‘
Hun t‘ in g the GGian tsDaughter
yr hen i a i th yn y tir the old language is in the land and the old songs live alawon hen yn byw
advers e camber productions Myfi yw’r dechreuad Welcome I am the beginning Welcome to the Hunting the Giant’s Daughter South West England tour. We’re so excited about bringing this show to audiences who live in places close to where the action of the story takes place. We’re Myfi yw’r dechreuad also very excited about story walks, celebrating wonderful I am the beginning landscapes and the many different stories those landscapes hold. We’re grateful to everyone who has helped make this tour happen, Myfi yw’r gair see page 31 for a full list of thanks. I am the word If you’re here for a performance, do check out the dates for story walks overleaf. We’ll be walking and sharing stories and songs of Fy nghorff yw'r tir a choed a'r dail land and sea, informally. Similarly, if you’ve come for a walk today, my body is the land and the trees and the leaves why not come to hear a story which passes by the very landscape you’re walking through. Our tour is inspired by the story of Fy ngwallt yw'r gwair Culhwch and Olwen, one of the oldest surviving King Arthur legends in Welsh, full of questing, magic, love and fellowship and
my hair is the grass we’re looking forward to sharing it with you. v Myfi a fydd yma ar ol y diwedd As a company, Adverse Camber is fascinated by how oral stories told over the centuries by hundreds of different people continue to
I will be here after the end v speak to us today. We are also inspired by the contemporary artists Tyrd ar fy ol who work with these stories, bringing them to life in outstanding performances. If you’d like to find out more about our work, do get follow me in touch and follow our tour as we move across the region. O lanc diniwed Thanks for coming today and hope you enjoy it. oh innocent youth
by Meic Stevens and Geraint Jarman, published Lupus Music ltd Naomi Wilds All artist and landscape photography Adverse Camber productions www.chriswebbphotography.com 2 3 Hunting the Giant’s Daughter Hunting the Giant’s Daughter Performances Story Walks
When a young man falls in love with a woman no one can find, Five unique encounters between legend and landscape in a only Arthur’s chosen warriors can help. A quest across lands you’ll series of leisurely strolls through magnificent settings, sharing know and places you’ll discover – through music, words and song. music, stories and song.
Sat 21 September , 7.30pm Fri 11 October , 7.30pm Sun 22 September , 11am Sun 13 October Hunting the Giant’s Daughter Hunting the Giant’s Daughter Perranporth Story Walk at 12noon and 2.30pm Perranporth Memorial Hall , Red Brick Building , Morland Join local historian Tom Hunting the Giant’s Daughter Wheal Leisure, Perranporth, Road, Glastonbury, Tremewan and the Hunting Story Walk at Dunster Castle Cornwall, TR6 0DP Somerset, BA6 9FT the Giant’s Daughter artists– Enjoy passion, drama and Tickets: £8/£6 Tickets, £8/£4; family, £20; Michael, Lynne and Stacey – humour as extracts of this from 01872 572121 and from 01458 899564 or for a leisurely stroll, with stops Arthurian legend are shared in www.carntocove.co.uk www.takeart.org for stories and songs. the magnificent grounds of Phone 01872 572121 Dunster Castle Fri 27 September , 7.15pm Sat 12 October , 7.30pm for more info or visit Tickets: £4 /£2, from Castle Hunting the Giant’s Daughter Hunting the Giant’s Daughter www.carntocove.co.uk entrances (NB usual admission Berrynarbour Manor Hall , Kilve Village Hall , Main Road, fee still apply). Birdswell Lane, Berrynarbor, Kilve, Somerset, TA5 1EA Sun 29 September, 2pm Devon, EX34 9SW Tickets: £8/£4; family, £20; Hunting the Giant’s Fri 25 October , 10.30am Tickets: £7.50/£5; from 01278 741317 or Daughter Story Walk at Fal River Story Boat Trip family of 4: £22.50 www.takeart.org Heddon’s Mouth Join Michael, Lynne and Stacey from www.beaford-arts.org.uk Experience the earliest on a boat trip along the Fal Sat 26 October , 7.30pm Arthurian legend retold amid River with stories and songs Sat 28 September , 7.15pm Hunting the Giant’s Daughter the rugged and dramatic inspired by the location shared Hunting the Giant’s Daughter Performance Centre , setting of the woodland gorge as the boat glides along. Lee Memorial Hall , Penryn Campus, Falmouth at Heddon’s Mouth. Meet: Prince of Wales Pier, Lee Bay, near Ilfracombe, University, TR10 9EZ Tickets: £7.50/£5; Falmouth at 10am for a North Devon, EX34 8LW Tickets: £12/£11 family of 4, £22.50; 10.30am departure. Tickets: £7.50/£5; from 01326 255885; from www.beaford-arts.org.uk To book: www.carntocove.co.uk family of 4, £22.50; www.theperformancecentre.org from www.beaford-arts.org.uk or [email protected]
4 5 More about The Story
Hunting the Giant’s Daughter is based on Culhwch ac Olwen the oldest surviving Arthurian tale recorded in The Mabinogion , a collection of eleven Welsh tales formed from two medieval manuscripts, the White Book of Rhydderch (c1350) and the Red Book of Hergest (c1400). The story is He felt Lynne and Stacey could help give a voice to the women much older than the texts in which we now find it. It invites in this story, notably Olwen and the witch Y Widdon Orddu, us into a fantastic, primitive place where men and beasts are who live in what seems to be a very male landscape but turn equal and shape changing and magic are everywhere. The out to be the emotional and psychic centres around which the medieval author drew on oral as well as written traditions to men are in orbit. Festival Director David Ambrose fill the world of the story with colour, character and vigour. commissioned the piece for the 10th Anniversary of the Like much other Welsh oral material, the story has an Beyond the Border International Storytelling Festival (see p29). uncannily close connection with the landscape; places from Pembrokeshire to Gloucester are identifiable, with names of Following its commission, the show toured Ireland, Wales and rivers, valleys and hills all bearing witness to the events. Holland with Creu Cymru and Iain Kempton before Adverse Camber began working with the artists in 2009. Thanks to Storyteller Michael Harvey began work with this story after funding from Arts Council England and then Arts Council reading John Layard’s book A Celtic Quest . He performed it Wales, the artists redeveloped the piece in collaboration with first as a solo story at the Scottish International Festival of Adverse Camber and a creative team (see pp27-28) and have Storytelling, then revisited it with Stacey Blythe and Lynne toured it together since then. As appropriate for a story told for Denman. Michael had worked with Stacey for many years, hundreds of years by perhaps thousands of individuals, this enjoying her combination of musical sensitivity and risk- version, too, is continually evolving. For more info, including taking, and he knew of Stacey’s work with singer Lynne an interview with Michael Harvey, visit Denman and Lynne’s deep knowledge of traditional song. www.adversecamber.org.
6 7 More abo ut The Music and Songs
The music and songs in Hunting the Giant’s Daughter are The second half opens with ‘Aros Mae’ (Staying), to a tune drawn from both newly written and traditional material. Just as Lynne wrote, expressing the wistfulness of what has passed the story isn’t scripted, so the music is subject to change and the hopefulness for what is to come. ‘Adar Gwylltion’ (The through improvisation, as Lynne and Stacey respond to the Wild Birds) is a collection of lines from old Welsh verses, again shifts and dynamics in each telling of the story. sung to a tune Lynne wrote. The music becomes deeper and deeper as the story moves back through the ages, towards the The first song ‘Myfi yw-r dechreuad’ (I am the beginning) by oldest creatures. Meic Stevens makes the landscape human ‘my hair is the grass’, appropriate for a tale in which human and landscape During the battle sequences, music evokes the conflict, dark relate so closely. A traditional Welsh melody ‘Mae blodau ffein’ and brooding, as lines from Y Gododdin , the 6th Century epic (the beautiful garden) underscores the appearance of the poem, are interwoven with the reading out of names of the double headed thorn. The tune and lyrics to ‘Cariad Cyntaf’ dead. And we move to a slowed chord progression of (First Love) are also traditional and this tender song contrasts ‘Cherries’, a Ffynnon composition by Stacey, for the conclusion with the music which conveys Culhwch’s alpha male qualities, of the hunt for the Twrch Trwyth, the music showing respect for his beauty and sexuality as he ‘goes in style’ to Arthur’s court. the rite of passage we are witnessing. The final song is sung Towards the end of the first half the music shifts to incorporate a for the joyfulness of its melody. blues riff, conveying the invisible force of Olwen, a powerful voice even if she is not physically present when the giant is A live recording of Hunting the Giant’s Daughter which confronted, encouraging Culhwch on with the repeated words includes all the songs and music is available to buy at ‘He thinks it’s hard, but it’s easy for you’. performances or online.
8 9 Cariad Cyntaf (First Love) Liwus lonad serch fy mynwes Bright happy one love of my breast Wiwdeg orau ‘rioed a geres Mae prydferthwch ail i Eden Fairest that I ever loved There is a beauty second only to Eden mi’th gymheraf yn gymhares Yn dy fynwes gynnes fwynwen Let me take you to my own In your warm breast fair maiden Rho dy gred fwyngariadus liwus lawen Trust in me Dear loved one bright and happy A dwed y doi Seren syw And say you’ll come Beautiful star Clyw di’r claf Yn dy lygaid caf wirionedd Hear this lovesick one In your eyes I see truth Yn serennu gras a rhinwedd Addo’th gariad i mi heno That shines like stars of grace and virtue Pledge your love to me tonight mae dy weld i mi’n orfoledd Gwnawn amodau cyn ymado Seeing you fills my soul We’ll make vows before we leave Seren syw i ymrwymo doed a ddelo Beautiful star To be promised come what may Clyw di’r claf Rho dy gred Hear this lovesick one Trust in me A dwed y doi Traditional melody and words And say you’ll come 10 11 Who’s Who Landscapes The Main Characters and se tt ings:
Naming is a significant part of this Culhwch (Keel-hooch) Arthu r’s Cou rt In this story, Arthur’s court is clearly and many stories. Whether giving and placed in Cornwall at ‘Gelli Wig’. This place names, names of people and Famil y Arthur could be Penwith but it is not certain, their relationships or naming ‘how as the literal translation of Gelli Wig is Culhwch (Keel-hooch) things came to be’, stories help pass Cai (Kie) ‘forest clearing’. The closest matches on knowledge across generations His name means Slender Young Pig Bedwyr (Bed-wier) between the story and specific and across cultures. Cilydd (Kill-ith) geography are in Wales at the start of Culhwch’s father Gwrhir the Interpreter (Gwr-heer) When Culhwch names all of Arthur’s the hunt for the Twrch Trwyth, where courtiers (over a hundred in the Goleuddydd (Gol-ay-theeth) Cynddilig the Tracker (Kin-thil-ig) rivers and mountains are named in Culhwch’s mother direct connection to the incidents in source text) the names and the Gwalchmai (Gwalch-my) the story – Carngafallt the ‘rock of stories attached to them hint at cycles all purpose questing bloke Cafallt’ or ‘rock of Arthur’s dog’ where of stories which we no longer know Olwen and Family as well as demonstrating the skill of Menw the magician (Menoo) the paw of Arthur’s dog is said to have the storyteller in being able to reel made an impression while running Olwen (Ol-wen) The giant’s daughter them all off. Here is a handy guide to The Boars through, for example. The hunt races some of the key names in this story Ysbaddaden Bencawr across the North Somerset and Devon coast back towards Arthur’s court. and some of the relationships. (Uss-bath-adin Ben-caoor) Twrch Trwyth There are frequent mentions of people The Chief of all Giants (Twrch - Boar) and places from the North, which In and Olwen’s Father Trwyth = Triath, chieftan, in Irish A note on pronounciation this context is the ‘old North’ of the Ysbaddaden means hawthorn, (Toorch Trooith) th is used to denote ‘th’ as in ‘there’ which is a magic tree. Brythonic (Welsh) people in Cumbria ch is like a German ‘ch’ Hawthorn has links to Glastonbury Grugyn Gwrych Ereint and Southern Scotland. (Grig-in Gooreech Eraint) roll your ‘r’s ! and Joseph of Arimathea in Somerset. The Silver Backed Boar ‘oo’ is more forward in the mouth Hawthorn are fairy trees in Ireland. than in English – pucker up! Custennin The Shepherd the stress of the word is on the (Kiss-ten-in) and his wife second last syllable (while not stated directly, it’s possible they are also related to the giant) 12 13 Source Material
Primary Sources
Culhwch and Olwen, ed Rachel Bromwich and D Simon Evans (Uni Wales Press, 1992) Y Mabinogion, Diweddariad gan, by Dafydd a Rhiannon Ifans (Gwasg Gomer, 1980) Crefft y Cyfarwydd, Sioned Davies (University Wales Press 1995) An analysis of the text of the Mabinogion showing its oral roots. The Mabinogion trans. Sioned Davies (2007 Oxford) Culhwch ac Olwen/The Quest for Olwen Gwyn Thomas, illustrated by Margaret Jones (1988 University Wales press/Lutterworth) Mae’n meddwl bod hi’n anodd Y Gododdin by Aneurin, a 6th century elegy for warriors killed in battle. He thinks it’s hard,
Secondary Texts Orality and Literacy Walter Ong ond mae’n rhwydd i ti! A Widening Field Miranda Tufnell and Chris Crickmay (Dance Books, London 2004) but it’s easy for you Celtic Heritage Alwyn & Brinley Rees (Thames & Hudson 1961) A Celtic Quest John Layard, (Spring Publications 1975) The Arthur of the Welsh (Bromwich, Jarman, Robert Eds)
14 15 Strata Florida Abbey Where the story was first writtern down Gwy Hafren River Wye River Severn Y PRESSELEU Tywl EWYAS PELUNYAWC Ulwch Ewin Kaer Loyer Porth Y STRAD Clais DEU YW Preseli GLEDYF The Shining Fort Mountains ny Ta Gloucester Aber Caer Loyw Tywl Llyn Llyw Aber Guy Mapping the Landscape Heddon’s Mouth the hunt for Lee
Berrynarbor Glastonbury the Twrch Trwyth Dunster Kilve Exmoor National Park The Summer Country Somerset The route of the hunt as given in the story Gwlat yr Haf
Castle Killibury / Kelly Rounds Perranporth Iron Age Hillfort, possible location of Gelli Wig
Fal River
Penwith Possible location of Falmouth Gelli Wig – where Arthur’s court is located 16 17 Aros Mae (Staying)
A setting of the poem by the 19th century bard Ceiriog. The Ar arferion Cymru gynt poem describes the wind roaring across the mountains and the flowers appearing each year. Although many things come Upon the customs of the former Wales and go some are unchanging, amongst these, the old Newid daeth o rod i rod language and the old tunes remain. Change came with the Earth’s turn Aros mae’r mynyddau mawr Mae cenhedlaeth wedi mynd The great mountains remain A generation has gone Rhuo trostynt mae y gwynt A chenhedlaeth wedi dod The wind roars across them And a generation has come Clywir eto gyda’r wawr Wedi oes dymhestlog hir
v The song of shepherds is heard again Gan bugeiliaid megis cynt After a tempestuous age Alun Mabon mwy nid yw With the dawn, as before Alun Mabon is no more Eto tyf y llygad dydd Ond mae’r heniaith yn y tir Also the daisies grow But the old language is in the land O gylch traed y graig a’r bryn A’r alawon hen yn fyw Around the feet of rock and hill And the old tunes live Ond bugeiliaid newydd sydd But there are new shepherds Ar yr hen fynyddoedd hyn On these old mountains
18 19 About Stories and Landscape King Ar thur in the Sou th Wes t
As Hunting the Giant’s Daughter tours Cornwall, Devon and Somerset over the next few months, the creative team are exploring connections between the landscape of the story and the geography of the region as storyteller Michael Harvey explains– find out more by following our tour blog online at www.adversecamber.org
Are you trying to find the true King Arthur?
The truth about King Arthur will probably never be known and that is just as well because it could be a massive anti- What is a Story Walk? climax! The Arthur we are interested in is the mythical king that British and European imagination has spent a lot of At various times throughout the tour, the performers will go energy and creativity in trying to manifest in various legends, with a group of interested people on a family friendly walk books and films over many centuries without ever getting to through a landscape in their locality and we will tell stories, the bottom of the material. The story we are working with is make music and sing on the way in places that have a bit the product of a group imagining that started over 1500 of space for people to relax in. A local expert may also say years ago (although there seem to be much earlier traces in something about where we are. However the unofficial the story as well) and we are trying to bring the story to life part of the event is probably even more important. Walking with a group imagining today – which is where the audience in a beautiful landscape with other people is a satisfying comes in! The audience’s attention and participation is what activity in itself and pretty soon the chat and stories flow turns the story from being simply information into something between the members of the group as we inhabit our path real that we can all experience. We are following the path of and landscape together and find that the more attention we Arthur’s boar hunt. We know it started in Somerset and give to the environment the more it reveals itself to us. carried on down to Cornwall so we are literally travelling the route of the story.
20 21 Yr Adar Gwylltion (The Wild Birds)
Anonymous medieval verses from T.H.Parry Williams' collection 'Hen Benillion'
Gwyn ei byd, yr adar gwylltion Yn y coed y mae hi’n cysgu
Pverfect their world, the wild birds In the wood she sleeps Hwy gant fynd y ffordd a ffynnon Ac yn yr eithin mae hi’n nythu That fly by the roadway and the fountain And in the gorse she nests Rhai tua’r mor a rhai tua’r mynydd Yn y llwyn, tan ddail y bedw Sometimes to the sea, sometimes to the mountain In the bush, under birch leaves A dwad adref yn ddigerydd Dyna’r fan y bydd hi’n farw And come blameless home That is the place where she will die
Gwyn fy myd, na fedrwn hedeg Gwyn fy myd, na fedrwn hedeg Perfect my world, though I cannot fly Perfect my world, though I cannot fly
Bryn a phant a goriwaered Bryn a phant a goriwaered Hill and dale and fellside Hill and dale vand fellside Mynnwn wybod, er ei gwaethaf Weithiau i’r mor a weithiau’r mynydd I want to know, however bad Sometimes to the sea, sometimes to the mountain P’le mae’r gog yn cysgu’r gaeaf A dwad adref yn ddigerydd Where the cuckoo sleeps in the winter And come blameless home
22 23 Michael Harvey Lynne Denman
Michael Harvey is an award winning storyteller, telling traditional Lynne Denman is a singer whose repertoire includes songs stories from the Celtic countries and beyond at major deeply rooted in the traditions, rhythms, languages and international festivals in Britain, Europe, North and South landscapes of the Celtic countries. She has sung traditional America. He leads audiences deep into tales with humour, skill and new Welsh, English and French songs for audiences on and a great sense of enjoyment. five continents. She runs workshops and short courses in traditional singing as well as visual arts. She works regularly He has appeared frequently on television and radio and works with the storyteller Michael Harvey and musician Stacey with dancers, musicians, visual artists and many major cultural Blythe interpreting through song, tales from The Mabinogion institutions as well as performers from Brazil, India and Europe. and other stories. With Stacey, she also established the folk As well as his work for adults Michael is also in great demand in quintet Ffynnon, and has toured and recorded with the schools where he tells stories and delivers literacy workshops for ensemble. Ffynnon became the first Welsh band to be signed both pupils and teachers. He is a skilful and experienced to foremost folk and roots label ‘Green Linnet Records’ in facilitator and leads workshops for storytellers at different levels 2003. Lynne recently completed a project to reintroduce ‘back and combines storytelling with other art forms to deliver effective into the wild’, some of the traditional Pembrokeshire repertoire and innovative training to help organisations and groups with from the National Museum of Wales’ archive. development, change, creativity and communication. www.ffynnon.com www.michaelharvey.org 24 25 Creative Team A creative team drawn has worked with Michael, Lynne and Stacey to develop Hunting the Giant’s Daughter for national touring. Adverse Camber is grateful to Arts Council England, Arts Council Wales and the National Lottery for their support. Paula Crutchlow Director/Artistic Advisor Paula graduated in dance from De Mortfort University and has since been working in Britain and internationally as a collaborating director, educator and performer across theatre, dance and Stacey Blythe storytelling. From 1996-99 she was artistic director of award winning New Zealand theatre company All and Sundry and core accordion,harp, vocals, piano member of Pantheatre Poneke’s devising lab. During this time Paula began working with storytellers as a consulting director and Classically trained at the Royal Welsh College of Music and Drama toured New Zealand with Te Torino, a bi-lingual (Maori/English) where she works as a musical director and repertoire coach, Stacey storytelling group. In 2000, she returned to the UK completing an plays a wide variety of instruments. Her professional musical life has MA in Devised Theatre at Dartington College of Arts where she taken her to many different styles, and new languages and she has was an Associate Lecturer in Theatre until their 2010 relocation to collaborated with many artists and theatre companies. She Falmouth. Paula is currently Artistic Advisor to Adverse Camber. researched traditional ballads with Frankie Armstrong,and premiered As co-founder and Director of Blind Ditch, she has developed a Meredith Monk's ‘Requiem’ at the Queen Elizabeth Hall London. She range of context specific events that bring together performance, has worked as a composer and performer with storyteller Michael digital and visual arts disciplines. www.blindditch.org Harvey and produced original music for various productions, touring in the UK and Europe. Her original music for “Macsen” premiered in Designer Rome. Her most recent composing commission was a six month Mary Drummond residency with Welsh National Opera. She provided accompaniment Mary Drummond studied at the Royal Welsh College of Music and for the George Melly lectures on Cole Porter, and performs regularly Drama, Cardiff. She graduated in 2006. She has since worked with many different musicians. extensively in Wales with companies such as Hijinx Theatre, The She performed recently with Billy Bragg, on her own composition “The Living Theatre Company and Sherman Cymru amongst others. Chainmakers’ Song” at the Festival in the Black Country Museum. She also works designing and making in London and Bristol. As well as designing for theatre, mary also has a keen interest in www.staceyblythe.com textile manipulation and puppetry. 26 27 t t Naomi Wilds Producer Spo ligh t on S tory elling Beyond the Border International Storytelling Festival Naomi Wilds studied English Literature at the University of Leeds. Beyond The Border is Wales’ leading international festival of storytelling, a Following work with arts organisations including West Yorkshire celebration of world myth, legend and folktale featuring storytellers, Playhouse and Sinfonia Viva, she specialised in literature musicians, poets, singers, writers and artists from around the globe. development from 1999 -2005. Naomi set up Adverse Camber in 2006 and has produced six national tours for the company, BTB began life in 1993, born out of the desire to: raising funds for creative investment and working closely with • raise the status and increase understanding of storytelling as an artform individual artists and ensembles to commission, creatively suitable for all ages, adults as well as children develop and tour productions. In addition to steering Adverse • showcase performances by leading practitioners from Wales and the Camber's development, Naomi has also recently worked for World involved in exploring the retelling of traditional stories for a Wirksworth Festival, Signposts South Yorkshire, The Firebird contemporary audience Trust, East Staffordshire Borough Council and Apples & Snakes. • help develop and provide a platform for an emerging new generation of performance storytellers Assistant Producer At the heart of what the Festival does is their spectacular 3-day summer Amanda Smith festival, held every other year in the beautiful South Wales countryside. At the same time, Beyond the Border has become very much a year-round Amanda joined Adverse Camber in May 2013 and draws on 17 project, with a variety of outreach events and innovative projects taking years experience in arts development as well as a long standing place in locations across South Wales, culminating in the festival weekend every two years. commitment to storytelling as an artform. Based in the East Midlands, she has previously worked for Arts Council England Festival Director David Ambrose commissioned Hunting the Giant’s and Nottinghamshire County Council as well as developing and Daughter as Culhwch and Olwen for the 10th Anniversary of the Festival and invited the show to return as Hunting the Giant’s Daughter with delivering a wealth of community arts projects. Adverse Camber in 2010, where it received a standing ovation. “A Festival like no other” The Times July 2002 Jon Burke Tour Manager (TSM) Forthcoming Dates for Beyond the Border 4 – 6 July 2014 Find out more at www.beyondtheborder.com Jon has helped tell stories with Kaboodle, Rejects Revenge, Adverse Camber also recommends the following national UK festivals Spike Theatre, Tmesis Theatre, Walk The Plank, Zho Visual and Festival at the Edge (England) www.festivalattheedge.org Grosvenor Park Outdoor Theatre. This is his first tour with Cape Clear festival (Ireland) www.capeclearstorytelling.com Adverse Camber. The Scottish Storytelling Festival www.scottishstorytellingcentre.org.uk For more information on where to find storytelling, visit www.sfs.org.uk 28 29 Embrace the unexpected road
Adverse Camber’s mission is to inspire new thinking about storytelling, by producing and touring outstanding examples of the craft, created and performed by the UK’s finest storytellers and musicians. The company was founded in 2006 by Naomi Wilds and has received repeated grant awards from Arts Council England as well as support from Arts Council Wales, Cultivate East Midlands, Arts & Business and Cyprus Well.Adverse Camber invests in specific storytelling performances, sometimes working on an existing piece or supporting artists to develop new work from scratch. The Old Woman, the Buffalo The Kingdom of the Heart and the Lion of Manding We’re fascinated by the conversations which happen when people come together to work with storytelling, by the different cultures within the form and what contemporary audiences, in all their diversity, bring to the work. Many thanks to the following:
As with Hunting the Giant’s Daughter , we often work with a show over a Mark Wallace, Fiona Fraser-Smith and Heidi Stephenson from long period of time, exploring new and different ways in which stories Beaford Arts for their support of this tour at key crossroads, as well as and audiences interact. Between 45-55% of audiences for our work Sarah Peterkin from Take Art, Claire Marshall and Tim Smithies from have been rare or first time attenders of storytelling. In our 2012-14 Carn to Cove, Ed O’Driscoll from Arts in Rural Gloucesteshire, the tours, we are moving beyond the performance space and participant National Trust, Exmoor National Park and Paula Crutchlow, Michael feedback from singing sessions, story walks and schools workshops are Harvey, Lynne Denman and Stacey Blythe. In addition to all the informing our forthcoming exciting programmes of work. promoters and artists we work with, thanks for their time, expertise and support to Helen Frances, Nick Cutts, Esther Danmeri, Amanda If you haven’t yet enjoyed them, do check out our tours, The Old Roberts, Amanda Smith, Ali Finn, Pam Beddard, the Wirksworth Festival Woman, the Buffalo and the Lion of Manding , created and performed team, Cathy Grindrod, Lorna Leese, Bob Rushton, Louisa Davies, Simon Hollingworth, Keith Turner, Gavin Repton, Chris Webb, Paul Carr, by Jan Blake, Kouame Sereba and Raymond Sereba and The Kingdom Bianca Winter, Kat Quatermass and Arts Council East Midlands. of the Heart , an atmospheric exploration of two Czech wondertales. The Kingdom of the Heart , created and performed by storyteller Katy Cawkwell and classical cellist Sarah Llewellyn-Jones, features music by Bach, Britten and Barchet and is also available as a CD recording.
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Contact us through www.adversecamber.org
With financial support from Exmoor National Park Authority and kind permission of the National Trust.