I really enjoyed this year’s Dublin Fringe Festival. It was two weeks of booking more shows than I could really afford and seeing wonderful performances all over the city. It’s one of my favourite times of year. I love coming out of a half six show while it’s still bright out and then heading off to see something else. I love bumping into friends in theatre foyers and hearing what they’ve seen or what they recommend. Here are some of the things I learnt over the course of the festival.
For the last couple of months THISISPOPBABY’s glorious Riot has been on tour in Australia and New York and seeing all the photos and tweets gave me major FOMO. I loved that show! I really want to see it again. (I would also have loved to sit with the audience in Sydney or Melbourne or New York and see how they reacted to this very Irish show.) I want it to be on every year, like how Riverdance is on for two months in the Gaiety every summer. If Riot did that I would go and see it every year and I’m sure I’m not the only one.
But until that dream becomes a reality, we have THISISPOPBABY’s Where We Live festival to get excited about. It’s a festival within a festival because it’s presented as part of the St. Patrick’s Festival. It starts next week, March 6th to the 18th in the Complex on Little Green Street, which is just off Capel Street.
The programme includes theatre, film, music, visual arts and panel discussions. In my mind St. Patrick’s Day entertainment can be a bit backwards-looking and overly concerned with traditional Irishness, but the work on offer here is all very contemporary. It’s still Irish but it’s about what’s going on in the country now. There are also no old reliables here, it’s a lot of brand new work being shown for the first time. I’m very excited about the work on offer and I think it’s great to see Irish work like this as part of the St. Patrick’s Day celebrations in Ireland. Usually you see Irish artists going abroad to be part of Irish festivals or festivals of Irish work at this time of year, and it’s get some of that at home.
Unsurprisingly, I am most excited by the theatre on offer. I’ve already written about Tara Flynn’s show Not A Funny Word in my recommendations for this year. (It will also be on in the Everyman in Cork on the 26th April. Please see it if you get a chance, it’s a very funny, very moving show.)
Money is a show about the 2008 Irish bail-out. It is written and performed by actor and accountant Peter Daly. If anyone can make sense of that turbulent time in Irish history, it’s him. I am certainly hoping to leave with a better understanding of the whole financial crisis.
Veronica Dyas’s Here & Now is about becoming an accidental landlord when the financial crash put her into negative equity. It’s about the housing crisis and homelessness, and asks what we really need to live.
The Mouth Of A Shark, a new show from Change of Address, will present the real-life stories of asylum seekers and Irish emigrants. Change of Address brought the wonderful story-telling show Trophy to Barnardo Square during last year’s Fringe Festival which I enjoyed immensely.
There’s also a very new, work-in-progress showing of a spoken word piece by Clare Dunne. Sure Look It, Fuck It is about a returning emigrant. Clare was fantastic in Tribes at the Gate as part of last year’s Dublin Theatre Festival and is currently on stage at there in Look Back in Anger. I think she’s a fantastic performer and I’m looking forward to this.
On St. Patrick’s night, there’s the WERKHouse party which will probably have a few Riot-like short performances. The next day, there’s a programme of films about people on the edges of society, including Adam & Paul which will be introduced by its Oscar Nominated director Lenny Abrahamson and writer and lead actor Mark O’Halloran.
Have you seen Katie Roche at the Abbey yet? It’s very good. I recommend it. It feels very modern. I don’t know if it’s the writing or the production; probably a bit of both. The character of Katie feels modern, she is opinionated and ambitious and fun. The play shows that modern, free woman trying to fit into the restrictive, hyper-patriarchal Ireland of the 1930s, a time that had very set ideas about how women should be. Katie Roche illustrates how harmful those ideas were, and how harmful it can be to be a round peg trying to fix into a square hole. It’s also a wonderful visual show, with a magnificent performance by Caoilfhionn Dunne.
Katie Roche was the sixth show I’ve seen in the Abbey so far this year and I’ve enjoyed them all immensely. I loved revisiting old favourites such as Dublin by Lamplight (which was so beautiful on that stage) and Ballyturk (where I enjoyed the addition of Olwen Fouéré), I loved getting a chance to see Druid’s magnificent production of Waiting for Godot after I missed it in Galway. I enjoyed Room which was a very different show for the Abbey, and I adored Jimmy’s Hall. I have more to say about Jimmy’s Hall but I will save it for another post!
I like what the new guys at the Abbey have done so far. I haven’t been organised enough to get to one of the free previews yet, but I think it’s a great idea. I also went to a couple of the Peacock work in progresses – A Whisper Anywhere Else by Jimmy Fay and Not A Funny Word by Tara Flynn. Plays that take a clear stand against the church, the police force, the state – things that feel a little subversive to be discussing in the Abbey Theatre. I love that Jimmy’s Hall opened in Leitrim and that Two Pints toured to pubs around the country. I think the new directors are doing what they set out to do by taking the Abbey out of Dublin and making it a nationwide National Theatre. There have also been day-long working sessions on gender and new writing and I’m interested to see what comes out of those.
So get to Katie Roche if you can. It closes on Saturday so there are only three shows left and I know it’s hard to ignore all the Fringe goodies, but try and make some time to see this show too, if you get a change.
Tickets for this year’s Dublin Theatre Festival go on sale for the general public this morning at 10am and I am making plans – what to see, when to see it, what to book now and what to book later. My early booking is financially strategic; if I don’t book my Festival shows now, I’ll spend all my money at the Fringe and by October I’ll be too broke to see anything.
I really like the Dublin Theatre Festival and I want to see as much as I can. It’s a great opportunity to experience theatre from other parts of the world, as well as seeing big shows from Irish companies. It’s also a chance to see a crazy amount of theatre in a short space of time. Following so quickly after Fringe, this can be a bit head-melting. But in a good way.
Here are some of my early booking picks:
These rooms by Anu & Cois Ceim
This one I’ll definitely be grabbing a ticket for. It’s on in a couple of houses in Dorset Street and capacity is limited. Some shows has already sold out, and I’d be surprised if the entire run isn’t fully booked before the Theatre Festival opens on September 29th. It’s a collaboration between Anu Productions and Cois Ceim and focuses on the experiences of the civilians who were caught up in the 1916 Rising.
Guerrilla by El Conde de Torrefiel
I have my eye on this one because I spend a lot of time in Spain but I haven’t actually seen any Spanish theatre, and this sounds a bit odd and interesting. A lot of the international shows have very short runs at the festival – this one is only on for three performances.
The Seagull by Corn Exchange
This is on in the Gaiety so tickets are unlikely to be gone too soon. I really like The Seagull. I’ve seen it a few times in various productions and I read a couple of different translations for an essay in college. It’s very funny and also has lots of fierce, ballsy female characters in it. Though things don’t generally end well for them and their existence tends to revolve around the men, they are still great characters in their own right. I’m also a big fan of Corn Exchange who make visually exciting theatre. I’m also a big fan of the two (female) cast members announced already – Derbhle Crotty and Genevieve Hulme-Beaman – so I think it will be a hot ticket this year. Tickets for the Gaiety are not cheap, but this play by this company – I think it will be worth it.
Alien Documentary by Una McKevitt
I’ve been hearing bits and pieces about this show for the last couple of years so I’ve very excited to see the finished product. It’s on in The Cube in Project for nearly two weeks. Long run but a small venue and I think it will be popular.
Crisis Meeting by Kriðpleir and LÓKAL Performing Arts
This is a show from an Icelandic theatre company about writing an application for arts funding. I’m curious to see if you can make an engaging show about arts admin and if the company do manage to oscillate “anarchy, sitcom and Beckettian gravity” as their blurb claims. If you don’t fancy the risk on that one, there are a couple of other Northern European shows in the programme – you might prefer the “epic and vaudevillesque” style of Wishful Beginnings by VERK Produksjoner from Norway or the “switch between dance and scattered questioning” is This is Not a Love Story by Swede Gunilla Heilborn.
It’s definitely worth booking something a little bit outside your comfort zone. It’s what festival’s are for!
I have mixed feelings about booking a ticket for A Midsummer Night’s Dream in the Bord Gais. Again, it’s a play that I like and it looks like a fun, playful production but I’m not a fan of seeing theatre in the grand scale of the Bord Gais. I’ve been spoilt by all our wonderful intimate theatre spaces in Dublin.
I’m also on the fence about It’s Not Over, THEATREclub’s vision of The Plough and The Stars by Sean O’Casey. Do I want to see another production of the The Plough? Can I sit through a four and a half hour production of The Plough? I’m not sure.
I’m willing to be persuaded about both of these, and probably most of the other festival offerings. Is there anything else I should have on my early bird booking list? What’s on your list?
I wish I could have spent more time in Galway during last month’s GIAF but all I managed was a couple of day trips. I saw Arlington (a love song), which was dark and twisty and very Enda Walsh, and Our Ladies of Perpetual Succour, a high-energy belter of a show with a fantastic cast and great songs. I also went to one of the First Thought Talks in Aula Maxima: “All the World’s A Stage – Can Theatre Define a Nation“, a big topic which I thought was particularly relevant in our big centenary year. I liked that the people on the panel were from different nations – The Guardian‘s theatre critic Michael Billington, Neil Murray – a Welsh man who was Artistic Director of the Scottish National Theatre until he took up his new position at the Abbey this summer and Cathy Leeney, the token Irish woman, who teaches drama at UCD. The panel was chaired by Cathy Belton. It was a really interesting, wide-ranging discussion that touched on loads of topics and I think she did an excellent job facilitating that.
There were copies of Michael Billington’s book 101 Greatest Plays available to buy after the talk and they talked a little bit about the book, particularly about the plays that he had left out. He said that a lot of people were very upset with him for leaving out King Lear. He also left out Waiting for Godot, instead choosing to include Beckett’s All That Fall. He was however, very complementary about Druid’s production of Godot, crediting it with making him see the play in a new way. (Sidenote: I didn’t even try to get a ticket to Waiting for Godot. Partly because I feel like I only just saw in the Dublin Theatre Festival but also because of my embarrassing tendency to fall asleep during Beckett plays. I knew I wouldn’t be able to doze off undetected in the Mick Lally Theatre, it’s too small to the potential for embarrassing myself too high to risk! If there is another run I will try and get a ticket because I’ve heard such good things about this production that I feel confident that it will keep me awake!)
There was also some discussion on the plays Billington did include, particularly where they were from. As a proud Welshman, Neil Murray was disappointed that there were no Welsh plays in the book, though Ireland was reasonably well represented. Nobody mentioned of the number plays by women on the list but I did a bit of research afterwards and found that the 101 plays included only five by female playwrights, which is not a great ratio. There were more plays by Shakespeare on the list than by women. The five plays written by women were The Verge by Susan Glaspell, Machinal by Sophie Treadwell, Men Should Weep by Ena Lamont Stewart, A Raisin in the Sun by Lorraine Hansberry and Top Girls by Caryl Churchill. Billington does write a little about the lack of women and how he made his choices here.
The discussion about how to represent the nation on stage began by asking how theatre in the UK can reflect the nation after the Brexit Referendum. Michael’s suggestion was that it should become more European; bringing European countries to British stages, saying to those companies and to the UK audiences – we are still part of Europe. There was also the flip-side of that, which was the Scottish National Theatre taking show into communities, 10 SNT shows premiering on the same night on 10 different stages in various locations around Scotland, and how this gave the communities and the audiences a more tangible sense of connection with their national theatre. I wonder if theatre is always outwards looking and aspirational, does it lose that connection?
I was eager to hear what one of the incoming directors would have to say about our National Theatre. Murray described the Abbey stage as being “highly charged” and that he was interested in seeing new companies bring work to that space. He also seemed interested in seeing lots more new work and new writing on the Abbey stage, which would be a break from tradition. This is a theatre that has staged three different productions of The Plough And The Stars in the last seven years. As Neil Murray said that’s “not a criticism, just a fact.”
Once talk turned to the Abbey, the WakingTheFeminists movement was not far behind. There was praise for all the work they have done in drawing attention to the sexist bias that exists in theatre so we can start working to change it. Someone else pointed out the other types of diversity that disappeared through funding cuts in the last few years, namely theatre companies representing cultural minorities that lost their funding during the recession and now no longer exist. Pan Pan’s 2006 production of The Playboy of the Western World, in Mandarin with an all Chinese cast was mentioned as a show that brought a non-white, non-Irish audience to the Project. If theatre is attempting to define or even just reflect a nation, it should reflect all parts of that nation.
There was also some discussion about ways to get young people into the theatre. Partly by changing what is on the stage, but also by offering cheaper tickets or free tickets or pay what you can tickets. All of which I am very much in favour of! I particularly liked the suggestion of selling last minute tickets at a greatly reduced price. The Abbey do this for Cameo Club members – €10 Standby tickets, Monday – Friday only, 30 minutes prior to the start of any Abbey Theatre show. Sadly it’s not available to everyone because you must be a student or aged 26 or under to join the Cameo Club.
There are interesting times ahead for theatre in Dublin. The change of personnel at the Abbey and at The Gate will shake things up a bit. WakingTheFeminists is already shaking things up, read this article to see what they’ve done so far. There will be lots of interesting repercussions coming out of that movement and I’m looking forward to them. In terms of Brexit we don’t know what the repercussions of that will be. Right now, the main effect it’s had to bring a lot of uncertainty about what the future holds – will it be harder for Irish theatre makers to go to the UK, long-term or just to tour? I studied drama in the UK, will that become more difficult for Irish people to do? The only concrete change is that the pounds is currently really weak against the euro, which I’m sure Irish artists in Edinburgh this year are pleased about! I don’t think the rest of it will be so positive.
At the end of January, I spent three enlightening and inspiring days at the Abbey’s Theatre of Change symposium listening to fantastic speakers from all over the world. I am so grateful for the Abbey for organising the symposia over the last three years. It’s a great way to kick-off the new year and I hope it’s something that the new Artistic Directors carry on with. The line-up for each symposium has been wonderful. One of the joys for me was hearing lots of different voices – different accents, different ages, different genders. I appreciate the Abbey bringing these people to Dublin and allowing me to sit in front of them, hear what they have to say.
It felt like an overtly feminist conference this year. WakingTheFeminists was not only in the programme but it was also mentioned in Fiach’s opening speech. (Not really surprising – it’s hard to talk about the Waking The Nation programme now without mention what isn’t there.) There were a couple of sessions on reproductive rights in Ireland and the role of women in the Rising also featured prominently.
Lian Bell, Eleanor Methven and Loughlin Deegan spoke on behalf of WakingTheFeminists on Thursday afternoon. Eleanor talked about her decades-long battles against workplace discrimination. She was one of the founders of Charabanc Theatre in 1983, set up to provide decent roles for female actors, so she is an old hand at this lark. Loughlin, on the other hand, admitted that although he would always have identified as a feminist, he “has been on a very steep learning curve since my involvement with Waking the Feminists.” He spoke candidly about having his belief that his career achievements were based solely on merit shaken by the stories that came out of the WakingTheFeminists movement. He also talked about patriarchal structures and the damaging Myth of the Great Man. (You can read their speeches in full on the WakingTheFeminists website, links above. Or watch below.)
On the Friday afternoon, Emer O’Toole and Susan Cahill presented The Man Problem. This was a performance presentation that looked at the fact that the vast majority of our politicians, political pundits, radio presenters and journalists are male and so when we start talking about abortion, it is rare to hear women speaking about it. We tend to hear the least from those who are most affected by it; those who have to travel, those who need medical attention that is not provided in this country. This is changing as more women are talking about their abortions. It happened that Friday afternoon in the Abbey, when Susan gave a very personal and poignant account of what it was like to discover she was pregnant while en route from Canada to Ireland, for a month long stay here. She described what it was like to be pregnant and not want to be, in a country that was debating the Protection of Life During Pregnancy Bill. She waited until she was back in Canada to terminate the pregnancy and described how grateful she was to be able to go home to her own bed afterwards, and not queue up to get on a plane full of stags and hens. It was very affecting. Dearbhail McDonald’s potted history of the Eighth Amendment as the introduction to the piece was also very moving and a bit fury-making. Let’s hope that 2016 is the year that this cruel and archaic piece of legislation is removed from the constitution.
The Man Problem
There were also a couple of presentations about the role of women in the Rising and how they have been removed from the “official” history. Jacki Irvine read from her book Days of Surrender . She read a piece about Elizabeth O’Farrell’s walk across Moore Street carrying the white flag of surrender. Elizabeth was the owner of the feet behind Pearse in the photograph of his surrender. Her feet were removed before the photo appeared in the newspaper in 1916, and Elizabeth’s role was also removed from RTE’s version of the events, in Rebellion a few weeks ago.
Over the years, the symposia have never let war be something distant, something firmly in the past. There are many reminders that war and conflict zones still exist all over the world. This year there were speakers from Israel and the occupied Golan. Taiseer Merei runs a theatre as part of the Golan for Development, which exists to resist Israel’s occupation and control. The theatre is locations underneath the medical centre, which is also part of Golan for Development. They offer people health care, education and art as part of a peaceful resistance in a dire situation. The Golan Heights has been occupied by Israel since 1967 because it’s an area with fertile land and lots of water.
Gideon Levy is an Israeli journalist who spoke about the situation in Gaza. He said that the only way Gaza can attract the attention of Israeli or the world-media is by firing rockets, otherwise they are forgotten about. He also made the point that there is precedent of how to bring down apartheid, we saw it in South Africa. Boycott Israel, he said, bring it to understand that the occupation is unacceptable in the eyes of the world. The way to make the Israelis’ feel this is if they lose money. He also talked about the dangers of dehumanising a specific group of people, which is what the Israelis have successfully done to the Palestine and which is in danger of happening to refugees coming to Europe.
As well as looking at the past and the present, the symposium also looked to the future. Emer Coleman’s talk Big Data: Owning Your Own Story looked at the past from the future, when she made the point that if you’re not on the internet, then you don’t exist. Emer worked in theatre at the beginning of her career but said there is no evidence of this career on the internet, so it’s like it never happened. In the future, history will be shaped by the machine. She talked about the “rise of the robots” and how that no longer means physical robots, but the software that has worked itself into every aspect of our lives. Because of the power of the tech companies, “technoethics” have to become more important. We need to make sure that these huge companies pay their taxes and behave ethically because the way things are going, soon they’ll own everything! It’s important to stop behaviour like Uber’s who say that Uber drivers are not their employees, landlords who evict tenants so they can put flats on AirBnb, and companies who fire full-time employees then hire them back as contract workers without any benefits. For anyone worrying about their content being owned by Facebook or other corporations, she recommends Jaron Lanier‘s book about mirco-licensing Who owns the future?
The role of the artist in remembering, celebrating and integrating the past and the world today was also recognised by the symposium, particularly in the first and last panels. The first one, The Body of The State included a number of artists from different disciplines. Visual artists Sarah Browne and Jesse Jones are creating a piece called In The Shadow of the State that will take place in Derry, Liverpool, Dublin and London. They are exploring statehood from the perspective of the female body and a different performance will take place at each location. Choreographer Fearghus Ó Conchúir talked about The Casement Project which explores what types of bodies are acceptable and what is acceptable for these bodies to do.
Sarah Jane Scaife spoke about her work with Beckett’s plays and placing them in the world we live in. I saw the first of these at the side of the Abbey as part of the first symposium, Theatre of Memory and I also enjoy The Women Speak in last year’s Fringe. I really liked how she placed those stories in history, and demonstrated how that history leads to the present.
On the final morning, we heard from Oskar Eustic, Artistic Director of the Public Theatre in New York which sounds like a great place. Their show Hamilton is currently one of the hottest shows on Broadway, but the theatre started out making free theatre, the famous Shakespeare in the Park. He said that the mission statement of the theatre was to “Dislodge theatre from being a commodity and bring it back to being about relationships.” They also do performances of Shakespeare in prisons, which he said that the actors love doing. Once they do that, it’s hard to get them to do anything else. He was obviously very passionate about his theatre and the work they do.
At the end of the three days, I felt very sorry that it was all over and that there isn’t another symposium to look forward to next year. Well done to the Abbey and all the speakers. And the videos from the last three years are all available on YouTube, including this fabulous performance by Penny Arcade.
Women are under-represented on screen, in general and particularly in active roles, just as they are under-represented in politics and boardrooms. In the top grossing films of 2013, women accounted for 15% of all propagandists, 29% of major characters and 30% of all speaking parts. The Geena Davis Institute on Gender in Media have done studies that show that in crowd scenes, women make up only 17% of the crowd. Women are 51% of the world’s population but they are mostly absent from the world on screen. Eva Wiseman wrote about this is a recent article for the Guardian – Women are everywhere so why are we invisible on film? This is important because wiping women out of the onscreen world is a form of sexism. Making women less visible makes their concerns less important and makes them seem less valuable part of society.
When popular culture shows men being active, making big decisions and saving the world while the women are always waiting to be saved or offering support to the men, it’s easy to assume that men do the heavy lifting while women make the tea. When popular culture is one of the ways we learn how the world works and are our place in it, this message practically acts as propaganda, teaching women to know their place.
This is particularly relevant for children. A lot of the Geena Davis Institute’s research focuses on the things that children are watching. They found that in kids’ films and TV there are three male characters for every female one. Straight away, children are being feed the message that girls are less important than boys.
Even the tv shows or films that do feature women, and congratulate themselves on their diversity, generally feature one woman to every five, six, seven men. This is not an accuarate reflection of the real world. It also means the one woman has the tough job of representing all women. While the seven men can be smart or simple, sensitive or tough, angry, gentle, abrasive, bossy, etc , the one female character tends to be a two-dimensional stereotype. Women aren’t allowed to be nuanced or complicated because they are there to represent an entire gender and that doesn’t allow for subtlety.
One way to avoid these broad-stroke female characters is to put more women behind the camera, in decision-making roles, writing and directing films and tv. Hollywood is a sexist place to work, it’s an industry that clearly sees women as pretty objects to be looked at rather than human beings with ideas, opinions and ambitions. It’s not an easy place to be a woman in charge. And yet they are doing it anyway. There are an increasing number of women getting films made in the mainstream and the less commercial indie sector. Recent big screen examples include Suffragette, written by Abi Morgan and directed by Sarah Gavron, Miss You Already, written by Morwenna Banks and directed by Catherine Hardwicke and Pitch Perfect 2 written by Kay Cannon and directed by Elizabeth Banks.
But the numbers of films being written and directed by women is still depressingly low and there are many stories about the sexism that women have face while trying to make work for the screen. Women in Film and TV is an organisation that aims to encourage and support women working in this field. It’s a worldwide organisation with a burgeoning Irish branch. It’s a way to help see more diversity on our screens, and hopefully as a result, in life.
Another way to support women making movies is to go and see their work. The second Feminist Film Festival is happening in the New Theatre in Dublin this weekend and you can go and see lots of feature films, shorts and panel discussions. The programme includes the suitably scary horror film The Babadook for Halloween, and the Irish premier of She’s Beautiful When She’s Angry, a documentary charting the U.S. women’s movement between 1966-1971. All that and the profits will go to charity!
Dublin is a busy place; there’s always something going on. Tonight, for instance – Tara Flynn launched her new book in the Gutter Bookshop, Women in Film and TV Ireland held their first members event in the O’Callaghan Hotel on Stephen’s Green and the Panti Bliss documentary Queen of Ireland premiered in the Lighthouse Cinema. It’s one thing choosing not to go to some or all of these wonderful cultural events, but it’s hard not to feel like you’re missing out when you’re away from Dublin.
I’m heading off on my holidays tomorrow, and after the dark, damp weather this week it feels like the perfect time to do with it. I’m looking forward to the sun, sea and sangria even though it means I will be miss the wonderful Bram Stoker Festival which is happening around the city from Friday 23rd – Monday 26th. It looks like my kind of festival. There are lots of free events, including Stokerland in Wolfe Tone Square, a Maser installation in Smithfield Square and the always spectacular Macnas parade on Monday evening. There are also events happening in great venues such as St. Patrick’s Cathedral and Freemasons Hall.
Dublin Theatre Festival is over for another year, though they have already made the first announcement for next year’s festival – a production of Don Giovanni, translated by Roddy Doyle and directed by Pan Pan’s Gavin Quinn. I’m a little bit disappointed that Roddy Doyle, who writes such great dialogue (I love his Two Pints series on Facebook), is writing an opera. In my limited experience of opera, the words tend to get lost in the beautiful melodies and soaring arias. I didn’t get much out of the opera in this year’s festival – Enda Walsh’s The Last Hotel. Maybe I just don’t get on with opera.
Aside from that, I really enjoyed the festival. The two Chekhov plays – tg Stan’s The Cherry Orchard and Dead Centre’s Chekhov’s First Play – were both highlights for me and it was lovely to see Dancing at Lughnasa in the Gaiety. I’m also looking forward to seeing The Train this week, stretching out my festival experience a little longer.
I also enjoyed the post-show talks and the other discussions that happened as part of the festival. Last Thursday I went to Found in Translation, a fascinating discussion about the challenges of translation. The panellists was made up of two translators – Joanna Crawley and Christine Madden, and Eugene O’Neill, who’s play Eden has been translated into many different languages, including Dutch, Romanian and Catalan. They talked about how translating doesn’t mean just translating the words, you also have to translate into the culture of the new country. There’s also the added layer of different theatre conventions in different countries. Eugene O’Neill said some European countries had great difficulty with the idea that the cast stayed still and delivered their lines, a typical thing in Irish theatre, but a radical idea when their idea of theatre is full of movement and visual metaphors.
These are my three favourite things I took away from the talk:
- That the word “baluba”, meaning mad or drunk, was (is?) the name of a tribe in the Congo and came into Irish lexicon after a UN Peace Keeping mission in the 1960s. It was a new one on me, though Urban Dictionary knew about it. The full details of the conflict are here.
It came up last Thursday because one of the characters in Eden talks about how he “got balubas last night” and O’Neill had to describe what this word meant to his Romanian translator.
- There is no German word for silly. This was from Christine Madden (who translates from German) and it came up when she was describing a talk she went to, given by a man who had translated PJ Woodhouse into German. He said that his way into the work was realising that what Woodhouse did was treat light subjects very seriously, and serious subjects very lightly. She felt it was the perfect definition of silly.
- And this article from Joanna Crawley about the first production of her translation of Amy Conroy’s I ♥ Alice ♥ I and how this very Irish play resonated with Polish audiences – Somewhere under the Rainbow
I first became aware of the Edinburgh Fringe about 15 years ago, through a tv show on Channel 4 called “Edinburgh or Bust”. It focused on the comedy festival and followed a number of performers during the led-up to and during their month in Edinburgh. Noel Fielding and Julian Barratt were there with a show called the Arctic Boosh. Simon Munnery was on it. It was the first time I came across Jason Byrne who would later perform regularly at my college during Rag Week and Freshers Week. It made the Fringe look both terrifying and amazing. I wanted to go!
I’ve still never actually been to the festival, either with a show or as a punter but I am still fascinated with the it. I’m not sure I’d cope with the frantic pace, the endless flyering, the huge number of shows to see; not to mention the hills and the Scottish weather.
Bryony Kimmings has some wonderful words of advice for those heading the Edinburgh this August. These include things like do not flyer your own show, don’t see any other shows during the first week and eat your greens! She is in Edinburgh this year with a show about depression called Fake It ’til You Make, which I think sounds great. You can read about the making of it here.
Byrony Kimmings also gave the opening speech for this year’s festival. She talked about what the Festival means to her but also has some great tips for anyone involved in theatre, including advice on making money and making art.
In the Guardian last week, Lyn Gardner talked to artists about the cost of taking a show to the festival and what you gain by doing so. Spoiler – the gain is generally not financial. Despite focusing on the money, it’s a very upbeat article that illustrates why people do it.