And it is exhausting. Which I think brings me to pleasure—pleasure as a radical action. Maybe even comfort as a radical action.
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I'm wondering what pleasure we can offer ourselves or the audience in this show and how that could be radical, reckless? And our friendship I think! I have found it a challenge to bridge the gap between our imagined dream version of the dramatic destruction of the theatre and the reality of what is safely possible, what that actually looks like and to make it just as fun as we had imagined. I think we want the fun to get us somewhere, to knock something loose and to make something else seem possible. Fan fiction is still fun for us I think.
Unexpected unaddressed images are fun. Putting each other on the spot is fun. Some of the things I have found the most reckless and radical have had to do with context—what is something that is mundane or ordinary when you do it at home or at work or on the street or in private, for example, but when done in a theatre or in a show somehow seems reckless or radical? RM : Fun is a weird one isn't it.
You can give people fast thrilling hilarity which collapses as soon as you show it and is delightful, but really is an empty gesture when it comes to the overall concept or questions of the show. Those actions in themselves are quite useful to cover up holes—look at this surprising thing! Look at another one!
Don't look over here! It's felt like a fairly tough process to date—something that is shifting in this last week—I think we are are holding ourselves to higher and higher standards as we make and see more work. Those kinds of fast delightful gags are choices that feel fairly easy. Everyday news has been imitating art—what with photoshopped dogs and no one dead in a ditch despite their promises.
The job is about continuing to insist on other stories. Here are some opening tumbles:. My grandparents were refugees. There is going to be a new Holocaust memorial on the Thames in London. Why do people visit spaces where humans have committed atrocities? What are we after? In one of the two kg iron 'welcome' gates was stolen from Dachau concentration camp.
A local blacksmith made a replica. It was exactly like the original. When places where terrible shit has happened start to decay, should we leave them to rot? Is it a good idea to hand over memorialisation of atrocities to the very forces that helped them happen — states, industry, capital? I work in words. Disappearing things. Female welders are hot.
There are Memorial Architecture conferences. For Memorial Architects. If you have a memorial far away from the place where a thing happened, what space is it really? How can you both pull down a statue and not erase the trouble associated with that history, those acts? Vilina Vlas is a spa hotel in Visegrad, Bosnia. Also, previously, a rape and torture centre. Three out of Five on Trip Advisor. Appropriate Behaviour. Ethical Behaviour. The difference and who decides. Those Corten Steel hanging columns. Nothing wrong with Important.
Andbut, tell me about entertainment, again. We love winter festivals - light, fried things, trees on the inside, booze with added booze in it. Pubes are getting ripped off around the place at the moment. Like a hairy, sex-positive loudspeaker. The second miracle of vulvas: A clitoral orgasm has between about 3 and 16 contractions. Oh hi! The third miracle of vulvas: Unaroused, the average vagina is roughly three to four inches deep. But during sex it can expand to twice as big - that's partially because of a process called vaginal tenting, and happens due to Rugae - small pleats that expand and contract.
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Like a fabulous internal pleasure-ruching system. The fourth miracle of vulvas: Besides the clitoris being made up of the clitoral head, the hood and the clitoral shaft, it is also composed of the urethral sponge, erectile tissue, glands, vestibular bulbs and the clitoral legs. The fifth miracle of vulvas: 'Clitoris' probably comes from the Greek word, Kleitoris, which in turn comes from Kleio -to close, as with a door or latch. Maybe labia are like doors that enclose the clitoris, folks.
Ciao Cunt Lovers! The sixth miracle of vulvas:. The vagina is tilted at roughly a degree angle. Making it Obtuse, in purely mathematical terms, but - I would argue - Acute in many others. Nearly there!
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The seventh miracle of vulvas: Menstrual Cramps! They are not a miracle. BUT newish research suggests cannabis suppositories for pain relief might be. More money for more research for more female body stuff please. It is its own damn self. It comes from the skenes - tiny glands on the side of the urethra. Especially yours. And that hereby concludes The Inaugural Vaginukah.
Mark it in your calendars folks. Because if you were, you'd be able to bend over and kiss your ass goodbye'. And the game must do its work. I was taken by what you said during the talk back afterwards about it being a deliberate choice to make a production with a company of women. I always love seeing women technicians, perhaps since I trained as a lighting technician myself and it was my way into directing theater.
For me, the all-woman company now paradoxically feels both remarkably resistant and slightly old-fashioned. This time I wanted to work with women.
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I applied for a wodge of funding and I got it. I had this tiny amount of power to do what I wanted with the money, so why not employ women off stage too? They address a question to the group, and the group decides who is best equipped to answer it. When I started making company work, with Lusty Juventus Physical Theatre, it was a mixed company but led and driven by women.
Our production manager just told me a similar story. So I suppose it has become a small political act, retrospectively. I try to travel through life ignoring gender, until somebody reminds me of it. Perhaps this is a privilege. Even though it was about trying to separate the maternal from an essentialist understanding of what it means to be a woman, gender was always in the rehearsal space. But your subject matter in this piece is not specifically about women or being a woman.
When you made Our Carnal Hearts , did you do this, for example, in a non-hierarchical way?
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But it was a collaborative process in the rehearsal room. As we do the show more and more, the singers are better equipped to just show up and do it. How much does that add up to, all of those two hour periods? I will talk most of the financial decisions through with the company; they are transparent. There are new questions arising as we are touring more.
We talk about how it feels being a part of a company with new people coming in who are replacements. The discussion of the labor of making theater is a resistant act in itself. And I also wanted to create a sense of foreboding, because I want the audience to get the sense that something bad [was going to happen].
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I wanted maybe a little misdirect that Keith was not going to survive. I wanted fans to maybe think Veronica was going to cheat on Logan with Leo. I wanted them to be waiting for that shoe to drop.