A Passive-Aggressive Freedom: Human Rights I

When I am not churning out press releases and pretending that they are a design project, I like to worry about human rights. Given that the Conservative Government seems intent on replacing the Universal Declaration of them with a version off the back of a cornflakes packet, that's probably not a bad way to idle. I'm even plodding my way through AC Grayling's book on the subject - despite his pompous prose.

As a intellectual anarchist (translation: smart-ass who uses anarchism as an excuse for doing whatever he likes), I used to argue that human rights are a fiction, anyway. There are no rights in nature, I proclaim, pointing to the bunny getting gobbled by a tiger. They are just some stuff that people made up.

Having said that, so are the works of Shakespeare, but they get taken seriously.

My attack on Conservative plans is a knee-jerk response - I am suspicious of a party that panders to the worst aspects of the political right, and allows Boris Johnson to represent them in public. But I am sure I shall, eventually, take a closer look at their plans, and be dismayed.

I promise to admit it if I think the plans are sound. But since politicians are more about making vague, general statements than thinking about the philosophical detail or implications of some random slogan that they randomly decide to accept, I'm allowed to be a dick about this. 

My favourite human right is this one. Taken from the European Convention, which is the one I think Cameron wants to dump.

Article 10 – Freedom of expression

1. Everyone has the right to freedom of expression. This right shall include freedom to hold opinions and to receive and impart information and ideas without interference by public authority and regardless of frontiers. This article shall not prevent States from requiring the licensing of broadcasting, television or cinema enterprises.

2. The exercise of these freedoms, since it carries with it duties and responsibilities, may be subject to such formalities, conditions, restrictions or penalties as are prescribed by law and are necessary in a democratic society, in the interests of national security, territorial integrity or public safety, for the prevention of disorder or crime, for the protection of health or morals, for the protection of the reputation or rights of others, for preventing the disclosure of information received in confidence, or for maintaining the authority and impartiality of the judiciary.

It does give with one hand and takes away with the other - the state still gets to challenge the freedom of expression - but the freedom of expression is dear to my critical heart. I mean, you can't ruin a dinner party in a state that won't allow discussion of certain ideas.

Even so, I don't see why anyone would object to this: it's not like it prevents the state getting pissed off with an expression of this right. They can whack people into jail, or at least censor them. Only they have to prove that it is prescribed by law. 

There will be legal challenges and that - which is what the courts are for, to moderate the consequences of our freedom.

Then again, let's remind ourselves of Cameron's remarkable understanding of the how the concept of legality works.

Invisible Dramaturgy: Kate Cook @ Edfringe

THE FRINGE 

What inspired this production: did you begin with an idea or a script or an object?

The main thing to inspire my production was the Mass Observation Archive - a series of diaries written by real people since 1936. I came across one diary written in London during WWII which I became completely obsessed by. 

It was written by a wealthy widow who had two small children and absolutely loved the war. She found it thrilling and felt it gave her a sense of purpose. She desperately wanted to do some war work but was repeatedly thwarted in her attempt to do so. It is a really fascinating detailed and joyous account of how the war changed her life, largely for the better.

Why bring your work to Edinburgh?
There is nowhere like the Edinburgh Festival for the amazing atmosphere and openness of audiences - they seem ready to accept anything.

What can the audience expect to see and feel - or even think - of your production?
Audiences can expect to be entertained, moved, stimulated, astonished and a little bit educated.

The Dramaturgy Questions

How would you explain the relevance - or otherwise - of dramaturgy within your work?
Dramaturgs have an ability to stand outside the work and see it objectively. They seem to understand structure and story with ease. I was lucky enough to talk to one today about my play and he’s given me ideas on how to further develop the action.

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?
Old black and white films have been a great contributor towards my play. Films of and about the WWII era plus the melodramatic films of Bette Davis. Also books written by or about women of the era.

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 have created this play by acting out all the characters whilst filming myself on my iPad with my dog, Kenny, looking on in utter confusion.

What do you feel the role of the audience is, in terms of making the meaning of your work? 
The audience play quite a large part in my play in that they have to imagine the main character who is never seen. It is the audiences imaginations that make the play work.

Writer and performer, Kate Cook, a big hit on the comedy circuit, is a Funny Women semi-finalist, a regular Funny Women columnist and creator of comedy duo sensation Doodle and Bug. Her credits include Olivier Award winning West End show The 39 Steps (Criterion Theatre), Quality Street (Finborough Theatre), 1936 (Arcola Theatre), A Man For All Seasons (York Theatre Royal) and Tom Geens multi award winning film You’re the Stranger Here (Film 4).

Director Helen Donnelly’s credits include, Pig Girl (Finborough Theatre), Scum Bags (Rich Mix), Corrections (Intermission Theatre), Sticks and Stones (REDfest at Old Red Lion), About A Goth (Black Box Belfast), Far Away (Crescent Arts Centre Belfast) Lead Astray (MAC Belfast), Forgotten Footfalls (Ulster Hall Group Space Belfast) and Sitting Up for Michael (Northern Irish Tour)


Venue: Just The Tonic at The Mash House 

The Attic Room, 37 Guthrie St, Edinburgh, EH1 1JG
Ticket Prices: Mon - Fri £6/£4 Sat - Sun £8/£6 OR PAY WHAT YOU WANT (buy a ticket to guarantee entry or pay what you want at the venue)
Dates: August 6th - 30th (Excluding Aug 18th)
Time: 14.20 (50 mins)
Box Office: 0131 226 0000

Interview: https://thejohnfleming.wordpress.com/2015/01/18/kate-cook-potential-lady-macbeth-with-a-pipe-and-an-invisible-wooden-leg/

Giving this one a miss, I guess

Bully prison warden Bill Boss (Dieter Laser), has a lot of problems; his prison statistically has the highest amount of prison riots, medical costs and staff turnover in the country. But foremost he is unable to get the respect he thinks he deserves from his inmates and the state Governor (Eric Roberts). He constantly fails in experimenting with different ideas for the ideal punishment to get the inmates in line, which drives him, together with the sizzling heat, completely insane.

Under threat of termination by the Governor, his loyal right hand man Dwight (Laurence R Harvey) comes up with a brilliant idea - a revolutionary idea which could change the American prison system for good and save billions of dollars. An idea based on the notorious Human Centipede movies that will literally and figuratively get the inmates on their knees, creating the ultimate punishment and deterrent for anyone considering a life of crime. Having nothing to lose, Bill and Dwight create a jaw-dropping 500-person prison centipede.

Re-uniting the stars of the first two films (Dieter Laser & Laurence R. Harvey) The Human Centipede 3 (Final Sequence) is the finale the world’s sickest horror franchise deserves. Nasty, revolting, and utterly deplorable, if you thought the first two films were gross, trust us, you ain’t seen nothing yet!
Rowena McIntosh (off The List): I wouldn't go to see this if you paid me.
Mark Boyle (off BHP): No need.
Gareth K Vile: I did a little sick in my mouth.

Outspoken funnyman, author and actor Brian Limond

Outspoken funnyman, author and actor Brian Limond, aka Limmy, takes his ‘Daft Wee Stories’ readings to the city venue on Monday, August 3, with tickets for the show going on sale today (Tuesday) online at www.aberdeenperformingarts.com, by phone at 01224 641122 and at Aberdeen Box Office at the Music Hall and His Majesty’s Theatre.

“We are thrilled to add Limmy to our amazing spoken word line-up at The Lemon Tree,” says Aberdeen Performing Arts New Media Marketing Officer Andrew Raffan. “We are confident his huge legion of fans will be delighted to get the chance to see him live in such an intimate setting.”

This is a rare opportunity to immerse yourself in Limmy’s dark, surreal and absurd world, as he tells you some stories, and whatever else he thinks of, and gives you an insight into his hilarious and bizarre mind. Expect the unexpected.

CLOCKING OUT

16 - 20  June 2015
8pm
The Rag Factory
16-18 Heneage Street
London
E1 5LJ

Clocking Out is a new comedy from Siân Docksey, writer and comedian who has previously made work for BBC Radio 1 and Channel 4 Shorts. The play will be presented in the Rag Factory’s intimate Bangkok Studio, which will seat only 12 people per performance. Taking place entirely in Danny’s bedroom, where he has been hiding for almost a year, the play invites the audience in while Amanda tries to coax him out. But, as they embark on a night of no-consequence fun, Danny realises his manic pixie dream girl has brought some problems of her own.

Directed by Michelle Shortland, assistant director of the award-winning web series Dear Jesus and writer/director of comedy web series Sketchers, Clocking Out features Harry Winterbottom as Danny and Phoebe Batteson-Brown as Amanda, with Jessica Kathryn and Saul Boyer completing the cast.