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94 George Street. Edinburgh EH2 3UP. 'l‘el 03| 225 5955




7 September - 2 October Mon Fri 10 - 6; Sat 10 - 1 l Gallery closed Monday 17 September


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SL’ R\’l:\ 12]) I August to 31 October b’londay-Saturday 930-1700 Sunday 14.00-17.00 Admission Free National Library Of Scotland George [V Bridge, Edinburgh EH1 lEW. Tel: 031-226 4531.


. . . . . TheSeottish \\ ll\‘ A H()l.ll).-\\ l'()R l\\ () l.\ “Highlamlsarx! 'l'Hii w'IasriERN isi ias ’~“"’""” photography gallery & workshop S I'Rhl: r LithL pHOTOGR ApHY . Photography Gallery & Workshop 279-28l High Street “'“8‘” G4 “05 DARKROOMS E Telephone (MI 552 2i5i l Open Wed-Sat ii:oo - 6:00 E Sundays l2:m - 411) l '1 See Listings for exhibition and events details. CLASSES STREET LEVEL is subsidised by the Scottish Arts Council and Glasgow District Council

52lhel ist 28 September - l I October 19‘)“


I Discussion: Platform Debate P82. loam—noon. Your chance to review the Review.

I Videos Studio. Noori- 3pm and 3.35—7pm. Sec Wed If).

I In The Frame Gallery 3. Noon-7pm (hourly). The last we heard of Roland Miller he was spiralling in and out of Glasgow on a month-long walk that took him from the outskirts to the centre ofthe city and back again. No doubt his experiences have informed this installation performance w hich is all to do with What happens to the imagination when it is trapped.

I Don't Put Your Shoes On The Table PSI. Noon-8pm. \leloni Poolch installation examines social condition and in particular its limiting hold over the lis'esot

I ExhibilGallers l. Noon. Bodies In Flight wonder about the nature of performance.

IAngst l’SZ. 12.45pm. (iasin Randlc gets existential.

I Slow, Slow. Quick. Duick ( iallcrt‘ I. l.3()pm.( lare l’almer dances her w a} through a tale about a romance that might have been.

I Weighted Flight The Roof From 3pm. The most unliker striptease act you'll ever see. as Ysonne Austen goes ontothe roofto tie small weights to her clothes. As the weights get unbearable. the garments are cast in pieces into the wind.

I The Governing Body P52. 3pm. Dennis Dracup and Gary (iaidner sit themseb es in the middle of a series ofgeometric images and let the frequencies ofcolour, heat and sound change around them.

I Third Estate Music and Dance ( iallch 1. 2.45pm. Dance and music by 'l'hird listate


who base this integrated piece around responses to the Satanic Verses affair.

I The Oxymoron Studio. 3pm. leuan Dagger takes us through eserythingfrom the fridge to the universe in a sceptical appraisal of mankind's achiescnts.

I Ubique Five (iallcr) 1.3.35pm. Bag l-‘is c is a group of three men w ho take acoiuie look at the serious business ofmourning .loe ()rton for the ‘)ils'.’ i I Gigantic Days l’SB. 4 15pm. Mm enient

I theatre performed by Matthew Springford

and Paul Munda} and based t)lt()ll\’t't Sach'sAwake/tines. ITInyGaller} l. 5pm. Robert ()serson

2 Combinesfragmentsofcontempot'ait lilo

sound bites. dance. words. images ina textured and thy thmic multi-nicdia e\eitl with a resolutionar} sub-te\t.

I Talk: The People Show Studio. 5 . 3! lpni ()ld hands in the field ofexperimcutal theatre. The l’eoPlc Show reveal all in a talk called Theatre. The Trill/f.

I Behemouth l’SZ. 7pm. Three sculptures attempt a mental Juggling act in Allison (ialbraith‘s comic and alarming musical and lilmic circus.

I The Fall of Lucas Fortune ( iallcrs l.“pm. See Sat 13.

I 0f Darkened Rooms The She-tier. 7

E Renti‘ew' ( ~ourt. 8pm. Sec Wed It).

I find of Decade Party ( 'al'c. .‘s..‘~llpm until late. [men the birthday cake is commissioned (lrom one ol the world‘s few' performance cooks. Bobby Baker). as the National Review of Live Art celebrates its tenth anniversary.

I Love You Always ( ialler} 1. Midnight. Roger Whitmore (w lio worked as ‘a designer and performer on Neil Bartlett's .-1 Vision ()f1.m'r' Revealed [ll Sleep l teams up with Allison lnkpcn (who appeared in last year 's National Review and hasplaiis to work with l'ildaSw‘inton).

:- Art on a plate

Jonathan Stone’s work in Ralph Ralph has long been concerned with language. Which language doesn’t really matter. The company’s hit of the 1987 Edinburgh Fringe, The Summit. mapped out the negotiating table meeting of two superpower leaders who have the tale of the world in their hands. From heated exchanges to post-conference drinks, the performance ran the gamut of political decorum and deception without ever a recognisable word being passed between them.

‘When I was working with my brother Barnaby in Ralph Ralph,‘ says Jonathan Stone from his Stateside rehearsal room, “as soon as we started using real words we started arguing. The gibberish work was much more productive.’

It's a line that Stone has followed through to the latest production, Dinner, which was seen in an earlier incarnation at the Third Eye Centre in April and which concerns six people with no common language who meet up fora meal. Just to add an exotic touch

, (and to create an extra headache for the i administrator) the six actors are in real 3 life from different countries. The

l languages they use are all imaginary

l but, because they have different

; professional backgrounds, each actor's

' movements, style and mannerisms are 3 distinct.

) ‘l'm interested in the amount of

l communication that gets done without } language,‘ Stone explains. “Although ' English is an intellectually rich language, the English are very bad at conveying emotion. A lot of the choreography in this piece is based on where people blink and where people are looking.‘

The use of the word ‘choreography‘ is deliberate Stone says that they are most warmly appreciated by the dance community- but like much of the

Ralph defies simple categorisation. Neither straighttheatre, nor straight dance, Stone decides that Dinner is perhaps best described as opera. ‘The performance art world is very much an area where people are throwing up ideas all the time,” he says, ‘and eventually the best ideas stick.‘ (Mark Fisher)

Dinner is at the Third Eye Centre. Wed 5 fo—Thursft Oct, 7.30pm.

National Review Of Live Art work. Ralph