic Asian country. Its glory and its shame. And I found the Sukodo screens gave me impact on the visual side, and left to really think of their concept of this exihibition : “What if they could step into the shoes of the young people alive today and see the same world that we see? What would they make of the world we live in? Would they see a world of liberty and democracy? Or would they wonder what they died for and whether they had more freedom than we do today? (Dreamthinkspeak, 2013) ”.

Ref: dreamthinkspeak. (2013). dreamthinkspeak. [online] Available at: http://dreamthinkspeak.com/productions [Accessed 15 Apr. 2017].

[synonymsforchurlish]

Cheat's Guide To Hamlet

So I just saw my first Hamlet. I started small, with a "verbal and visual interpretation" by DreamThinkSpeak; The Rest Is Silence. It's like all the important bits you'd underline to revise for an exam without all the noodly suicidal bollocks that goes on for ages in the middle. Which is quite an apt metaphor really, considering that until an hour or two ago, I DIDN'T ACTUALLY KNOW WHAT HAPPENED IN HAMLET. My v cursory research told me that it was basically a cross between The Lion King and The Killing, and was about a stay-at-home loser who needs to shit or get off the pot. The main dude looked a lot like Ben Gibbard from Death Cab For Cutie which really added an extra dose of whiney crybaby to the role. So, The Rest Is Silence is 90 mins long and it's performed from inside a load of boxes around this central audience chamber. You have to stand up the whole fucking time. I was also a bit disappointed that there was no interactivity after the DreamThinkSpeak version of The Cherry Orchard had a whole fucking DEPARTMENT STORE of people trying to sell you fucking BIRDSONG in RUSSIAN. And the design inside the boxes was a bit sparse. I mean, it's all very well bringing the Danish royal family up to date and everything, but I refuse to believe they would sit at a perspex desk. Although maybe the bald guy with the desk wasn't actually a member of the royal family. I dunno. Anyway, it was just a bit like that Ikea advert with all the parties in the kitchens except we were trapped in this central death chamber and couldn't play with the fancy self-closing drawers. I was getting a bit bored and restless by the end if I'm honest, although they reinvigorated things somewhat with a fucking cool swordfight. Sword fighting's pretty sexy. Two men trapped in a box, sweating and lunging at each other. LIKED IT.

[larnaka16]

👞 @ihavethisthingwithfloors #shoreditch #dreamthinkspeak #AbsentShoreditch #ihavethisthingwithfloors (at Shoreditch Town Hall)

[chezmariondeprez]

[ghislainefay]