The Fringe What inspired this production: did you begin with an idea or a script or an object? I began with an idea that had nothing to do with performance and I wasn’t thinking about turning into a performance of any kind in the first instance. The idea developed in a performance direction sort-of of it’s own accord, if that makes sense. Why bring your work to Edinburgh? It seems to be ‘the thing to do’ at some point in ones career as a dramatic performer, and I’m so pleased with this piece and so enjoy doing it that I felt this was the right time. What can the audience expect to see and feel - or even think - of your production?I expect them to feel inspired as well as entertained. At the risk of burdening the production with a lot to promise, I think it will encourage the right people to look at their lives differently. While there’s a tongue-in-cheek message behind what I’m doing on stage, that message is also completely meant. I suppose I’m trying to have my cake and eat it with that, but I think the show makes the point I’m trying to make both as a joke and seriously. |
“Utterly charming, imagination nudging... George Egg is hugely inventive”
The Times
The Dramaturgy Questions
How would you explain the relevance - or otherwise - of dramaturgy within your work?
I don’t think I understand enough the definition of dramaturgy to be able to answer that question. Despite having read the definition in the dictionary a few times!
What particular traditions and influences would you acknowledge on your work - have any particular artists, or genres inspired you and do you see yourself within their tradition?
I think I’m inspired by genres which wouldn’t strictly fall into the dramatic arts genre. I think if one were to make a Venn diagram with sets for drama, comedy, illustrated lecture and cookery show I’d fall in the area where they all intersect.
I’m inspired by the passion and silliness of someone like Gennaro Contaldo (the Italian chef who appears on Jamie Oliver’s TV programmes a lot), the chaos of Johnny Vegas, the inspiring oratory of Ken Robinson (speaker and advisor on education and the arts). I think the show takes elements from all of these, but by it’s nature is too difficult to categorise. But I’m certainly influenced by all of them.
Do you have a particular process of making that you could describe - where it begins, how you develop it, and whether there is any collaboration in the process?
I’ve literally sat down and written large sections of the show. Other parts have developed through performing it and coming up with things on the spur of the moment. Again there’s no straight rule - it’s all come about in different ways and then been ‘welded’ together into the final piece. I suppose because of the structure of the show (it being three courses over the hour) there’s had to be some structure and it’s been helpful having those constraints to work with. With regards to collaboration, apart from the occasional suggestion from friends and family (which I’ve either taken or ignored) it’s been a wholly solo piece.
What do you feel the role of the audience is, in terms of making the meaning of your work? The audience are essential. It’s not a fourth wall piece. It’s entirely directed at them - showing them what I can do, what I’ve discovered, and encouraging them to explore too.
As a professional and sought-after comedian for the last two decades, George Egg has performed internationally taking his absurd brand of far-reaching humour to Germany, Switzerland, Holland, Belgium, Spain, Austria, France, Hong Kong and even India, both on stage and on the television, as well as being the support act for Lee Mack, Micky Flanagan and Jack Dee.
Venue: Gilded Balloon Teviot (Balcony)
Dates: 5 - 31 Aug (not 17 and 25)
Time: 14:45 - 15:45
Ticket Price: £9.50 (£8.00), £8.50 (£7.00), previews - £5.00
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