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FEATURE LIST
FESTIVAL THEATRE
SHAKESPEARE
“H ’47"! bus and ferry journeys. to Inchcolm Island. off the Abbey 0“ may}! § 5.1;;- “I; ~ g; the Fifeshire coast. there are outStande° . ‘ ‘ '5 “ "T i‘ ‘Carlo Quartucci has wanted to explore the 'Sland they W!" be wait “u - 1s
soundofthepibroch'( ‘w‘ ’1 4.1,; linking withthe them‘c « g T“ ofVerdi’s musicfi' ' the natural soundsand - f. . t location. However tie _ T ' based partly on the . - .77“
Macbeth for some time.‘ explains Jonathan Chapman of the gallery. ‘The company calls the project a dramatic action. and they work at the point where the visual arts and all aspects of performing arts intersect. The company has W chosen Inchcolm because ofthe visual similarities . . . . “a between their work space in Errice and the hlstoneanyv and” "'- : ' ~ Scottish island: both places are perceived to be on there' A monumquQD " 3 3“.” my r; the Peripheryofadominantculture.‘ the defeatonhe Dam ‘ " '. In attempting to explore Macbeth in this way. seetland by Maebethz'. f" . (.‘arlo Ouartucci hopes to prepare the ground for The company's“ “ J ,t ‘ . . -, a full scale production ofthe play next year. using the" wa‘loumey _ 4 video monitors on the island and opening up the (“rector Svoyage to " ‘i ‘ 7 text‘s cinematic potential. One of the reasons for MaCbe’h end the 3M, ,.. bringing a cinematic element intothe production metephoncaheumey 3.4 i is because Ouartucci sees the work partly as a Proleet 0f movmg alati i 4‘ film-script. written in short scenes. Following the Slie‘ and eombinlngpe '1" . example of Guido Arista. the film critic. who w‘th "ms": and (“8109‘ :. writes ofShakespeare. ‘ifcinema had existed in Willbe animereSting " 1599. Shakespeare would have been the greatest Viewer and the 3e“)! . ' , film director of his time. One might say he wrote have a reputation for I" V ' scenarios when he broke the action up into a Stunning visual perfo u- i- - series ofshort scenes. thus anticipatingthe Inward: "acne". "fl ‘ ' " ‘ technique ofthe cinema screen'. the company 18Aug. 5—9pm. Tich “3” " ' - :1 t‘ 2"" stress that all the media orientated material is not can be PUTChaSCd “01* ' just a throwaway— it is there to show the audience GallerY» BlaCkffiafs' ‘ . , . that Macbeth could have been a film. he b00k€d in advancebu‘ v (g, One thing to remember about performingin “00" 0" the day “$136? "A". by ' ( A
DANES
Nicola Robertson investigates an extraordinary Macbeth. and
outlines some of the other Shakespeares on view this year. ,
In collaboration with the Richard Demarco Gallery. Carlo Ouartucci and his wife Carla Tato. directors ofthe Italian theatre company La Zattera di Babele. which operates from Rome and Sicily. are presenting their unique interpretation of Macbeth at this year‘s Official Festival. The project. which combines media arts. cinema and video. with music. performance and an installation that will remain in the gallery during the festival. is rooted firmly in the Shakespearian story of Macbeth. Shakespeare‘s ‘Scottish Play'. inspired Carlo Ouartucci and his company to explore the possibilities of performance on the periphery. experimenting with location and dramatic space. In Edinburgh. the show begins in the spacious performance area at the top ofthe Demarco (iallery. which is being used for the first time. and moves. by a series of
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movement. A special sound-track has been created for the show. We
NIGHT’S DREAM
Midsummer Night's
comedy. The great thing I A Midsummer Night's original are still distinctly” about the Dream is the Dream, Royal Exchange present. but the idea was
, possibility of releasing the Theatre Company. also to make the showas .,. ; exeitements and Assembly Hall. accessible as possibleéd,
Dream. one of Shakespeare's most colourful and energetic plays. takes centre stage at the Festival. presented by the highly regarded Manchester Royal Exchange Theatre Company.
(iregory l lersov. one of the Exchange‘s Artistic Directors and the force behind the Festival show. explains that ‘A Midsummer Night's Dream is a project I‘ve always wanth to do. I felt that at this stage in my career I should tackle Shakespeare. and as I‘ve been engaged in directing some fairly heavy tragedies recently I felt that I wanted toexplore
potentialities of the human imagination. and given the current social climate. where everything has to be upfront and two-dimensional. now is a good time to do it .'
llersov emphasises the play‘s magic.
aim to give Edinburgh an idea of the scale ofthe Royal Exchange‘s space. particularly as the Dream will open our Autumn season in Manchester.‘
However. as a director. llersov is wary ofthose Shakepearc productions which stray too far from the text. ‘I believe what you do with Shakespeare comes out of the text; certainly our show isn't cutting or rearranging the writing. but there is enough given without that to make the work challenging. I hope to encompass the experimental aspects that are actually embodied in the play itself.‘ ( Nicola Robertson)
15Au9—3 Sept. 7.30pm. Matinees at 2.30pm on 17. 20. 24. 27. 31 Aug and3 Sept. 2.30pm. £3427. [EIF]
HAMLET
This year the Edinburgh Fringe boasts no less than four plays about the
Shakespeare turns everything topsy turvey in the play. and tries to immerse the audience in the world ofthe imagination." The energy which bubbles frotn the text is being incoporated in the production‘s strongly visual and musical orientation.
‘We’re consciousofa
l visual emphasis in the play I
20'l'he List 12— lb’ August 1988
intriguing Prince of Denmark. including. amongst an assortment of approaches. a production ofthe original text by the Oxford Theatre (iroup. Alison Brown. director ofthe ().'li.(i.'s Ham/e1. stresses that the play ‘appears the most modern of all Shakespeare's tragedies because of its engagement with political
the play are very important. The thing I ask myself is “how do you interpret Hamlet for the '8()‘s '.’ and looking at the play the outstanding feature is the presentation of politics; its theatricality and dishonesty.‘
The production aims to bring a Yuppie sub-text to light by showing an ‘Atnericanised type of politician; (‘laudius carries a brief-case and sits behind a conference table. He is acity-slicker; the type of man with Saatchi & Saatchi behind him. This is the Jeffrey Archer Syndrome where so much of government is media-orientated. looking after its image rather than its integrity. and thisfits perfectly with the world of Elisinore. where intrigue
Hamlet
The O.T.(i. . whose association with the Edinburgh Fringe dates from the early days when it premiered Tom Stoppard's Rosencrant: aml (itu‘ltlenstem A re Dead. intend toexploit their youthful looks by concentrating on the younger characters. ‘The play is full ofyoung characters.‘ says Brown. ‘l lamlet. Ophelia. I.aertes. each of them a foil to the other. Ophelia in particuliar is interesting. [don't intend to make her strong. there is nothing wrong with presenting her as a weak character. llamlet wants an ideal woman. and she is stifled by her father and brother; this is a man's world in which the male
own identities.‘ By contrast. Clocktower. a compahyof
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classic. and telescope it g into an our of unusuaf’
theatre. Coming fresh
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