ANATOMY #6 RUIN MACHINES

Being somewhat of a melancholic disposition, and finding myself still not in full possession of my facilities - although the letting of blood last night has restored a notion of my habitual vigour - the manner of the Anatomy happening has always filled me with a tremulous anticipation. It is not merely that I approve of the format - the hosts endeavour to create a vaudeville atmosphere that could be familiar to both pre- and post-apocalyptic audiences - but that it seems to be encouraging artists to step out of their comfort zones. Then, the latest evening has been entitle Ruin Machines, a nomenclature that suits the state of my physical shell at this time, more than previously.

ANATOMY #6
RUIN MACHINES
Saturday 28th September 2013
Summerhall, Edinburgh

Sortes Virgilianae  (Hope & Anchor) takes its cue from an ancient Roman tradition, which used Virgil's Aeneid to predict the future. Funnily enough, I used to encourage my students to do this when we were studying Aeneid VI - since it involves a trip to the Underworld, they discovered their future held all manner of tortures and torments. 

Hope and Anchor have some connection to a publishing house that makes rather charming, old fashioned pamphlets. Unfortunately, it is not clear quite how close this connection may be for, like the future itself and the words of the Sybil to Aeneas, their biography is written in allusive and obscure language. But they are using 'archaic technologies,' so they are well in with the theme of  clanking ruin machines. 

This could, of course, mean that they are getting out a couple of 303s and an 808 and are going to do a set of pumping Detroit techno. It's more likely that they are doing a live action print routine.  

Calum Macaskill is back again: having checked out the Minotaur, he's going for some hot action with another classical monster through 'projected media based physical theatre.' This time, it's the Cyclops - who also had a guest appearance in Virgil's Aeneid. Calum has most recently been seen shaking his bones at cabaret nights in both Glasgow and Edinburgh (he's a funky monster in tight trousers), and checking out Poundland to make a show at Arches Live. 

His particular set of skills - he can do the object manipulation, he's good with the animation technology and knows how to choreograph his movement - have seen him become one of the more intriguing cross-over artists in Scotland: he can cabaret and Live Art with equal understanding of both genres. A few years ago, he turned Doctor Faustus into a one man spectacle for the Fringe. He might even count as 'Visual Theatre,' the category that contains everything that is not about the script or the movement, but the powerful image.


Elsewhere on the blog, I am churning through a response to Ben Walters' intriguing analysis of the cabaret scene (he is drawing a line between the cabaret community and outsiders, coming in from 'the high arts,' before encouraging them to play nice). In this light, it is exciting that one of Glasgow's most well-known and successful burlesque performers is included in this line-up: Cat Aclysmic is offering Pandora ('Magical realism and circus aid the reinterpretation of a classic fable on discovery and redemption).

While the blurb doesn't give much clue as to the format of the piece, Cat Aclysmic has spent recent years adding to her expertise - she was always handy with the fire, and has been recently chucking in contact juggling. This might count as an example of what Walters explains as a willingness within cabaret to take risks, to expand theatrically: like MacAskill's forays into cabaret, this sees the cabaret scene take a walk into new territories. Undeniably fitting in with the atmosphere of ANATOMY, Pandora promises an appropriately gothic tale of mystery.


The Drone at Play (Harry Giles)

Giles is one of the minds behind ANATOMY, but he has previously offered advice on debt and served as MC for previous events. His vision of  the ruin machine may be contemporary, but involves lending a more emotional edge to a sadly maligned modern military mechanism.

A military unmanned aerial vehicle gets sad, goes shopping, tries to get away from it all and only finds herself. Poems, music and video: all drones.



Other acts also performing on the night

Memories of a Lullaby (Sáras Feijóo)

In a parallel country, I grew up.
During the nights, the sound of gun shots fights
were my lullaby.
No, it was not THE war.
No, it was not a war!
No, it is not THE war!
No, it is not a war!!!!
is this war?

During the days,
hurry up steps
looking around all the time…
That was my state.
Run
Run
Rum????
Yes please, a double on the rocks.



Black Onion (Shakti Gomez)


Black Onion is a piece that I made as a comment or statement of the constraints that I feel by different means and in different cultures. These constraints are visible or invisible rules that have a general acceptance in the culture where they are based, repressing women’s wide expression and female energy, and promoting gender dualism.









Kristin Rose

She was born with a magical voice and the ability to touch people through incredible vulnerability and uninhibited singing. Through her voice she expressed the vulnerability she felt towards life and through it, reached into the hearts of her audience.

What is it that we love about clowns? What is it that we love about great artists like Judy? – We all sometimes feel life is just too much to handle. We all have different escape routes, but when life sucks, we need to GET HAPPY!

This piece is a short exploration into the intimate and vulnerable soul of the artist through the songs and life of Judy Garland, clowning and the will to sing.



Rupture Therapy (Lewis Sherlock & co.)

The femdroids are rebelling. Built to clean and for sexual favours they've had enough of their male counterparts. They gather together and form parodies of men. They've just finished their latest therapy session and pirates was its theme. Prepare the leviathan, MAN the sails. Captain Rupture is coming.