THAT THEATRE COMPANY præsenterer
“SHAKESPEARE UNPLUGGED”
Medvirkende:
Ian Burns, Andrew Jeffers & Adam Brix
Instruktør: Barry McKenna
KRUDTTØNDEN
Serrdslevvej 2
2100 Kbh Ø
Feb 22 - March 24 2012:
Mon – Fri: 20.00 / Sat: 17.00
This is the continuation of an experiment that director Barry McKenna began with award winning Flammens Muse which sought to strip away the settings, the props and the elaborate costumes leaving just the words and situations of Shakespeare to clothe the actors. Shakespeare Unplugged goes a step further. Not only does it intend to dismantle the fourth wall and invite the audience in but actually places them onstage (a phenomenon not unknown in Shakespeare’s day). It also encourages them to take an active role in the plot, not just as themselves but also as Shakespearean characters.
“And let us, ciphers to this great accompt On your imaginary forces work.”
We hope that by the end of a unique kind of theatre experience the actors and audience will have made a new kind of connection between them and that everyone will leave the theatre with a new appreciation and understanding of one of the world’s best loved playwrights.
It started with the award-winning Flammens Muse…
The experiment continues…with Shakespeare Unplugged.
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THAT THEATRE COMPANY and WHY NOT THEATRE COMPANY join forces to present
“OLD TIMES”
by Harold Pinter
Medvirkende:
Sue Hansen Styles, Ian Burns, Angela Heath-Larsen
Instruktør: Barry McKenna
KRUDTTØNDEN
Serrdslevvej 2
2100 Kbh Ø
Oct 24 - Nov. 24 2012:
Mon – Fri: 20.00 / Sat: 17.00
Erotic and sensual,
Haunting and poetic.
An often blackly comic play that will have you on the edge of your seats.
So many of Pinter's plays inhabit a predominantly masculine world, in which one chap is always trying to get one over another. The rooms in which his dramas are set become battlegrounds - for territory, possession and control.
But in his greatest dramas, women emphatically make their presence felt, too. You only have to think of Betrayal, The Homecoming and of course, this piece, to realize what a master Pinter is at conveying the thrill, the mystery and the destructive force of desire.
The action is set in the home of Deeley, a filmmaker, and his wife, Kate, a couple who have been married for 20 years. Their rural fastness, however, is invaded, in characteristic Pinter fashion, by a third party, Anna, who used to share a room with Kate when they were young secretaries in bohemian London, and has now come to visit.
This piece becomes a battle for the possession of Kate – (Anna loves her every bit as much as her husband) - and a meditation on the impossibility of ever fully knowing the object of our desire.
Deeley finds himself excluded from Anna's accounts of the early life she shared with his wife, a round of theatres and concerts, painters and poets. But are Anna's memories reliable, or is she making them up simply to infuriate her friend's husband? As Anna declares, in the play's key lines: "There are some things one remembers even though they may never have happened. There are things I remember which may never have happened but as I recall them so they take place."
These are deep, dark waters, where memory mixes with desire, and Deeley learns to fight back by inventing challengingly confrontational recollections of his own. While this battle of wills is going on, Kate remains almost silent, though she does complain that she is being talked about "as if I were dead". But it is she who turns the tables on those who seek to possess her in the devastating final scene in which invented memories suddenly seem to take corporeal form.
The action lasts only 80 minutes without an interval
It is a brilliant, enigmatic masterpiece. |
