Friday, 18 April 2014

Why I invented Post-Visual Theatre

An interview with Jimmy Chisholm and Michael Emans about Rapture's production of John Byrne's translation of Uncle Vanya.

DJ Hush making up a potent stew of music of music with some 1980s beats and Bollywood spices.

The Wooster Group's juxtaposition of black-face and a play once regarded as a step forward for racial representation.

John Cage's championing of juxtaposition, especially in his collaborations with Merce Cunningham.

Le Ballet C de la B using the first fifteen minutes of a show to introduce their movement vocabulary.

Sitting next to Jim Davidson in The Pavilion, when he was wearing bunny-ears and looking forlorn. He was arrested two days later.

A version of The Seagull that took itself very seriously by Headlong

An article by Michael Frayn that noted how The Seagull could be rendered hilarious with the addition of a single word to the last line.

Intervening in a fight between a man and a woman (over his ventolin inhaler) at the Electric Frog festival, while thousands of Glaswegian men danced with their tops off.

Chatting to Kode 9 about sound strategies against tyranny.

Taking mushrooms and listening to Bach, and suddenly understanding why Schopenhauer likened listening to music to being dead (in a good way).

Reaching the point in William Burrough's Western Lands when he abandons his cut-ups and explains everything in simple prose.

Saying that I loved Chekhov before even having read him.

The way that Untitled Projects had a gig by The Smack Wizards in the middle of Cain's Book.

My perpetual frustration at the failure of Scottish critics to make an effort to develop beyond mundane reviews.

Having access to audition at Subcity Radio.

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