Skip to main content

Unlocked Freedom/No Rights To Have An Angel

Citizens Theatre, Glasgow
Three stars


This week's announcement of the establishment of the UK's first deaf performing arts degree course at the Royal Conservatoire of Scotland has been pushed hugely by the Glasgow-based Solar Bear Theatre company. The company have been working with deaf artists and performers since its
inception, and are quite rightly co-running the course in partnership with RCS.
It's timely too that Solar Bear's recent flurry of activity peaked this weekend
with their hosting of Progression 2015, a two day international celebration of
deaf arts.

Thursday night saw a double bill of large ensemble-based works by
the Moscow-based Nedoslov company. The first piece, Unlocked Freedom, was based
on Maxim Gorky's 1882 short story, Makar Chudra, about a horny young peasant who
murders his gypsy bride only to be stabbed to death in turn by her father.  The
second, more impressionistic piece, No Rights To Have An Angel, looks at art,
life and death through a jazz age silent movie style scenario that takes a peek
backstage in a cut-throat showbiz world.

While the former bursts into vivid life with a whirlwind of traditional dance and recorded song awash with raging colours and raging hormones, the second throws more contemporary monochromatic
shapes set to a more thoroughly modern soundtrack. Both, in different ways, look
at notions of freedom, be it breaking through creative or domestic shackles to
find liberation beyond. Given the highly stylised physical and dance and music
theatre aesthetic of both as they incorporate signing into otherwise wordless
scenarios, it's a telling preoccupation in an intermittently fascinating
showcase of how different cultures embrace hearing impairments as something
vital to their artistic world.

The Herald, September 28th 2015


ends

Comments

Popular posts from this blog

The Art School Dance Goes On Forever – Snapshots Of Masters Of The Multiverse

Intro – Snapshots – Deaf School

1

In 1980, the same year as the Manchester band, Magazine, released a 7
inch single called A Song From Under The Floorboards – a three verse
and chorus distillation of Dostoyevsky's novel, Notes From Underground
– an art school scandal occurred.

This scandal took place in Liverpool, and was based around a project
called the Furbelows, although it became better known in the Liverpool
Echo and other organs that reported it as the Woolly Nudes.

The Furbelows, or Woolly Nudes, were a group of artists who had come
out of Liverpool College of Art, who, dressed in grotesque woolly
costumes which featured knitted approximations of male and female
genitalia, made assorted public interventions around the city centre as
kind of living sculptures acting out assorted narratives.

The Furbelows project had been funded by what was then Merseyside Arts
Association, and, after the participants were arrested and taken to
court on obscenity charges after what…

Peter Brook – The Prisoner

Peter Brook is no stranger to Scotland, ever since the guru of European and world theatre first brought his nine-hour epic, The Mahabharata, to Glasgow in 1988. That was at the city’s old transport museum, which by 1990 had become Tramway, the still-functioning permanent venue that opened up Glasgow and Scotland as a major channel for international theatre in a way that had previously only been on offer at Edinburgh International Festival.
Brook and his Paris-based Theatre des Bouffes du Nord company’s relationship with Tramway saw him bring his productions of La Tragedie de Carmen, La Tempete, Pellease et Mellisande, The Man Who…, and Oh Les Beaux Jours – the French version of Samuel Beckett’s Happy Days – to Glasgow.
Thirty years on from The Mahabharata, Brook comes to EIF with another piece of pan-global theatre as part of a residency by Theatre des Bouffes du Nord, which Brook has led since he decamped to Paris from London in the early 1970s. The current Edinburgh residency has alr…

Romeo And Juliet - Shakespeare's Globe Comes to Glasgow

Open-air Shakepeares are a summer-time perennial of the theatre calendar, attracting picnicking audiences as much as midges. More often than not, such romps through the grass are frothy, heritage industry affairs designed to be accompanied by strawberries and cream and not to be taken too seriously. Shakespeare’s Globe theatre company look set to change such perceptions when they open their outdoor tour of Romeo And Juliet in Glasgow next week as part of the West End festival.

For the two young actors taking the title roles of the doomed lovers, it will also be something of a homecoming. Richard Madden and Ellie Piercy both studied in Glasgow prior to turning professional. Indeed, Madden has yet to graduate from the acting course at RSAMD, and, as well as facing the pressures of playing such a meaty role in close proximity to the audience, will have the added anxiety of being assessed and graded by his tutors.

“This is the end of my third year,” says Madden following a Saturday mornin…