Dramaturgy, Bitches: Abigoliah Schamaun @ Edfringe 2017

Abigoliah Schamaun: 

Namaste, Bitches

Underbelly Cowgate

19.40 (60 mins)

3– 27 August

(Not 15)

0844 545 8252

What was the inspiration for this performance?

I started practicing yoga when I was 18 years old. Since then I've been into various forms of fitness from yoga, to distance running, to weight lifting, but never with the healthiest approach to sleep, diet, and recreational evenings. 

My obsession with fitness came about because; one: yoga feels good. And two: because I was told that through perfect physical health a person can reach enlightenment or self-realization. 

In "Namaste, Bitches" I review my own journey towards health as woman who loves her whiskey and late nights galavants. I guess I was inspired to write "Namaste, Bitches" because now that I'm 31 I've finally stopped to asked the question. Why am I doing any of this? And will it really make me be better, smarter, more "enlightened"? 

Is performance still a good space for the public discussion of ideas? 

Absolutely. I think taking friends of different ideologies and beliefs to one performance can be a great jumping off point into more uncomfortable discussions. It gives people the social buffer of talking about the performance instead a bare bones discussion of the actual topic. For instance; a show about politics might spurn conversation without the bluntness of saying "Well I believe" someone will say, "I liked this character because..." 

In my mind performance will always be an excellent way to bring about public discussion be it about human rights, life-style choices, or health and wellness. I think in the blanket of entertainment it allows be to relax and enjoy ideas that might make them think, "Huh, I've never thought about it that way." or "I'm glad someone is finally putting a voice to the way I feel." 

How did you become interested in making performance?

I think it all started when I used to put on shows for my parents in my living room as a kid. God bless them those first production were a bit crude given they were written, produced, and performed by a 7 year old enthusiastic but marginally talented me. 

I had parents who laughed at my jokes and always encouraged me. They sent me to dance classes, voice lessons, and even paid for me to study musical theatre. 

I still do all my own writing and performing, most times still self-produce with the same enthusiasm as my 7 year-old self. Though now I bring more skill and talent to the table...I hope. 

Is there any particular approach to the making of the show?

Word vomit. I go onstage throw-up a bunch of ideas then get off stage and think, "That can be a thing." Then take those words re-arrange them into, what I hope is a thing. Go on stage, and try again until it's done. The whole process is trial and error for me. And practicing in front of a live audience is always the most useful way to build a show because you get instant feedback. 

Does the show fit with your usual productions?

As a stand-up comedian most of my production consist of standing there talking. So in that vain, yes, it's similar. In "Namaste, Bitches", there are some bigger theatrical moments. I'm implementing skills and training I haven't added to a performance in years. I don't want to give too much away. But I'm really excited and nervous to bring all this together. 

What do you hope that the audience will experience?

Laughter, first and foremost. It's a comedy show and if no one is laughing then I epically failed. I hope the storyline of trying to be fit in a world where temptations are there to constantly thwart you resonance with people. I want people leaving "Namaste, Bitches" with a since of humour about their own fitness. We as a society tend to beat ourselves up on the days we opt for a donut and watching a box-set over that six mile run. I hope we can all stop taking it so seriously and enjoy a both sides of the coin. 

What strategies did you consider towards shaping this audience experience?

Well, all the theatrical tricks. Lighting, music mood. What's playing as they sit down. During the show I've noticed if I play with my own delivery of the material (sitting down and talking quietly, standing up and dancing about) the audience stays more alert when there are various auditory and visual levels. 

The biggest strategy in shaping "Namaste, Bitches" is writing and testing material, then testing and writing more material until it's engaging and funny enough. My favourite thing to give an audience is laughter. That's always the most important part. The rest is just set dressing.