Day: April 10, 2018

Dramatic Soundscapes

Rather than experimental theatre, it is the realm of dance works that is considered to be much more amenable to music and its ability to guide or transform a live performance. It is as if the body can only respond to the suggestible registers fed to it by soaring melodies or beats. Yet, recent excursions in contemporary dance have attempted to entirely dispense with sound altogether. Sounds of silence Instead, a vast unstarched expanse of silence becomes the ether in which the performers must discover their corporeal alter egos. In Avantika Bahl’s Say, What?, she interacts through gestures with deaf performer...

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“Vincent River” at The Park Theatre: In-yer-Face Theatre at Its Cruel Best

Every great playwright has to have both an identifiable style and the ability to innovate and change. When genius polymath Philip Ridley first staged Vincent River at the Hampstead Theatre in 2000, his fans noted that this two-hander was more naturalistic than his previous surreal and gothic East End trilogy—The Pitchfork Disney, The Fastest Clock In The Universe, and Ghost From A Perfect Place—and more political too. From leftfield to the mainstream. Watching it today it is clear that this brilliant drama, which was also revived in the West End with Lynda Bellingham in 2007, has all the hallmarks of Ridley’s best work...

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Inclusivity: Welcoming Autistic Folk Into The Theater

I work for the National Autistic Society as their Autism Access Specialist. While this may seem like a mouthful, what I do is actually very simple. I have the privilege of working with theatres and live performance venues across the UK to support them in holding autism-friendly performances of their shows. I’ve had the honor of working with some of the West End’s best-loved productions, as well as regional shows with smaller audiences but just as much creative strength. It may surprise you that I would describe this as a “simple” task–indeed, it surprises most of the theatres I work...

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