The Fringe
GKV: What inspired this production: did you begin with an idea or a script or an object?
Gary Quinn: The original inspiration for this project was a chance meeting which occurred several years ago. On a night out, I bumped into a soldier who was on leave in between tours of Afghanistan. The young man had lost his friend and fellow soldier in battle. He told me that he wanted to and planned to kill Afghanistan soldiers on his return to the front.
Something about his conviction and troubled appearance stayed with me and over the years it caused me to think more and more about the damage we do to these young men to fight our battles. From this, the concept of the play was born and the play itself began to take shape in my mind.
Why bring your work to Edinburgh?
Contemporary Theatre of Scotland is based in the capital city of Scotland, home of the Fringe Festival. As this is the largest arts festival in the world, it seemed prudent to start promoting our show here.
What can the audience expect to see and feel - or even think - of your production?
In The Last Kill, the audience can expect to have real empathy with the character whilst perhaps also pitying his situation. Ironical laughter may be anticipated as they question the possibility of their own contribution to his situation.
The Dramaturgy Questions
How would you explain the relevance - or otherwise - of dramaturgy within your work?
Our performance was shaped largely by research into post-traumatic stress disorder and how this affects the psyche and their overall lives. To bring this to the stage, we had to consider how best to show the movement of time and place within the confines of a troubled mind.
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?
In the manner of Jerzy Grotowski and Peter Brook who were inspirational in moving theatre away from imitating cinematic styles and the 90’s In-Yer-Face theatre that brought the grit of reality into the classical setting, we hope to continue in these traditions of innovation by bringing entirely fresh interpretations to modern tales.
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?
Yes and no. There is a particular process but it is specific to each project as each story demands a certain method of development. For example, where improvisational development may work for one piece, a written script and a four-week rehearsal period (as it is for The Last Kill) may be most suitable for another.
What do you feel the role of the audience is, in terms of making the meaning of your work?
Without the audience, a performance is merely a rehearsal. Therefore, they define the meaning of our work through their own individual interpretations of it.
Why bring your work to Edinburgh?
Contemporary Theatre of Scotland is based in the capital city of Scotland, home of the Fringe Festival. As this is the largest arts festival in the world, it seemed prudent to start promoting our show here.
What can the audience expect to see and feel - or even think - of your production?
In The Last Kill, the audience can expect to have real empathy with the character whilst perhaps also pitying his situation. Ironical laughter may be anticipated as they question the possibility of their own contribution to his situation.
The Dramaturgy Questions
Our performance was shaped largely by research into post-traumatic stress disorder and how this affects the psyche and their overall lives. To bring this to the stage, we had to consider how best to show the movement of time and place within the confines of a troubled mind.
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?
In the manner of Jerzy Grotowski and Peter Brook who were inspirational in moving theatre away from imitating cinematic styles and the 90’s In-Yer-Face theatre that brought the grit of reality into the classical setting, we hope to continue in these traditions of innovation by bringing entirely fresh interpretations to modern tales.
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?
Yes and no. There is a particular process but it is specific to each project as each story demands a certain method of development. For example, where improvisational development may work for one piece, a written script and a four-week rehearsal period (as it is for The Last Kill) may be most suitable for another.
What do you feel the role of the audience is, in terms of making the meaning of your work?
Without the audience, a performance is merely a rehearsal. Therefore, they define the meaning of our work through their own individual interpretations of it.
