DOCSLIB.ORG

NTW Newspaper WSH 4.Indd

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
NTW Newspaper WSH 4.Indd CREATED BY / CRËWYD GAN RACHEL TREZISE, COMMON WEALTH & THE COMPANY / Y CWMNI Photo / Llun: @NTWTWEETS Jon Pountney / Elfen / National Theatre Wales #NTWSTEEL Sam Coombes NATIONAL THEATRE WALES WE’RE STILL HERE & COMMON WEALTH Photo/ Llun: Dimitris Legakis Jason May 2 NATIONALTHEATREWALES.ORG @NTWTWEETS #NTWSTEEL FACEBOOK.COM/NATIONALTHEATREWALES Photo / Llun: Dimitris Legakis Kully Thiarai Artistic Director / Cyfarwyddwr Artistig THIS STORY IS STILL UNFOLDING. Welcome to Port Talbot and to National Theatre Wales’ newest production – We’re Still Here, created with Common Wealth. In a time of signifi cant change and global turmoil, it is perhaps no surprise that we want to try and understand what is happening around us; to close ranks and fi ght for those things that have sustained our communities and our way of living. To try and hold on to what we know and to feel some sense of purpose and control. The battle for the survival of the steelworks in Port Talbot – the last bastion of heavy industry in Wales – is ongoing. The blast furnace is still lit, but the world of work is changing fast. This story is still unfolding. Like so much of our work, We’re Still Here developed through conversations. Through talking to the steelworkers, the unions and the people of Port Talbot. It is our response to a moment in time, a moment when questions about the nature of work, what it means to be working-class and the impact of globalisation on our daily lives feel very immediate and real. As ever, we’d love to hear your thoughts on the show, so please share them with us: FACEBOOK.COM/NATIONALTHEATREWALES @NTWTEETS #NTWSTEEL [email protected] Without an audience, there is no theatre, so thank you for attending today and supporting National Theatre Wales. KULLY THIARAI Artistic Director / Cyfarwyddwr Artistig National Theatre Wales 3 NATIONAL THEATRE WALES WE’RE STILL HERE & COMMON WEALTH SOME PEOPLE MIGHT SAY “WELL, WHAT DO YOU EXPECT?” AND THE ANSWER IS WE EXPECT A LOT. PEOPLE SAY, “WHAT ARE YOU, A DREAMER?” AND THE ANSWER IS YES, WE’RE DREAMERS. WE WANT IT ALL. WE WANT A PEACEFUL WORLD. WE WANT AN EGALITARIAN WORLD. Howard Zinn 4 NATIONALTHEATREWALES.ORG @NTWTWEETS #NTWSTEEL FACEBOOK.COM/NATIONALTHEATREWALES COMMON WEALTH Photos / Llun: Dimitris Legakis / National Theatre Wales Above / Uchod: Rachel Trezise & Evie Manning Left / Chwith: Rhiannon White & Evie Manning People are dancing, talking, singing, coming together and We’re Still Here for us is about pride, fighting back. We’re Still Here is about all of that. about fighting back, about how working As Gary Keogh from Community Union says “We will not walk class people can respond to the way that quietly into the night”. capitalism and greed operates. To end on a quote from the incredible Howard Zinn: We wanted to make a play full of leaders, that would challenge and provoke debate about what being a working-class leader means; about how we need to respond to the attack on the “Where progress has been made, working-class that increases daily. In these times, it feels necessary to make theatre that brings us all together. wherever any kind of injustice has We’ve been inspired by how the Save Our Steel campaign been overturned, it’s been because has fought back and got organised. We’ve also been inspired people acted as citizens, and not by the people at the heart of it, who have kept their heads high and spoke more truth and sense to us than any politician ever as politicians. They didn’t just moan. has. They have taught us so much about the world, ourselves, and the future we could have if we stand up for it. They worked, they acted, they We were interested in ghosts, and how capitalism operates organized, they rioted if necessary to create ghost towns, and how this is both a reminder and a warning to us to keep fighting. The past has shown us that to bring their situation to the attention it takes generations to recover from the obliteration of jobs, but it also shows us that people can make change. of people in power. And that’s what we have to do today.” RHIANNON WHITE & EVIE MANNING Common Wealth 5 NATIONAL THEATRE WALES WE’RE STILL HERE & COMMON WEALTH “AS BOTH A WRITER AND A HUMAN BEING, I AM A PRODUCT OF INDUSTRIAL SOUTH WALES” Rachel Trezise 6 NATIONALTHEATREWALES.ORG @NTWTWEETS #NTWSTEEL FACEBOOK.COM/NATIONALTHEATREWALES Photo / Llun: Dimitris Legakis / National Theatre Wales My father grew up on the Sandfi elds Estate and worked in the At around the same time as Tata’s announcement I’d just Port Talbot Steelworks along with my grandfather and uncles begun work on an exploratory project with Common Wealth and on both sides of my family. I grew up in the 1980s on the other National Theatre Wales. We were trying to fi nd out where the side of the Afan Forest in the Rhondda valley, surrounded by the Welsh working class leaders had gone, where the Dic Penderyns remnants of the coal mining industry: slag heaps, the skeletal and Aneurin Bevans of the present day were hiding. We remains of the mines themselves, and lots of unemployed men. watched with much excitement as the Save Our Steel Campaign Everywhere I looked in my corner of Wales there was evidence responded uproariously to Tata’s announcement; taking social of heavy industry. But by the time I left for university the coal media by storm, unfurling banners at Cardiff Blues and Ospreys mining hangover was healing, the slag heaps and mine shafts fi xtures, marching on London and Brussels. And we realised grown over. Steel was the only thing left. that’s where our working class heroes were. When Tata announced in January 2016 that 750 jobs were For me the script is a tribute to the guts of the Save Our Steel to go in the Port Talbot plant, and then later announced campaigners and the working classes throughout the UK. it was going to sell its entire UK business, I understood what Austerity measures mean that presently working people are a devastating blow it was for the community of Port Talbot, dodging missiles from almost every direction. We are living for all of the surrounding area, for the whole of Wales. through a social care crisis, a social housing crisis, a child The steelworks is the last major employer of highly skilled poverty crisis, a mental health crisis. Zero-hour contracts have manual labourers in the country. Without it Wales’ industrial reached record levels and food bank usage continues to rise. life is over. A situation that would be a lot easier to accept It’s imperative, I think, a matter of urgency, in fact, that the had those unemployed coal miners of the Rhondda not turned voices of the people caught up in these desperate straights, are into unemployed sons and grandsons. heard, loud and raw at this critical juncture; the beginning of the end of heavy industry in the UK. RACHEL TREZISE WRITER / AWDUR 7 NATIONAL THEATRE WALES WE’RE STILL HERE & COMMON WEALTH IT ALL BEGAN WITH ONE FARM: A BRIEF HISTORY OF THE PORT TALBOT STEELWORKS Graham Rowland Steelworker and local historian / Gweithiwr dur a hanesydd lleol Known as “Theodoric’s Grange”, it was the richest Yn cael ei hadnabod fel “Maenor Dewdrig”, hon farm in Wales and was inhabited by monks. The farm oedd fferm gyfoethocaf Cymru a mynachod oedd ei came from a Cistercian order, and the workers were thrigolion. Roedd y fferm yn perthyn i Urdd Sistersaidd, known as Lay Brothers. From artefacts discovered a byddai’r gweithwyr yn cael eu hadnabod fel brodyr on the site, it is believed that the monks were using lleyg a roddodd i ni’r gair Saesneg ‘labourers’. O black band iron ore (which is only 40% iron) from the eitemau y daethpwyd o hyd iddynt ar y safl e, credid bod nearby rivers, and smelting it with charcoal to create y mynachod yn defnyddio band du o fwyn haearn (gyda implements like keys, cutlery and various other tools dim ond 40% ohono yn haearn) o’r afonydd cyfagos, a’i doddi gan ddefnyddio golosg er mwyn creu eitemau megis allweddi, cyllyll a ffyrc ac offer amrywiol. The path of ironmaking in Port Dechreuodd trywydd gwneud Talbot and the surrounding areas haearn ym Mhort Talbot a’r fro started in Pontrhydyfen, with the ym Mhontrhydyfen, gyda gwaith Oakwood Iron Works; who used haearn Oakwood; a oedd yn locally mined ore. Production then defnyddio mwyn haearn wedi moved down to Cwmavon, where ei gloddio’n lleol. Symudwyd the works were owned and run y broses gynhyrchu wedyn i by the English Copper Company. Gwmafon lle’r oedd gwaith ym When they went out of business, mherchnogaeth ac a oedd yn cael the works were taken over by ei redeg gan yr English Copper the Bank of England, the only Company. Pan aethant hwy yn company of this kind to be taken fethdalwyr, prynwyd y gwaith over by a government. gan Fanc Lloegr, yr unig gwmni o’r math hwn i gael ei fabwysiadu gan lywodraeth. The First World War created massive Bu’r rhyfel byd cyntaf yn gyfl e rhyfeddol opportunities for the steel industry in Wales, i’r diwydiant dur yng Nghymru, gan y gellid as low grade ore could be used to make steel defnyddio mwyn haearn o safon isel a’i droi’n for shells. There was also a German prisoner ddur ar gyfer cynhyrchu sieliau. Yn ogystal of war camp situated in Goytre which provided roedd carchar rhyfel ar gyfer milwyr o’r Almaen a source of cheap labour for the works at Port yn y Goetre a oedd yn ffynhonnell llafur rhad ar Talbot, supporting the war effort.
Load more

Recommended publications
  • Chapter One – „Digital Technology and Theatres‟……………………………………7
    Technology; Theatres, Plays and Performance Submitted for assessment to the University of the West of England 2011 for Drama and Creative Writing degree award. Copyright: Hannah Williams Walton 2011 Photo from the Blast Theory website: http://www.blasttheory.co.uk/bt/index.php Abstract Technology is now an integral part of modern society from the internet; to computers, mobile phones and gaming. It is clear that technology has made massive advances to society in terms of connecting the world however we must also examine the disciplines which may be struggling to adapt. The world of arts and theatre is a form that is routed in tradition which brings limitations in how far people are willing to push against normal conventions. This dissertation explores three sections of technology within theatre. „Digital Technology and Theatres‟ which explores the impact that the internet has had on the theatre in terms of marketing; and participation in the arts; looking at specific theatre websites, and the services Digital Theatre and National Theatre Live. „Technology and the internet in contemporary plays‟ looks at Tim Fountain‟s play Sex Addicts that uses the internet live during performance, and the work that contemporary playwrights have developed to stage modern technology within their work. From Patrick Marber‟s chatroom scene in Closer, to Chatroom by Enid Walsh that is set almost entirely in a virtual world. „Digital Performance‟ explores theatre companies and practitioners that are pushing the boundaries between performance and technology, to create contemporary pieces of theatre. The research identified Connected an organisation dedicated to working with artists who use live and interactive media; this included Duncan Speakmen, Hide and Seek and Blast Theory.
    [Show full text]
  • Information Pack Trustees Welcome
    Information Pack Trustees "Since its inception, National Theatre Wales have never been afraid to ask what theatre is and what it might be” The Guardian, UK Welcome. Thank you for your interest in the role of Trustee on the Board of National Theatre of Wales (NTW). NTW collaborates with people and places to make extraordinary theatre that inspires change. We operate from a small base in Cardiff city centre, but the nation of Wales is our stage, and its incredible stories and wealth of talent is our inspiration. The role of the Board, and each of its members, is critical in bringing effective leadership, support and inspiration to the organisation as it enters a new period in its history during challenging times for the arts sector as a whole. We trust that this recruitment pack will give you the relevant information you require on the role plus some further background on NTW and its future. You will find details on how to apply on page 6. The deadline for applications to be received is 12 noon, Wednesday 11th November. Thank you for your interest in NTW and for taking the time to consider joining us. We look forward to hearing from you. Clive Jones, Chair Background National Theatre Wales (NTW) is succession planning for its board of trustees and looking for a number of Non-Executive Directors to join the board from November 2020 onwards. Chaired by Sir Clive Jones CBE since December 2016, the board supports and advances the artistic vision of Lorne Campbell, the new CEO/Artistic Director, who joined the company in March 2020.
    [Show full text]
  • 2012/13 Annual Report
    Summary Annual Report and Accounts 2012/13 Central Manchester University Hospitals NHS Foundation Trust Central Manchester University Hospitals NHS Foundation Trust Annual Report and Summary Accounts – 2012/13. Presented to parliament pursuant to Schedule 7, Paragraph 25 (4) of the National Health Service Act 2006. 1 Contents Message from the Chairman & Chief Executive ..........................................................4 All about the organisation ...............................................................................6 Working with our Patients and Visitors. 8 Equality, Diversity and Human Rights. 14 Working with our Staff .................................................................................18 Carbon Reduction/Sustainability. .26 Infection Prevention and Control .......................................................................27 Research and Innovation. 28 Highlights and Developments ..........................................................................32 Viewed by Millions On TV ..............................................................................49 Activity and Performance ...............................................................................54 Quality Accounts 2012/13 .............................................................................56 Feedback from the Governors ........................................................................134 Commissioners’ Statement ...........................................................................134 Health and Wellbeing Overview
    [Show full text]
  • Open Culture: National Theatre Wales by John Mcgrath Guimarães, Open City Project August 2012
    Open Culture: National Theatre Wales by John McGrath Guimarães, Open City Project August 2012 National Theatre Wales is a new theatre for an old but emerging nation. Part of the UK for many centuries, Wales now has a semi-independent government with control over key services such as health, education, and culture. As part of this shift in powers two new theatre companies were created in Wales – Theatr Genedlaethol Cymru and National Theatre Wales. Both company names mean the same thing but in two different languages – Welsh (TGC), the native language of the country spoken by about 25% of the population, and English (NTW), which is spoken by everyone but associated with the big neighbour across the border. So NTW has, of its essence, a complex relationship to nation and identity. Like all theatre companies in the UK however, it is run as an independent organisation not as a government entity. So when I was invited, with a small group of colleagues, to set up the company in 2009 we were free to find our own answers to the questions facing us. Landscape As well as the question of language, a number of other factors about theatre in Wales fed into our thinking: Wales has a relatively small population (3 million) spread quite thinly across the country. While there are some cities, the largest (Cardiff) has a population of just 300,000, and there is a historic distrust of centralisation. The option of a national theatre based in a large building in the capital city was not an idea that had much support.
    [Show full text]
  • Praxis Makes Perfect
    Praxis Makes Perfect NATIONaL tHEATRE WaLES & NeON NeON NationaL Theatre WaLes & Neon Neon Praxis Makes Perfect Conceived aNd PerfOrMed by Gruff Rhys aNd Boom biP LooseLy based on tHe book seNiOr service by carlo feLtriNelli B #Ntwneonneon Neon Neon bryaN Hollon ‘Boom biP’ Gruff Rhys In 2007, Gruff Rhys and Boom Bip launched Bryan is originally from Cincinnati, Ohio Gruff Rhys is a Welsh musician, performing Cerddor Cymreig yw Gruff Rhys, sy’n perfformio the electro-pop collaboration Neon Neon. and is currently based in Los Angeles. After solo and with several bands. He was born ar ei ben ei hun a gyda sawl band. Cafodd Their first album, Stainless Style, was released starting his career as a DJ – presenting on in Haverfordwest, Pembrokeshire and grew ei eni yn Hwlffordd, Sir Benfro ac fe’i magwyd in 2008 and is a concept album based on the the radio and hosting club nights – he met up in Bethesda, Gwynedd in north Wales. Gruff ym Methesda, Gwynedd yng ngogledd Cymru. life of John DeLorean, founder of the DeLorean and collaborated with other producers and first found his voice as the front man of the Daeth Gruff i’r amlwg fel prif ganwr Ffa Coffi Motor Company. The album included high-profile artists including rapper Doseone. Boom Bip band Ffa Coffi Pawb (Everyone’s Coffee Beans), Pawb (Everyone’s Coffee Beans), oedd wedi’u guest appearances from the likes of The Strokes’ and Doseone’s collaborative album Circle who were signed to Ankst and became one cofrestru ag Ankstmusik a ddaethant yn un Fab Moretti, Har Mar Superstar, Cate Le Bon was noted by John Peel in the UK, and the of the leading bands on the Welsh language o brif fandiau’r byd cerddoriaeth yng Nghymru.
    [Show full text]
  • National Contemporary Art Gallery Wales: Preliminary Feasibility Study
    National Contemporary Art Gallery Wales Preliminary Feasibility Study & Options Appraisal July 2018 Client: Museums, Archives and Libraries Division (MALD), Welsh Government Event Authors: Lucie Branczik and Becky Schutt Revision no: 02 Date: July 2018 Event Communications Ltd India House 45 Curlew Street London SE1 2ND +44 (0) 20 7378 9900 [email protected] www.eventcomm.com © Event Communications Ltd 2018 The right of Event Communications Ltd to be identified as the author of this work has been asserted in accordance with the Copyright, Designs and Patent Act 1988. Front cover: Laura Ford, Cardiff Contemporary Festival Source: Laura Ford Contents Executive Summary 7 Appendices 1. Introduction 17 Appendix 1: Consultation List 138 2. Findings and Opportunities 23 Appendix 2: Site Visits 140 Contemporary Art in Wales 25 Appendix 3: Bibliography 142 Supply: Visual and Applied Arts Ecology 30 Appendix 4: List of Figures 144 Demand: Audiences 51 Appendix 5: The Market 147 Key Contexts 61 Appendix 6: Longlist Options 155 Sector Ambition 86 Appendix 7: Vision and Mission Examples 227 3. Purpose and Vision 91 4. The Options 97 5. Recommendations 103 6. Details of the Model 119 7. Recommended Next Steps 131 “In Britain, whenever people come across something new and exciting, but challenging, there is a tendency for them to run for cover, to want what they know and are comfortable with. To design a great new building takes courage on everyone’s part. I think we have a lot more explaining to do.” Zaha Hadid, 1995 Jonathan Glancey, “A monumental spot of local trouble” (The Independent, Jan 1995) 5 Kelly Best, Installation View.
    [Show full text]
  • Could Brexit Bring Back the Rope?
    “I will not be silenced!” Faith Spear, beleaguered Chair of the IMB at Hollesley Bay speaks out // page 16 Cheaper pay phone call charges // page 36 “Do not destroy my “The Board has had “I suffer from a threefold the National Newspaper for Prisoners & Detainees country because I will kill signifi cant concerns about illness of a mental obses- you. I will kill you” cultural and leadership sion, a physical allergy a voice for prisoners since Philippines President-elect values at Medway STC” and a spiritual malady” June 2016 / Issue No. 204 / www.insidetime.org / A ‘not for profi t’ publication / ISSN 1743-7342 Rodrigo Duterte tells criminals Inside Time reports Alcoholics Anonymous An average of 60,000 copies distributed monthly Independently verifi ed by the Audit Bureau of Circulations Newsround // page 13 Comment // page 22 Information // page 32 l New “reform” Queens Speech: prisons to be opened, Biggest prison shake-up with emphasis on Could Brexit training, rehabilitation in England and Wales and education ‘since Victorian times’ l Governors of new prisons to have free- dom to agree service bring back contracts and establish their own boards l More statistics on post-release offending the rope? and employment rates to be published l Courts and tribunals to be modernised, © prisonimage.org A Britain with greater use of outside the My government will legislate to technology to reduce European Union reform prisons, to give individuals a delays would have no second chance HM The Queen Read more on page 17 brake on new populist demands for harsher punishments © Fotolia.com pubs in Birmingham to see incarcerate people fast enough Denis people gathering signatures no one should have any illu- “An exceptional firm Rahman Ravelli is a leading firm in serious, MacShane on a petition urging a referen- sions that judges constitute with exceptional people, heavyweight and complex crime cases.
    [Show full text]
  • Emmerdale (ITV)
    Photo: Sam Taylor The four short plays are presented by special arrangement with the University of the South, Sewanee, Tennessee. WELCOME TO NORTHERN BROADSIDES ... and to Beyond These Walls! This show was made possible thanks to the Cultural Recovery Fund and the generosity of Sheffield Theatres, who have allowed us to take over their studio for the past month to stage our first indoor performance since J.M. Barrie’s Quality Street in March 2020. During the last year, we have been keeping the company busy and engaging with our audiences online through various digital projects, including the creation of 21 short films in the first lockdown, an outdoor dance theatre piece, a short film of that dance theatre piece, and a series of Christmas podcasts! Quality Street (2020) ABOUT US We’re a touring theatre company based in Halifax. Our celebration of the diversity of the Northern voice makes us stand apart. We adapt our work to any space on the venues we visit, both traditional theatres and non- velvet spaces. Our bold, accessible, unpretentious productions that have been playing to packed housed across the country (and internationally!) for 29 years give us a strong identity which has allowed us to form an The Aftermath (2020) unbreakable bond with our audiences. The Northern Voice is not a singular dialect or accent. The classics don’t belong to any one region, or voice – they’re part of our common culture. Using regional voices, in all of their forms, makes our performances engaging and immediate, allowing audiences to hear and appreciate the words like never before.
    [Show full text]
  • Equity Annual Report 2007
    EQUITY ANNUAL REPORT 2007 The seventy-seventh annual report Adopted by the Council at its meeting held on April 27, 2008 for submission the Annual Representative Conference 18&19 May, 2008 Equity Incorporating the Variety Artistes’ Federation Guild House Upper St Martin’s Lane London WC2H 9EG Tel: 0207 379 6000 Fax: 0207 379 7001 E-mail: [email protected] Website: www.equity.org.uk ANNUAL REPORT 2007 1. GENERAL....................................................................... 1 A. Annual Representative Conference............................................................ 1 B. Ballots ........................................................................................................... 1 C. Diversity Conference ................................................................................... 1 D. Lobbying Activities...................................................................................... 1 E. Marketing and membership services ......................................................... 3 F. Clarence Derwent Awards 2005 .................................................................. 5 G. Rules Working Party.................................................................................... 5 2. THEATRE, VARIETY & CIRCUS ................................... 6 A. General.......................................................................................................... 7 B. London Theatre............................................................................................ 7 C. Commercial and Subsidised
    [Show full text]
  • Annual Report 2010
    ANNUAL REPORT 2010 cover.indd 138 28/04/2011 14:28:03 cover.indd 139 28/04/2011 14:28:03 EQUITY ANNUAL REPORT 2010 THE EIGHTIETH ANNUAL REPORT Adopted by the Council at its meeting held on 5 April, 2011 for submission to the Annual Representative Conference 22 & 23 May, 2011 Equity Incorporating the Variety Artistes’ Federation Guild House Upper St Martin’s Lane London WC2H 9EG Tel: 020 7379 6000 Fax: 020 7379 7001 E-mail: [email protected] Website: www.equity.org.uk Book 2.indb 1 28/04/2011 12:26:41 Book 2.indb 2 28/04/2011 12:26:41 CONTENTS CHAPTER 1: GENERAL A. ANNUAL REPRESENTATIVE CONFERENCE ...............................................................................................................5 B. BALLOTS .................................................................................................................................................................. 5 C. LOBBYING ACTIVITY ................................................................................................................................................5 D. MARKETING AND COMMUNICATION ....................................................................................................................8 E. RECRUITMENT & RETENTION ...............................................................................................................................10 F. CLARENCE DERWENT AWARDS .............................................................................................................................10 CHAPTER 2: LIVE PERFORMANCE A. GENERAL
    [Show full text]
  • The Commission Is for an Article of Around 750 Words
    CC(3) AC 52 Communities and Culture Committee Inquiry into the Accessibility of Arts and Cultural Activities in Wales Response from Jon Gower Dear Committee, Thank you for turning your attention to the provision for the arts in Welsh communities, especially at a time when chill economic winds blow. I should like to start my personal contribution by reproducing an account of the arts commissioned from me by Wales Arts International. It was penned to give artists overseas a sense of the range and embeddedness of the arts in our country. I hope it‟s useful to the committee, if only as a quick audit of the artistic wealth we currently possess. It is certainly a treasure worth more than money. The arts in Wales are vibrant, vital and varied, with practitioners who both respect the continuities of tradition and sharpen the cutting edge. The country is well provisioned with arts centres, galleries and theatre spaces and there‟s a real sense of stuff going on, of this being a country where people want to make things, from house music to conceptual art, from high octane dance to serene verse. The historian Dai Smith recently suggested that Wales is an old country becoming young and in many senses he‟s right. The existence of the Welsh Assembly Government, the National Assembly for Wales and new civic institutions have generated energy, deepened self awareness and touchstoned new ambition. These have led to ideas such as the Library of Wales, which reprints books, a sort of Welsh canon if you like, by such writers as Gwyn Thomas and Margiad Evans, making their work available in all of the country‟s schools and funded by the Welsh Assembly Government.
    [Show full text]
  • 12 Mundo Paralelo Programme.Pdf
    What happens when circus “ intoxicating, tumultuous abandons its big top and production…” invades a theatre? Donald Hutera, The Times (Immortal) Circus and theatre are two parallel worlds. Nofitstate has always travelled a path somewhere between the two. Our tented shows, Immortal and tabú, reinvented circus in a big top with a promenade style, a multi-stage environment, and a fusion of circus and physical theatre. These award-winning shows have travelled throughout the world to great critical acclaim - amazing audiences wherever they go. This exciting new co-production with National Theatre Wales, Théâtre Tattoo and the Torch Theatre takes the best from both worlds and once again reinvents circus - but this time for a theatre stage. This collaboration has allowed us to deconstruct our circus skills and traditions and put them into a new context, given us the opportunity to re-examine what we do and how we do it. Through this process we have found a new performance vocabulary, developed new equipment and embraced the possibilities and magic of the theatre space. In National Theatre Wales’ 1st year and Nofistate’s 25th we create a truly new and innovative piece of work that is fresh, exciting, accessible and Mundo Paralelo is a co-production engaging. Once more pushing the art form further in different directions between National Theatre Wales, but always in parallel. Nofit State Circus and Théâtre Tattoo with the support of The Torch Theatre (Milford Haven) and Senarts (Toulouse). Nofitstatewas founded by five friends in Théâtre Tattoo was formed by Mladen Cardiff in 1986 as a creative reaction to Materic in the early 1980s in Sarajevo.
    [Show full text]