Locus Dramaturgy: Atresbandes @ Edfringe 2017

ATRESBANDES theatre company

presents:

Locus Amoenus

Three strangers meet on a train. In one hour, the train will crash and they will all die.


Award winning Spanish company ATRESBANDES bring their critically acclaimed piece Locus Amoenus to Summerhall for Edinburgh Fringe 2017, exploring the idea of paradise through the meeting of three strangers on a train that’s about to crash.

What was the inspiration for this performance?

The first inspiration was the place where we started to create the show and the title "Locus Amoenus" meaning pleasant place comes from there). It was in a beautiful arts centre in Birmingham, based in the middle of a gorgeous park, with a lake and trees. There was snow everywhere. So, that touched us and inspired us. It was a real artistic “locus amoenus” for us (we had all our time and space to do something) and for sure, that suggested us to think about the idea of "Paradise".

Also, there's a book called "Tunel" by F. Durrenmat that give us the idea of the theatrical game we propose in the show. And also, the film "Europa" by Lars Von Trier.

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

It has to be, for sure. After a very good show, not only beauty or enjoyment or even anger appears, also a waterfall of thoughts and emotions.

I think that's because a good performance is the point that is below a question mark symbol, but a question mark at the end on stage. That's what we try to do in our shows. After that, after see a "final" question mark, we hope or we would to like to open others questions in the audience.

How did you become interested in making performance?

In our case, was an organic and natural thing. We met each other at theatre school in Barcelona and we started working to try to make the theatre that we would like to see on stage.

As I said before, theatre helps us, not to answer the daily life, but at least, to do something with all these questions that we have.

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

No. Maybe the particular approach is that we don't have one, and in each of our different performances we start in a different way. We're very a chaotic and not methodical company, we don't know what we can do until do it, so we need lot of time to create.

Does the show fit with your usual productions?

We work as a devising theatre Company, without a previous text. We start only with an idea. So, each show we made is relative to our "personal and artistic moment". When we premiered this show, we thought it was something very different to the previous one "Solfatara" but now, after a while, I realise that is an organic and very logical step, and even if the form is different, yes, I think it fits. 

What do you hope that the audience will experience?

That's difficult because I think you can't control that. For "Locus Amoenus" maybe we would like to investigate or taste the concept of time. What happens if the audience has more information than the performers on stage, and how that changes the perception of the action and of time.

And also, in this show, we wanted to "relax" the theatrical conventions. For example, there's no black out, we start on stage as performers waiting for the start and looking to the audience without hiding our nervousness and the excitement we have. We perform with all the technical things like very exposed, without hiding microphones or the cables. The lighting is always the same.

What strategies did you consider towards shaping this audience experience?

I think, I answer that before!

LOCUS AMOENUS video promo from ATRESBANDES on Vimeo.

Locus Amoenus takes its title from a Latin term meaning “pleasant place”, characterised in literature and visual arts throughout history as a sunlit glade or meadow. Through a series of conversations and situations, efforts to understand and be understood, the show asks what paradise means to each person and, as the train speeds towards to its fatal conclusion, asks whether we pay enough attention on life’s journey.

Locus Amoenus is performed mostly in English with additional projected text that acts as a narrator and guide to the inner thoughts of the characters. Not knowing that they are about to die, the characters go about their lives, connecting to each other and isolating themselves, understanding and misunderstanding, getting hung up on trivialities and not saying what they most want to say. What new meaning does the hour have if it’s to be their last?

Company member Albert Pérez Hidalgo said, “The inspiration for our work comes from a number of sources, including everyday life and situations, sitting on a fine line between biography and fiction. In Locus Amoenus, the three characters partly represent ourselves and through the course of their final hour, we see their dreams, fears and hidden desires. We drew on a variety of source material including Freidrich Dürrenmatt's novel The Tunnel and films such as Lars von Trier's Europe. Some of the imagery was inspired by our travels around the UK on tour as well as the beautiful parkland at mac in Birmingham where we first began work on the piece.”

15th – 27th August, 2.50pm, Summerhall, Venue 26 http://bit.ly/2ptkzuj 

Tickets: www.summerhall.co.uk 0131 560 1581 | www.edfringe.com 0131 226 0000

@ATRESBANDES | #locusamoenus | www.atresbandes.com |



Running Time: 60 minutes | Suitable for ages 14+

ATRESBANDES are a company from Barcelona who have rapidly established a reputation as creators of sharp, perceptive work for international audiences. They have won numerous awards including First Prize and Audience Prize at BE Festival 2012 in Birmingham for Solfatara and Best Direction at Skena Up 2014 in Kosovo for Locus Amoenus. The company was formed in 2008 with the aim of creating devised work through a truly collaborative process.

Company and creatives:
Devised and performed by: Mònica Almirall Batet, Miquel Segovia Garrell, Albert Pérez Hidalgo
Voice recordings: Iara Solano Arana, Sammy Metcalfe
Lighting design: Alberto Rodríguez
Sound design: Joan Solé
Producers: Sarah-Jane Watkinson (UK), Nùria Segovia Garrell (Spain)

Rosalind Dramaturgy: James Cousins @ Edfringe 2017

R O S A L I N D | James Cousins Company
Summerhall venue 26

Dates: 8-26 Aug (4-6 Aug Previews) No performances Mon 14 and Mon 21 Aug

Time: 16:30

Duration: 65 mins

Age: 12+
https://festival17.summerhall.co.uk/event/rosalind / 0131 560 1581

Tickets: £13 / £11 concessions (£11/£9 preview)

What was the inspiration for this performance?

Rosalind from Shakespeare’s As You Like It became the main protagonist and vehicle through which we explored societies in which many people still can’t be truly who they want to be, be that because of their gender, race or sexuality. We created the show in Seoul and the culture there became a big inspiration as well.

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

Absolutely. We’ve toured this show in the UK as well as Korea and Indonesia and everywhere we’ve been really rich discussion has emerged after the show. Interestingly the focus of the discussions has shifted depending on country – in Korea it opened up dialogue about gender equality, in Indonesia LGBTQ rights and here in the UK gender fluidity has been the overriding imprint left on audiences.

How did you become interested in making performance?

I have always been a choreographer at heart, before I was even a dancer. Since childhood I’ve loved bringing people together, collecting and structuring ideas and presenting them to audiences. Over time I have begun to realise the privilege of my position to present ideas in performance to audiences and I feel a responsibility to use that platform to say something meaningful; that can spark both discussion and imaginations.

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

The show was made very much in collaboration with the performers and other collaborators: lighting designer, dramaturg, poet, composer and costume designer. My producer and I went on two research trips to Seoul to try to get to know the culture and society there in order for the show to be able to take influence from there.

Does the show fit with your usual productions?

I think the show is a development of all I have done so far. Each production gets a slightly different flavour due to the dancers and team who come on board but the over style continues to grow from the companies previous works as well as work I create on other companies.

What do you hope that the audience will experience?

For those who know As You Like It, I hope people will experience Rosalind in way they’ve never encountered her before. For those who don’t I hope people can reflect on their own social and gender stereotypes. We’ve tried not to impose our perspective on the audience but just place the images on stage and let them witness how their mind reacts when seeing people of different genders doing the same thing. I also hope people will be left in awe of our incredible international cast!

What strategies did you consider towards shaping this audience experience?

I worked very closely with my dramaturg, Hejin Jang, and producer Francesca Moseley, to ensure that a balanced as possible view was presented on stage. The structure remained in flux for a long time, with us dramatically shifting sections around to try to balance getting the social message across as well as subtly hinting at the As You Like It narrative.

About James Cousins Company

James has risen quickly as one of the UK’s newest choreographic talents since being selected by Matthew Bourne as the first recipient of the inaugural New Adventures Choreographer Award in 2012. He set up James Cousins Company in 2014 with producer Francesca Moseley. Following a successful run at the British Council Edinburgh Showcase in 2013, the company have toured their double bill Within Her Eyes and Without Stars to six countries in South East Asia, South America and the UK and where it was seen by over 8,000 people. The company are were commissioned by the British Council as part of Shakespeare Lives to create a new full length work in collaboration with dance artists and costume designers in South Korea. ROSALIND was created and premiered in Seoul before going on a tour of cities in Indonesia.

What If Dramaturgy Told You: Pauline Mayers

Northern Stage at Summerhall 2017, The Mayers Ensemble (UK) and West Yorkshire Playhouse present 
WHAT IF I TOLD YOU
Theatre/dance crossover explores personal boundaries and histories, directed by multi Fringe First winner Chris Goode
Fringe first-timer Pauline Mayers is used to people making assumptions about her based on her gender, background and skin colour; it’s been happening all of her life. But she’s defied those expectations at every turn, tearing up the narrative that society tried to impose on her.

Last year Pauline hit a crisis point. Perhaps not that unusual for a woman in her mid 40s, but a pretty big deal when it happens to you. She didn't know where her life was taking her, had no sense of where she’d come from. She was at a crossroads but couldn’t see where the routes led. So she looked back thorough her life and thought about how her experiences may relate to others.



Listings informationVenue: Army@The Fringe in association with Summerhall, Venue 210  
Dates: 11-26 Aug (not 14, 21)
Time: 17.00 (60 mins + 60 mins Koan: What If You Told Us)
Tickets: £12, £10 (preview 11 Aug £8, £6)    

Venue Box Office: 0131 560 1581  www.summerhall.co.uk 

What was the inspiration for this performance?

There wasn’t a point of inspiration. Actually, around the time of making the show, I hit a moment of great uncertainty and apathy. Although I’ve been involved in the arts for many years, as a dancer and choreographer for dance and theatre companies across the UK, I felt I had nothing to show for it. I was unemployed, hitting my forties and I literally didn’t know where my life was going. The constant feast and famine nature of what I was doing had finally taken its toll and I wanted out. I was also tired of the way people appeared to judge me and what I do based seemingly on my appearance rather than my experience or talent.

Being a highly trained professional performance maker with over 25 years of experience who happens to be a woman with black skin, I felt, more often than not, that I was seen as someone who followed others rather than a person more than capable of leading a team of artists to create shows for both the public and fellow peers alike.

I initially trained as a dancer at the Rambert School in London, taught at the Royal Ballet School, danced for several high profile dance companies, created whole dance shows in community outreach programmes, taught and ran my own dance and theatre residencies, danced internationally, I could go on. Yet somehow the idea of me being a choreographer and theatre maker wasn’t quite believed.

This has been the case throughout my entire career. In fact, when I first expressed the thought of being a dancer at the age of thirteen, my school teachers sought to dissuade me from doing so saying that the profession wasn’t for me and instead sought to encourage me to be a secretary instead - which I ignored!

Looking back over my time in the arts, I realised I was spending a lot of my time having to explain and defend who I am and what I do and although my work was very much in the public arena, somehow I wasn’t. I was tired of having to seemingly justify my very existence in the performance arts world. So, I decided to retrain as a counsellor.

I took an introduction to counselling course with the intention of completing my training within five years. What If I Told You (WIITY) is a way of expressing my frustrations at being judged by my appearance. I feel judgments are being made subconsciously all the time and it’s causing nothing but fear and anger across the UK and has done across the decades. But the question is, where has this idea of judgement based on skin colour come from?

WIITY seeks to interrupt this antagonistic way of being by creating time and opening up a space which enables audiences to listen and reflect on why this keeps happening. It was also meant to be my final hurrah, a way of saying goodbye to the arts world, and leave with some sort of legacy to say I was here and I contributed.

However, since it’s initial conception, it’s become like my calling card, a stated intention that I will continue to make work as the Mayers Ensemble. It’s become a reminder that there will be high and lows and that is just the nature of the arts. What I must do is to focus on the work I want to make. Ultimately, the arts is literally in my DNA, I can’t help but to continue.

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

Absolutely! Until technology came along, public discussion was exactly how human beings exchanged ideas.

The Silk Road, a main trading route from the African continent through to China and Japan was also where ideas of art, culture, religion and spirituality, maths and language were being exchanged through public discussions. This way of introducing and interrogating ideas has been slowly eroded over the centuries.

What performance can do is introduce its audience to different ways of thinking, creating both time and a space to reflect and, if encouraged, to discuss what people may be thinking or feeling in response to what they have seen. Having some counselling skills and knowing that some of the content of the show is harrowing and uncomfortable, What If I Told You has a second half called Koan which is a Japanese word with one definition being “public thought” and it’s exactly that. Led by the brilliant poet and activist Khadijah Ibrahiim, it’s a space where the audience has the opportunity to discuss some of the themes of the show in a safe space, where what happens in the room stays in the room and won’t be expressed elsewhere.

How did you become interested in making performance?

I’m intrigued by hearing voices and seeing stories that I wouldn’t usually see or hear. I’m interested in giving voice to those who may not otherwise be heard. My own struggles of making myself heard has led me to give space to others who may be experiencing similar things. A lot of my earlier collaborations gave voice to exactly these kinds of stories.

For example, ‘Promised Land’ with Red Ladder Theatre was the story of Leeds and its football club told through the eyes of the Jewish community, ‘Burmantoft Stories, an outdoor, site specific show I directed for the West Yorkshire Playhouse, asked audiences see the vibrancy and beauty of the Burmantofts area of Leeds by shining a light on the stories of the talented individuals who live in the community. Burmantofts had been dismissed as an area of high crime and unemployment when in fact it was no different to any other inner city area. Indeed Hackney, where I’m from was also seen as such and that demonisation can have a demoralising effect on the communities that live and work there. It’s the unveiling of different ways of expressing the human condition that I’m curious about.

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

To be honest, the only approach I took was to enable audiences to walk with me in my world, to feel a little of the everyday struggle I have to contend with, and to finally own my story and express it in the way I want to express it.

Does the show fit with your usual productions?

Not at all. In fact it’s a major departure from anything I’ve done before. WIITY is conceptualised, written and performed by me. It’s the first time I’ve written a solo show and I worked with theatre maker Chris Goode as director, someone I both trust wholeheartedly and enjoy making work with.

I joined Chris Goode and Company as a collaborator initially and we’ve worked together on many projects over the years. It’s also the first time I’ve used performance to find the intersection between theatre and dance, and how to interact with face to face with audiences.

What do you hope that the audience will experience?

I hope audiences will experience something they will never forget. And I hope my show is a catalyst for a small shift in how people think about skin colour prejudice and that they begin to be open to seeing skin colour prejudice as a ideology that should remain in the past.

What strategies did you consider towards shaping this audience experience?

The only strategy I considered was to enable the audience to feel some of what I’ve felt, to spend some time in my shoes.

What if I Told You is Pauline’s way of telling her (his)tory as a black woman, a dancer and choreographer. It’s a story of universal truths and contradictions that we can all relate to. She invites her audience to spend an hour playing together to challenge boundaries, personal histories, gender and skin colour, carefully balancing dance and theatre and dispensing with traditional barriers between performer and audiences.

Along the way the story of James Sims, cited by some as the ‘father of modern gynaecology’, weaves through Pauline’s own. Sims bought then operated on, black female slaves, without anaesthetic, believing that black bodies didn’t suffer pain in the way white bodies do. Many of Sims’ methods and discoveries are still used today.

‘A thought-provoking and powerful piece of work’ The Culture Vulture
In the second part of the show, Koan: What If You Told Us the audience is invited by poet, playwright and activist Khadijah Ibrahiim to share thoughts and ideas inspired by the show.

What If I Told You is written and performed by Pauline Mayers and directed by Chris Goode. It was developed at West Yorkshire Playhouse and is a co-production by The Mayers Ensemble and West Yorkshire Playhouse.

The show is performed at Summerhall’s newest space, The Army Reserve Centre on East Claremont Street EH7 4HU. 

Pauline Mayers trained at the Rambert School and is a theatremaker, choreographer and dancer. She has performed in contemporary dance companies and taught choreographers across the UK and internationally including Janet Smith & Dancers, Diversions Dance, Phoenix Dance Company and The Ensemble Group. She has also worked with theatre companies such as Tell Tale Hearts and Red Ladder.

Chris Goode is a writer, director and performer described as ‘one of the most exciting talents working in Britain today’ (Guardian). His work includes four Fringe First award- winning shows: Neutrino (with Unlimited Theatre), Kiss of Life, Monkey Bars (Traverse) and Men in the Cities (Royal Court and Traverse).

Venue: Army@The Fringe in association with Summerhall, Venue 210   

Dates: 11-26 Aug (not 14, 21)

Time: 17.00 (60 mins + 60 mins Koan: What If You Told Us)

https://tickets.edfringe.com/whats-on/what-if-i-told-you

Last Dramaturgy @ Edfringe 2017

Last Resort - 2Magpies Theatre

Summerhall, The Machine Shop, 2 – 27 Aug 2017 (not 7, 14, 21), 12.00 (13.00)
Guantanamo Bay has been turned into a private resort, but the lingering sense of what came before makes audiences examine their feelings towards the threat of terror and the use of torture.

What was the inspiration for this performance?

This a combination of an opportunity that arose at The Lowry, Salford for a site-responsive commission (for their scene dock) and an idea from a very long time ago about the detention of terror suspects at Guantanamo Bay (whilst studying for an MA in International Security and Terrorism at the University of Nottingham). The concept for the show became about inviting the audience into a space they do not normally have access to – physically the scene dock, but also behind the public façade of Guantanamo Bay. We wanted to use this opportunity to invite audiences to assess their own views about counterterrorism policy

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

I think so – I think it can often be didactic and preach to the converted, but when ideas and different viewpoints are discussed, performance provokes brilliant debate. Confirmation by Chris Thorpe is probably a really good example of debate being provoked, and different viewpoints being expressed as a result.

How did you become interested in making performance?

Weirdly, when I was studying for the MA in International Security and Terrorism at the University of Nottingham. I had an idea relating to Alexander Litvinenko and his poisoning through a cup of green tea, and this weird juxtaposition of nuclear poison and green tea. This became a performance in tearooms and cafes, backed up by academic research

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

Quite a rigorous academic process. We worked with 3 different academics from slightly different fields within international relations and counterterrorism, combined with artists of different disciplines to assess primary and secondary sources material from Guantanamo Bay: music, images, testimonies etc. We then consulted NGO’s that work directly in this field like Reprieve and Amnesty International. This has taken a long time to develop, and fostering these relationships over a long time mind!

Does the show fit with your usual productions?

To some extent – it’s a story that is so unbelievable that is we made it up people would say its ridiculous, just like The Litvinenko Project and Ventoux before it. It is visual storytelling that looks at a significant global event in a different way. It’s perhaps less directly accessible than the idea of doping in the Tour de France (Ventoux) but the storytelling is a similar style. We feel it is still an accessible gateway into contemporary performance for people who have not seen productions like this before, hung on real life events.

What do you hope that the audience will experience?

We have translated the multi-sensory nature of enhanced interrogation techniques (a US euphemism for torture) into a multi-sensory performance space. The audience will sit in a deckchair, get a cocktail on arrival, a hot towel, and put their feet in the sand. We were very aware that an audience coming to see a show about Guantanamo Bay (and knowing that they are) might come in with a set of expectations which we were hoping to dispel in the first 5 minutes with this sensory experience. This then gives us the opportunity to play with this later, as we explore various elements of enhanced interrogation techniques.

What strategies did you consider towards shaping this audience experience?

We did a lot of second guessing audience reactions, and we were always wrong! The fringe is now a chance for us to try things, new things every day and gauge different audience reactions. It’s much more interesting this way, and certainly keeps us on our toes!

Screaming Dramaturgy: Léa Richard @ Edfringe 2017

Upper Church at Summerhall, Summerhall Pl, Edinburgh EH9 1PL

The Greek myth of Medea provides inspiration for the new work by the company Découpage Collective, which will be performed at Summerhall during the Edinburgh Fringe

The international company Découpage Collective will perform its new ambitious, visceral and intimate show “Screaming Body” at Summerhall, from the 4th to the 14th of August.

Screaming Body is the second play written by promising new playwright Léa Richard. Following the success of 2016’s tour of the original play “Lost Game”, Découpage Collective continues to explore new writing, relationships and live music with this new piece.

What was the inspiration for this performance?

Screaming Body was initially inspired by the

Greek myth of Medea. We wanted to translate Euripides’s story not only by adapting the words to a contemporary audience but also by changing the situation in which the characters find themselves and in the way we were giving shape to the new text. We were interested in questioning how a character associated with villainy can be brought into a more sympathetic light. 

Recently, we were also really inspired by the way in which “Things I know to be true” by Andrew Bovell manages to weave poetics together with real life situations, dialogues and characters. This type of work inspires the way I utilize metaphors in my work, not only within the language but as a main concept to drive the text itself. For example, deconstructing a singular character into multiple beings who together try to articulate the complexity of the human condition.

Finally, we decided to work with music from the first rehearsal and have this element become fully integrated as part of the story – almost in a cinematographic use of it. This constantly feeds and inspires the creation of the performance.

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

We hope it is, or that at least it suggests ideas and themes for the public to discuss in the aftermath of the performance. We aren’t looking to politicise ourselves or the story of Medea. We don’t want to force opinions on others. Rather, we are looking to challenge pre-existing ideas. Maybe the theatre isn’t always the space for a discussion, but it certainly remains the gateway for ideas to be shared and expressed, a prompt for further discussion to occur.

How did you become interested in making performance?

Everyone in the company has had different reasons to want to make theatre, to be on stage and to create but we all met at Rose Bruford College on the European Theatre Arts course. We learnt to make theatre together and we found different ways to tell stories that we want to tell. We became interested in moving away from the classical way of staging a play: one actor for one character representing the actions in a chronological order. We wanted to explore the ways of translating a story from the intimate experience of one of the protagonist to a more multifaceted approach.

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

At the heart of making this show was the principle of collaboration whilst maintaining a strong ownership of our individual skills. There’s an interdisciplinary approach found in the written text and the composed score which shares a dialogue throughout. We didn’t want anything to be completely fixed and that’s why Marie-Laure (the director) encouraged the performers to always react to one another and allow each performance to continually grow and evolve.

Does the show fit with your usual productions?

Yes. Last year, I (Léa Richard) wrote Lost Game, the story of a prisoner embodied by four different actors in order to translate all the facets of his personality. This is what Découpage Collective aims to do as a company: deconstruct a character in order to give a more complete and complex picture of their being. 

However, Screaming Body takes this a step further, exploring this more deeply with the use of the music, which offers yet another insight into the character’s frame of mind.

What do you hope that the audience will experience?

We hope they will be moved, engaged, invested in this story. We want them to be impassioned. Even if they disagree with Georgia (the main and only character on stage), if they are enraged, it would show we had succeeded to translating Euripides’ story in more ways than just literally adapting the words. 

We want to challenge the audience’s assumptions that the character of Medea, viewed through the lens of Georgia, must remain an unsympathetic villain.

“Screaming Body” deconstructs a singular character into multiple beings who together try to articulate the complexity of the human condition. Two female performers portray the character of Georgia, inspired by Euripides’ Medea, separated by timeline. The interaction of these two embodiments of the character reveals the moral and emotional degradation of a rational woman who is twisted into the devastated and vengeful Georgia that commits homicide and infanticide. 

The performance deals with Past Georgia and Present Georgia meeting to expose Georgia’s story to the audience through visual storytelling and the contemporary writing of Léa Richard.

On stage also is the composer and musician Holly Khan, musically capturing the third facet of Georgia. She uses a loop pedal, a Viola and a Kalimba in order to musically translate on stage Georgia’s subconscious while giving a strong atmosphere to the play.

Through the eyes and heart of one of theatre’s most infamous wronged women, we explore the emotional, marital and social betrayals of a young woman placed under the mythological microscope.

Screaming Body was first performed at Theatre Utopia and at The Space Theatre.

About the company

Découpage Collective was established in 2015 with their first production Lost Game, also written by company founder Léa Richard. Lost Game had a successful tour in Summer 2016, performing in the Dreams Before Dawn Festival in Paris, in the fantastic venue of Summerhall at the Edinburgh Fringe and in the Garage International space at the Avignon Festival. All performative, directorial and composing members of the company were trained at Rose Bruford College of Theatre and Performance through European Theatre Arts, a course that centres itself on the importance of the ensemble. European Theatre Arts trains their performers through the methodologies of a vast variety of European Practitioners who specialise in physical and devised theatre.

Lost Game tells the story of a prisoner, embodied by four actors, who longs for the woman he loves to come to him and their abusive relationship is unfolded. Screaming Body aspires to develop the use of visual thread work of stories to the subconscious of a character that they began with Lost Game in order to materialize a stronger illustration of the mind of Georgia to the audience.

Découpage Collective also has a research Strand, “Découpage Lab”, led by Oscar Zito, providing workshops in Europe and America. To learn more about this, visit: http://www.decoupagecollective.com/deacutecoupage-lab.html

”The faceted aspect of a doubtful personality, personified by an harmonious duo”

Venue and Tickets:

All tickets can be booked online: https://tickets.edfringe.com/whats-on/screaming-body-decoupage-collective

/ Box Office: 0131 560 1580

Summerhall is located at Summerhall Pl, Edinburgh EH9 1PL

WALKING : Just a short walk from The Royal Mile, Waverley Train Station and the Edinburgh Bus Station.

BUS : Lothian Bus Routes 3, 5, 7, 8, 29, 31, 47, 49 (to/from South Clerk Street) and 42, 67 (to/from our front entrance).

www.decoupagecollective.com

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