The global gap between rich and poor is growing. As the world decays, the spawn of the powerful dance like everyone is watching. This darkly comedic, dizzying show about entitlement, consumption and digital technology invites you to use Instagram to explore what is happening in the world.
We live in a time where old orders are collapsing: from the postcolonial nation states of the Middle East, to the EU and the American election. Through it all, tech savvy and extremist groups rip up political certainties. Amidst this, a generation of young men find themselves burning with resentment, without the money, power and sex they think they deserve. This crisis of masculinity leads them into an online world of fantasy, violence and reality. The Believers Are But Brothers is based on Alipoor's experiences of working with young people, and research he conducted online. The original show was performed at the Edinburgh Fringe and transferred to the Bush Theatre, London. The show envelops its audience in this digital realm, weaving us into the webs of resentment, violence and power networks that are eating away at the structures of the twentieth century. This bold one-man show explores the smoke and mirrors world of online extremism, anonymity and hate speech.
Written in the aftermath of the Covid crisis, this book brings the past, present and future of theatre-going together as it explores the nature of the relationships between performance practitioners, arts organisations and their audiences. Proposing that the pandemic forced a re-evaluation of what it means to be an audience, and combining historical and current cultural sector perspectives, the book reflects on how historical conventions have conditioned present day expectations of theatre-going in the UK. Helen Freshwater examines the ways in which developments in technology, architecture and forms of communication have influenced what is expected by and of audiences, reflecting changes in theatre's cultural status and place in our lives. Drawing on the first-hand experiences of festival director and performance practitioner Kate Craddock, it also contends that practitioners now need to turn their attention to care, access and sustainability, arguing that the pandemic taught us, above all, that it is possible to do things differently. Part vision, part provocation, part critical interrogation, Theatre and its Audiences offers an insightful appraisal of past norms and assumptions to set out a bold argument about where we should go from here.
With more than half its population under twenty years old, Iran is one of the world's most youthful nations. The Iranian state characterizes its youth population in two ways: as a homogeneous mass, "an army of twenty millions" devoted to the Revolution, and as alienated, inauthentic, Westernized consumers who constitute a threat to the society. Much of the focus of the Islamic regime has been on ways to protect Iranian young people from moral hazards and to prevent them from providing a gateway for cultural invasion from the West. Iranian authorities express their anxieties through campaigns that target the young generation and its lifestyle and have led to the criminalization of many of the behaviors that make up youth culture. In this ethnography of contemporary youth culture in Iran's capital, Shahram Khosravi examines how young Tehranis struggle for identity in the battle over the right to self-expression. Khosravi looks closely at the strictures confronting Iranian youth and the ways transnational cultural influences penetrate and flourish. Focusing on gathering places such as shopping centers and coffee shops, Khosravi examines the practices of everyday life through which young Tehranis demonstrate defiance against the official culture and parental dominance. In addition to being sites of opposition, Khosravi argues, these alternative spaces serve as creative centers for expression and, above all, imagination. His analysis reveals the transformative power these spaces have and how they enable young Iranians to develop their own culture as well as individual and generational identities. The text is enriched by examples from literature and cinema and by livid reports from the author's fieldwork.
Sometimes a lie is a wish. Once upon a time there was a lonely carpenter, a curious cat, and a little wooden puppet who one day came to life... In this spectacular new version of the much-loved classic tale, Pinocchio discovers why it's best to always tell the truth. With a touch of magic from the blue fairy, enter a world of gingerbread villages and snow-capped mountains in this adventure of friendship and family, written by award-winning and internationally recognised writer Eve Leigh. This edition was published to coincide with the world premiere at Unicorn Theatre, London, in November 2022.
See with your Ears. Poor Effy. Sent to live with her aunt and uncle in a block that won't allow dogs. What's a girl to do? She smuggles her furry friend in, of course. Keeps him under a blanket. Feeds him biscuits. Ssh Toto, quiet. But it can't last forever. Effy needs saving. And Toto is up to the task. Experienced through headphones, Toto Kerblammo! mixes live and recorded performance to deliver a tender and powerful story about listening, friendship and finding hope in the darkest of places. Tim Crouch is 'one of the most important writers and theatre-makers in the UK' (The Stage). His award-winning plays include An mOak Tree, The Author, Beginners, I, Malvolio and Truth's a Dog Must to Kennel. This edition was published to coincide with the world premiere at the Unicorn Theatre, London, in October 2024.
A poignant, heartfelt new novel by the award-nominated author of Together Tea—extolled by the Wall Street Journal as a “moving tale of lost love” and by Shelf Awareness as “a powerful, heartbreaking story”—explores loss, reconciliation, and the quirks of fate. Roya, a dreamy, idealistic teenager living amid the political upheaval of 1953 Tehran, finds a literary oasis in kindly Mr. Fakhri’s neighborhood stationery shop, stocked with books and pens and bottles of jewel-colored ink. Then Mr. Fakhri, with a keen instinct for a budding romance, introduces Roya to his other favorite customer—handsome Bahman, who has a burning passion for justice and a love for Rumi’s poetry—and she loses her heart at once. Their romance blossoms, and the little stationery shop remains their favorite place in all of Tehran. A few short months later, on the eve of their marriage, Roya agrees to meet Bahman at the town square when violence erupts—a result of the coup d’etat that forever changes their country’s future. In the chaos, Bahman never shows. For weeks, Roya tries desperately to contact him, but her efforts are fruitless. With a sorrowful heart, she moves on—to college in California, to another man, to a life in New England—until, more than sixty years later, an accident of fate leads her back to Bahman and offers her a chance to ask him the questions that have haunted her for more than half a century: Why did you leave? Where did you go? How is it that you were able to forget me?
For all of the political, economic, and technological obstacles that stand in the way of addressing climate change, perhaps the greatest challenge is in the realm of imagination. Can we envision a better world? What might an equitable, sustainable, decarbonized, and just society look like? What if the concept of a Green New Deal—the initiative to reduce greenhouse gas emissions while addressing interwoven social problems like economic inequality and racial injustice—could become reality? The Future Is Not Fixed presents a dazzling variety of answers to these questions in the form of fifty plays—from writers representing all inhabited continents—commissioned for Climate Change Theatre Action 2021, a global participatory theatre festival that brings communities together around climate issues. The pieces gathered here feature a wide range of styles and perspectives, from realist dramas to experimental works, encompassing the dangers that we face as well as ecstatic possibilities for a renewed social contract. With contributions suitable for both conventional and nonstandard theatrical settings, these plays can be performed in intimate readings, staged productions with extensive sets and props, and everything in between. Climate Change Theatre Action plays have been performed on street corners, at the foot of glaciers, in churches, schools, libraries, backyards, community centers, and bars. They have been enjoyed by audiences as diverse as water treatment workers in Montana; homeless youth in London; refugees in Denmark; children in New York City, Iran, and Nigeria; faith communities in Florida and Washington State; unsuspecting passersby in Brazil and New Zealand; and students in every corner of the world. Regardless of style, audience, or venue, each play offers a bracing, affecting vision of how we might come together to face the challenge of global climate change.
In the town of Balbek the far right are about to seize power. At the local theatre, Aymeric dreams of celebrity; Lucas longs for a liberal revolution; Michael is seduced by the extremists; Juliette Demba is in fear for her life. As this political earthquake ripples through the town, Aymeric must make his choice: resist the forces of hatred or harness them for his own success. Based on the real life story of Gustaf Gründgens, whose dreams of fame led him to betray everything, and at the peak of his career, perform Faust for Hitler, Mephisto [A Rhapsody] is a searing contemporary response to Klaus Mann's banned, and fiercely political cult novel. Samuel Gallet's urgent new play asks: what would you sacrifice to do the right thing?
Text and Performance in Contemporary British Theatre interrogates the paradoxical nature of theatre texts, which have been understood both as separate literary objects in their own right and as material for performance. Drawing on analysis of contemporary practitioners who are working creatively with text, the book re-examines the relationship between text and performance within the specific context of British theatre. The chapters discuss a wide range of theatre-makers creating work in the UK from the 1990s onwards, from playwrights like Tim Crouch and Jasmine Lee-Jones to companies including Action Hero and RashDash. In doing so, the book addresses issues such as theatrical authorship, artistic intention, and the apparent incompleteness of plays as both written and performed phenomena. Text and Performance in Contemporary British Theatre also explores the implications of changing technologies of page and stage, analysing the impact of recent developments in theatre-making, editing, and publishing on the status of the theatre text. Written for scholars, students, and practitioners alike, Text and Performance in Contemporary British Theatre provides an original perspective on one of the most enduring problems to occupy theatre practice and scholarship.