#edfringe 2017

[ootbnonsense]

This is so far, the Instagram Stories of Out of the Blue, which includes @jackandjoel1‘s performance and some of their stories.

I apologize that the audio in some parts were not recorded, and this will be uploaded in YouTube once the edfringe is done and they are no longer adding stories :)

[sallyjubbphotography]

‘A Gym Thing’ Production Shots which premiered at Edinburgh Fringe 2017.

A complex love story from an addict's point of view, tackling body image and bigorexia.

[theatrebubble]

Edfringe 2017 - Dear Home Office 2: Still Pending at Gilded Balloon Teviot

Edfringe 2017 – Dear Home Office 2: Still Pending at Gilded Balloon Teviot

With news of Theresa May’s deliberately misleading figures surrounding international students and immigration breaking this week and the anti-refugee/migrant sentiment surrounding Brexit still strong, Phosphoros Theatre’s return to the Fringe is very appropriate.  Dear Home Office 2: Still Pendingmay be a rather tongue-in-cheek title – giving a nod to both its sequel status and the Home Office’s…

[oxymoronish]

heads up dudes! i’m going to be at the edinburgh fringe from the 9th to the 21st.

might spam this blog with ramblings / reviews / etc while i’m there. be prepared for priceless anecdotes such as “i once witnessed phil wang drinking water at the pleasance courtyard” (2016), or “i exchanged the most awkward of hellos with mark watson outside a theatre” (2017).

if you get sick of all this, you can blacklist #edfringe 2018

ta!

[poetryasf-ck]

Good Grief #9 - Hannah Raymond-Cox

Hannah Raymond-Cox grew up in Hong Kong and San Francisco, and has bounced around the UK since age sixteen. She studied International Relations and Modern History at St Andrews alongside her career in poetry and her work includes original plays, slam poetry pieces, and bespoke poems. Hannah won the Stanza Slam, was a National Poetry Slam Championships Finalist for Scotland, and performed on the BBC Stage at the Edinburgh Fringe. She has gigged everywhere from the Royal Albert Hall to a tiny dive bar in Hong Kong. She is currently touring Germany as an actor and munching her way round all the Bäckerei available. Her debut book, "Amuse Girl", comes out from Burning Eye Books next year.

Why, if there was a reason, did you write this poem/these poems?

I wrote the show because I’d been approached after a gig in Edinburgh (Other Voices) and was asked whether I had a full-length spoken word show they could come see. I didn’t, and I felt like… well, why not challenge myself not only to do more long-form work, but share my diasporic story? Writing to time of 3 minutes where you’re essentially doing a persuasive monologue means that nuance and context is harder to achieve, and I wanted to frame my story not as one of moments of fear and loss but one of longterm survivorship.

Why, upon writing this poem/these poems, did you perform them?

I think that there was a sense that for me - it was important to share what abuse and the aftermath of abuse/loss looks like on a practical level, in a way that was performing victimhood but as a part of a larger queer diasporic narrative. For the audience I feel like a lot of us experience grief and loss and loneliness and I wanted to connect with others like me - to say hey, you are seen. Also, it was written to be performed. My background as an actor and spoken word poet rather than a page poet means that to me, some work is explicitly created in the medium for a reason.

How does performing this piece change how you look at what happened to you?

Not really - I feel like a lot of the changing happened during the writing process. It took me the best part of 9 months to write the show, and during the last 4 of those I was working with my director and turning in fortnightly revisions. When you’re editing hardcore like that, the preciousness and connexion to the trauma has to take a backseat in service of a good story for an audience that you can deliver consistently every night.

How do you separate artistic performance from lived personal experience?

I feel like most conscientious poets I know are aware that we perform authenticity, and that means that lived experience gets condensed and presented in a way that makes an impact. My lived experience wouldn’t rhyme, it’d have way more hesitations, deviations, and repetitions, I can’t present an hour of it and go The End - it’s a show. No one piece of work can fully articulate the constant complex changes in how I feel about what I’ve lived.

Do you find yourself affected negatively by performing this piece? If so, how do you look after yourself?

I was terrified the first time I shared it - the sense of ownership was huge, and it took a great deal of trust to hand over my script to someone, and the first time I performed it was also huge. But I now treat it like a job to a certain extent - if I were being triggered or emotionally tired out more than usual in the course of a normal acting job then I’d have had to go back to the editing table and see where I could build in safety measures for myself. For me, poetry is inherently performative, and having years of acting under my belt helps me delineate performance emotion from my own mental state. Writing helps delineate too, like POLARIS’ format of “snapshots” and “scene” literally being said helps me reset my breathing and emotional state between scenes and reminds me and the audience that this is all constructed. I’m not Brecht, but I borrow bits...

Do you practice any aftercare after performing this piece (either for yourself or audiences)? (E.g., talking to audience members who are upset, taking some time out after your performance to ground yourself, ensuring you perform in places where you feel safe etc.)

Personally, I go for a pint with friends who enjoyed the piece. I warm down the same way after my spoken word show as my traditional theatre work. If I weren’t able to perform the piece without touching the unsafe parts, then I wouldn’t perform it. I feel like part of my job as an artist is to be able to reproduce the same experience every show for an audience… The great thing about the conventions of theatre and spoken word theatre means that the safe space notion is a compact made as soon as an audience enters a space with clear performer space vs audience seating. I think it does a disservice to say that as artists we need to practice aftercare for an audience - that’s not a responsibility of the performer to police or preempt reactions. Triggers and grief are so personal that what would you warn for? Frequently, trigger warnings beyond the vaguer “mature themes” remove nuance and subtlety from a piece, I’ve found. I’d rather challenge an audience that let them self-select out with my own interpretation of concerning parts of the show...

Do you do any content warnings for this piece? Why?

I do but I keep them generic! Considering the show sits in the realm of spoken word theatre, warnings are on all marketing materials and are necessarily programmed in to the theatres’ booking systems. It’s an important part of marketing a show - to know your audience and your demographic targets. I also definitely don’t want any kiddos walking into a show created for a more mature audience. POLARIS’ content warnings are: 15+, strong language, and mental health themes. Any more than that and I feel like we’re stepping into the realm of spoiler territory and nuance removal, and I feel like I’ve given enough information to the audience in other material. That material includes biography, reviews, the short and long copy for flyers and websites, the visual design of the poster itself, and more.

Does the artist owe any kind of protection or safeguarding to their audience?

In a vacuum/ideal world, the performer has a duty to one thing and one thing only: making the best piece of art they can, which says something, and communicating that something to an audience in a reproducible and safe manner for themselves. They are not there to warn the audience, make the audience feel comfortable, or look after the audience’s reactions to their work (unless directly funded to produce media that does so).  We can't cotton-wool art because it's an important medium for raising awareness, for reflecting life back at us, and for representation. Other things too, but they're less pertinent to the conversation and a medium associated with telling a “truth” to a “power”. Triggers can come from many things, not just things that can be classed as art - we as a society don’t expect them elsewhere, what makes spoken word different?

I think that the warnings in front of a typical show (eg. strobe lights, mature themes) work well enough now. We have content warning systems for some arts (cinema and video games really stand out for the level of detail available pre-purchase) but almost nothing for others, particularly books and theatre. For cinema and videogames, solitary and personal media, that makes sense to provide a measure of information to consumers who may have the ability to pause the medium or want to allow kids to watch material beyond the suggested age rating. Theatre and books, which performance poetry most closely resemble, do not warn beyond blurbs on covers or through supplementary materials used primarily for marketing. They allow for exploration, challenging those who engage with the work in a different way.

Part of the problem with asking the performer and writer to provide content warnings and/or aftercare for the audience is that the performer/writer is usually a) too close to the work (in poetry, the content’s usually personal in nature), b) busy pre-show and post-show working on performance itself and may not want to break character of “performing”, c) drained/busy at the end of performing, and d) the only person doing everything associated with that performance! A small example: halfway through my month-long run of POLARIS at Edfringe 2017, a man who’d watched me perform cornered me immediately after and asked me to talk through his reactions to the show with him, then and there. I was in the middle of set take-down, turning around the space, was tired and mildly out of breath, was emotionally resetting from the show, and was absolutely not in the right space for the conversation he wanted to have. I'm not a psychiatrist, and I don't know about any trauma other than my own. I was one person, doing the work of 5, and in that moment, I wished desperately for another person to manage audiences - with funding, of course, that a spoken word solo show doesn’t have.

Additionally, you don’t approach an actor at a traditional theatre stage door and expect a verbal warm-down, nor do you corner a writer of a book you like and ask they help you with the themes/your reaction to their work. Not to go all “Death of the Author” on this, but like - people have approached me post-show with a myriad of different interpretations on “emotionally fraught” sections. They ranged from reasonable (depression) to out of the blue to me (eating disorders) - even with my imagination on full blast I could not have predicted their personal reactions to the work. If I listed every element of the show I could think of, I still would have missed a content warning that occurred to someone somewhere. The nature of the piece is that - as adults seeing a show on queer themes and mental health, the obligation is on the person who’s chosen to consume that media to decide whether it’s appropriate or healthy for them.

If the piece has funding beyond the usual spoken word operation, in which the poet is performer, marketer, director, producer, and front of house, then there are more options. It could be good to have content warnings but in a way that isn’t visible to people unless they want to see them (so a visible warning saying ‘content that may be disturbing, ask a member of staff, or similar). That would keep both camps (the ‘I need to knows’ vs ‘I don’t want any spoilers’) happy, I reckon. Box office/FOH would be provided with a list, which the performer/producer draws up prior to the tour as a part of the tour pack. There could also be further supplementary materials, like a website for content warnings. A bigger budget, like for Trainspotting: Live! enables you to do fun things like have scratch cards with content warnings that you physically have to work for to reveal… Or you could try and set up a nationwide age rating scheme like for video games and films, but that requires maintenance and a solid review board, neither of which the spoken word scene seems likely to be able to do.

In conclusion, I think that if you engage in art then you're bringing yourself and your experiences and your worldview to it: the artist can't control if those things include triggers beyond a typical age rating and “mature themes”. So if, for example, extensive talk of food triggers you then do your due diligence pre-show and at worst, don't come - it's in the synopsis of POLARIS, on flyers, on the website, and more marketing media. If you're triggered during the show then that genuinely sucks but as far as I'm aware, it's unfortunately part of having dealt with trauma. As for post-show, well, the BBC provides links to Samaritans and other organisations at the end of their programmes. I’d rather put the onus on the audience to find ways of processing art that work for them, and encourage them to take responsibility for their reactions.

Do you believe writing about areas such as grief, loss or trauma is a form of healthy catharsis or memorialisation?

I’m not qualified to answer this question, like, at all. I’m not a therapist working directly with the person who’s going through it. So...it depends on the individual. Writing can be healthy! Or it can lead to fixation.

What kind of warnings signs would you point out to someone new to poetry or performance who was performing about their traumas?

I suppose I’d ask the person to ask themselves why they’re doing it, if they’ve got another safe place to process trauma, and to gently caution them from using poetry as a form of therapy. If you find performing the poems trigger you or leave you mentally unsafe, don’t do it. Work on editing, work on the craft, and by understanding how best to say what you want to say, you can create distance and reproducibility for performing poetry.

[vileart]

Stealth Dramaturgy: Paul Wady @ Edfringe 2017

Stealth Aspies

5 autistic people tell it like it is. 

A cast show entirely of people diagnosed on the autistic spectrum.

Bar 50, venue 151, 1pm between 11-19th

Paul Wady of the original Guerilla Aspies solo show (3-10 then 20-27th @1pm this fringe) has brought together a cast of five fellow autistics.  Last year I put out a survey on Twitter (@StealthAspies) to find out about when people received an autism diagnosis 

later in life, or were forced to remain in the neurodiverse closet.

The resulting 22 responses (so far) will be performed together with poems and autobiographical pieces written by the cast. 

Nothing like this has been performed anywhere ever that we know of.  This is not pity porn, nor the sad tales of people who want to be neurotypical. It will be entirely devised by the cast.

These are the life experiences of a kind and a tribe that has empathy for its own members. 

(Different people depending on different days)

Alain English

Sarah Saeed

Hannah Yahya

Jason Why

Paul Wady

Janine Booth (and son).

100% ASPIE.

What was the inspiration for this performance?

I wanted to innovate a way of converting audiences en mass to my nature, which is autistic.  

I had been using Powerpoint to train professionals in what it was like to be an autistic adult, and decided to adapt it as a show narrative vehicle.  it's worked out very well although it usually crashes half way through - which I have a whole routine around.  

I did not have anyone to base my work on because no one has done anything like this before.  My friend Cian Binchy had the same problem when he created his show about being autistic at the same time.  We seem to be unique.  I would prefer if there were a lot of such shows.  

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

Yes, since my show is audience interactive all through.  It's a great medium providing you have lots of time and not a confining slot.  I have to watch my piece as I love to talk to people and if I find any other autistics in the audience, I try to do it with them.

How did you become interested in making performance?

I joined the Everyman Youth Theatre back in 1982.  I went on to a 3 month tour with a theatre group in 1983 and an entire year in a YTS scheme for theatre, the Rathbone Community Theatre Unit, Liverpool.  

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

Attempting to be myself in front of and with an audience, when I am only diagnosed these past 13 years.  I am still discovering my true nature int he face of a lifetime of hiding and masking.  It's quite a unique experience to share it.  The narrative is something I am still developing each time I do it.  

Does the show fit with your usual productions?

Well since I go around training professionals in autism with another PowerPoint presentation, yes.

What do you hope that the audience will experience?

What it is to be an autistic adult.  To be part of a tribe and a kind of humanity that is forever stigmatised as diseased, disabled and inferior.

For us, they never stopped calling gays perverts...  It's the same for us.  

Guerilla Aspies  -  book out now on Ebay, Amazon & Kindle

http://ift.tt/18F4fDYB00R1S26F6  Kindle

NOW INTERNATIONAL BOOK SALES ON EBAY.

http://ift.tt/1qbrXCdGuerilla-Aspies-book-a-neurotypical-society-infiltration-manual-/142273459630?

http://ift.tt/2yrUhfIguerilla-aspies-show/ The Guerilla Aspies show picture blog.

https://themodelaircraftmuseum.http://ift.tt/2gkrxeathe-sun  My Music.

WWW.PAULWADY.COM

from the vileblog http://ift.tt/2ysEVra

[playitthroughdramatherapy]

Cardboard Citizens: Bystanders #DramatherapistAtEdFringe

Cardboard Citizens: Bystanders the stories of six homeless people and the many Bystanders who ignore them and fail them in their time of need #DramatherapistAtEdFringe #edfringe #EdFringe19 #edfringe2019 #homeless #Windrushscandle #assault

In 2017 there were 597 deaths from homelessness. At least 235 people affected by homelessness have died between January and June 2019 – an average of one every 19 hours. (https://museumofhomelessness.org/2019/08/14/shocking-new-statistics-the-dying-homeless-project/ )

Statistics can be shocking but they are rarely moving. Personal stories of homeless people are rarely told because who would…

[bobbysgarage]

"Can we just go ahead and lock up all these street performers." ⠀⠀⠀ ⠀⠀⠀ ⠀⠀⠀⠀⠀ ⠀⠀⠀ ⠀⠀⠀ ⠀ ⠀ ⠀⠀⠀ ⠀ ⠀ ⠀⠀⠀⠀ ⠀ ⠀ ⠀⠀⠀⠀ ⠀ ⠀ ⠀⠀⠀⠀⠀⠀⠀⠀ #capturestreets #35mm #sonya6000 #photo #photography #travel #thecreatorclass #sonyalpha #sonyimages #passionpassport #streetphoto #sonyalpha #streetshot #street_photography #street_photo_club #streetphotography #street #clouds #edinburgh #thisisedinburgh #SPiCollective #magnumphotos #people #architecture #edfringe #reflections #me #selfie #35mmstreetphotography (at Edinburgh Fringe 2017)

[producergathering]

Producer Gathering Edinburgh 2017 #1

7th August 2017, 1pm-3pm at The Traverse Theatre

Set up in partnership with The Sick of the Fringe and The Traverse Theatre

Hosted by Sally Rose and Emma Beverley

Making the most of the fringe – top tips:

-       It was agreed (jovially!) that getting invited to parties that are held during the fringe is a good way of meeting people and networking. It is worth researching what some of these might be, and sharing them with colleagues where possible (i.e. British Council Showcase parties, Fringe Central-led parties, etc.). If you are interested in attending, you should contact the organisation directly and make a case for your attendance. These are a great way of connecting and making international contacts.

-       Panel discussions and fringe central events were also discussed as useful meeting points.

-       Making connections with peers, and attending other artist shows and helping to promote these was noted.

-       Reciprocal marketing with shows with similar themes to yours both in and outside of your venue.

-       Common aims for the fringe included: creating future opportunities for a show, building profile for an artist or company and seeking international opportunities.

-       It was agreed that setting some individual aims for the fringe and checking in on these at the beginning / middle and end of the period was a good idea, as each experience will be relative to the individual/company, and you should create

-       The opportunity to connect with audiences you might not reach otherwise was noted.

-       It was discussed that there are other opportunities to perform during the fringe in cabaret/evening mixed bill programmes that can be a good profile boost for companies – notable ones were: Pollyanna & Dive.

 Sustainability / wellbeing / access considerations during the fringe:

-       We chatted about strategies for keeping well and ok during the fringe – both artists & producers, including:

·      alternate days off for physical performances

·      warm up spaces / cool downs

·      massages

·      routine & ritual before and after performances

·      company check ins

·      therapy sessions

·      meditation

·      conversations everyday on how things are going

·      finding out what practices or resources are available through Fringe Central, and TSOTF (i.e. Mindfulness videos http://thesickofthefringe.com/online-mindful-edfringe/)

·      shared performance deals – i.e. sharing with another company to ensure off days – we discussed if there should be more flexibility on this from venues – and that in order to ensure these kinds of measures they need to be decided well in advance and be immovable.

·      Talking to venues about gender neutral dressing rooms, toilets and other facilitie;

-       We also discussed ensuring that needs are met for company members, and identified in advance where possible so that they can be included in negotiations with venues (both during the fringe and outside of it) – these could be physical access requirements or others related to mental health and wellbeing

-       We discussed the idea of including an access line in budgets to ensure these requirements can always be met, along with company care lines. This ensures that accessibility is not forgotten, or left to contingency.

-       We discussed negotiating against cancellation clauses that put financial risk onto an artist, especially if they have identified access requirements that might impact on them being able to perform, and challenging these to be changed in contracts.

-       It was agreed that discussing the types of help and practitioners that artists might need to ensure they can perform effectively, especially when dealing with difficult, and autobiographical subject matter, should be discussed – and that supportive relationships between artists & producers are essential but that additional support should be sought where needed.

-       In discussing this we also spoke about collective support strategies for outlining the kinds of considerations that we discussed (i.e. mental health) and peer support in accountability, and in changing the status quo or policies of venues.

[danielefabbri]

I'm scared. #edfringe #2017 #gentleshyanticrist

[skippingismagnificent]

filled in the machfest volunteer application form, which means my year can now officially start! :D

[ootbnonsense]

Thanks to All the King’s Men who uploaded this.

[theatrebubble]

EdFringe 2017 - Assassins at The Space @Venue45

EdFringe 2017 – Assassins at The Space @Venue45

Of all shows that could be adapted for ‘relevance’ at the 2017 Fringe – a festival sporting many acts centring around Trump, Brexit, and civilian unhappiness – Finishing the Hat Production’s staging of Stephen Sondheim’s Assassinsresists this urge and is all the better for it.  Chronicling those who tried (and sometimes succeeded) to kill presidents of the United States through a heightened…

[taewanlim]

Promoting the theatre show whilst passing by the current of tourists visiting Edinburgh for the Festival Fringe 2017. It was surprising there were lots of drinks and at the same time a bit harder to look for beers and whiskeys from local breweries as a tourist. 😂Luckily, I could find really enjoyable coffee shop in Edinburgh and want to recommend! ☕️🤘🏼@brewlabcoffee #throwback #cvenues #edfringe #fringe2017 #festivalfringe #Edinburgh #Scotland (at Biblos)

[onlinevideoproduction]

Lost in Translation: A Bilingual Journey

Lost in Translationsize> A Bilingual Journeysize>

Adiu-Bonjour-Hello-Haló

What happens in the mind of a bilingual person?

Inspired by true events from the last three decades, the story follows heroine Marion through this coming of age tale that flirts with pop culture references and stereotypes while challenging our (mis-)conceptions about identity, home and communication. A hybrid piece about and beyond boundaries: performed in four languages (Occitan, French, English, and Gaelic), it playfully mixes comedy with physical theatre, storytelling with puppets and above all fantasy with reality.

Accessible and understandable regardless of which language you speak!

LOST IN TRANSLATION 4-28 August at 4.00PM (Except 7, 14, 15, 22 August) Venue 134 - IFE Randolph Crescent 13, Randolph Crescent EH3 7TT

BOOKINGS AND INFORMATION £8 (£6) www.edfringe.com and Fringe box office outlets throughout town

Institut français d'Écosse info ifecosse.org.uk 01312255366

A new piece of theatre by Théâtre Sans Accents

Performer and Concept Marion Geoffray Director Marcus Bazley Scenography Lucile Pages Graphic Designer Thomas Durham Gaelic Consultant Ann Paterson Photography Ludovic Farine

Previewed at Summerhall and Hidden Door Festival (Edinburgh), Warwick University, and London.

Lost in Translation on Facebook

Théâtre Sans Accents is an innovative Edinburgh-based bilingual theatre company that also teaches languages through drama to children and adults.

Liked the show? size> Try one of Marion's Fringe workshops Sur le bout de la langue.

Step into the Fringe with Théâtre Sans Accents! Whatever your level, join us in the Bistrot where you will have the opportunity to discuss all things drama with Lost in Translation performer Marion and channel your inner thespian!

Fridays 11, 18, 25 August 2017 18.00 - 19.30

PRICES Workshop only £8 (£6) COMBO Play + Workshop £14 (£12)

(Tickets for the workshops are not available from the EdFringe box-office. Please make sure you place your booking with Venue 134 - Institut français d'Écosse, 13 Randolph Crescent)

from Institut Français Écosse http://www.ifecosse.org.uk/Lost-in-Translation-A-Bilingual.html via IFTTT

[vileart]

We are Dramaturgy: In Bed with My Brother @ Edfringe 2017

It’s 1989. Manchester. A frenzy of drugs, beats and bucket hats. Illegal raves and acid parties. Jumping up and down in a field and throwing two fingers to Thatcher… Remember it? 

Cus we don’t. 

We weren’t even born. But Ian was. Ian remembers. Ian reckons we’ve got fuck all now. So let’s go back to the 80s, neck a brown biscuit and bounce around like idiots. Ian’s gonna show us how… 

The award-winning cult hit of 2016 is back What was the inspiration for this performance? Ian. Ian’s Dora’s step-dad. He asked us to make a show about his life. He wanted a massive 6-part Drama but we had different ideas. After a few beer-fuelled conversations in the pub, we became really interested in his experiences of the Acid House movement. He was our age back then. 

And also our experiences as young people now, living in a similar political climate. The show’s pretty hyper and funny like Ian. We wanted to make a show that expressed Ian as a person as well as talk about his experiences past. And we wanted to make something that he’d like. He says that he does like it, and that makes us proud. Is performance still a good space for the public discussion of ideas Yes. It’s a great space to present other people’s stories and lives and make other people listen; allowing people to empathise with other’s perspectives. Typically the Theatre isn’t a place where Ian’s voice would be heard, and we thought it was important to have his voice as the only one heard in the show. 

We also draw attention to the politics of 1989 and now and how the decisions of Tory governments have affected young people. We don’t think lecturing audiences is ever a good idea. We believe performance should be above all entertaining – we like to catch the audience off guard a little bit with the politics of our piece. How did you become interested in making performance All three of us are massive show-offs. We’re performing all the time. We all studied Drama together at University which is where we started showing-off together. We knew if we wanted to carry on being massive idiots and making shows, we’d do it together. 

We also first started to become interested in the same kinds of performance at University; physical clowny stuff and live art – and that stays with us now. Is there any particular approach to the making of the show We genuinely can’t remember how we made this show. It’s all a big haze of us all shouting and laughing and crying in a sweaty room together. We don’t really have a ‘process’ I guess that comes from us all being mates. 

We’ve been making and changing WE ARE IAN for about 2 years now, it’s constantly developing. We perform things that we think are fun. If it’s not fun for us, then it’s probably not fun for an audience. Does the show fit with your usual productions? This is sort-of our first show. We made a sort-of installation, short cabaret style performance before this one – which was a grotesque, syrupy bouffon thing which stemmed from Kat finding video tapes from a Theatre school she used to go to as a kid. I guess we make work that’s sort of weird and visceral rather than narrative based. 

And we don’t do scripts and dialogue and stuff. Rather than words, considering the charge of mediums such as music or video – we often try to piece together found-footage to create a feeling or understanding of a person or time. What do you hope that the audience will experience Loads. We want the audience to experience loads and loads. We want them to experience a real rollercoaster or emotions (awkward cliché alert) reflecting both the highs and lows of the Acid House movement. But yeah, WE ARE IAN is kind of visceral… just us dancing and sweating and really giving it some. We hope it rubs off a bit on the audience. What strategies did you consider towards shaping this audience experience? We want to show the audience rather than outline or state what we’re trying to say. We want the audience to feel. WE ARE IAN is completely scored by big, loud, soulful House classics and we use the music to convey the hyper happy times, but also there are also loads of bassy, sinister tracks that we use to show what it felt like when everything went to shit. The music takes us and the audience through the acid house movement and in this we’ve found that the lyrics, beats and rhythm often reflected the political angst felt by the young people back then. 

The house movement, essentially formed around people getting up – dancing and defiantly having fun despite the grey political and social landscape thrust upon them. We wanted to give our audience the opportunity to do that now – in our own political landscape (arguably also pretty grey). Which is why audience interaction and involvement is at the heart of WE ARE IAN. They join us in every step, discovering the drugs, the music and the dance moves – and when we arrive back in 2017, it is their decision whether or not raving is a communally political act.

from the vileblog http://ift.tt/2fXoDPG