On the evening Tuesday 26 March, Professor Alec Charleswill give his inaugural public lecture at the University of Winchester. The lecture will take place in the Stripe lecture theatre and will start at 18.00. Complimentary refreshments will be served afterwards. Tickets are free and can be booked here.
The subject of the lecture is ‘Insignificance’.
“Meaning isn’t in intention but in interpretation,” Alec explains. “The substance of meaning isn’t what I mean to say but how you understand it. It sometimes feels like there’s an unbridgeable gap between those two things. As such, every interpretation is a really misinterpretation.”
Alec argues that meaning takes place through its own failures to mean. This paradox is not necessarily unproductive. We can find significance of some sort in the ostensibly insignificant. Or, as he puts it, “sometimes it’s the little things that mean the most.”
Alec supposes therefore that we might usefully apply the close critical strategies which were once developed to analyse the works of such complex artists as Pablo Picasso and James Joyce to attempt to illuminate rather less esoteric texts.
“My own work’s awfully eclectic,” he says. “In recent years, I’ve tried to use the ideas of cultural theory to re-interpret tabloid news reports, the politics of social media and even Doctor Who.”
Alec’s two most recent books have explored the symbolic meanings of animals in the news and the irrational logic of the tweets of Donald Trump.
“Those things will certainly feature in the talk,” he adds. “But I’m also interested in how social media empower their users to adopt the kind of deconstructive tactics which were once the closely guarded province of academia.”
The outcomes of such practices might, he suggests, be simultaneously insightful, liberating and fun.
We certainly hope so – and we hope to see you at what might, at the very least, be an entertaining evening at the University of Winchester.
“And there’ll be a chance for a drink and a chat afterwards,” Alec reminds us. “That’s the most important part.”
Alec Charles is the Dean of the Faculty of Arts at the University of Winchester. He has worked as a newspaper, magazine and broadcast journalist, and has taught at universities in Eastern Europe, Japan, Cornwall, Chester, Luton and Hull, as well as at a Zimbabwean secondary school. He is a convenor of the Political Studies Association’s Media Group, and has done voluntary work for the Labour Party and London Zoo.
autumn, the University of Winchester’s Faculty
of Arts teamed up with Winchester’s St James Tavern
to launch Tavern Talks, a new series of public conversations aimed at bringing
people together to engage in lively discussions about the arts, culture and contemporary
been so pleased by the response to these events,” said the University’s Dean of
Alec Charles. “People don’t just come along to listen – they really
first three events in the series have featured playwright Professor Peter
Billingham discussing the relationship between democracy and civil
disobedience, novelist Dr Vanessa Harbour talking about writing historical
fiction, and playwright Professor Tim Prentki on the performative nature of
organisers have now announced the new programme of Tavern Talks for early 2019.
inevitable, isn’t it, given the date?” says Alec. “If you love love, loathe
love, miss love, or just really feel the need to challenge the notion of love
on a range of key philosophical points, then please join us for an evening of
wit, banter, argument and romance at the St James Tavern on St Valentine’s
night. Singles, couples and members of any kinds on non-traditional ménage are
all welcome and embraced. (But not literally.)”
the Romans withdrew from Britain, Germanic tribes began streaming across the
North Sea, and they brought with them a language we now call English,” says
Chris. “The Saxons created the Kingdom of Wessex, and its first shire was
Hampshire. The English of this kingdom was called West Saxon – today we call it
West Country English. It was the language of King Alfred, and since Alfred’s
time, Hampshire’s West Saxon has become a rural dialect. Had Winchester
remained the capital of England, the Queen would be speaking Tess Durbeyfield’s
Dan says: “As a noted toastmaster once pointed out, etiquette is
knowing how to yawn with your mouth closed. In an era increasingly dogged by a
lack of regard for those with whom we disagree, this Tavern Talk tackles tact
and tactlessness in the times of Brexit, #MeToo and Donald Trump.”
Thursday evening events take place each month in the upstairs room of the St
James Tavern at the bottom of Romsey Road. They feature short informal talks
followed by lively discussions.
evenings start with drinks from 5.30, with the talks kicking off at about
6.00pm. Participants usually stick around for chat and a drink downstairs in
the pub after the discussion finishes at about 7.00.
no charge for entry and everyone is welcome, space permitting.
Booking isn’t required but, if you’d like to reserve a seat, or if
you’d like more information, then please contact: firstname.lastname@example.org
Donald Hutera talks to Yolande Yorke-Edgell about her company’s anniversary production, TWENTY in a special feature for the Winchester Guide.
Yorke Dance Project’s ambitious mixed bill TWENTY marks this enterprising company’s 20th anniversary. The UK tour opened in Bournemouth at the end of January, and includes one night at Theatre Royal Winchester(Feb 12) plus later dates in Leeds, Frome, Banbury, Salisbury and Swindon before culminating in several evenings at the Royal Opera House’s Clore Studio Upstairs in mid-May.
I interviewed dancer, choreographer and company artistic director Yolande Yorke-Edgell about the programme, about dance and about herself as an artist and art-maker, and here are her replies – long, but rich in detail.
Donald: First, a philosophical/practical musing. What’s kept you going as the head of a company for two decades, Yolande, and how do you measure success?
Yolande: What’s kept me going for so long is that I’m passionate about the work we present. The opportunity to reconstruct work by choreographers who’ve been (and still are) pivotal in how dance has evolved, both in the UK and the USA, has been a great honour. For me it’s vital that these works are seen. Ballet companies present both historical and new work but that’s less prominent in contemporary dance, and personally I love performing these works. I’m also driven by the dancers in the company. I want to give them the chance to perform works that are challenging and develop them as artists. They’re just as important as the work itself.
success is difficult. The obvious would be that we started (in the UK)
performing in small venues such as the Acorn
Theatre in Penzance, and our aim
was to work towards venues such as Hall
for Cornwall, Truro or the Norwich Playhouse – the sort of venues Richard Alston Dance Company performs
at. But success can’t be measured by the trajectory of the scale of venues, and
that’s because the way dance is being presented now is harder than ever. Still,
I couldn’t have reached higher than being presented by the Royal Opera House twenty years after the company’s first performance
at the Occidental College Theatre in
my measure of success is two-fold. The fact that we’re still touring an eight-strong
company in work that only major companies around the world present, and with
the level of dancers such as Jonathan
Goddard, Dane Hurst, Freya Jeffs and Oxana Panchenko – that’s a great measure of success! My other
measure is of the trust bestowed upon us to present work by Robert Cohan and Kenneth MacMillan. And just to work alongside and collaborate with Robert Cohan, which was my goal as a
Donald: Tell me about Kenneth MacMillan’s Playground and how it’s been to revive a master’s 40 year-old work.
Yolande: It’s been a fascinating process and very different from reconstructing Sea of Troubles, which he created for the company Dance Advance and which we previously revived. With only a very fuzzy black and white film and the Benesh Notation to guide us, we’ve been piecing Playground together with the help of notator Jane Elliott and two of the work’s original dancers, Susie Crow and Stephen Wicks. Aside from the principal characters there is a corps of twelve which we’ve put together by inviting dancers from Rambert School and Central School of Ballet to take part. On Sundays we all pile into a studio with both casts of lead dancers. That’s roughly 22 dancers, two coaches, a notator and myself. It’s all quite frantic, but a great experience. All of the dancers have a role to play, and so it’s a wonderful opportunity for the students to learn and develop character roles as well as being in a working environment with our incredible dancers.
Deborah and Charlotte MacMillan [Kenneth’s wife and daughter] have been
providing some wonderful insights too. And, as with any master artist, to
unpick and examine the work has been incredible. All of this focus enriches the
process of reconstructing a very complicated ballet.
Donald: Why do you think Playground has been pretty much forgotten till now, and what factors prompted you to undertake bringing it back to the stage?
Yolande: From what I’ve gathered, and from my own take on this, I would say it was ahead of its time. Too abstract, perhaps, and not a traditional narrative with movement people were uncomfortable seeing. If you look at where people were with personal issues in the late 1970s… They didn’t discuss their problems openly. No one would admit to seeing a therapist back then, so maybe people were uncomfortable with seeing characters that they couldn’t – or didn’t want to – relate to, or even be exposed to. I think Playground is particularly relevant now. It was of interest to me because its theme is bullying, which is a huge problem for children at the moment especially on social media. So this work provides not only an opportunity for audiences to see an intriguing and multi-layered ballet, but it’s allowed us to devise a specific educational programme with a child therapist and movement director that we can take to schools and do what we can to help stop bullying amongst children.
Donald:What happens in Playground,
in a nutshell, and is it being danced en pointe? And what discoveries have been
made in remounting it?
initial discussion with Deborah and Charlotte MacMillan was about whether
or not this ballet was possible to do without being en pointe, and we felt it
was. Further discussions led to us agreeing that only the lead female role
should be en pointe, to give the full effect of the character and the
physicality of the movement, which is key to MacMillan’s partner work. There are only two other featured female
roles, and their movement would not lose its authenticity by not being en
of the most interesting discoveries, which is also an important feature of all MacMillan’s ballets, is what’s going on
around the lead characters. There’s so much happening between all the other
sixteen dancers that is vital to telling the story. This is what’s made it quite
a challenge to reconstruct. Charlotte
MacMillan is re-imagining both the set and costumes, and there have been
lengthy discussions about certain design aspects and what might be most
relevant now. Do we keep the visual impact of a straitjacket, or bring it up to
date with whatever would be used today? We’re still working these sorts of
questions out as we go along. We have to adapt the set to work in smaller
spaces too. It will be very much like the original, just scaled down.
Donald: Who’s dancing the role of the intruder, and who the lead young woman originally played by Marion Tait?
have two casts for the intruder and the young woman. Company dancer Jordi Calpe Serrats and guest artist Jonathan Goddard, and Oxana Panchenko, from Michael Clark’s company, along with Romany Pajdak, first soloist with the
Royal Ballet, will share these roles.
move on to another master choreographer and company mainstay, Bob Cohan. What’s the mood and tone,
the look and sound, of his new work Communion?
Yolande: As a small company we have in the past reconstructed smaller works of Cohan‘s. For this anniversary programme I wanted to offer a commission for a larger group, especially as he’d made such great large-scale pieces for London Contemporary Dance Theatre. Knowing we had working with us Jonathan Goddard and Dane Hurst, who particularly inspire him, he started to create a work for nine dancers. In 1973 he’d made a work called Mass with dancers who walked in a line and voiced overtones [essentially singing two notes simultaneously] as they moved. This was a starting point for Mass and now Communion. I think this new dance reflects where he is in life now, at the age of 93, and from the feedback we’ve had from people who’ve seen the rehearsals it’s a very powerful and moving. Aside from the sounds of overtone singing, the rest of the music is by contemporary composer Nils Frahm.
Donald: Can you say just a little something about the solo to be danced by Laurel Dalley
Smith at Covent
Garden? It’s not being seen elsewhere
on the tour, right?
Yolande: That’s right, it’s only
at the Royal Opera House. Laurel joined the company in 2014 and
was chosen by Cohan to dance in Lingua
Franca which he created for us and which was performed as part of
his 90th Birthday celebrations in spring 2015. Laurel was so inspired by Cohan that she decided to attend the Martha Graham Summer School, and from
there she auditioned and has been a dancer with the Martha Graham Company since 2015. Laurel will be on a short break from the Graham company in May, and to celebrate our anniversary they’ve
have given permission for her to guest with us for the ROH performances. A new section of Communionwill be created featuring Laurel, and it’ll be rehearsed a few
weeks before the May performances.
new work Imprint has
been made in homage to three inspiring people. Can you say something about each
of them, as well as giving some idea of what this work is like in terms of its structure
and the sensory impact of its look, sound and other textures?
Yolande: The journey the company has taken, from its beginnings in Los Angeles through to where it is now, has been greatly influenced by my experience with three choreographers: how they work in the studio, how they make work and how it feels to dance in their work. I spoke at length to Robert Cohan about the idea of making a new work that reflected what I’d learned from each, and how that has impacted me as an artist. He suggested that I go into the studio and remember how it felt to dance their work, and be in their presence, and just let the movement come through me without thinking about it. It was the most freeing experience I’ve had as a choreographer – just allowing that physical history to come through, and making movement with what my body remembered from. I’ve never made work as quickly as I’ve done with this process, and it’s been interesting to see what has come out.
There are two sections dedicated
to each choreographer – Richard Alston,
Bella Lewitzky and Cohan – and the music I’m using
includes Bach and Heiner Goebbels. My fear after looking
at the work is that the audience might think I’m trying to make something in
the style of each choreographer, but that’s not it at all. It’s simply the
imprint of their work on me that they will see. What
I’ve taken from each choreographer is the musicality and playfulness of Alston, the depth and sensation of
movement of Cohan and the clarity,
strength and shape of Lewitzky.
came across this quote on Wikipedia:
“Great control of
every motion and placement,” she says, “is a kind of self-care. It’s
self-love in the best sense. I make a contract with the dancers (not literally,
of course) to keep them alive and well and progressive – doing my level best to
see that they’re not injured.” One must bear in mind, she says, that
“dancing is not normal, that only a strong, knowledgeable body can protect
against damage.” Bella Lewitzky,
from an interview with Donna Perlmutter, Dance Magazine (January 1997)
Any reaction to it? And how normal is dance
Yolande: This is very ‘Bella’! Thank you for sharing it. I was
at my strongest as a dancer when I danced with Bella. She knew exactly how the
body worked best and developed her technique to protect us and ensure she had
strong, powerful dancers.
me dance is, as Bella so rightly
pointed out, self-care. It’s where I feel most comfortable. It is who I am, and
what I know best. As a child it became
my voice and was a safe place for me to express myself. This might go back to
what drives me to lead a dance company. As far as asking how normal it is, for
me it’s not exactly normal, but once you allow it to exist within you, it’s your normal.
don’t know the work of Sophia Stoller
at all. Can you say something about it and her, generally, and, specifically, about
the dance she’s made called Between
Yolande: After forming the Cohan Collective with Robert Cohan here in the UK – a
residency for choreographers and composers to collaborate whilst being mentored
– I piloted theCollective in Los Angeles in partnership with Pennington Dance Group. We worked with
three composers and three choreographers from Los Angeles, and Sophia
Stoller was one of the latter. She created a duet during the residency that
was very powerful, and I thought it would be great to develop that further and
so commissioned this work for our anniversary programme. This ties in to the
ethos of the company presenting work by dance-makers from both the UK and
America whilst being supportive of emerging artists. We also invited her
collaborator Justin Scheid to
compose the music. What I find really interesting is that her style is very different
from what we are currently seeing here in the UK.
Okay, a final question: Why do we need to see dance, and your company dancing,
Yolande: When this question comes up my mind always goes to a scenario that happened when the war in Iraq was breaking in 2003 and I was opening a show in Los Angeles. I had three nights at the Miles Memorial Theatre in Santa Monica. The opening night was when the war broke out. The second night a reviewer from the LA Times came along – one of about ten people in the audience that night as everyone was in shock about what was happening in the world. We spoke, and she said she was very moved by the performance and would do all she could to try and get the review in Saturday morning’s paper so that others would come and see the show. The headline was “Real Emotion from Yorke Dance Project” and her opening paragraph included the line, “It was possible to forget the woes of Thursday night when Yorke Dance Project brought beauty, grace and real emotion to a sparse but appreciative audience.” She did it, and we had a sold-out evening. So I don’t think it’s a case of seeing dance and the company now. There is just something very special about live theatre. You get to be in the same space, and feel the same energy (particularly in small theatres), and be taken out of your head and into another world. It’s like a meditation. You stop thinking and just experience something, whether you end up liking it or not!
View the trailer here:
Tickets available for the Theatre Royal Winchester
The multiple award-winner Jonathan Goddard is one of the UK’s best
contemporary dancers. Although he’s performed in Winchester a number of times, he won’t be available for Yorke Dance Project’s date at the Theatre Royal. Still, he was good
enough to reply to an email query asking him about the work the company is offering
and his part in it.
Jonathan: I’ve been involved with Yorke Dance Project since 2014, and it’s
great to be able to contribute and celebrate its staying power. I’m in two of
Playgroundby Kenneth Macmillan was originally
staged in 1979 and created for what was then Sadler’s Wells Royal Ballet. It’s
a narrative work which takes the Orpheus and Eurydice myth as its starting
point, and I’ve learnt the role of ‘The Intruder.’ It’s been exciting to revive
this ballet. I think Macmillan had been undertaking psychoanalysis around the
period it was made, so there are some meaty themes to get into – family, and the
balance of sanity and fantasy. I’m very much enjoying dancing with guest
artists Oxana Panchenko and Romany Pajdak, and to develop the work’s
central partnership with them. Playground hasn’t been revived or
performed since it was made, so it is really a process of excavation. It’s a
rarity, and with a great cast, so it’s definitely worth coming to watch!
The other work I’m in
is a new choreography from Bob Cohan.
created last year, feels very special. Bob has made a really beautiful solo for
me which finishes the work. I first danced for him in a revival of his piece Eclipse
for his 80th birthday celebrations in 2005. It’s really good to
be back together, and there’s a sense of achievement, poignancy and fun to be
working together fourteen years later.
Our UK tour will
finish with shows at the Royal Opera
House in London, where we’ll be
adding a duet with dancer Laurel
Dalley-Smith. Laurel began
dancing with Yorke Dance Project,where we met and partnered each other,
and then went off to join the Martha
Graham Company and has been doing fantastically well there in New York City. It’ll be great to dance
together again and see how Bob responds
and creates with someone who is now working with the company where he has so
much history and was a star dancer.
was in the original cast of Kenneth
MacMillan’s Playground. Here, as one of the coaches for Yorke Dance Project’s
current revival of the ballet, she offers valuable inside knowledge about that
Susie: Playground was originally created for performance at the Edinburgh Festival, where it was
apparently well-received; certainly friends of ours who came were impressed. MacMillan choreographed it after
leaving the directorship of the Royal Ballet
and making such exploratory and dark works as My Brother, My Sisters. But after subsequent
performances at Sadler’s Wells, and
I think some on tour, it wasn’t done again.
Was Playgroundperhaps deemed
to be too gritty and uncompromising for further touring? It might’ve been
thought a risk when Sadler’s Wells Royal
Ballet was rebuilding itself and its following. It’s just a shame that it
didn’t get a chance to establish itself in the repertoire.
recently, following the anniversary season of MacMillan work in 2017, there’s been renewed interest in reviving
lesser-known, earlier works of his. That, and the recent success of Yorke Dance Project and its revival
of his Sea of Troubles, probably influenced the
decision to revive this ballet. It’s a work that includes rather naturalistic
movement to create an environment within which the principle characters act out
troubling relationships. The Yorke Dance
dancers have really impressed me in their ability to present the more
expressionist side of MacMillan’s
work. Given today’s social concerns
about bullying, exclusion and mental health issues, Playground also feels remarkably topical and prescient.
It could be really powerful this time
I don’t want to disclose what
happens in Playground. I think all the audience needs to know before
seeing it will be in the title, and in the specified names of a few characters.
Yorke Dance Project is a small contemporary
company of less than ten dancers, and this was effectively a work for a much
larger ballet company with a cast of eighteen and a full orchestral score
originally performed live. So some adjustment has been necessary, a process which
can concentrate the focus on what is important. It’s been really exciting to
see the work coming back to life, and in its painstaking reconstruction to
appreciate afresh MacMillan’s
ability to create character and situation through balletic movement, and acting
through dancing. It also opens up questions about performative skills – how
to be on the stage for a long time as a member of an ensemble and sustain the work’s claustrophobic
atmosphere, often with minimal or simple means, and deciding where the focus
A recorded version has been
made of the original score by Gordon
Crosse which is richly colourful and atmospheric, but also quite
challenging for the dancers to co-ordinate to its combination of more
and less rhythmic passages.
This time the work will be performed
in smaller, more intimate venues. Inevitably the set, while keeping the
character and signification of the original, needs to be more flexible, lightweight
and tourable. The costumes likewise will maintain a spirit of dressing up,
but perhaps give a slightly more timeless look. It’s very special to have
Kenneth’s daughter Charlotte re-designing a ballet made
when she was a small child herself.
It’s been a brilliant learning
experience for all of us!
It may be a short and wintry month, but there’s lots of Theatre on offer in Winchester. Here’s our Win Guide to the Theatre Royal in February:
We recommend booking for the revival of the late Andrea Dunbar’s Rita, Sue and Bob Too, 28 February – 2nd March. Originally premiered at the Royal Court in 1982, Dunbar was born on the Butterworth Estate in Bradford and penned her first play when she was just fifteen in green biro on the torn out pages of her school exercise book. The play made its way to the Royal Court Theatre in London and Dunbar’s talent was discovered. By 1987, Rita, Sue and Bob Too was adapted for film, directed by Alan Clarke. Dunbar died in 1990, but her wicked humour and startling insight lives on. Rita, Sue and Bob too tells the story of two teenage girls in the eighties groomed by an older man Bob. Briefly cancelled for its London performances in the wake of the #MeToo campaign and anxiety about the new context in which it would be received, the production was reinstated within two days following widespread support from critics, artists and fans of Dunbar’s work and thanks to an artistic director who listened and changed her mind. You can hear more about this on BBC Radio 4 Front Row. This revival has toured across the UK to critical acclaim and was produced by Out of Joint, Bolton Octagon and the Royal Court. It’s one to watch, think about and talk about in the bar afterwards. For more details, visit the website here.
Robin Hood and the Revolting Peasants will be rampaging at the Theatre Royal, 7 – 8 February, presented by Oddsocks. Join Robin, Little John, Maid Marion and of course Friar Tuck as they take on some of their hardest challenges to date: A conniving king, a sinister sheriff and a downtrodden village of peasants whose ‘get up and go’ has got up and gone. Tickets are available to book here.
If you’re celebrating the end of dry January, why not head along to The Thinking Drinkers on 9 February. It’s a unique ‘Alcohol based comedy’ (The Sunday Times). Enjoy five free drinks as the award-winning experts take you from the symposiums of Ancient Greece to the classic British boozer via Wild West saloons, Victorian gin palaces and the secret Speakeasy. Tickets and details available here. Strictly 18yrs and over for this one.
Tenors Un Limited present their 15 Year Anniversary Tour, 10 February. Dubbed the Rat Pack of Opera, Scott Ciscon,Jem Sharples and Paul Martin have assembled a fabulous mix of songs ranging from opera, pop and crooner classics, old favourites and self-penned songs. Tickets available here.
Yorke Dance Project celebrates 20 years of performing dance by past masters and emerging artists from the UK and USA on 12 February. This celebratory programme includes works by world renowned choreographers Sir Kenneth MacMillan and Robert Cohan alongside emerging Los Angeles choreographer Sophia Stoller and Yolande Yorke-Edgell. One not to miss. Tickets available here.
Winchester from the Crypt on 13 February features some of the best emerging talent from the Creative Writing department at University of Winchester, who have written an evening of horror stories to ‘chill your blood, rattle your bones and yank your chains’, performed by tomorrow’s stars of the future from the Performing Arts department. Tickets are only a fiver, so book while you can here. This one is 18 years plus too so not for those who are easily spooked.
14 – 16 February, Blackeyed Theatre in association with New Theatre Royal Portsmouth and South Hill Park Arts Centre present Sherlock Holmes – The Sign of Four. Crammed full of adventure, romance, comedy and of course one or two rather brilliant deductions, The Sign of Four is Arthur Conan Doyle’s epic second Sherlock Holmes tale, a breath-taking yarn brought to life in this spectacular new stage adaptation. Tickets available here.
RUBY TURNER is in town on 17 February! For many years Ruby Turner has been regarded as having one of the greatest voices the UK has ever produced. . Her career to date has been sensational with major tours, film, TV and theatre appearances.A very prolific songwriter, many of Ruby’s songs have been covered by artists such as Lulu, Yazz and Maxi Priest, while her vocal prowess has been employed to good effect by Bryan Ferry, Mick Jagger, Steve Winwood and Jools Holland. Book here.
Fasten your seat belts, set your ray guns to stun and get ready for a cosmic adventure of meteoric proportions as award-winning ENCORE Youth Theatre present Return to the Forbidden Planet by Bob Carlton. 21 – 23 February, tickets available here.Bursting with red hot rock & roll hits, including Great Balls of Fire, Good Vibrations, Teenager in Love and The Young Ones.
Towards the end of the month, enjoy the Chinese New Year Extravaganza! Touring across the country to celebrate the biggest festive event on the Chinese calendar, Chinese New Year Extravaganza features a team of performers showcasing amazing Chinese performing arts. From the cheerful spirit of the auspicious Lion Dance, to the awe-inspiring contortion, the show is a colourful display of Chinese cultural tradition. Tickets available here.
Tavern Talks feature short informal talks followed by lively discussion. The evening starts with drinks from 5.30, with the talk itself kicking off at about 6.00pm. Tavern Talkers usually stick around for another drink (or two) downstairs after the discussion finishes at around 7.00.
Entry is free, participation encouraged. All are welcome. No booking required.
Tim will argue that, insofar as we process and perform reality in the same ways in which theatre operates, we might all be said to be ‘acting on the world stage’ – and will argue that, when our opportunities to develop as social performers and audiences are thwarted, we lose empathy and resort to tribal identities at odds with our cerebral wiring.
Tim is a playwright and the world’s first Professor of Theatre for Development, as well as being the author of numerous books on such subjects as Applied Theatre and Popular Theatre in Political Culture.
The public event is free to attend and all are welcome. Plus there will be wine, soft drinks and nibbles.
In 2001 Kofi Annan, the then Secretary General of the United Nations, announced a redoubling of the UN’s effort to bridge the ‘digital divide’.
The digital divide refers to the differences in people’s opportunities to access and use digital media and has been understood to be a barrier to development that stops individuals and countries from achieving their potential. Since Kofi Annan’s announcement, billions has been spent on seeking to address the digital divide. This lecture looks at these efforts, the nature of the problem itself and whether we are actually any closer to solving the digital divide.
Marcus Leaning is Professor of Digital Media Education and teaches on the Media and Communication degree. He is a National Teaching Fellow and a Fellow of the Royal Society for the Arts. He is the author or editor of seven books and has written numerous articles, book chapters and magazine articles on various aspects of digital media education and related topics. He has lectured and given papers in 25 countries and has been a visiting researcher and visiting professor at Hokkaido University, Japan; the University of Limerick in the Republic of Ireland and the University of Costa Rica.
Remember, remember, it’s time for a Win Guide to November. From fireworks to film festivals, here’s our guide to some sizzling events in the city this month:
It’s the 60th Charity Winchester Bonfire & Fireworks on Saturday 3rd November. Starting at 6pm on The Broadway by King Alfred’s Statue, the torchlight procession makes its way through the historical streets of Winchester to the fields behind River Park. At 7.15pm, the Bonfire will be lit, and at 7.45pm you can enjoy the legendary Fireworks Spectacular. Visit the website here for more details or to book tickets.
The Winchester Film Festival takes place from 3 – 10 November. Enjoy feature film premieres and award-winning short films selected from over 50 countries, at venues across the city of Winchester. For a full programme of films including dramas, thrillers, documentaries and animations, visit the 2018 programme here. To find out more about the Winchester Film Festival or to book tickets, visit the website here.
You Are Here! closes at the Winchester Science Centre and Planetarium on Saturday 4 November. Join the hosts of Wow Tours on an out-of-this-world immersive adventure as they attempt to put everything in its place – in our Solar System, the Universe and beyond! It’s a 30-minute show designed for children and their families. Be inspired to look up at the night sky and it could be the start of a lifelong adventure. For more details, visit the website here. And here’s a trailer:
The annual Christmas Light switch on, takes place on 15 November! Celebrate the start of the festive period and join Heart Radio’s Rich Clarke, who will be hosting an evening of live entertainment and fun, with the city’s wonderful Christmas lights being switched on by local Winchester heroes nominated by members of the public. The festivities start at 4pm and will end by 7pm (lights switched on at 6pm).
And whilst we are in the festive mood, the Cathedral Christmas markets and ice rink will open on 16 November. The official opening includes professional ice skating displays and music from the Cathedral Choristers along with the blessing of the tree. Following the Opening Ceremony, you will be free to explore the Christmas Market until 8pm.
Don’t forget to get booking for the Panto at the Theatre Royal which opens 1 December and runs until 6 January. This year, it’s Beauty and the Beast. Can Fairy Fifi bring Belle and the Beast together in time or will the evil Malevolent win the day? There’s only one way to find out. Visit the website here for times and tickets.
Speaking of the Theatre Royal, it’s a bumper month following on from the 40th anniversary celebrations since it was saved from demolition and re-opened as a performance venue. The one and only Nicholas Parsons will be starring in Just A Laugh A Minute on Saturday 3 November at 7.30pm. Book online here. The Winchester Musicals and Opera Society will be presenting Singing In The Rain from 7 – 10 November at 7.30pm. Tickets are available here.
The Armistice Centenary Recalled takes place on 11 November at 7.30pm featuring Michael Pennington, Pamela Miles and John Miller. Exactly a hundred years after the Armistice marking the end of the First World War, this dramatic recital draws on the contemporary writings in poetry and prose to recreate the moods and passions of those involved at the time. For more details, or to book tickets, visit the website here.
Also commemorating the 100th year anniversary of the end of World War I, Scamp Theatre’s award-winning production of Private Peaceful is full of vivid detail and dramatic narrative, superbly brought to life by Andy Daniel. For tickets, visit the website here.
BBC TV wildlife presenter and cameraman Gordon Buchanan will be sharing insight into his incredible experiences with some of the world’s most fearsome and majestic animals on 12 November. Book here.
If you missed our feature on the fantastic Welsh National Opera workshop for young people aged 10 – 18 years, you can read it here. The workshop takes place on 17 – 19 November. And, the Welsh National Opera cordially invites you to the World Premiere of the rip-roaring, uproarious musical comedy Rhondda Rips It Up! The production takes you on an unforgettable journey through the life and adventures of that unsung heroine of the Welsh Suffrage movement, Margaret Haig Thomas, the Viscountess Rhondda. Tickets are available to book online here.
Fans of comedy will be delighted to hear that Stewart Francis, star of Mock the Week, Live at the Apollo and Crackerjack embarks on a brand-new show, Into the Punset on 21 November at 7.30pm.
The Chesil Theatre will be presenting Honour by Joanna Murray-Smith, directed by Heather Bradford, 17 – 24 November. Honour is a provocative drama that challenges our notion of honour, our sense of decency and our belief that love will prevail. The Singer by Nick Joseph will also be hosted 28 November – 1 December. After the sell-out success of ‘The Railway Plays’ in 2017, award-winning writer-director Nick Joseph presents another foray into the absurd and the unpredictable with the story of a man, so cut-off from society that his name has become a musical note (so cannot be written). For more details and to book tickets, visit the website here.
On Thursday 22 November, Dr Vanessa Harbour will be talking about the issues writers face when ‘Writing History as Fiction’ as part of the University of Winchester Tavern Talks. Dr Harbour is a writer whose recent novel Flight was published by Firefly Press in August and was described by the New Statesman as “an adventure mixing horses and Nazis” which balances its “gripping plot” with “real-life inspiration”. She will suggest that, as a writer, she aims to create narratives that engage the imagination using voices that are unlikely to have left any written records behind them, as she tells the stories of the invisible characters of history.
Finally, The Kings Chamber Orchestra are on a journey exploring time and space on the road to Christmas, 24 November at 3pm at The Middle Brook Centre in Middle Brook Street. Under 3’s go free and tickets are £5! What did the shepherds actually see? Why? How? When? What has that got to do with the note “C”? What is the most dazzling music of all?All these questions and more will be considered through a musical journey with fun for all the family in our day time teddy concerts, presented with wit and spontaneity by cellist Gerard Le Feuvre. Bring a Teddy! Tickets are available here.
It’s going to be quite a month in Winchester. We’ll be bringing you more updates on Twitter @Win_Guide. Enjoy one and all!
The University of Winchester’s Faculty of Arts has teamed up with St James Tavern at the bottom of Winchester’s Romsey Road to launch Tavern Talks, a new series of public conversations aimed at bringing people together to engage in lively discussions about the creative arts and contemporary discourse in the contexts of cultural history and modern politics and society.
These Thursday evening meetings will convene once a month in the upstairs room of the St James Tavern, and will feature short informal talks on intriguing topics designed to prompt further discussion. The evenings will start with drinks from 5.30, with the talks kicking off at about 6.00pm.
There’s no charge for entry and everyone is welcome, space permitting.
“We’re not planning to lecture people for an hour,” said the University’s Dean of Arts, Professor Alec Charles. “We’re offering something a bit different – something much more social and interactive, an opportunity for everyone to speak, share and learn.”
Tavern Talks has now announced the first three events in its autumn/winter programme.
On Thursday 25 October, Professor Peter Billingham will be introducing the idea of ‘Putting the Demo into Democracy’. A playwright and the author of many books and articles on theatre, television and music (including recent work on Leonard Cohen and Edward Bond), Professor Billingham will discuss the relationships between democracy and civil disobedience in these politically turbulent times. He will ask how far the limits of conventional democracy might stretch, and under what circumstances demonstrations and acts of civil disobedience might come to seem desirable and necessary.
On Thursday 22 November, Dr Vanessa Harbour will be talking about the issues writers face when ‘Writing History as Fiction’. Dr Harbour is a writer whose recent novel Flight was published by Firefly Press in August and was described by the New Statesman as “an adventure mixing horses and Nazis” which balances its “gripping plot” with “real-life inspiration”. She will suggest that, as a writer, she aims to create narratives that engage the imagination using voices that are unlikely to have left any written records behind them, as she tells the stories of the invisible characters of history.
On Thursday 24 January, Professor Tim Prentki will propose that, insofar as we process and perform reality in the same ways in which theatre operates, we might all be said to be ‘Acting on the World Stage’. Tim Prentki is a playwright and the world’s first Professor of Theatre for Development. The author of numerous books on such subjects as Applied Theatre and Popular Theatre in Political Culture, he will argue that, when our opportunities to develop as social performers and audiences are thwarted, we lose empathy and resort to tribal identities at odds with our cerebral wiring.
Tavern Talks are aimed at providing a space for constructive discussion and creative interaction that shifts the emphasis from the fusty to the fun, and welcome all who’d like to take part.
Following the critically-acclaimed 2016 premiere of Fagin’s Twist and last year’s highly successful tour, Avant Garde Dance and The Place collaborate once again to present the 2018 UK autumn tour. The story unravels and explodes into a captivating performance and ambitious dance show, based on Charles Dickens’ much-loved classic. Fagin’s Twist is the untold story of a notorious and complex villain with a mischievous twist.
This explosive retelling throws a less sympathetic spotlight on orphan Oliver. Fagin’s Twist follows the gang leader in his youth, driven by greed and ambition in the face of overwhelming poverty. The dark Victorian streets are a place of little comfort and fairy-tale endings are hard to find in this poignant coming-of-age tale.
Tony Adigun’s dynamic choreography uses dance motifs taken from the streets to bring to life this adaptation set on the streets themselves, flipping the audience’s expectations of the five familiar characters – Oliver, Fagin, Nancy, Bill Sykes and the Artful Dodger – with an unmatched hip-hop contemporary style.
Tony Adigun comments, I’m excited to be bringing back Fagin’s Twist this autumn with new cast members, new energies, new spirit. I can’t wait to share this show with new audiences and surprise those who have seen it before. I’m motivated to bring hip-hop and physical theatre to inspire a new generation.
Fagin’s Twist is a daring, dynamic and hugely enjoyable rethink of a much-loved Victorian tale seen through the eyes of its infamous villain. (★★★★ The Times).
Fagin’s Twist was originally commissioned by Theatre Bristol, East London Dance, Pavilion Dance South West, Dance East and The Place, and co-produced by The Place. Fagin’s Twist has already performed around the country to critical and audience acclaim, including a run at leading London contemporary dance venue The Place and was performed in August 2017 at Edinburgh Fringe as part of the British Council Showcase.
Continuing to push the boundaries of Hip-Hop Contemporary dance, Avant Garde provides an intensive participation model for people all around the country to give easy access to dance industry. Fagin’s Twist is generously supported by Arts Council England.
By our editor in chief, Donald Hutera
Exclusive to The Winchester Guide
This autumn Shobana Jeyasingh Dance brings its latest work ‘Contagion’ to six science, art and war-related sites across the country. The tour opens September 15 and 16 at the Gymnasium Gallery in Berwick-upon-Tweed, a former army barracks where soldiers were sent to keep fit during the First World War. The good news for residents of Winchester and environs is that the second stop of the tour is September 22 and 23 at the Great Hall in Winchester – a truly stirring location.
Co-commissioned by 14-18 NOW, the UK’s arts programme for the First World War centenary, and supported by Wellcome, ‘Contagion’ commemorates the 1918 Spanish Flu pandemic which ravaged the world to a greater degree than the Great War itself. Directly exacerbated by troop and civilian migrations from the First World War, the pandemic infected one third of the world’s population and killed over 50 million people.
‘Contagion’ is a promenade performance which underlines the irony that, while human warfare raged in the trenches, a silent and far deadlier enemy was waging war within the human body itself. The choreography echoes the scientific features of a virus: rapid, random, constantly shape-shifting. A cast of eight female dancers contort, strategise and mutate as they explore both the resilience and the vulnerability of the human body. The extraordinary work of artist Egon Schiele, himself a victim of the pandemic, is a powerful artistic footnote to the performance. His depiction of twisted bodies and expressive lines perfectly captures the physical and psychological anxieties of the times.
As a Winchester Guide exclusive, our editor and contributor Donald Hutera interviewed one of the dancers in ‘Contagion’ via email. Avatâra Ayuso is both a long-time member of Shobana Jeyasingh Dance and the company’s Associate Artist, as well as being an experienced and celebrated dance-maker herself.
Donald Hutera: How has Shobana Jeyasingh gone about finding movement with the cast of ‘Contagion’ that might correspond to and convey symptoms of the Spanish flu?
Avatâra Ayuso: Shobana has been reading a lot about the Spanish flu and talking to expert virologists to understand the disease. She shared her knowledge with the dancers in the studio, and via a process of creative tasks we gave shape to those words, images and behaviours of the virus and its symptoms.
DH: What determined the casting of eight women in the piece?
AA: Women actively took caring responsibilities during the pandemic. Men were busy at war, but women were fighting another kind of war at home. Most of the information we have about the flu is thanks to the letters these women wrote. They are actually the heroines in this episode of history. Having an all-female cast made total sense.
DH: How is the performance structured over-all?
AA: The audience is going to experience a journey that will take them from the most personal stories to the inside of the virus. The visuals, music, costumes, lighting are in close relation with Shobana’s choreography, helping the audience to travel with us, the dancers.
DH: What is the soundtrack for the show?
AA: That is going to be a very special part of the work! I cannot reveal part of it, but I can assure you it will create a very touching atmosphere. The soundscape is supported by real texts of some survivors of the flu.
DH: What are you wearing in the performance?
AA: Very simple costumes. The body is the protagonist in this choreography. Seeing the muscles in action, the lungs, the face and the backs is very important to understand how the virus affected the body.
DH: Are there any direct historical sources in ‘Contagion’, or is it more of an abstract work? I am wondering how much of its historical time it might be…
AA: As I mentioned, there are some texts extracted from real testimonies made at the time. They are very moving. The work flows from literal sources to an abstract representation of the effects of the virus. Both extremes complement each other very well.
DH: What new discoveries are you making about dance and yourself as an artist as a result of being involved in this project?
AA: More than a discovery, it is a re-confirmation that I love working with set designs – despite the difficulties! Working with an active set design like the one we have is always a challenge for the dancers. The body suffers to start with, as a new element enters your creative life. This means your brain and body have to be in total awareness every single minute to avoid accidents, and to develop a strong relationship with the set. Despite all of this, I love it! Once you and the set ‘understand’ each other, you can deliver the emotional story in a much deeper way.
DH: In what ways might ‘Contagion’ be considered new territory for Shobana? What do you think she might be discovering about her art-making as related to the making of this work?
AA: In the ten years I’ve been with Shobana Jeyasingh Company, it is the first time we have used such a big set design. On its own it is a beautiful work of art that will get ‘re-dimensionalised’ by the dancers in motion. Shobana enjoys any new creative challenge and with every one of these challenges, new movement ideas and relationships with the space emerge.
DH: Is there anything else you think it might be useful for a prospective audience member to know about ‘Contagion’ or Shobana’s work?
AA: It will be very moving and visually stunning. Don’t miss the opportunity to see this work. We, the dancers, are looking forward to meeting you. And remember, Shobana is one of the greatest choreographers in the UK!
Contagion is being performed on Saturday 22 & Sunday 23 September at 11am, 1.30pm and 3.30pm in Winchester Great Hall, The Castle, Castle Avenue, Winchester SO23 8UJ.