#rhyannon styles

[jaynedolluk]

Read The New Girl. A Trans Girl Tells It Like It is by Rhyannon Styles. It’s her autobiography + deals with her career as a cabaret performer (as Ryan Styles) and her growing acceptance/realisation of her trans identity + her ups + downs in dealing with this (the physical + emotional changes, how her family reacted etc). I really liked the book, she’s an engaging writer + is honest about her life + comes across as warm + funny. 

“I don’t think of myself as someone who is between two opposites, because I don’t regard my male and female ‘genders’ as opposite ends of a spectrum. It’s the end of 2016 as I write this and I’m throwing out the labels, the assumptions and the rulebook. I won’t let anyone else reduce my gender to either female or male; my identity is an energy that is unique to me. I feel that as my transition has progressed, my male and female self have actually become one, Ryan and Rhyannon have become one.

However this is labelled, and regardless of how uncomfortable this might be for others, I see it as a spiral of two equal parts circling around a central point of love and acceptance. For now, I want to continue my transitioning journey to the undefined space that exists beyond my vision.

There is no end.....”

[every-alice]

Rhyannon Styles is a columnist, author, performer and model. She began her transition at the age of 30 in 2012 and in 2017, launched the 'Stand Up Stand Out' beauty campaign in collaboration with The Body Shop. 

[chloemetz]

Book Review: The New Girl: A Trans Girl Tells It How It Is - Rhyannon Styles

You're going to want to read @rhyannonstyles - The New Girl! Check out my review NOW! #LGBTQ

Imagine feeling lost in your own body. Imagine spending years living a lie, denying what makes you ‘you’. This was Ryan’s reality. He had to choose: die as a man or live as a woman.

Rhyannon is brilliant, to put it simply. Throughout her life she has been a light in what sounds like quite a bland place to live for someone so fabulous. After being assigned male and named Ryan at birth,…

[sbelikeswords]

#30daysofbooks day 9: a book by your favourite LGBTQ2+ author. . I’ve slacked on this project for a while. Once I hit this day, I felt like as someone who pushes hard to be a visible trans person, I needed to make a bigger impact with this one than most. . But the truth is, I haven’t read that many books by queer authors. About a year ago, I took a look at my shelf and realized how straight and male it was. I’ve made an effort to change that over the last year, but still, my oeuvre is pretty shallow. . I’ve read some wonderful books by queer authors. Some notable mentions include I’m Afraid Of Men by Vivek Shraya, The New Girl by Rhyannon Styles, Girlfriend In A Coma by Douglas Coupland, and Gender Outlaws: The Next Generation by Kate Bornstein. The one I enjoyed most, though, was Fierce Femmes And Notorious Liars By Kai Cheng Thom. . Fierce Femmes has an underground, punk rock aesthetic. It recognizes that trans people aren’t mainstream, queer culture isn’t mainstream, and it will probably never be. As we continue to gain representation in mainstream media, it’s important not to lose sight of that reality. It's great to see shows like Pose gain accolades, and openly queer characters featured in more mainstream TV shows. But these are still representational distilled through a mainstream lens, safe and palatable for the average viewer. . Our very existence is a threat to the cisnormative status quo, as are the characters in Fierce Femmes. . . . . . . #books #bookstagram #instabook #bookaddict#booklover #booklife #bookphotography#readersofinstagram #reader#instaread #readinglife #bookstagrammer #igreads#igbooks #ilovereading #readingtime #ilovebooks#bookblogger #readmorebooks #bookgeek #bookobsessed https://www.instagram.com/p/B5k2gNbnjf6/?igshid=584eo86pn9eg

[evaorganza]

alecd30

Rhyannon Styles

Rhyannon styling.

[myhrmaid]

Anthony Head interview for Love in Idleness- Loose Ends,  BBC Radio 4

[xyouseix]

Arialista | My Protector

Artwork by John-Paul Balmet.

A note about this chapter: This story from Arialista’s childhood was written by my Dungeon Master, @dm-anubis, with some very minor tweaking done by me. I gave him permission to write this for my character as it pertain’s to her mother, Countess Rhyannon Wynmar, since he knows best what happened to her after the Destruction of House Wynmar...

Wynmar Estate Gardens, c. 1475

On the outskirts of the peaceful town of Aunden, on the third floor of Wynmar Manor, golden eyes watched out from the bedroom window as the gilded carriage disappeared into the horizon. The small tiefling girl followed it’s progress rolling down the cobble road, taking Count Wynmar away, away from home, and leaving his only daughter behind. Arialista sighed, letting the curtains slip out of her fingers as it had finally vanished into the woods at the far edge of the estate.

Leaning back against the wall, Arialista closed her eyes and tapped her horns on the wall behind her softly.

Alone again, she thought.

She wasn’t really alone though. There was always her handmaiden Ester, the household servants and tutors, and of course Jenvyre, her main teacher and governess. However, whenever her father left she always felt alone. Around her the household was filled with humans, and the only visitors were other humans or elves, though Jenvyre herself was a half-elf. She felt like she stuck out with her red skin and her horns and her golden eyes. But when her father was home, their matching golden eyes left no doubt that she belonged, even though he was a human.

Above all this though, the person who made her most anxious was her mother. She always changed from coldly manipulative to outright abusive whenever her father was not around. The young girl rubbed her rump, remembering the last time when her mother had struck her for being in the same room as her for too long.

Shaking her head, Arialista finally got up and crept across her room, peering down the hall to make sure the Countess wasn’t there. Perhaps if she was very careful to avoid her, she wouldn’t be victim to the Countesses violent outbursts.

As Arialista swiftly snuck across the hall and down the stairwell, she thought of her one saving grace remaining without her father being around: Jenvyre. While the other servants would not dare to speak or act out against the Countess, Jenvyre took Arialista’s safety very seriously, though she was a hard teacher on Arialista.

After reflexively checking one last time to make sure her mother was not around, Arialista dashed outside.

⚔️

Countess Rhyannon had never acted like her mother. Once, when she was five, the young girl had overheard her screaming that she was not her daughter, as well as numerous other more offensive comments, while arguing with her husband.

That thing, that demon child, is not my daughter! I could never birth something so impure!

Arialista snapped a dry reed out of the garden ground and swung it around going through a sequence of motions as though it was a sword while her mind wandered and her feet carried her through the practice gardens. As she thought about how the Countess had a habit of calling her “the demon child” and any number of other more unflattering comments, Arialista grew frustrated. She swung her reed weapon with more furious strokes, finally spinning and striking something solid. Arialista blinked as her reed snapped against the practice sword drawn up against her, but after a moment her rushing heartbeat quieted enough for her to recognize the familiar half-elven face of Jenvyre.

“Now that’s a very undisciplined style Arialista.” A slight smile twitched at the edge of the woman’s lips.

“I’m sorry mistress, I wasn’t...” Arialista trailed off, not sure where she had been going with that sentence. Thankfully Jenvyre saved her the trouble by handing her a practice sword, it’s wooden length much heavier than the reed she had been previously swinging round. It was a comforting familiarity, one that had begun to grow on the young girl in the past few months since she had begun training with weapons.

“Come then, emotion is helpful if you can control it, child.”

The two spent the better part of the morning there in the garden together, swinging their wooden practice swords against each others in simple exchanges. Arialista thought she was getting pretty good at it, but Jenvyre was a seasoned veteran and only lost a combat maneuver when she used it to show Arialista how to do certain maneuvers.

Eventually, her arms started to get tired, which meant her parries were becoming less controlled and precise. Jenvyre picked up on this quickly.

“That is enough for now Arialista,” Jenvyre said.

One of the house staff came over with some iced tea, mercifully prepared just in time to spare the young noble from further training.

Did Jenvyre stop because the tea had come out? No, she she must have signaled for it when I wasn’t looking... Or were the servants just exceptionally good at their jobs? All these thoughts ran through the little girl’s head as she rubbed her tired arms and gratefully accepted the tea.

“You have improved much since we started. I’ll make a swordswoman of you yet.” Jenvyre smiled, sipping her tea.

As the servants left the two alone in the garden patio she leaned over and ruffled the tiefling’s hair. This show of affection from the half-elf woman was a welcome relief for the young girl, who smiled into her cup. Arialista considered Jenvyre more of a mother than the Countess, though she could never tell Jenvyre that. Jenvyre herself knew she had to be careful in showing such attention to the girl. She was kind to Arialista, and took her side on all matters, but didn’t always let the girl see it.

“I was going to go look for some lilies on the far side of the garden so I could maybe make a wreath for when father comes back!” erupted Arialista as she put down her empty cup, rejuvenated and excited now. Jenvyre’s affection had purged the darker thoughts of earlier from her young mind.

“Your father won’t be back for a while, young lady. A ten-day at least. Wouldn’t you rather have fresh flowers for him?” was Jenvyre’s patient response.

“Hmmm. Then I shall do a practice one today, and maybe, if Ester think’s it is good enough, she will help me make it better so I can make a really nice one with fresh lilies for father!” Jenvyre laughed at the beaming smile on the determined tiefling’s face.

“Very well! Off you go then, and be careful in that garden. I will fetch the servants to clean this up and then I’ll come check on you.” Jenvyre paused. “Or would you rather I send Ester?” The half-elf pondered as though it were an incredibly important political debate, which to a child perhaps it was.

“You come!” Arialista gazed up at Jenvyre with admiration for a moment more before darting away from the table, energy rekindled, off into the gardens.

Rounding the edge of the manor, Arialista stalked through the flowers carefully, stopping occasionally to smell them. The lilies she was looking for were in a part of the garden right next to a shrine, an altar-like building surrounded by tall hedges. Arialista didn’t really know the purpose of the shrine. None of her lessons had never led her there, nor had her father ever taken her to it for any reason, so the young girl assumed it was just for decoration. Right beside it there were tall hedges, and next to those was a bed of flowers enjoying the midsummer sun.

“May I have some lilies please?” Arialista whispered to the flowers. A light wind ruffled the petals and leaves, bending the plant stems ever so slightly. Arialista took it to mean yes, she could take a few flowers.

Carefully selecting the lilies she wanted, Arialista was already picturing exactly how magnificent her wreath would look. It took several minutes for her to even notice the sound of light chanting.

Arialista stood up straight right in the middle of the garden bed and looked around in a full circle, curious. It is definitely someone chanting, she thought, but I can’t understand the words. She stopped moving and listened harder. Its coming from the other side of the hedge.

Faintly, Jenvyre’s words echoed in her memory, “Be careful in that garden.” She unintentionally brandished her flowers like a weapon, her curiosity taking a cautious turn as she quietly made her way to the hedge entrance. Peering around the corner, the sound of soft chanting increased, and Arialista saw that someone was kneeling at the altar of the shrine.

The shrine was an old structure of stone with four carved pillars holding up a fitted stone roof with a hole in the centre, and no walls. A flat slab of stone held up by four angel statues made up the altar in the centre with a basin directly below the hole in the roof full of rain water from the week before. Barely any sunlight made its way past both the hedges and the overhanging roof of the shrine. Kneeling at the altar, hands on either side of the stone basin of water, was Countess Rhyannon Wynmar. Her noble robes had been replaced with more priestly garb, something which Arialista had never seen her in before. Eyes wide, the tiefling girl watched as the Countess drew a silver dagger and slit her own palm, dropping blood into the basin as she finished her chanting prayer.

“Please hear me, Archangel. Burn out the impurity from my blood. I wish only to be clean again!”

A pillar of flame rose from the water basin, no wider than a candle, stretching up three feet above the altar, before dropping down back into the basin. A cloud of steam mixed in with tendrils of red mist. Blood, Arialista thought. It rose from the basin, and the girl was sure that if she were taller she would see it was now empty. The mist shaped itself above the altar into a vaguely humanoid form, an arm reaching out to the Countess, who gasped in delight as Arialista gasped in horror, frozen to the spot.

“I only wish to be pure again. Please cleanse this blight. I need you, lightbringer–” before she even finished her sentence, the cloud of mist dissipated, rising up into the sky through the hole over the alter with alarming speed.

The Countess paused a moment, put the silver dagger away, then stood up and turned around. Her face turned from one of contemplation to pure outrage in the second it took for her to recognize Arialista’s red skin. Too shocked to flee, Arialista stood stock still as her mother stormed towards her and grabbed her by both shoulders.

“What are you doing here you horrid child? Spying on me?!” she screamed, spraying spittle in the girl’s face, her own face red with anger.

“No! I was picking flo–” Arialista was silenced by a tremendous blow to the face which sent her sprawling to the ground so hard she felt dazed. Barely able to even turn, she simply shielded her face from what she knew would be an even greater assault as the Countess took another step forward, roaring down at the prone girl.

“How dare you! I let you live in my house, under my roof, even though you are a cursed, blighted thing, and the moment that Allard leaves you stalk after me? You little beast. I’m going to–”

Whatever she was going to do was stopped by a strangled shout as a dark form leapt over top of Arialista and slammed into the Countess. Face still stinging, Arialista forced herself to look at what was happening.

Jenvyre stood protectively over the girl, a fierce image of a warrior as she held Rhyannon’s wrist firmly. Arialista had never seen the half-elf look so outraged. The Countess seemed equally shocked that Jenvyre would so brazenly challenge her. To her horror, Arialista noticed the Countess had a short whip in her hand to strike Arialista with, but a twist from Jenvyre dropped it to the ground.

“If. You. EVER. Lay so much as a finger on your daughter again, I swear by all the gods Rhyannon–”

“You– You can’t speak to me like that!” sputtered the Countess, too afraid of Jenvyre to even properly assert her rank.

“Hear this and hear it well.” Jenvyre’s voice had become very low and threatening. “You will not touch her. You will not threaten her. And you will not toy with me.”

“When Allard gets back I will have him send you back to your forest!” The threat of her words was belied by a hint of fear as the Countess wrenched her hand back, clutching at her wrist as she backed away.

“Do you hear me, Rhyannon?” that low threatening tenor seemed to growl out of the half-elf as Jenvyre took an aggressive step toward the Countess. Rhyannon nearly tripped but nodded and fled, only slowing to glare back at the two one last time before she escaped into the house. Jenvyre stood protectively over Arialista a moment more before a small sob from the girl changed her demeanor from protector to caregiver.

“Oh Arialista, my darli–” Jenvyre caught herself. “My lady, are you alright? Let me see your face.” Arialista tried to cover up the injury, but the bruise on her face hurt, and she thought she felt blood. She shivered, trying to avoid her governess’ gaze as Jenvyre inspected her wound.

“Come on, let’s go–” Jenvyre caught Arialista’s eyes and suddenly the tears the girl had been holding back burst forth. Seeing her charge in such a state made it hard for the half-elf to keep her composure, so she hugged Arialista tightly, protectively. Lifting her up in her strong arms, she took the child back inside. Nearly passing out from emotional exhaustion, Arialista heard only fragments of conversation between Jenvyre and Ester.

“Mistress Jenvyre, wha– Oh my goodness! The poor girl! I will take care of her– Mistress Jenv–”

“I have her, Ester. If I have to trance outside her door with swords drawn every night until the Count gets back, then so be it. If it keeps that horrid woman from coming anywhere near her, I will do what I must.”

“I understand, Governess, but… while he is gone, she is the master of this house.”

“She is not the master of me. What is she going to do, have me thrown out? I have trained all the guards, I’m sure they’ll be more scared of me than of her.”

Arialista faded out of consciousness. She woke again only briefly, noticing she was in bed, with Jenvyre sitting in the chair beside her, rubbing her temple. The half-elf started when she saw the girl open a bleary golden eye.

“It’s okay Arialista. I’m here. I’ll always be here.”

Arialista fell blissfully back to sleep.

[superqueerleben-gedacht]

Als Taschenbuch und E-Books verfügbar

Neu im Goldmann Velag

Was Frauen über Feminismus denken

In der Textsammlung "The future is female!" lässt die britische "Style"-Kolumnistin und "Pink Protest"-Gründerin Scarlett Curtis unterschiedlichste Frauen zu Wort kommen.

Herausgeberin von "The future is female" ist die britische Style-Kolumnistin und "Pink Protest"-Gründerin Scarlett Curtis; das Buch ist zeitgleich mit der britischen und der amerikanischen Ausgabe zum International Girls' Day am 11 Oktober 2018 erscheinen. Beiträgerinnen sind unter anderem: Emma Watson, Keira Knightley, Bridget Jones (von Helen Fielding), Saoirse Ronan, Dolly Alderton, Jameela Jamil, Kat Dennings, Rhyannon Styles und viele mehr. Außerdem exklusiv in der deutschen Ausgabe: Essays von Katrin Bauerfeind, Karla Paul, Tijen Onaran, Fränzi Kühne, Milena Glimbovski und Stefanie Lohaus.

https://amzn.to/2Rkbs8S

[thingsdavidlikes]

*link in bio* The beautiful Rhyannon Styles / @rhyannon_styles for my @unwomen / @unitednations Collaboration #OrangeTheWorld #EndViolenceAgainstWomen #16DaysOfActivism Florals by James Buswell / @jebbo88 Make-Up: Billie Butch / @billiebutch #eivindhansen by eivindhansen http://ift.tt/2AHCxPc

[jaynedolluk]

BOOKS OF 2018

This is very late but I still wanted to do it. (It only covers the books I read that came out in 2018 or a year or so earlier - I still have a big stack of books to read)

A couple of writers who’s work I really love are Nikita Gill + Fiona Helmsley (will definitely look out for more books by them). I don’t tend to read that much fiction but I did read Caitlin Moran’s How To Be Famous (the sequel to How Build A Girl) - one of the best bits for me was the character of Joanne ( think that’s what she’s called) who is so clearly based on Courtney Love she should get a co-writing credit :)

I read memoirs by Amanda LePore, Rhyannon Styles, Rose McGowan, and James Rhodes & John O’ Farrell (the last two were sequels). Also Michelle Tea’s book, Against Memoir which is more of a collection of essays on various subjects which I really loved. Another book I really liked was Chris Kraus’s book on Kathy Acker. 

Read a few self help type books this year plus a couple of good ones on mental health - Matt Haig’s Notes on a Nervous Planet + Natasha Devon’s A Beginner’s Guide to Mental Illness (they both look at mental health but also consider the wider impact of issues in society/popular culture) . Read Recovery by Russell Brand which I liked but I preferred the bits where he wasn’t just going over the whole 12 Steps thing. Loved Ruby Tandoh’s book Eat Up which talks about food, appetite + issues around food with a few recipes thrown in - everything from food in prison to how fat people are treated to issues around the concept of ‘clean eating’ - her writing is engaging + interesting and she talks about the joys of eating Creme Eggs or drinking cold Coke straight from the fridge as well as cooking healthy vegan stew or cake. 20th anniversary edition of Cunt came out (I really must try + compare it to the original to see if/how it’s been changed) 

Was delighted to see The Story of The Face, a big coffee-table book full of gorgeous pics detailing the rise + fall of the iconic style mag.

Also read You Play The Girl by Carina Chocano which looks at various female roles in popular media. + The Girl by Michelle Morgan which examines Marilyn Monroe from a feminist viewpoint in particular around the time she made The Seven Year Itch,

I read Andrew O’ Neill’s book on the history of heavy metal which is very funny but concentrated a lot on speed/thrash/black metal (which I’m not so keen on). And Joseph Vogel’s book, This Thing Called Life which looks at the various themes in Prince’s music over his career. Also a book I really liked was We Were Going To Change The World which is interviews with women involved in the California punk scene in the 70s/80s. 

Undoubtedly my favourite book of the year was Good Booty by Ann Powers which looks at race/sex/gender + how they have affected/been influenced by popular music in America.

[vileart]

Dr Carnesky's incredible bleeding Dramaturgy: Marisa Carnesky @ Edfringe 2017

Its time to reverse the curse! Because the revolution will be menstrual!

1970s horror meets 2020 feminist activism as Dr Carnesky's Incredible Bleeding Woman paints Edinburgh red

Putting the magic back into menstruation, showwoman and artist Marisa Carnesky reinvents menstrual rituals for a new era drawing on the hidden power of a forgotten matriarchal past. She is joined by amazingly skilled stars of the UK's alt cabaret scene - an eclectic group of women performers aka The Menstronauts who combine activism, art, humour and stagecraft. Delivered with a tongue in cheek reverence, the show mutates from a curious ladylike lecture into a glam 1970s magic show and finally into a spectacular 2020 feminist activist ritual.

Referencing representations of women and blood from ancient mythological deities and traditional human cultures to classic horror movies, here menstruation takes centre stage in a profound exploration into what it means to be ‘female’. Issues around fertility, body shame, taboo and lost ancient herstories are scrutinised, politicised & reclaimed.

With a potent brew of horror and parody The Menstronauts perform mind blowing menstrual rituals utilising all manner of skills, tricks and props from hair hanging, a sawing in half illusion, sword swallowing, gushes of strawberry jelly, floods of theatrical blood, spurts of red lipstick and an unstoppable flow of sheer heart and soul. Starring Marisa Carnesky, Fancy Chance, Rhyannon Styles, MisSa Blue, H Plewis, Sula Marjorie Plewis Robin and Nao Nagai.

What was the inspiration for this performance? 

It stemmed from my (Marisa Carnesky) research into menstrual rituals for my PhD at Middlesex University. I gathered some amazing women performers from the cabaret scene I knew together and asked them to reinvent menstrual rituals and create some menstrual activism with me. The show is the result.

As a group of women we were all going through different challenges to do with our bodies, from  miscarriage, infertility, childhood body shame, transitioning gender and childbirth. We wanted to explore new ways to mark and represent these experiences through performance and ritual.

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

We have found it to be really important and effective to bring a live show that really connects and touches people with issues that we face around our bodies. Because we are live people experience the show communally together and the shared energy in the audiences reactions can create poignant and cathartic group reactions, as well as all the fun of being at a spectacular circus show.

How did you go about gathering the team for it?

I had been working with these artists in a number of projects through the east London alternative cabaret and live art scenes. We have worked together on a number of projects including our Ghost Train ride show that was in Blackpool and a rollerskating spectacle for the Cultural Olympiad based on the tarot.

How did you become interested in making performance?

I trained as a ballet dancer and then discovered the avant garde, punk rock and magic! I love creating performance, devising it, teaching it, performing it! I live and breathe it now for over 25 years and yet this is the first time I have brought one of my own productions the Edinburgh so I am excited to see how it is recieved!

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

We did an amazing experiment in this project where we only created the acts on the dark of the moon on the beach every month for three months on special performance retreats at the Metal artists residency house in Southend….its witchy stuff indeed! 

Then we got together for one week at the National Theatre Studios and pulled the material together. We further developed it by continuing to meet every dark moon and creating activist performance events and connecting with womens marches and campaigns.

Does the show fit with your usual productions?

None of my productions are usual…they are all unique investigations into ritual, gender, politics, spectacle and what makes us human…. From an arthouse Ghost Train in Blackpool about immigration and disappearance to a rollerskating psychedelic spectacle about the tarot and collective change we try to meld performance forms, popular and high culture, political issues and visions of the conscious and unconscious experience.

What do you hope that the audience will experience?

We hope they will think about menstruation in a new light, be informed by the real research, entertained by our spectacle, showwomanship and humour and moved by our personal journeys.

What strategies did you consider towards shaping this audience experience? 

We think its important to address the shame long associated with the female bodilly cycle but we want to do that and make work that is both entertaining, current, knowing enough for contemporary audiences and speaks to a diverse mixture of people from different walks of life and experience. 

The material is both fun and popular in style but also serious and arty. We are activists and we are here to act and use everything we have in our box of tricks to create experiences that speak to people and move them.  

Collectively the group devised the ritual performances by meeting every dark moon at Metal in Southend over the course of three months. Through a process of performance making, spell casting, dream diaries and cathartic sharing, the cabaret performance came together embodying the diverse lived experiences of menstruation in the group; from physical pain, fertility, , miscarriage, transgender identity, menopause and religious ritual.

Described as the High Priestess of Cabaret, Marisa Carnesky is the Creative Director of Carnesky Productions, a theatre company responsible for highly original large and small scale interactive performance works. Previous projects include Carnesky’s Ghost Train (2004-2014) and alternative stage school Carnesky’s Finishing School, which just completed a residency in the old Foyles building in Soho (August 2016 - January 2017). Carnesky Productions is interested in the use of spectacle, magic illusions and grand ritual as a means of creating highly accessible provocative work rooted in popular culture to promote cultural and political discourse.

Dr Carnesky’s Incredible Bleeding Woman is the end result of Marisa Carnesky’s Incredible Bleeding Woman research project which she has completed as part of her PhD at Middlesex University.

Listings information:

Dr Carnesky's Incredible Bleeding Woman (16+)

Venue: Pleasance

Dates & Times: 14.00 2 – 28 August (not 9, 21)  

Tickets: Previews 2, 3, 4: £7.30,

5, 6,9,10,16,17, 23, 24: £10.80 (£9.80 conc)

7,11,12,13,18,19, 20, 25, 26: £13.80 (£12.80 conc) 7 & 8 are on 2for1 offer

Box Office: 0131 556 6550 or 0131 226 0026 online at: pleasance.co.uk  or tickets.edfringe.com

Connect with Carnesky Productions on Twitter: @CarneskyProds #Bleedingwoman Facebook: The Menstronauts, and online at: carnesky.com

Become a menstrual activist. The Menstronauts are a menstrually identified activist group inspired by Dr Carnesky’s Incredible Bleeding Woman and The Radical Anthroplogy Group. They aim to raise awareness of the importance of the cycle and global issues relating to women’s bodies and their menstrual rights. You too can take part and reclaim the importance of your menstrual cycle through the power of ritual activism! Find The Menstronauts on Facebook.

Cast and Creative Credts:

THE MENSTRUANTS Veronica Thompson aka Fancy Chance performs regularly in the cabaret, variety, burlesque, live-art and circus communities. She was crowned Alternative Miss World in 2009 and London's Top Tranny in 2010. She will be performing her solo show 'Flights of Fancy' at the Soho Theatre in April 2017. She is also one of the few active hair hangers in the UK. Rhyannon Styles has been a Carnesky company member since 2008 performing in Carnesky’s Ghost Train and Carnesky’s Tarot Drome. Styles is a journalist and is currently Elle Magazine’s first trans columnist and her memoir ‘The New Girl’ will be published in July 2017. H Plewis has worked as a performer and choreographer with Carnesky Productions since 2008. She is also associated with Duckie, collaborating with the collective for over a decade, currently on The Posh Club and PC/DC. An all round live artist specialising in dance, H has worked across many contexts, most recently motherhood. Sula Majorie Plewis Robin is the

youngest Menstruant. An early arrival weighing less than a bag of sugar, she is now almost standing on her two chunky legs. She likes the milk of human kindness and Notorious B.I.G. Nao Nagai is a London based Japanese artist who immigrated to the UK at the age of 15. She has worked with postmodern pop performance pranksters Frank Chickens (winner of Foster’s Comedy God Awards 2010) and has devised and performed in shows by Hey Ho Ha. She trained as a Lighting Designer and has worked in diverse genres from cabaret - Copyright Christmas (Duckie) to Opera - Madama Butterfly (Grimebourne), touring nationally and Internationally. MisSa Blue is a renowned international performer who has been working on the circus/ sideshow and burlesque circuits since 2011. MisSa thrills audiences with dangerous stunts; a femme fatale who blurs the lines between high end entertainment and performance art. She performs at many international burlesque festivals and regularly headlines gigs all around the world. THE TEAM Assistant Director Florence Peak is a London-based artist who has been making work since 1995. With an extensive training in dance and a background in painting, Florence Peake's performance practice uses drawing, painting and sculpture materials combined with found and fabricated objects placed in relationship to the moving body. Site and audience, live and recorded text, wit and humour are key to her work. Dramaturg Kira O’Reilly is an artist currently leading a new MA pilot in Ecology and Contemporary Art in Helsinki. Her practice, both wilfully interdisciplinary and entirely undisciplined, stems from a visual art background; it employs performance, biotechnical practices and writing with which to consider speculative reconfigurations around The Body. Lighting Designer Marty Langthorne is a Lighting Designer for theatre Live art and Dance. He studied at The National Institute of Dramatic Art (NIDA) graduating in 2000. From 2001-2005 he was Production Manager for Performing Lines which took him outside Australia for the first time. Touring internationally with William Yang brought him to London and in 2005 he decided to move there. Always interested in experimental work, he became involved in the London live art community. He was a member of Pacitti Company and Production managed their SPILL Festival. Costume Designer Claire Ashley is a London based costume designer who runs a studio offering bespoke costumes and clothing, from metamorphic and vintage inspired costumes to bridal and tailoring. Magic Consultant Tom Cassani is a graduate of Carnesky’s Finishing School where Marisa Carnesky runs one week crash courses in solo performance. Trained in sleight of hand, misdirection and prestidigitation, Tom now uses these skills of deceit as an artistic framework to explore truth, honesty, manipulation and fabrication through performance art.

Carnesky Productions – A brief herstory

2000-2002 Jewess Tattooess national and international tour including BAC, Arnolfini, Los Angeles International Festival

2002-2004 The Girl From Nowhere national and International tour including Riverside Studios and Anti festival Finland

2004-2014 Carneskys Ghost Train London, national touring including Glastonbury, European tour in Belgium, residency for 5 years on Blackpools Golden Mile

2007 Magic War , Soho Thetare and touring nationally and internationally including City of Women Slovenia, Les Halles Brussels and Red Cat In Los Angeles

2012 -2014 Carneskys Tarot Drome for the Cultural Olympiad, Old Vic Tunnels and touring to festivals nationally and in Europe including Latitude and Cirque De Jules Vernes France.

2009 ongoing Carnesky’s Finishing School at various locations including 2 year residency at The Roundhouse, touring summer festivals and residency at old Foyles building Soho, October 2016 –January 2017

2015 premiere of work in progress National Theatre Studios and Duckie Dr Carneskys Incredible Bleeding Woman (DCIBW)

2016 DCIBW at UCL for International Women’s Day and Soho Theatre

from the vileblog http://ift.tt/2sHz7In

[chloemetz]

Books 

This month was a good one for books! It started with me picking up three new ones; The Gender Games by Juno Dawson, the Gryffindor edition of Philosophers Stone, Nutshell by Ian McEwan (SO GOOD), The Girl Who Beat ISIS by Farida Khalaf, The Wicked + The Divine vol 5 (finally!) and The New Girl by Rhyannon Styles. It’s been a really varied and awesome reading month, I’m really proud of myself.

Watching 

I have become OBSESSED with Tyler and his show. Now I do hope there is more after life and just love watching the show.

Fashion & Beauty 

I didn’t catch many super summery outfits from the heatwave! That said, in the top corner are two of my work outfits for the rain and next up my gym outfit! That’s right I got back in the gym this month too with a new sports bra and top on top of that I’ve been drinking LOTS of vitamin water. In the bottom two pictures, there are two new outfits on the left an outfit from my Mum and the right from my grandparents.

�� Home 

When I got offered my new job I found this mug and it just spoke to me. I was also able to find the Harry Potter bedding for our bed! I’m lucky enough that Ali loved it too!

General

There have been so many great general favourites this month! I’ve hit 500 subscribers on this blog so thank you to every single one of you who take the time to read. It’s also been a great month for socials I’ve been to my second book club, had my friend Joe to visit and had my baby sister finish school! On top of that I was so thrilled by the amount of young people who voted in the General Election, even if it wasn’t the result I was hoping for. I also finally received my Harry Potter pop vinyls I ordered at Christmas (in time for Harry Potter’s 20th Anniversary)! They’re incredibly adorable and I still have so many to collect! I couldn’t not mention the extreme heat we’ve been having this month, it got up to an amazing 36 degrees, that said I’m not great in the heat! I also wanted to sneak in my favourite chocolate at the moment Raspberry Intense Dark Chocolate. So, so, good.

  What were YOUR favourites this month? Let me know in the comments below!

It's that time again, here are my June favourites! #books #beauty #fashion #home Books  This month was a good one for books! It started with me picking up three new ones; The Gender Games by Juno Dawson, the Gryffindor edition of Philosophers Stone, Nutshell by Ian McEwan (SO GOOD), The Girl Who Beat ISIS by Farida Khalaf, The Wicked + The Divine vol 5 (finally!) and The New Girl by Rhyannon Styles.

[iamalexandergeist]

Hosting this May 26 at HAckney Showroom w/ guests Victoria Sin, Rhyannon Styles and Travis Alabanza.

[schmutzfilms]

The New Girl - Young & Transgender

Client Elle Magazine Director Kenya Hunt &  Adam Lieber Editor/Camera Adam Lieber Music Oswald Skillbard & Shtik

We are developing & producing this ongoing web series following Rhyannon Styles and her transformation and story with Elle Magazine

[jaynedolluk]

Last week’s Stylist had a couple of good interviews w/Simon Amstell + Rose McGowan (Bazaar also had one with her) and the week before they’d had Trixie Mattel and Rhyannon Styles on being trans in 2019.

[thingsdavidlikes]

The beautiful Rhyannon Styles / @rhyannon_styles for my @unwomen / @unitednations Collaboration #OrangeTheWorld #EndViolenceAgainstWomen #16DaysOfActivism Florals by James Buswell / @jebbo88 Make-Up: Billie Butch / @billiebutch #eivindhansen #transisbeaut by eivindhansen http://ift.tt/2AHkrJT