You are joining us now in our fortress of solitude, somewhere in Glasgow. With only three hours remaining to curtain up, Gareth K Vile and Eric Karoulla are your pre-show commentators.
Looking over the programme notes, what grabs you first, Eric?
The title. I'm guessing you want a bit more than that?
Yes.
It seems like another rule of three. And I don't know why these words have been picked. Then again, it's a work in progress.
Let's start with the good. I believe that you know your Plato better than I do... doesn't that give you something?
For Plato, good would be related to virtue, and probably the truth. I have a question. We all assume that when someone says the truth, we assume it is a concrete reality- but everyone has their own reality, so how do we agree on what set truth?
Thanks, Eric. Nice easy one, there. We don't. For example, my truth is that we are talking about a piece at Tramway. Your truth seems to be "can I catch Gareth out with a very difficult question." I would like to remind you that my job is to be the obnoxious interrogator. You are here to contrast with me, being the being of charm and common sense. Given that, why don't we have a look at the Tramway website?
Sounds good.
Good. And God too, perhaps...
The Good, the God, and the Guillotine is a theatrical concert about belief, mortality, and morality that steals from the aesthetics of the gig, classical recitals and animation art. Questioning existence itself in a theatrical concert for three performers, three laptop musicians, and a reactive scenography of lights, objects and animations, The Good, the God, and the Guillotine is a dramatic and atmospheric exploration of our tangled relationships with technology.
Against a background of live, shifting animations, The Good, the God and the Guillotine responds to Albert Camus’ 1942 powerful novel L’Étranger (The Stranger). Prototype Theater (UK/US: ) are collaborating with the musicians and composers of the MMU Laptop Ensemble aka MMUle , lighting designer Rebecca MK Makus and animator/illustrator Adam York Gregory to create this music-driven performance that uses digital technology to craft an intertwining of song and narrative. Funding Credits: The Good the God and the Guillotine has been commissioned by Lincoln Performing Arts Centre (Lincoln), Manchester Metropolitan University (Crewe) and Tramway (Glasgow). Supported by the National Lottery through Arts Council England.
You've been having a cheeky wee keek at Guy Debord's Society of the Spectacle. Was that because of this show?
Sort of. I started looked at works that might explain why we are looking at our relationship with technology. For example, the exhibition at the CCA is looking at our relationship to the economy. There's a lot of doubt going around.
Yes. But why did you drag up a French anarchist who is notoriously difficult to understand?
He was recommended to me by a friend who is an anarchist. He was talking about situationism which started in France in 1957. And it only survived fifteen years - it escalated in the 1968 riots in Paris.
And it was very influential on Malcolm McClaren when he arranged the Sex Pistols. I am not sure we are helping anyone with this. So far, I took us up one dead-end with Plato.
Plato resounds very strongly in Debord. He keeps talking about representation. I actually took notes.
Yes. I am noting that this disaster is on my blog, not Eric's Trip. I am all for experimental criticism, but this is just rambling. But. Here's the punch-line. I was trying to imitate the way that football commentators do the build up for a big match on TV. And I think we are as incoherent and irrelevant as they are.
Yeah, probably.
Still, we managed to mention the show, and print out the preview from the website.
But the preview doesn't tell you very much.
No, but at least it didn't get lost in banter about Plato. Shall we just leave it?
You're the boss.
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