The character of Ulysses is the man of many guises who took twenty years to return home from the Trojan Wars and is probably one of the most influential icons in western literature.
Award-winning Greek company Theatriki Leschi returns to the Fringe, after last year’s Antigone, with its latest work [tastes-Ulysses which follows Ulysses through the works of Homer, Ovid, Shakespeare and James Joyce. ‘llostos means return,’ says company spokeswoman Christina, ‘and that is what the wandering Ulysses has being doing in our imaginations ever since his creation in the 8th century so:
The universal nature of Ulysses’ convoluted journey is expressed through the show’s use of different languages, including Greek and English, and a radical approach to rehearsal. ‘Each actor is being
THEATRE SANS FRONTIERES THE BRIAN COLLECTIVE RlCOCHET DANCE COMPANY UNION DANCE COMPANY THE RE-ANIMATORS TRAGIC CARPET
BLACK THEATRE CO-OPERATlVE MARK BALDWIN DANCE COMPANY DIVAS ‘ VESTRIS-CASSIEL
CARLSON DANCE COMPANY
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Theatrlkl Leschi: unsettling the spectator directed in isolation from the others,’ says Karamanidou. ‘Only on the opening night will each hear the words of the other actors or even see what they are costumed as.’
Theatriki Leschi is noted for its sparse, modernist approach to ancient subjects. In ﬁestas-Ulysses it’s trying to create theatre as a point of departure rather than as a finished object that is the same every night. The show is in large part a homage to Kantor, the Polish abstract expressionist, who regarded theatre as a subversive environment, which, like the elusive Ulysses, involves the audience in adventure and questions their role as spectators. (Ronan O’Donnell) fiestas-Ulysses (Fringe) Theatriiri leschi, Demarco Foundation ( Venue 22) 558 3371, 14-19 Aug, 9.30pm, £6 (£4).81
from 1 4 Aug
The rave generation can often look like a bunch of sad old punks reliving a hedonistic youth they never really had the bottle for first little round. But those who grew up during 1988‘s seminal Summer of Love found a release and a sense of identity hitherto unknown. No surprise then that seven years on there are at least four ‘rave plays' on the liringe.
Anita Sullivan's Crux/ting focuses on two men and two women. their relationships with each other and with the drugs they take. ‘1 observed a change in attitude in clubs.‘ says Sullivan. whose previous play Just Whores about go-go dancers was a critical success last year. ‘There was a strange time when a drinking mentality took over. which was all about how much can you do and how fast can you go. Overall though. rave culture is symptomatic of an entire generation trying to ﬁnd meaning and a
sense ofcommuntty It's also a beautifully given situation for drama.‘ (Neil Cooper)
I Crashing (Fringe) Radge Productions. Diverse .-\ttracttons (Venue lllllﬁ 8961. 14-71‘) Aug. 8.30pm. £4.50 (£3).
When it comes to matters spiritual. words can mean many things. Take lilohim for instance. Not only is it the Hebrew word for God. it's also the name of the race that comes in between people and God. As in angels. basically. But in Mark l"isken's new play. presented by Midlothian's Glen Theatre. lilohim is a narrative bard who is the personiﬁcation of the very splendid looking Rosslyn Chapel where. unsurprisingly enough. [flu/rim the play is set.
‘lt was inspired by the music “Ribbon of Time". which Paul Albion composed especially for the Chapel.‘ says Fisken. ()ther characters represent different aspects of
lilohtm's character. be it wisdom. love or strength. 'l‘herc‘s also a character called The Seventh (iuardian. who represents all evil because. as Fisken says. “if you have good you must have evil".' This assortment of
give the bard a helping hand in telling a series of stories about the Chapel. some based lll historical fact. others in myth and legend. ‘lt's a mixture of music. dance and words. and is presented in a very surreal wayf says liisken. Like [flu/tint. all l5isken's previous plays have been about or inspired by Rosslyn Chapel. a place he never
tires of and one clearly
close to his heart. ‘1 think it‘s got such an incredible atmosphere.‘ he says. ‘lt's not just a church but something tnore than that. It's also the perfect backdrop to do the play. You couldn't hope fora better venue.‘ (Neil Cooper)
I Elohim (l‘ringe) Glen Theatre. Rosslyn Chapel (Venue HR) 440 2 [59. 10—19 Aug. 8pm. £6.50 (£4.50).
1mm— » Kltwa (The fire)
Anyone who remembers Polish
company Wierszalin’s Fringe First-
wlnning Boll-A-Pea two years ago, or
last year’s equally triumphant Merlin,
will be more than anticipating for their
third visit with an adaptation of
’ Stanislaw Wyspianski’s turn-of-the-
century rural fable The curse. Writer/director Piotr Tomaszuk cites
such influences as Polish gurus Jerzy
Grotowski and Tadeusz Kantor, and
Russian Vsevolod Meyerhold and
Wierszalin’s dazzling performance
style - incorporating puppets, mime
and religious icons - has developed
1 into an extreme eastern European
form of expressionism, which as the
company states, ‘endeavours to
1 present the truth about life and
Wlerszalln: where east meets west
Since the company is based in Bialystock, in the far east of Poland, it certainly appears qualified for this mission. They blend elements of Judaic culture, eastern Orthodox Christianity and local folk morality which made Boll-A-Pea a Ukrainian religious fable rendered with shadowy, mystic brilliance such an impressive
Edinburgh debut. The Curse, a classic of Polish theatre, takes up similar themes: sacrifice and redemption, faith and retribution, all rendered through the story of superstitious villagers and their priest’s children. (Andrew Pulver)
KIatwa/T he Curse (Fringe) Wierszalin,
philosophy of the people living on the
Theatre Workshop (Venue 20) 226
0131 346 1405 | _ , ( borderline between Eastern and
5425, 11 Aug—2 Sept, 8pm, (£7.50 (£4).
“The List 11-17 Aug 1995