This two-act musical tragedy dramatizes how Greek youth were wasted during the German Occupation and the Greek Civil War in the s. The prologue-mime is danced by Sofia, a widowed mother, and her two sons, twenty-year-old communist Pavlos and twenty-five-year-old nationalist Andreas. The Greeks, who were united against the Germans, have turned against each other. Ismene, Pavlos's sweetheart, betrays him in order to save her father, who was kidnapped by Pavlos's communist comrades.
When she finally tries to warn him, she is killed by a stray bullet. Pavlos is arrested and taken to his execution. While the three mothers, whose sons were killed, are seated at the doorway of their houses weaving as in the beginning of the play, Andreas, who was killed in the ranks of the government's army, returns and dances for his mother. She cannot see him or any of the dead left-wing and right-wing Greeks who join hands and march toward the audience. Theotokas, Giorgos. This three-act play dramatizes Alcibiades's belief that the select few, such as himself, have the power to unify nations and to "make" history by soaring above local interests.
Socrates questions this assertion. Alcibides defects to the Spartans when the Athenian assault against vital Spartan colonies in Sicily fails. He would rather betray the Athenians than his vision. Alcibiades, however, cannot turn the Spartans into his instrument for world domination when he gets the Spartan Queen pregnant.
He escapes to an Athenian outpost where the soldiers herald him as their commander. In Athens, Alcibiades is elected commander-in-chief in the war against Sparta and he defeats the Spartans at Cyzicus. When the Spartans defeat the Athenians during his absence, the Athenians blame Alcibiades. Pharnabazus then yields to Spartan political pressure and kills Alcibiades. Theotokas, George. Margaret Brooke and Ares Tsatsopoulos. This excerpt is the entire first scene from the first act.
Hipparete, Alcibiades's wife, receives the news that the assembly of the Athenian citizens voted to declare war against Sicily, appointing Alcibiades, Nikias, and Lamachus to lead the expedition. Hipparete is skeptical of Greek politics and war schemes, especially when Greeks fight Greeks. Alcibiades returns home with his co-generals to toast the success of their war. He tells Hipparete that he loves her as much as he loves Athens. Hipparete hopes, for the sake of Athens, that he is more faithful a lover in his public affairs than in his private affairs.
She had already filed for divorce because he sleeps with her housemaids. Domestic happiness is not one of Alcibiades's priorities. He is consumed by a premature ambition to rule the world--an ambition that was to be fulfilled by Alexander the Great a century later. Socrates warns him against his obsession and against the expedition.
A slave announces that the faces and phalluses were smashed off the Hermae. Wisdom," translated by Mary Gianos. This four-act comedy is about a bet between two men: Andronikos, a Byzantine king, who is an unfailing seducer of women of all ages, and Mavrianos, a disciplinarian party leader who boasts that nobody can seduce his sister, Arete.
If Andronikos, without revealing his royal identify, seduces Arete, Mavrianos will lose his head. If, however, Andronikos fails to seduce her, he will lose his crown. Andronikos, who appears to Arete as a traveling scholar, is misled and seduces Arete's pretty but stupid female gardener while Arete witnesses the love scene. The next morning, Andronikos claims that he won the bet but refrains from beheading Mavrianos. When Arete appears with the gardener, however, he realizes that he was duped and gives up his kingdom. Arete, who finds the lifestyle that her disciplinarian brother had imposed on her quite boring, helps Andronikos escape from prison.
Varnalis, Kostas. The True Apology of Socrates. Translated by Stephen Yaloussis. London: Zeno, This five-part satire, which has been performed on stage, dramatizes Socrates's defense. Socrates presents his case in Marxist terms, not Platonic ones. He tells the jury why they should have asked him to enter the Hall of Fame instead of convicting him. He exposes the motives of the merchant Anytus, the orator Lycon, and the poet Meletus before he demonstrates the absurdity of their charges. He explains why he denounced state religion; why he rejected the work ethic; why he had some influence on his students, whom he did not corrupt; why Athens is a mock democracy that prevents the poor from voting and suppresses freedom of speech and thought.
The state laws, Socrates tells the jury, are devised to protect the unjust; therefore, if the jury acquits him, Socrates will suffer the injustice of being seen as one of the unjust. Xenopoulos, Grigorios. This one-act comedy is about the dream of Morsimos, a former banker of Athens, who thinks that Dionysus wants him to become a playwright. He considers Sophocles his rival, and he refuses to allow his daughter to marry Sophocles's son, who is in love with her. His old slave advises him to marry his daughter off, to quit playwriting, and to begin to enjoy life.
The son of Sophocles flatters Morsimos for his playwriting prowess and he wins a place in Morsimos's heart and in his household as future son-in-law. Luckily, Morsimos sees another divine dream in which he finds himself in Athens 2, years after Pericles's Golden Age. The buildings and the people are different, but the Parthenon is still in place and the Athenians still go to see the plays of Aeschylus.
Morsimos now thinks that Dionysus wants him to quit wasting his time writing tragedies, so that he can enjoy life. Morsimos gives his manuscript to his slave to use as wrapping paper. Andriopoulos, Dimitris. Andriopoulos reevaluates the contribution made by Mihelis and Papanoutsos concerning the concept, number, and meaning of aesthetic categories. Concerning the nature and status of aesthetic categories, he concludes that Papanoutsos fails to demonstrate satisfactorily how the aesthetic category of the beautiful can be both a genus and a species.
Since Papanoutsos has already accepted the tragic and the comic as varieties of the final definition of the beautiful, he has driven his argument into a self-defeating exercise in logic. Angelaki-Rooke, Katerina. Angelaki-Rooke argues that Kazantzakis transforms Buddhism from a dogma of introspective withdrawal into a statement for social struggle against injustice and corruption. The Buddhist notion of non-attachment to the phenomenal world appears only when, paradoxically, the people struggle to make their short lives immortal.
Angelaki-Rooke maintains that Kazantzakis turns life into a pageant in which human suffering becomes a small wrinkle on the tapestry of imagination. When the spectacle phantasmagoria vanishes, however, the human will does not yield to the divine will because divinity is not the ultimate value. Angelaki-Rooke concludes that Kazantzakis's characters do not deny the significance of life as they try to overcome pain and to improve their understanding of social or cosmological "chaos.
Anton, John. Anton examines the meaning that the word "tragic" acquires in Kazantzakis's work by following Albin Lesky's triune distinction: the tragic worldview, the tragic conflict, and the tragic situation. Anton argues that the Aristotelian definition of the tragic experience lacks the contemporary understanding of the relationship between human evolution and the persistence of conflicting forces in life. Anton concludes that, for Kazantzakis, the world must become what the world of the mind demands.
The tragic conflict is rooted in the fundamental oppositions that permeate nature and humanity. The tragic depends on an awareness of inescapable conflicts. Given the opportunity, Kazantzakis's assertive characters accept the challenge and enter the domain of the tragic experience. Antonakes, Michael. Antonakes discusses how Photis Kontoglou, in , perpetuated the hostile view from the s about Kazantzakis's plays and novels. A charge against Kazantzakis was filed at the office of the district attorney in Athens in It was later withdrawn.
The political tensions during the second World War and the Greek Civil War in the s exacerbated the ideological conflicts. Kazantzakis's work was judged strictly on political and religious grounds in the s. But the Greek parliament came to his defense in , reaffirming an author's right to freedom of speech. Antoniadou, Eleni. Nicosia: Cyprus PEN, Antoniadou surveys theatrical activity on the island of Cyprus in ancient times, the Byzantine period, and modern times.
In the last quarter of the nineteenth century, Cypriot theater was revitalized thanks to a handful of playwrights Sivitanides, Constantinides, Theocharides, Zenonos, Karageorghiades , a few amateur theater companies, the study of classical Greek drama in high schools, and the touring theater companies from Greece. This newly founded tradition continued during the first half of the twentieth century with a new generation of playwrights, directors, designers and actors who formed amateur and semiprofessional theater companies such as Love of the People, Panergatiko, Prometheus, Lyriko, and the Paphos Revue in Nicosia, Paphos, Limassol, and Larnaca.
Antoniou, Theodore. Antoniou thinks that "applied" music is designed to serve the play for which it is commissioned. It therefore offers a composer little opportunity for personal expression unless the composer's personal views are close to those of the playwright or the director. Antoniou is fed up with artistic manifestos, avant-garde navel-gazing, traditional establishments, and avant-garde establishments. Arnakis, G. Seferis looks for points of contact between classical and modern Greece.
The figures of classical Greek drama e. Seferis articulates a subdued despair. His resigned pessimism has a Euripidean flavor without a revolutionary flair. Greece is the origin and central theme of his pessimism. Not a neutral observer of history, Seferis sees an all-pervading death theme that contaminates the experience of life.
Instead of amalgamation and fulfillment, humankind knows only disintegration and a void in a world of broken arcs. Seferis has no vision of unity and completeness, nor in a Byzantine or Christian heaven. Hellenism offers no remedy to the struggling human spirit. Modern Greek Theater: Roots and Blossoms. Athens: Diogenis, Bacopoulou-Halls presents a kaleidoscopic critical overview of modern Greek drama through sweeping statements on the Greek neoclassical and romantic plays.
She focuses on post-World War II plays but traces their development back to the folk tradition of Byzantine games and liturgical drama, the sixteenth- and early seventeenth-century theater on the island of Crete, the folk theater of the Ionian Islands, and the Karaghiozis shadow theater on the mainland that, in turn, bequeathed some of its stock characters to the revues in Athens and to the anti-heroes in plays of postwar playwrights such as Kehaidis and Skourtis.
She concludes that the development of modern Greek theater has been like Odysseus's journey to Ithaca--a journey back to the sources of Greek culture away from foreign influences. Bakker, Wim. Cambridge: Cambridge University Press, Matthew's Gospel in a dialogic form. However, the Greek religious play has no prologue, no epilogue, no act division and no scene division.
Its playwright invented several new scenes, a fresh dramatic action, a deeper portrayal of character psychology, and more profound themes. The first performance of this religious drama on record took place on the island of Zakynthos in Its second performance on record took place in Athens in Embirikos, who feels some admiration for this play, thinks nevertheless that Abraham is not "human enough" because he accepts God's command to sacrifice his son immediately and without any protest.
Does or does not Abraham accept God's command without a struggle? Bakker sides with Psycharis, arguing that the Greek Abraham undergoes an intense psychological conflict that is not apparent in the Italian Abrahams portrayed in the plays of Luigi Groto and Feo Belcari, where Abraham accepts God's order gladly.
It occurs twenty-seven times. Sarah uses the word nine times, more than any other character. This repetition is a technique employed by the playwright, according to Bakker. The technique of the recurrent motif--based on one-word themes or one-phrase themes repeated by different characters in different circumstances--establishes a chain of associations in the mind of the reader or listener. Finding Zoras's comparative study of the two plays unsatisfactory, he reexamines three questions: What is the central meaning of the Greek play? How does it imitate the Italian play?
Can it stand as an independent, original work of art in its own right? The comparative analysis of the plots and characters of the Italian and Greek plays, in the context of similar European plays of the period, shows that the Greek play has an inherent structural economy in both plot and characters that sets it apart from its model. Bakker concludes that the Cretan dramatist adopted Groto's basic plot but with a critical mind. Georgios Megas thought that certain lines in the text of this play were "difficult" to emend because, even though they were grammatically "incorrect," they made perfect sense "poetically.
After stating his objections, he draws his own conclusions. Through a comparative structural analysis of the two plays, Bakker tries to understand the Greek dramatist's intention and working method in order to clarify the relationship between the Italian "prototype" and the Greek "copy. The Greek dramatist must have seen the structural weaknesses of the Italian play. The changes that the Greek dramatist implemented in the fourth act are many, but only a few of them are of a structural nature.
Bakker concludes that the Greek dramatist did not respect the dramatic rules of the time even though he used them for the most part in constructing his plot. The Greek dramatist was consciously creating a structure different from Grotto's. For an expanded version of this argument, see the previous entry. Megas applied two criteria in his critical edition of this play: a the text of the Marcianus Graecus XI.
The Bakker team refines Megas's criteria by analyzing both lines of the tradition the manuscript and the editions , trying to understand what motivated these alterations. The team concludes that Megas was a good intuitive philologist who was able to use inadequate tools wisely. The Bortoli edition normalizes the text according to a more common and in some cases more learned form of Greek. The great majority of the alterations, which make the text of the Marcianus Graecus an unreliable but interesting source, stem from the person who wrote its prototype, not from the scribes of the Marcianus Graecus text itself.
This person was interested in producing a religious reader's text, not a performable play.
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Bancroft-Marcus, Rosemary. Bancroft-Marcus reviews the current status of scholarly research on Hortatsis's plays, which were written when Crete was a Venetian colony. She discusses Hortatsis's comedies by reviewing a the textual history of each play from the first known edition to the twentieth-century editions, b the various attempts to provide a chronology for each play with the help of datable Italian and other literary sources or historical events mentioned in the playtexts.
She further discusses Hortatsis's cultural background, his debt to Italian literature, the staging requirements of his plays, and the various glossaries in twentieth-century editions of his plays. Cambridge University Press, Bancroft-Marcus discusses eighteen interludes i. These interludes have survived from the heyday of Greek Renaissance drama on the island of Crete. Each interlude is divided into several "phases," just as a regular play is divided into acts or scenes.
These interludes contain songs, dances, combats, many fine passages of poetry, and quite a few interesting dramatic characters with clear motives, engaging dialogue, and inspiring soliloquies. As the plays of the period were divided into five acts, interludes tend to be found in sets of four. Bancroft-Marcus provides detailed summaries of the three plays and of the idyll. Silvios is engaged to Eroprikousa, who, in turn, secretly returns the love of her former suitor, Myrtinos, who in turn is pursued by Koriska, while Silvios wounds Dorinda in a hunting accident and promises to cure her and to marry her.
Beaton, Roderick. An Introduction to Modern Greek Literature. Oxford: Clarendon Press, Beaton, in his page long introduction, mentions modern Greek drama on nine pages , 27, 62, , , , but the overall information he provides does not exceed five pages of continuous text. Beaton chooses not to try to determine in his book whether these reasons are true and, if they are, which of any number of possible factors have caused this situation. Bien, Peter. Bien offers a thematic analysis of the play, seen as an icon with two levels: The upper level is heaven Buddha and the lower level is earth Epaphos.
Through the two levels of the actual and the phenomenal world, the dramatic events cover the full spectrum of life and death--alluding to the paradox of the triumph of the Greeks against the Italian army in Albania, followed by the German invasion and subsequent occupation of Greece. The two levels or realms of experience, however, are conceived as a totality--as aspects of a unity. Bien concludes that Kazantzakis was pushed by the harsh political experience of the early s to a renewed state of awareness, and that his play demonstrates that mankind can be ennobled only through a spiritual, individual awareness of the overall evolution of the material world.
Although Kazantzakis initially wanted to write the play in a classical dramatic form, he ended up writing a four-act play that conforms neither to the classical norm nor to the surrealist norm that he mentions in his notebooks. Bien identifies the paradox in Kazantzakis's concept of tragedy--namely, that the upward struggle for tangible improvement of life is thwarted by negative forces as soon as achievement begins to replace aspiration.
The play reflects Kazantzakis's high hopes for a new world after the occupation armies withdrew from Greece in For Bien, the play is, at first, the dream of a journey to a "new world" that does not exist outside Columbus's desire. However, as soon as the dream comes true, negative forces creep into the picture.
Instead of the paradise that he had imagined, Columbus creates a hell of slavery, exploitation, suffering, and disillusionment. The play alludes to the horror and disappointment that the Civil War brought to "liberated" Greece. Kapodistrias's deliberate death is the private "exit" of a solitary, existentialist hero. At the same time, however, his death is the ultimate political act, one that paradoxically affirms that humanity fulfills itself through the community. Bien shows Kazantzakis's protest against factionalism by analyzing the character of Makriyannis and the unstated ideologies in the dramatic conflict.
Bien also shows Kazantzakis's notion of Greekness by analyzing the unifying metaphors in the play. Bien discusses two plays written in and , respectively. Kazantzakis, who considered himself a playwright until the end of his career, was discouraged by the prevailing conditions in the theater of his day, and became an armchair dramatist.
Bien examines the theatrical situation in prewar Greece, making Kazantzakis's playwriting career a case study. If Kazantzakis's case is at all representative, Bien concludes, then the Greek theater failed to realize its immense potential in the first half of the twentieth century. Middleton and Peter Bien. Macon, Georgia: Mercer University Press, Kazantzakis's religious ideas developed in a seesaw fashion, alternating from Orthodox faith to scientific doubt, from doubt back to Christian Orthodoxy, and then forward to metacommunism, a concept that is compatible with Kazantzakis's notion of a meta-Christianity.
Loris is torn apart by his love for two women--his Christian wife and his pagan mistress. This Christ astounds Nikiforos. He is resurrected not by a divine Creator but by Mary Magdalene, whose sexuality is the prime mover of evolution. She had a vision during which she felt that she gave birth to Christ. He is reborn, resurrected, and rescued from death. The newborn Christ is no longer a humble prince of peace. Like a meta-Christian superman, he comes armed with a sword of slaughter.
The disciples, except for Judas, are unable to follow Christ's new message. Kazantzakis employs dualistic means to embody a monistic view of Christ as a "godman. Judas sees his expanded role in the universal process, and he responds to Christ's call for unification. Bien concludes that, even at his most seemingly anti-Christian moments, Kazantzakis was always looking for a way to transmute the Christian religion rather than to abandon it. His theology was part of a wider, biblical faith still in the making.
Bien compiles Kazantzakis's passing comments on the art of theater that were recorded in interviews and appeared in newspapers e. He also includes Kazantzakis's aphorisms about the art of theater that he wrote in his letters to Galatea Kazantzaki, Eleni Samiou, and Pandelis Prevelakis concerning his own plays, the plays of Japanese Noh playwrights, and the plays of Shakespeare.
Bien examines how this play functions as a work of art, not as a philosophical treatise or an autobiographical document. Kazantzakis wrote the play in specifically for Alexis Minotis and the Vasilik is perha , which rejected it. Alexis Solomos finally produced it in , five years after Kazantzakis's death. The play suggests that heroism may originate in the mundane spheres of existence. The playwright's autobiographical elements serve the aesthetic needs of the play while at the same time giving it an authenticity that keeps it from being a sterile exercise in Greek history.
The situation involves civil and family strife in a state so repressive that the peasants have begun to plot a people's revolution. The play builds up a case for militaristic ideology only to tear it down by showing that nothing ennobling results from aggression. Melissa proves Kazantzakis's ability to transubstantiate his political misfortunes into artistic excellence. Bloch points out that masks play a major role in Kazantzakis's works--both novels and plays--especially as a metaphor.
She traces Kazantzakis's fascination with masks back to his visit to an African mask exhibit at an ethnic museum in Berlin after the first world war. She mentions that Kazantzakis kept a mask of Nietzsche's face hanging over his door for many years. People wear masks that often deceive. Serene Apollo can wear a Dionysian mask while Dionysus can put on an Apollonian mask.
Despite the appearances and contradictions, however, Kazantzakis perceived a deep unity in life. He believed that in the ephemeral, innumerable masks God has assumed though the centuries, there exists an indestructible unity. The mask that Kazantzakis preferred for himself was the mask of "tragic optimism.
Bosnakis, Panayiotis. He shows that Kazantzakis envisioned Greece as a secularized, modernized state that would catch up with European modernity. He defines modernity as a critical, self-aware, mental attitude that one can earn with effort--not as a specific historical period that one can enter by merely being there. For northern European critics Foucault, de Man, Habermas , modernity began with the Enlightenment, attempting to reform society and to transform the historical subject.
It rejected neoclassicism and the past. For Kazantzakis, modernity did not reject antiquity; it rediscovered its lost spirit by peeling off the "classical" layers of tradition and continuity piled up by Romantic scholars. His Prometheus represents a Nietzschean archetype whose modern mental attitude and action must be emulated by all Greeks and Europeans. Greek identity, with its explosive mix of Western and Eastern cultures, may help wage a victorious battle against totalitarianism, represented in the play by Zeus. Bosnakis concludes that this trilogy of plays reflects Kazantzakis's ideological confrontation with the generation of the s that caused his marginalization.
Carpenter, Marjorie. This type of hymn drew on stories from the cycles of Christmas or Easter and from the lives of saints or martyrs. She concludes that this type of hymn is important because it links the popular interest in drama in Constantinople to that in Syria. Catsaouni, Helen. Catsaouni argues that Cavafy's texts, following their own selective rules, constitute an idiosyncratic mirror that reflects and "deflects" history. Cavafy himself was aware of the deflecting effect of literary production on historical events "The Enemies," The article discusses the general technique of Cavafy's theatrical representation of history and it provides evidence of Cavafy's belief in the strong influence of theater: "Herod's Mime Iambs" , "A Displeased Spectator" , "Ancient Tragedy" , "The Tarantinians Carouse" , "At the Theater" It explores theatrical dimensions of Cavafy's historical poems such as the use of mimetic forms of speech, the careful arrangement of settings, the dramatic development of events, and detailed, delicate characterization.
Colakis, Marianthe. Ritsos gives these lengthy poems the form of a dramatic monologue. By means of a prologue, Ritsos reveals the place, time, and characters. The speaker reflects on what has happened, is happening, or will happen while the addressee remains silent. In an epilogue, Ritsos reveals the consequences of all that preceded. Ritsos's monologues invert the ancient myths. He shows their negative aspects by concentrating on the characters' failure or less glorious moments. Ritsos shocks the reader because he recreates ancient Greek heroes and heroines in ways that are unexpected, yet not inappropriate.
Constantinidis, Stratos. The article questions Bakopoulou-Halls's allegation that the characters of post-Civil War plays retain an attitude of existential commitment. It shows that "existential commitment" does not carry over to many postwar plays that she mentions, such as those by Kambanellis, Skourtis, Mourselas, Karras, Anagnostaki, and Matesis. Constantinidis proposes an alternative classification for modern Greek plays.
Lanham, Maryland: University Press of America, He argues that these playwrights saw social conflict as a form of theater and that they attacked the radical nationalism, anti-liberalism, and anti-parliamentarianism of authoritarian regimes in modern Greece. They depicted the frustration, anger, and wishful thinking of the underdog with a healthy sense of humor whenever they could afford to. The characters express the spirit of the times, which was to earn a living through political and moral compromise in a police state.
These plays opened a dialogue with their politically silenced audiences. Constantinidis concludes that although their protest did not change Greek society it did change the perception of postwar Greek audiences about the role of theater in the politics of modern Greece. Constantinidis describes several issues and tensions that have resulted from reviving classical drama in modern Greece.
Should a theater company "translate" the verbal and visual aspects of the ancient plays to suit the understanding and tastes of modern audiences, or preserve the verbal, paraverbal, and non-verbal elements? He reviews amateur productions from to , concluding that the revival of classical Greek drama took three major steps: from eighteenth-century neoclassics to the Greek classics, from performances in ancient Greek to translations, and from in-house performances to open-air festivals.
The demand by audiences for understandable performances and the concern of commercial companies for ticket sales were the main factors causing change. Constantinidis discusses how Dionysus became the prevailing metaphor in several plays by Sikelianos, Kazantzakis, and Palamas. Through these plays, the playwrights wished to affect the quality of social life and attitudes in Greece. If they could merge art with life, overcoming the separation between the dramatic and the real worlds, life might begin to embody their imaginative experience in the future.
The quixotic and inexpedient spirit of these plays failed to address concrete social problems in a society rent by severe military, economic, and political conflicts. Instead, they pondered fundamental human problems and the spiritual liberation of mankind. After losing faith in the nationalist and later the fascist and communist mass movements, even though accepting Nietzsche's idea of a superman, Palamas, Kazantzakis, and Sikelianos envisioned the emergence, through conscious selection, of a new kind of man whose human nature would transcend itself. Constantinidis analyses several plays by Sikelianos, Kazantzakis, and Palamas in the context of European thought and drama.
He proposes that, outside the narrow context of Greek drama of the s, which favored realism, these plays may acquire their long-overdue recognition. Their protest formulates an optimistic, irrational doctrine of purposeful evolution that aspires to bring society out of a state of fear and conflict into a state of altruistic love and harmony. Alla pente theatrika. Athens, In this book review, Constantinidis discusses five plays by Eleni Voiskou.
The book ends with a poor English translation of Guesswork. The plays share a post-absurdist theme of diminishing self-control and state-control. Voiskou's scene sequences have the quality of a "slide show. Edited by Minas Alexiadis. Athens: Kardamitsas, This book, which has an introduction, the edited text of the play 2, couplets , a commentary, a bibliography, a glossary, a table of all the proper names and placenames mentioned in the play, an index, and an appendix, is, in Constantinidis's opinion, a useful contribution to the study of early twentieth-century Greek dramatic literature.
However, Alexiadis's belief that this play is a "homiletic" skit continuing the oral tradition of Greek theater on the island of Zakynthos into the twentieth century is hard to swallow. Constantinidis points out that, when Geladas adapted Dimitris Koromilas's play performed in and published in , he simply borrowed the "homiletic" form from earlier centuries. Geladas gave to his play a progressive social content by dramatizing how, thanks to specific sociocultural factors, some women in rural Greece maintained marriage as an economic institution from generation to generation.
Dalven, Rae. New York: Crowell, Dalven gives a clear, mostly accurate summary of Greek drama from to She outlines only the major plays of major playwrights, providing a coherent and concise account. However, she pigeonholes several plays and playwrights under facile labels such as realism, symbolism, bourgeois drama, historical drama, and theater of ideas. Dalven dates each play, mentions its Greek title, and translates the title into English.
She occasionally mentions alleged "foreign" influences on modern Greek playwrights. Danforth, Loring. Danforth sums up the standardized plot of the Karaghiozis plays as follows: The Turkish deputy in Greece, who needs a skilled person to perform a task, asks Hatziavatis to help him find such a person. Hatziavatis runs into poor Karaghiozis, who convinces Hatziavatis and the Turkish deputy that he is skilled enough for the job.
Dressed in the appropriate costume, Karaghiozis deceives several stock characters until he is exposed and punished. Danforth observes that while scholarly interest in the Karaghiozis shadow theater increased in the s, the oral tradition itself was undergoing drastic changes such as fewer live productions owing to competition from film, television, and comic books.
He concludes that the narrative tradition is dynamic and constantly changing, just like the larger cultural context of which it is part. In this book review, Danforth welcomes this study on shadow theater as an addition to the growing body of literature on modern Greek theater folklore and popular culture. The book opens with a detailed history of Greek shadow theater, recording its Turkish origins, its introduction to Greece, and its Greek development. The study suffers from a narrow concern for "historical veracity," which devours a more valuable commentary on issues of interpretation.
The authors' nationalist emphasis on the "Greekness" of Karaghiozis raises questions about the role of Karaghiozis scholars in ideological discussions of Greek national identity. The exclusive focus on the past primarily the s disregards the contemporary performances in Plaka and in the movie theaters of Athens in the s. Dimaras, Constantinos. A History of Modern Greek Literature. Translated by Mary Gianos. Dimaras surveys modern Greek drama in less than 30 pages of continuous text 76, , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , He devotes the remaining pages to poems, novels, and short stories.
He presents an uneven and very selective account of modern Greek drama. Plays and dramatists receive only a cursory mention. When authors are better known for their poems or novels e. Generally, this book is very poorly translated and filled with typographical and other errors. Readers would do well to consult the Greek original if possible. Doulis, Thomas. Doulis argues that prewar Greek drama was overshadowed by the great tradition of classical Greek drama. Neither classical nor folk drama enabled prewar playwrights to create a distinct modern Greek drama, because they saw these two traditions as examples of a coherent continuity rather than as manifestations of a fragmented culture.
Doulis argues that for the past two centuries, Greek theater followed European models in playwriting, design, acting, and directing. Finally, this western influence helped the postwar dramatists of Greece to discard the ideas that had hampered prewar playwrights such as Palamas, Rotas, and Melas.
Boston: Twayne, Theotokas's tenure as Director General of the National Theater of Greece , suffered from ideological disagreements about the purpose of that institution. Doulis concludes that classical drama and the theater market inhibited the development of modern Greek drama by smothering the valuable experiments and insights of playwrights such as Theotokas. Fann-Bouteneff, Patricia. Fann-Bouteneff shows how seven Greek plays written in the twentieth century treat the theme of the "bridge of hair" differently from their traditional sources.
The Christian metaphor of a bridge made of a strand of hair spanning a river of fire goes back to the fourth century. Philaret , for example. In the folksongs, the bridge is a family affair, and the focus is on the wife being tricked to die in the foundation. In the plays--e. Fann, Patricia. Fann sees Greece as a country that discourages the heterogeneity of ethnic minorities such as the Greek Pontians. Fann concludes that dramatic characters who are in a state of liminality are consistently redeemed, and that they are reincorporated into the community chiefly through marriage.
The Greek Pontian playwrights associate marginality with liminality, implying that the cultural and social marginality of the Greek Pontians is not a permanent condition. Instead, like liminality, it is a temporary state of being as they transit from the periphery to the center of Greek society. Greek Ideology. Fann discusses how Pontian theater in Greece became an important community theater that asserted the identity of those refugees who were evicted from their homeland on the southeast coast of the Black Sea after the Greek-Turkish Treaty of Lausanne in This Greek Orthodox Christian minority produced plays written and performed in the Greek Pontian dialect by amateur playwrights, directors, and actors.
Their performances functioned as local, social, "speech" events, allowing the homesick refugees to relive their past and to celebrate their survival. This community theater reinvented not just transplanted Pontian culture and tradition on Greek soil by disregarding the policy of the Greek administration, which encouraged the refugees' linguistic and cultural integration.
Friar, Kimon. This article presents Friar's impressions of the scholarly and artistic activity in the U. It gives a brief account of Kazantzakis's plays translated and produced in the U. Gressler surveys theatrical activity in Greece from to in four parts: The first part of the book provides a historical overview of the Greek people, a sketch of the alleged national Greek character, a dubious metaphor of the Greek theater standing between East and West, and an impressionistic report on the status of theater research in Athens. The second part surveys the various types of theaters such as those subsidized by the government, commercial theaters, children's theaters, puppet theaters, amateur theaters, and more recent types of theater.
The third part looks at the facilities, locations, working conditions, and theatrical seasons as well as at production techniques and the training of theater professionals. The fourth part discusses playwriting opportunities, the Greek Actor's Equity, the Hellenic Theater Museum, and ends with a chapter-long summary. Gudas, Rom. Athens: Gnosis, Hadas, Rachel. Hadas discusses the poem according to the stylistic contrast between Greek Homeric narrative style and Jewish Biblical narrative style.
Auerbach, who compares the story of Odysseus's scar to the story of Abraham, describes the Greek narrative style as being leisurely and expansive whereas the Jewish narrative style is austere and direct. The main characters Abraham, Sarah, and Isaac find themselves in a situation comparable in a way to that of Agamemnon, Clytemnestra, and Iphigenia. The play successfully synthesizes Greek lavishness and Jewish austerity by paying homage to these suffering human beings, not to their God.
Hall, Edith. North Carolina and London: McFarland, In this book review, Hall points out that the author's ignorance of the Greek language leads to shocking blunders and undermines any confidence in the book's general reliability. This book, which professes to offer a much needed overview of theatrical activities in contemporary Greece, is badly flawed. There is little discussion of actual dramatic performances and no attempt to expound the styles adopted by the new playwrights. In the first part of the book, the first chapter offers a garbled, reactionary account of Greek history, and the second chapter is an obtuse piece of amateur sociology.
The second and third parts of the book could be used as a reference work by someone needing factual information about the history, location, funding, and activities of various Greek theaters, companies, drama festivals, and acting schools. But a significant portion of the book misrepresents the Greek theater--its language, culture, and national character. Horton, Andy. For Horton, Mourselas became popular without sacrificing the quality of his work. He minimized the national features of "Greekness" in his characters, stressing only elements such as anxiety and oppression that are shared by all individuals in modern societies and cultures.
His characters become aware of the social trap and they desire personal freedom. However, they are enmeshed in a complex social web that they cannot change or control. Typically, the dramatic action in his plays progresses from a simple and humorous situation to an increasingly complicated and ugly dilemma.
Mourselas shares the existential belief that freedom is an act of self-will. He writes memorable scenes, but not memorable dialogue, because he always wants to draw attention to a theme or a situation. Hourmouzios, Emilios. Athens: Difros, Hourmouzios argues that the interpretation of classical Greek drama in open-air theaters demands new directing and acting methods that run contrary to the methods practiced by the realistic theater of the day.
He argues that the "archeological" revivals of classical tragedy, which do not "adulterate" the ancient Greek text and ritual, have failed to fulfill the expectations of modern audiences.
The Theatre of the Mind | SpringerLink
Hourmouzios advocates a moderate, responsible updating of classical tragedy, a position that agrees with the classical Greek trend to separate tragedy from its theocratic and religious character. He claims that the revivals staged by the National Theater of Greece followed this basic view. Fletcher, J. Reading, and S. Rosenfeld, London: Society for Theatre Research, Hourmouzios divides Greek theater into three periods: classical, medieval, and modern. He claims that modern Greek theater is not different from European theater and that the distinctive mark of modern Greek theater since has been the revival of classical drama.
Classical drama is a "living thing" that does not belong exclusively to ancient Athens and to the historical past of the Greek people. It has been in direct contact with the continuous flow of life from the past to the present and it has had the power to survive in modern times. It should be made accessible and intelligible to modern audiences by adapting it to the conditions of modern Athens, not by mentally transferring the spectator to the conditions of ancient Athens.
Theater artists should search for the vital elements that have helped classical drama survive in spite of temporal and stylistic changes. These elements should stir modern spectators as much as they moved the ancient spectators. Karampetsos, E. Theater forms, which were formerly popular in Athens, were now ill-suited to the political climate of the dictatorship. As a result, the Greek theater was compelled to transform itself.
Despite their obvious debt to contemporary Western dramatic theory, the new Greek playwrights did more than imitate foreign models. In the s and early s, the Athenian theater offered four basic types: situation comedies, melodramas, revues, and serious foreign plays in Greek translation. Further evidence of the reorientation of Greek audiences is the acceptance of plays by serious contemporary Greek playwrights between and Prominent among the many dramatists produced during this period were Iakovos erroneously called "Yiorghos" by Karampetsos Kambanellis, Yiorghos Skourtis, Marietta Rialdi, and Stratis Karras.
With the fall of the dictatorship in , the needs of audiences changed. The season saw the comeback of the revue, for which the former dictatorship and the new political situation provided ample material. Karpozilos, Apostolos. Karpozilos discusses a fourteen-stanza poem, "The Lamentation of Sarah," composed in by Damian Bgaditsa Bgaditsa, who lived in the village of Sartana, was a descendant of the Greek Orthodox Christians who escaped the rule of the Tatars in Crimea by settling in about 24 villages in the Mariupol area and the Donetsk region in the Ukraine in This ethnic minority was recognized by the Soviet Union in It built and funded its own schools, an academy for the training of teachers, a museum of Greek art and history, and it published its own newspapers in the Greek Mariupol dialect.
It was in this dialect that Georgi Kostoprav translated Anton Chekhov's works before he was executed during the Stalinist purges. Bgaditsa rendered "The Lamentation of Sarah" in the Greek Mariupol dialect, which used the Greek alphabet phonetically, disregarding traditional spelling, because the Greeks in the Ukraine could no longer understand the Greek Cretan idiom. The poem published by Karpozilos is lines long. It is based on one of the two transcriptions made in the Greek-speaking village of Makedoniya. Kazantzakis believed that "our" age was profoundly dramatic because full of conflict, rebellion, sarcasm, and anguish.
Of all literary genres, he chose drama because it can best express the fears and hopes of modern man effectively. Even his novels, no matter how much he strove to make them tranquil, assumed a violent dramatic pulse and became theatrical. He therefore concluded that drama was for him the most spontaneous form, and employed it. He began to write plays in unrhymed verse or in prose.
He dealt with contemporary, actual issues even when he used ancient or mythical plots. He tried to articulate the hopes that help people sustain major suffering without losing faith in a better future. In the ancient Greek theater, the clashing tragic heroes were the scattered parts or limbs of Dionysus, while Dionysus, the complete, undivided god, stood invisible at the center of the theater observing the conflict.
In Kazantzakis's opinion, three main ways were open to creative writers in his day: the ways of flight, disintegration, and integration. The way of integration was the most difficult and dangerous. The protagonist is neither Abraham nor Lot, but the invisible presence of the stormy times in which Kazantzakis lived. Kerenyi, Karl. Nikos Kazantzakis and Angelos Sikelianos were nominated for the Nobel Prize by the Greek Writers Union in , but the Swedish Academy failed to recognize the full significance of their work because very few of their plays were available in translation.
Kokori, Patricia. Kokori explores how Kambanellis extended the postwar Greek theatrical tradition by cautiously appropriating the innovations in the s of the European avant-garde especially Brechtian principles and existential sensibilities. She claims that Kambanellis's effort to promote a new realist style for modern Greek drama, different from the prevalent naturalist style, constitutes a turning point in the history of the Greek theater. Kokori analyzes the economic predicament of the working class people in the play, and the technique of shifting audience sympathies toward a character e.
The courtyard, as a thematic image that represents a communal way of life, is destroyed by those who herald the new era of the alienating apartment house. Krafchick, Marcelline. Krafchick mentions the limited information available in English about modern Greek theater in the early s and offers a tourist's view of a sector of theatrical activities in Athens during her nine-day visit.
Overall, this article is a subjective but interesting account by a young theater scholar who had no previous contact with modern Greek language or culture. La Piana, George. The liturgical drama, which may have replaced the sermon, remained within the liturgy. Lowe, C. Athens: Estia, Legrand was unable to find a copy of the play and drew his information from a comment by Christian August Brandis, an adviser of King Otto in Greece.
As a tribute to the memory of the late scholar Spyridon Lambrou, Lowe describes the copy that he found in the Gennadios Library in Athens. It is a small octavo volume of pages with legible printing. It includes a title page, a list of the speaking characters, and a prologue spoken by Fortune. The play proper has 3, syllable lines and five acts separated by short choral odes. Martin, Donald. He argues that the two novels represent, respectively, the nurturing and the negative aspects of Theotokas's nostalgia for Constantinople.
Theotokas's essay, however, clearly illustrates that his Constantinople is a metaphor for both bondage and liberation. Although the rational and reasonable characters win the contest in the play, Arete cannot dispense with the irrational and subconscious presence embodied by Andronikos. Maskaleris, Thanasis. Maskaleris proposes a revisionist look into the work of Sikelianos, free from political and aesthetic bias. Maskaleris concludes that Sikelianos's major concerns during the last decade of his life were the issues of freedom and social justice.
Matlaw, Myron. New York: Dutton, Matlaw gives an extremely brief description of modern Greek drama from to The limited space of this account gives rise to several misappraisals about the contribution of certain playwrights--for example, Notis Pergialis--to modern Greek drama. The work of directors, designers, actors, and critics is neglected. Matlaw overestimates the effect of the censorship exercised by the junta in Mavrogordato, John. He speculates on the plays' approximate dates of composition, first and subsequent publications, authorship, and language.
He also provides detailed plot summaries. He concludes that the two plays are structurally identical but that the Greek play stresses poetry and humanism. Moskhos, Mikhalis. Moskhos observes that Romanos's hymn deviates from the biblical story on seven points. Was Romanos influenced by the eight homilies and sermons on the topic of the sacrifice of Abraham that were written by the Fathers of the Eastern Orthodox Church--Gregory of Nyssa, Ioannes Chrysostomos, and Ephraem of Syria?
Moskhos argues that Romanos relied on his imagination and the biblical story rather than on the homilies of the Fathers, who had recognized the potential for dramatic conflict between Abraham, Sarah, Isaac, and God in the biblical story. Moskhos concludes that Romanos increased the dramatic effectiveness of his hymn by introducing dramatic dialogue, by rejecting the omniscient narrative viewpoint, and by adopting the subjective viewpoint of the characters involved.
Mouzenidis, Takis. Mouzenidis also distinguishes five different performance styles: the archeological texts in original Greek , the neoclassical bombastic and melodramatic , the realistic which deemphasizes the poetry , the modernist in which Artemis appeared in twentieth-century riding costume , and the expressionist. Myres, J. Myres's illustrated article describes a street performance that Myres saw in Athens during the carnival season.
Seven performers in masks and costumes a miser, two angels, two devils, a one-man chorus, and a walk-on who also collected money from the audience performed a skit in iambic tetrameter. The miser, who gets upset when the chorus reproaches him for his lifestyle, feels sick after he chases the chorus away. The angels and devils approach the miser's deathbed and he pleads for his life. The archangel strikes him dead and the other angel extracts the miser's soul, which is represented by a small, nude doll.
When weighed against its "good deeds," the soul's scale sinks. The angels give the miser's soul to the devils, who torture it. The chorus advises the audience that they should pay for the performance they just saw if they wish to escape the miser's doom. The miser stands up, and the company carry their props desk, chair, "bed" to the next street. Myrsiades, Kostas. In Ritsos's view, modern man is the sum of the possibilities of his past. In building a future, his task is to revive in himself the resources of his race without letting any ancient myths diminish his present and its meaning for the future.
Ritsos therefore rejects Seferis's pessimistic view, which sees the classical past as the golden rule against which the modern present is measured and is found wanting, and which concludes that modern man has no future. For Ritsos, the past must be overcome because the historical identity of a people exists in that people's present consciousness. Standing firmly in the present, Ritsos scrapes off the stain of antiquity from the ancient myths. Unlike Seferis, Ritsos does not intersect past and present to comment on the inadequacy of the present.
Unlike Kazantzakis, he does not steer the past in the direction modern man would take were he placed to live in the past. Unlike Cavafy, he does not embed himself in the past, using historical events and personages as ironic commentary on the present. Ritsos reenacts the scarred dignity that has marked the everyday experiences of the Greek peasant during the long history of Greece.
Myrsiades, Kostas and Linda Myrsiades. Kostas and Linda Myrsiades argue that the Karaghiozis shadow plays are cultural products of an oral tradition that provides role models for its audiences. Translators, therefore, should select a "text" that represents its class and its culture, not just a local variant; they should respect the traditional techniques of oral composition; they should translate by effacing themselves, since the original "text" resulted from the interaction of the Karaghiozis puppeteer with his audience; they should translate what is culturally significant for the target audience by striving for a dynamic, cultural equivalence rather than a formal, literal equivalence between the original text and its translation; and they should recapture the social immediacy of the performance.
Myrsiades, Linda. Myrsiades argues that, after the Greek War of Independence, the Greek upper class made a radical shift away from orientalism, whereas the Greek lower class maintained ties with a residual Muslim cultural presence in Greece in the nineteenth century. Under the anti-Turkish sentiments of Greek nationalists, it gained "formal" acceptance very slowly. Nonetheless, she acknowledges that Cedric Whitman makes a strong case when he suggests that the Greek Karaghiozis revived the comic spirit of "cleverness.
Myrsiades then submits that Karaghiozis's cleverness serves as a resurgence of the transcendent cleverness of such Aristophanic characters as Dicaeopolis, Xanthias, and Strepsiades. She claims that, like the Aristophanic comic hero, Karaghiozis may be seen as a force by means of which the underdog avenges himself against the powerful. Myrsiades concludes that the effect, the structure, the themes, the stock characters, the conflicts, the comic statements, and the spirit of anarchy and freedom of the Karaghiozis plays echo the intent and effects of Aristophanes's comedies.
A totally unexpected and delightful evening. Acute observations on life, death, politics, society, people and places — asking big questions in short form. Global in reference and impact. Taketh Me Away is a hilarious, yet heartbreaking story about Helen and her obsession with Jason Orange, three beautiful boys…and fat Gary. Previous production: A masterpiece inspired by our innermost thoughts.
Based on a real event and inspired by recent student rioting and police clashes, Made From Scratch bring their first full-length play, Body Of Water. In a dilapidated mansion in central London, a group of squatters host a party to launch their anti-capitalist campaign: a raucous rave that will destroy the house and change their lives forever.
This new play features live music, on-stage tweeting and intense physicality. An absurdly talented comic cast bring you spine-chilling, rib-tickling, curtain-twitching delights. When Tim meets neighbour Nigel, he begins to suspect that all is not quite as safe as it seems in the Culde-Sac. As UK youth unemployment reaches a million, a darkly comic look at the potential consequences of leaving two jobless men to their own devices. Plagued by miscommunication and fuelled by loss, loneliness and beer, a power struggle threatens to unravel their fragile connection with horrific consequences.
Abstract science fiction set during the aftermath of an unknown catastrophic event. Life lingers, the refuse breaths. A bizarre and bloody retribution. Plymouth Minutes before curtain-up, Stan Laurel sits backstage — but where is his partner? Pondering his future, Stan revisits memories of his father, Charlie Chaplin, and his younger self. Creator Leila Ghaznavi combines Rumi poetry, puppetry, live performance, animation and Iranian history to evoke the story of Darya, a young woman who questions the power of love while reliving her childhood in the Iranian Revoluction of A darkly seductive aesthetic, innovative object manipulation and live electronic soundscape create an abject universe, highly comic and deeply disturbing.
After his wife passes away, William escapes to a paradise of fantasy and past memories, a place far from the reality of his grief. Returning from beyond the grave, rose revisits her widowed companion to perform one last act of love: to help him let go. A bravura performance. His energy and the exceptional script create a performance that is understated but powerfully moving. The performance is near faultless!
This emotive production follows four urban lives through the loss of a friend and then their minds! Consummate fare-dodger and master of the abusive email, Ed Reardon lives in a one-bedroom flat with his cat, raging against a modern world seemingly run by twelve year-old imbeciles. Like a gigantic graphic novel burst into life; invite you on a journey of startling originality.
In a world of unspeakable wrongs, can purity persist and imagination survive? He returned to England with an empty wheelchair and a story to tell. This moving, bittersweet show reflects on the circumstances, morality and humanity surrounding the journey. Neville Trellis, a rugby obsessed PE teacher. His identical twin, the greatest player on the planet! The time has come for Neville to regain some glory of his own!
Starring Nicholas Osmond, Phys-Ed is a heartwarming comedy about triumph over adversity, and the true nature of sporting heroism. Exactly like the last. Each day, he tries to make sense of the world around him; who is the year old man looking back in the mirror? In , Henry Molaison underwent experimental brain surgery that left him unable to form new memories for the rest of his life. In , Patient H. A lovingly disrespectful homage to one of the classic films of all time.
The bright new things of British Theatre. The smash-hit Canadian production. At 36 author Franz Kafka, still living at home, a petty bureaucrat, a failed artist, and a timid Jewish son, wrote an extraordinary letter to his overbearing father. Every Thursday at 3am, Judy talks to her daughter on a webcam. Judy calls from Islington; her daughter is in Palestine. His prize was a box of records that took eight years to listen to. TimeOut Winner. Joe Bones performance is phenomenal Joe Bone brings the hotly anticipated Bane trilogy to Edinburgh. One-man, no set, no props with a live soundtrack from Ben Roe.
See these award-winning comedies in any order. From poems to Pinter, from sonnets to Sondheim: this daring group founded by maverick Ken Campbell takes on any challenge culminating in an authentically Shakespearean masterpiece made up on the spot. Uplifting, sometimes hilarious, sometimes harsh, this awardwinning autobiographical one-man show from New York is truly unforgettable.
I never had to die before. Fringe First winner nabokov returns. A hilarious tribute to one of the greatest comedians this country has ever seen. The closest you can get to seeing the late, great comedian live. Daring, frightening and deeply human. Passionate, poignant and funny, the show is a memoir with sex, drugs, and Eleanor Roosevelt. A comic journey with song, progressive politics… even a chase scene! Men love it too. Ellens play is a must see. Her performance is stupendous! The play is funny, moving…like real life; it comes from the heart. A timeless story of what drove her and finally killed her.
Nina Kristofferson is a brilliant and emotional performer with a voice that is magnificently chilling and beautiful. Accompanied by the sensational Warren Wills on piano! A multi award-winning, one-man micro-epic puppet show that melds technology and multimedia into a touching story of enduring love and the end of the world. Two strangely sociable strangers present a masterful mix of gothic and comic in your own home, to you and your guests. Theatre that comes to you. Total sell out hit Melbourne and Adelaide NB - Only two shows per day - address for the show must be central Edinburgh.
Minimum charge of ten guests.
The Bacchae and Other Plays
The Swedish Sensation! In the silence of her lonely room with a radio as sole companion, her evening has an unexpected outcome before our very eyes! Check www. In mute admiration of her extreme presence in this -trial of power- of a one woman play. Never has loneliness been so populated! Incredible athletic performers take on jaw dropping parkour, stunts and martial arts close up Come to my party!
Not here, of course. Linking US and UK actors and audiences live via Skype help decide if distance really does matter in this interactive, Skype-specific show. Spectacular entertainment for all ages. Hold on tight! Watch the trailer now at www. Feb 4th Liberace, Mr Showmanship, arrives at the pearly gates. Will Saint Peter and the angels let him in or damn him to hell? Tonight Liberace plays for his life His eternal life!!! Bobby Crush stars as Liberace in this hysterical High camp show with, of course, heavenly piano playing! Zoe Lewis takes a gut wrenching look at the thirtysomething dilemma: expect pop hits, artificial insemination and tears.
Critically acclaimed international company You Need Me return with the story of a Mexican immigrant on death row. Triple awardnominated storytelling with live music and a cast of Puerto Rican, Basque, Catalan and English actors. In association with New Theatre Royal, Portsmouth. Being miles away from the place of your birth, can you ever feel truly at home? With live music and magical theatricality, Cutting the Cord is comedic and heart-warming physical theatre.
Inspired by true stories, this one-woman show reveals Sachi, a young Japanese woman, and her sincere search for a sense of belonging. Iain Heggie performs this unique combination of song, comedy and drama explores love from an adult point of view. We know nobody is perfect but how much imperfection should you put up with before you jump ship? Hilarious, touching and inspiring, this is a route map for how to fall out of love with a person and fall in love with life. A one man musical - with the writer and friends. Monumentally original work. A rare thrill in theatre.
A remarkable and indescribable character study and investigation into indecision and loneliness. This emotionally evocative and often hilarious psychological detective story pulls together threads of narrative, seen and unseen, into a blistering, funny and moving piece of performance. Pedal powered, riotous theatre. Milk Presents tell the story of a fairytale womaniser and his new prey in a playfully anarchic performance. Homespun contraptions whirr to the backdrop of handmade animation, whilst live cabaret music fills the space.
From the Total Theatre Award winning creator of Sex Idiot, comes a hilarious and moving new one-women show exploring the links between artists and alcohol. Created in states of intoxication during a seven-day experiment. Performed sober. Sex, Tango, Lies, Punching, Transubstantiation. Who really wrote Hamlet? That is the question! Directed by multi-award winning actor and director David Schwimmer. Dry Ice is a daring, humourous, fully-clothed solo show that follows Nina a stripper on the edge , plus 18 other eccentrically entertaining characters, through a roller-coaster hour like no other.
Deep meaningful ideas buried in light entertainment in the tragical story of a puppet trapped on a table. Fiendishly clever A multi-award winning world music comedy theatre show from acclaimed Irish gypsy violinist Aindrias de Staic. The true story of an Irish fiddle player as he wanders across the globe with much trouble and strife till he finds sobriety and jazz! Great British Variety and dazzling International talent: a five star festival in itself! The show that led the cabaret revolution on the Edinburgh Fringe in is even bigger and better than before.
Breathing new life into Great British Variety, Vive le Cabaret gathers A List performers from all around the world to create a dazzling spectacle that is bound to entertain and that never fails to please. With an unparalleled line-up of truly talented stars, including the cream of Pleasance comedy and variety, come and see why Vive le Cabaret was crowned Best Fringe Cabaret and continues to lead the way in Daring, provocative comedy. Welcome to the unedited, uninhibited thoughts and behaviours that happen inside the female mind and public toilet. An online suicide forum brings together the lost and lonely.
Jed is a tortured teenager struggling to come out of the closet; Stu preys on vulnerable females desperate to score; Laina just wants to help her son. This is a darkly comic but touching drama about people struggling to connect in the real world. The Fading Hum by Charlotte Essex Forget everything you know about circus. The dark street life of a Colombian city explodes into colour as a motley crew of exuberant young artists paint a freestyle portrait of their world, all set against a pounding reggaeton soundtrack.
Raw, modern and full of attitude Urban combines awe-inspiring acrobatics and high voltage energy to reveal a city of joy and violence where dance and music are the safety valves of everyday life. Raw, aggressive and very, very sweaty Bang Bang Circus is a fun filled, highly skilled circus cabaret complete with aerial duo Collectif and then Open your mouths to let your heart leap out and prepare to be wide eyed as we take you on our topsy-turvy journey.
Thrilling audiences in more than 30 countries with a vibrant reworking of traditional Korean dance steps to drum rhythms, the Didim Dance Company has achieved a worldwide reputation, performing to such as the Winter Universiade, the Donau Music festival, and the Russian Bolshoi Theatre. This performance excites all your senses with its colourful exuberance. Korean Drum is magical and magnificent, a riot of movement, sound and colour, moving in its majestic beauty Staggering beauty Suitable for complete novices and those who profess to have two left feet, as well as more seasoned dancers.
Strictly for Fun, though!! An hour of intergalactic entertainment for all ages. Get ready for take off! Rock the Ballet is a fusion of classic Ballet technique blended with the excitement of musical theatre, hip hop, ballet, tap, contemporary dance, gymnastics and more. Set against a backdrop of video projected scenery, the show is exciting, fun, fleshy, raunchy, powerful, and brilliantly entertaining.
Red Hot from Havana - a dazzling display of Cuban music and dance. Join a legendary ten piece Salsa band and fourteen exotic Cuban dancers on a passionate journey through this wild island of music. From the magic of the fifties the wild street parties of Havana today meet the masters of Mambo, swing with the Kings of Salsa then wind and grind in the Reggaeton Clubs as you surrender to the rythms of Cuba and discover the beating heart of Havana. Infectious, unbridled, feel good entertainment - the European premiere of the hottest high octane dance party on the planet.
Get ready to Rumba! From the fresh innocent faces of up and coming talent all the way through to Barry Cryer. Vhukutiwa Gallery returns for its ninth exhibition of small scale sculpture, presenting a haunting range of work, all with a remarkable tactile quality evoking a world part natural, part spiritoriented, from some of the finest sculptors in the world. Bring your kids to the Gilded Balloon and singalong with Mr Boom.
Audience participation; Action songs with choruses; tell a joke; sing a song. Mr Boom has been visiting Planet Earth for 25 years now. His imaginary space ship has landed at festivals as far around the globe as Tokyo, Vancouver, Adelaide and Stornoway. An awe-inspiring monument to the beauty of colour and light. Bring the family as the multi-sensory space welcomes and inspires. Take your map, remove your shoes, pass the airlock and wander freely. No two visits are alike. Henry loved books, but not like you and i like books A five-minute adaptation using live performance, puppetry and playful back projection.
Aug 15 — Shows begin every half hour — Under 16s must be accompanied by an adult. A unique 5-minute theatre experience for one child and an accompanying parent or guardian. Performed 30 times per day at 6 minute intervals. A labyrinth of colour A great, ingenious, joyful spree into being inside a film. Only theatre could do this! Perrier award winning gentleman juggler Tim performs quirky comedy and skillful trickery with aplomb. Audience participation and hilarity guaranteed!
Following a totally Sold-Out run at the Fringe , Hairy Maclary and his friends are springing off the page and onto the stage once again this summer. Featuring some new stories, a whole new look and characters like Schnitzel von Krumm, with the very low tum - Hercules Morse, as big as a Horse - Bottomley Potts, covered in spots and Scarface Claw — the toughest tomcat in town! Hairy Maclary was fab, my nearly 3 year old practically levitated in excitement Asking for Trouble presents their award winning, delightful, highenergy family show.
This little story about how to live bravely in a big world is told using acrobatics, clowning and a whole lot of cardboard boxes. Dr Brown is lost. He needs to find his way back to town before the sun goes down. The harder he tries the more mistakes he makes. Physical comedy and clowning at its best from a world-renowned performer. The world is a dangerous place for Stick Man. A dog wants to play with him, a swan builds a nest with him and he even ends up on a fire!
Will he ever get back to the Family Tree? Warning: may contain giggles, chuckles, guffaws and the occasional boff! No hamsters allowed. Ian and Chris have been scattering surreal kids comedy all around the world - whatever will they get up to at Edinburgh? Help Mr Green against Mr White who moves into his house and covers everything in snow!
Make a giant snowman, have a super snowball fight and bring back the Spring in this highly interactive smash-hit London production. Guaranteed not educational. No-one will be key-bored! Age range Utterly enchanting…children and adults will be captivated. Back for the 3rd year, award winning Monkey Music is running 2 age specific workshops for babies and preschool children.
There will be action songs, games and all kinds of fun with percussion instruments. Come and join in the fun with Monkey! Everyone knows the story of The Ugly Duckling. A baby duck grew into a beautiful swan. Lesser known, is the other story, of a baby swan who grew into a A bitter duck.
A comic and touching tale of two tails finding their place by the pond.. The genial Mr Benn springs to life on stage in this magical, musical show for everyone aged 4 and up. One day, out of the blue, ordinary Mr Benn receives an extraordinary invitation - to a fancy dress party. He stumbles across a strange little shop where, as if by magic, the shopkeeper appears and helps him choose a costume. Inside is a magic door that leads him into incredible adventures, full of dragons, princesses, mermaids and sea monsters Will Mr Benn ever go back to his ordinary life?
Fresh, raw and savvy, this kids variety show is a riot. The perfect treat for children and nostalgic parents alike! Please note - there is a second show on the 25th - 28th at am. I was as bewitched as was my four year old. Tim and his cat, Light, must journey on a magical train to save the mysterious girl in the red dress. Go Tim! All your favourite Grimm characters Little Red Riding Hood, Rapunzel, Tom Thumb, a handful of princesses, a whirlwind of witches and one weally, weally wicked wolf The children lapped it up! The hilarious year old story teller returns with tales of the shepherd boy, his break dancing sheep and a camel who loves to party!
For ages 4 to ! Lots of audience participation and fun for all the family! A selection of fun quirky picture books that children and their adults will enjoy equally, chosen by Tall Stories co-director Toby Mitchell - and exhaustively tested on his own son. Are you sitting comfortably? Sit back and relax as, with the aid of a plethora of peculiar contraptions crafted with his own fair hands, he places himself in great personal danger for your amusement and entertainment.
Marvel at the weighty power of the vacuum sphere, cower before lethally expansive steam and quite frankly, hide from the mighty carrot cannon. There will be mess, lots of bangs and, oh yes, there will be explosions. Not recommended for those of a nervous disposition. Come prepared to be dahlighted! Contents may vary and the actual show may not involve any of the above.
Anybody over seven. Come and sing in lingo heaven. Mandolin and finely tuning. Hopping Scotch and afternooning. All seven Harry Potter books in seventy minutes! This fantastically funny show features all your favourite characters, a special appearance from a very frightening fire-breathing dragon, and even a game of Quidditch involving the audience! This brilliant show was first seen in , and returns to Edinburgh for a limited run as part of its fifth birthday tour. They were nominated earlier this year for the prestigious Best Entertainment Olivier Award for their follow-up show Potted Panto.
Think polar bears look cuddly? Giggle at Arctic wind? Classic tales of great explorers, jokes, trepidation, and silly hats. Wanted: Audience for job-hunting comedy musical. Responsibilities: Following our hero Joe, hurled by redundancy into the agony of CVs and applications, waiting rooms and interviews, rejections and humiliations, in his quest for his dream job. Or any job.
And, maybe. Skills: Loud laughter and applause. Bring your CV for extra fun. With kilts swirling from the stirring regimental scenes and bodies jumping to the latest pulsating UK sounds, The Prodigals offers high-energy choreography, stunning songs and a roller-coaster story of modern life. One son leads a high-risk life of excess and success with his band, while the other seeks security within his fathers Scottish regiment. Like any Father, Colonel Luke Gibson must watch his sons make their own choices but when one life goes disastrously wrong what will the consequences be for him, his sons and the regiment?
Playing hits from the Golden Age of Swing by George Gershwin, Duke Ellington and Count Basie, alongside more recent standards, these exciting musicians will be sure to have you on your feet and dancing in the aisles. Astute wit, genius World party music with a Senegalese soul. Astounding audiences across the globe, an afternoon with Out of the Blue is integral to any Fringe experience. Serving an unbeatable cocktail of hot harmonies and outrageous choreography, prepare to be blown away by their electrifying energy, irrepressible enthusiasm and vibrant vocals.
These fifteen sharpsuited undergraduates provide a musical experience like no other - and always leave a lasting impression. Their enjoyment is contagious, their musicality infectious. In these uncertain times, we all need a little something to make us smile. With vintage pin-up looks and the voice of a nightingale, Lili la Scala wants to do just that with joyous songs of yesteryear. The new true sound of Soweto. A true miracle of the township. Four boys with voices of Gold. A unique style of dynamic vocal performance that blows all other acapella groups out of the water.
Great music, inspirational harmonies, fabulous dance from the beating heart of Soweto. A thrilling hour of music and dance expressing the spirit of Africa through the power and majesty of the human voice. Highlights of this brand new display of razor-sharp harmony singing and jaw-dropping beatboxing include songs by Sister Sledge, Rihanna and The White Stripes, and another show-stopping mega-medley. The Magnets, simply great music, simply with the mouth. The Magnets breathe fresh air into a capella World class singing, groundbreaking sounds, comic talent, extravagant fashion but no instruments.
Think champagne shower and a million dollar lottery win. No more no less… Their blockbusting show Pink Noise by FORK has been playing for sold out houses in Scandinavia and is now taking on the rest of the world. And the world is not enough! When the royally confident, humorous and ironic personalities of Fork enter the stage with their groundbreaking sound and comic talent, they redefine showbiz as we know it. This is a must see show! This year Joe steps out to make his Edinburgh Fringe debut.
Based around the piano, One Hour! Sure to be the hottest of hot tickets. Going to see one show this year? Full throttle the whole show with rock feeling, glamorous clothes and fab lights! Andy McKee — an instrumentalist with dazzling technique on the acoustic guitar is an artist on a meteoric rise in the live event performance marketplace. Now a successful solo artist, she is also one half of the Evelyn Evelyn duo.
Amanda has a multitude of talents to her name, including a collaboration with indie pop pianist Ben Folds who produced her solo work Who Killed Amanda Palmer as well as teaming up with acclaimed author and now her husband Neil Gaiman for a storybook of photography that beautifully expands the conceptual and narrative ideas outlined in her ambitious solo album.
Well known for her theatric make up and energetic stage performance, Amanda Palmer will deliver one of the stand out shows of The Edge. Ben Howard has supported everyone from Xavier Rudd to Angus and Julia Stone and is currently putting the finishing touches to his debut album. Best Coast had become something of a sensation by the time came to a close; the band enjoyed attention from the media and Make You Mine made its way onto year-end lists.
Big Deal are Kacey Underwood and Alice Costelloe, an American boy and British girl who bring together electric fuzz and acoustic sheen, ambitious songs riddled with ambivalent lyrics of adult compromise and teen angst, creating a tender, razor sharp noise. This will be an electric live show. Exciting new singer, songwriter Brigitte Aphrodite inhabits that ground between singer and comedienne, coming across like a machine that spliced Victoria Wood with Beth Ditto.
She has been compared to Kate Nash and is definitely one to watch for His name arose due to his initials being e. Conquering Animal Sound is a Glasgow-based two piece, who make loops, flowing sounds and abstract electrical noises. The band finished their third record Walk the River released on April 18, Scottish songwriter and folk musician Jackie Leven will perform a collection of songs from his varied back catalogue, influenced by his vast life experiences.
His material is influenced by nights in bars spent with fisherman and forester friends and an evening with Jackie promises to be a magical affair. She is a stunning live artist and began her career playing violin with the Dambuilders. They are all multi-instrumentalists playing guitar, piano, banjo, lapsteel guitar, harmonica, double bass, ukulele, drums, trombone, xylophone and accordion between them. Her newest album, Crooked, was released as a book. James Blake is a British electronic composer from London and is considered a pioneer of the post-dubstep movement.
Mona are an American rock band from Nashville, Tennessee. Luke Haines is an English musician, songwriter and author, who has recorded music under various names and with a mix of bands, including The Auteurs and Black Box Recorder. With 15 studio albums under his belt, Luke has a plethora of material to draw on for his Edge show. Newton Faulkner is a double-platinum selling artist.
He will be performing two very intimate club shows this year at The Edge. Padma Newsome, from sister band Clogs, often contributes strings, keyboards, and other arrangements and instrumental flourishes. Rod Jones is the guitarist and backing vocalist for Scottish indie rockers, Idlewild. The band is distinguished for having three singers and four songwriters, employing traditional and electronic instruments.
Their sound is versatile and evades typical music genres falling into blues, indie, alternative, rock, folk, psychedelic and experimental. The Twilight Singers are an American rock band. After the Whigs disbanded, Dulli used The Twilight Singers as an artistic vehicle, and has released five studio albums backed by international tours. The band has been described by critics as a variety of genres, most commonly pop punk, alternative rock, and baroque pop. The album was certified double platinum and met with much success.
Throughout their career James have had 17 top thirty singles and sold over 12 million records worldwide. Indie rockers The Vaccines formed in London in He released his debut album,Show and Prove, in , and signed to Warner Bros. Records in One to watch! Khalifa parted with Warner Bros. His major label debut album, Rolling Papers, was released on March 29, Oberst swiftly signed Mason to his record label and the rest, they say, is history. Willy will be playing his first Scottish show in four years.
Cast emerged from the Britpop movement of the mids and signed to Polydor Records. Their debut album All Change became the highest selling album for the label and further commercial success continued with the albums Mother Nature Calls and Magic Hour Citing influences including Tom Waits, Elbow, Low, Midlake, King Creosote, and Springsteen, Admiral Fallow adds clarinet, flute, double bass and four jaw-dropping voices to the usual indie line-up to smash through their joyous, heart-filled, orchestral-tinged and beautifully well crafted songs.
The band reformed in and All Change has become a multi platinum seller. Bombastic brass and joyous musical arrangements are garnished with tall tales, roguish characters and plenty of anarchic humour. Show times: 8th,15th, 22nd at The band originally formed with a punk rock sound, first releasing a demo tape in , followed by their first EP in , titled One, Two, Three, Four. They have gained a reputation for great perseverance and hard work. A lover of narrative song, Camille is highly regarded for her dramatic dark and light interpretations of Brel, Cave, Waits, Radiohead, Bowie.
With her talented band, expect fire, ice, darkness, joy and pure passion. A sell-out on their previous Fringe appearance, come and enjoy a big sound, a big cast and a big night out. His unique blend of genius, comic timing and charm will have audiences on the edge of their seats in awe and on their feet with applause. Three musicians, true masters. Prepare to be amazed, enchanted and entertained. Warpaint weave intricate guitar lines, hypnotic vocals and driving post punk rhythms into gorgeous, sprawling songs that skirt the line between psychedelia and intimacy.
Rough Trade released their long-awaited debut full-length album The Fool in October One of Europes best kept secrets — unmissable! A charmingly cheeky solo debut from the show-stopper of La Clique. This outrageous operatic diva, with a penchant for lycra, delivers a delectable confection of mesmerising songs, in his exquisite baritone voice. One man. One mouth. One mic. The current World Loop-Station champion and acclaimed British beatboxer Shlomo comes fresh from rocking Glastonbury to take us on a one-man music mash up using nothing but his mouth, a microphone and a loop sampler.
In Mouthtronica, Shlomo tells his unique story through the medium of dazzlingly energetic genre-hopping human beatboxing. Warning: may contain extremely bad-ass vocal beats, mixed with a healthy dose of rather polite conversation. Drawing from pop, electronica and improvisation they are an act like no other. Featuring Xani Kolac on electric violin and vocals and Mark Leahy on drums, dance rhythms and violin collide as Mozart meets Massive Attack. Canadian artist, concert pianist, radio and television personality, singer songwriter and million record and ticket selling performer, Gregory Charles has developed a mindblowing interactive show.
Like a human jukebox, he takes requests from his audience, and, using his encyclopedic and all encompassing knowledge of all genres of music, wows and amazes music lovers everywhere he goes. Jaw-dropping musical mentalness, live and unplanned. An awe-inspiring vocal genius. The ensemble combine hypnotic post-rock beats with quasiClassical arrangements, striking up a thrilling relationship with the film - an unsettling tale of paranoia, madness and murder. Open your eyes and ears to the collision of image and sound as Minima perform to this classic German Expressionist film from the silent era.
Looking for somewhere to go clubbing with your friends untill the small hours throughout August?
Click the switch on your headphones to change who you listen to. Live interactive visuals and every genre of music you can imagine. Over , people across the World have danced, sang and screamed to their weird and wonderful tunes. All Rights Reserved. All other trademarks are the property of their respective owners.
Roll up roll up. Welcome to the Mess Tent. The bargain of the festival. Come for a minute, stay for an hour. Lots of Thea-Skots to kick start your afternoon! Featuring a wide variety of stand-up, sketches, music and chat recorded live at the heart of the festival. Expect party favourites like Pin the Tail on Don Quixote and Animal Hide and Seek as an accompaniment to a lunchtime buffet of original and ground-breaking hilarity.
Wit, whimsy and party bags will be provided. Fancy Dress is discouraged, but sensibly dressed party lovers of all ages are welcome to help celebrate our third of a century milestone with some of the best sketch comedy around. Utterly excellent They missed you as much as you missed them! The Scottish sketch trio present the best of their sell out Glasgow comedy festival shows. Join the critically acclaimed sketch group as they enjoy their Gilded Balloon debut. Excellent comic actors Innovative multi-character show in which comedian Milo McCabe presents three new creations as well as Philberto.
Following his journey from mild-mannered card player to silent assassin using ordinary playing cards as weapons CARD NINJA ditches the wand and resurrects the classic, lost art of scaling, or card throwing. The result is a combination of award winning comedy and amazing feats with cards. Afternoon Delight is your chance to see short sets from a selection of some of the best JTT has to offer in the ultimate comedy variety show! Then, if you like a particular comedy act, you can buy special discounted tickets for their full show.
The magic of the fringe is all about discovering hidden gems and this value for money show gives you that in spades! A family friendly good laugh. The best and only daily showcase of Fringe talent. See live extracts from eight top shows at this legendary daily showcase and then go see the ones you like. Comedy, Theatre, Music, Dance, the lot! The original and still the best. The perfect first stop for Fringe arrivals - a vibrant and stimulating showcase of talent. Really really good! Just think about that. Then stop.
Then think about it again. But it gets better. While you sit back and sip some free spirits, award-winning drinks writers Ben McFarland and Tom Sandham will take you gently by the other hand so as to avoid spillage down the path to imbibing enlightenment, dispensing fun and happiness into your liquid lives. The perfect lunchtime jaunt for discerning drinkers. Be prepared to show proof of age or you may risk non-admittance. The most entertaining free drinks event I have ever been to. Lunchtime favourite showcasing the best and brightest comics with different laugh-out-loud line-ups daily.
Top headliners and the hottest rising comedy stars featured. Eighth sell-out year www. Say something! Five seconds silence is too long for anyone. Do something! Even if you end up approaching a situation full of confidence with absolutely no information to back it up.
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Until now. An unforgettable teamwork masterclass from the new kings of lifestyle seminar comedy. Be a part of something unstoppable. Come as an audience. Leave as a team. Brand new character comedy from rising talent Joe Fairbrother. Expect flat caps, PowerPoint slideshows and the music of Chris de Burgh in this fast-paced one man show. The riotous double-double act sprinkle a tube full of glittering sketches, songs, and funny bits all over your day. Peeling PVA - the most fun you can have without flour and newspaper. Some assembly required. Quattro Formaggio find the right mix for an indulgent comedy feast.
A packed menu Quattro Formaggio welcomes you to our lunchtime service. Overcoming Town Hall back-handers and surprise visits from Environmental Health, we are now permitted to serve daily sketch specials. Book early for your favourite table. She will guide you step-by-step through her golden comedy rules, aided only by wine, a slideshow and a stage phone.
Edgy stand-up from the 6th member of Take That, with a big finish that will leave you aghast. An incredible act Bold, bonkers and highly nutritious character comedy. Packed with brand new, wickedly comic creations, this is a high octane, low-carb bonanza of a show. NB Packed lunches are not included in the ticket price. Using his unique blend of weird inventions, audience interaction and virtuosic musicianship, Steve presents a joyous hour of musical mayhem to remind you what music is really all about.
Featuring great live music and top guest stars. Hardeep will interview festival guests and stars whilst cooking up a curry that audience members can get the chance to sample. She had a famous son and has been paparazzied by painters for centuries since. Comedian Hannah Gadsby takes you on an art historical tour of the many faces of everyones favourite virgin. Extra show - 16th at Please note: performance on the 26th starts at I was mightily impressed by his ability to keep a capacity crowd in the palm of his hand. Stress is proven to lead to marriage failure, flatulence, job loss, dizzy spells, infertility, gastric ulcer, hair loss, redundancy, teeth grinding, heartbreak, premature ejaculation, and death.
Leicester Square Theatre and Get Happy Comedy launch the competition of New Comedian of the Year with an event featuring past finalists and some of the most exciting acts on the comedy circuit. More information on how to enter at www. Join us in the beautiful gardens as we bring you the best comedy, cabaret and music under the sun. The future generation of comedy will have you in stitches as we gag for your attention. Debut show about being awesome at being gay, musical theatre, homophobes, dyslexic football, and jazz hands.
Since forming in , they have performed in venues across the city of Sheffield as well as performing to fullhouses in Manchester, Cambridge and the Edinburgh and Buxton fringe festivals. This year, due to tax purposes, The Shrimps have decided to create a religion but they need your help! Through a series of unique improvised comedy games they will act as as your sherper on a quest of religious enlightenment. Become a follower of the new religion of Shrimpology, and help create the religion itself in the the most unique comedy experience at the fringe.
Everything they do is based on your suggestions, so every show is a world premiere in which anything can happen! We at Squiffy Productions are always mining for comedy gold, presenting whatever nuggets we find along the way. Visit www. This four man team, led by Jake Dale and Kaine Horey the writers altering the trousers of British comedy offer a fresh take on old style humour, dusting it off and making it fit for consumption.
Expect everything from clever word play to musical dance numbers as we delve into our infamous sketchbook, presenting the freshest comedy revue of How did the future catch up with us so fast? New songs, poems and description-defying musical weirdness from this multi-awardwinning funny guitarist. A musical comedy classic with more hilarious songs and monologues in a riot of harmony and humour. Well known for their many BBC radio series and recordings with EMI and others, the group has a delightfully fresh approach all their own, too warm to be cool and too polite to be cutting edge but timeless, irresistible and very funny.
Comprising of two 1-hour sessions over two days, we will give you the opportunity to work on your performance and writing skills, while offering professional advice. Become the next big thingy in this whizz-bang showbiz escapade! Laugh and learn with our intrepid boy-girl double act. Characters and adventures. Edinburgh debut as a two-piece. But not as a twopiece swimsuit. Join this polished pentangle as they whisk you off on a comedy sketch bender of smart, satirical and sublimely choreographed twatting about.
Witness the overbearing writer, a Pre-Raphaelite soprano, a cockney conspiracy theorist, the face of swine flu and the bastard great-great-granddaughter of Edward VII. The Girls. Everyone likes a good boob and Gemma has plenty to go around. Festival comedians perform a mixed bag of spanking new Edinburgh scripts - rehearsed and unrehearsed. Funny, moving How would you know, when your own mother stalked minor celebrities?
But then her first memory was a Nazi punching her.
Books for every story
And, you know, he probably had issues of his own. Please note that this show has different start times on different dates: 15th Aug: 1hr , 16th Aug: 1hr. Matt has. After seeing this show you will probably want to as well. As seen in Greggs. For you the greatest day of your life.
For them, another day at work. One glorious year, twelve competitive comedians, maximum fun. Book early to witness the mayhem. Expect exquisite musical virtuosity, utter stupidity and rapier wit combined with a breathtaking display of gymnastic piano playing talent - all with four hands on one grand piano.
Comedy, Music, Theatre, Dance, the lot! Radio and TV have both tried to copy the Mervyn Stutter format, but they have never done it half as well as the man himself does it every year at Edinburgh. Smash Hit Fringe show, gifted raconteur Eric is back; with the aid of some astonishing visuals, we get an insiders view of the mysterious world beneath the waves in a nuclear submarine.
Unique, riveting, funny and poignant Three Weeks Editors Award Winner The performance mixes Reality with fiction in Japanese Manga style. The perfect start to your evening on the fringe! After their sell-out run in , the old GOL return to the Edinburgh Fringe to ask the big question: is the novel dead, or just sleeping? Cultural sketch comedy that runs the artistic gamut, pauses to catch its breath and hails a cab the rest of the way.
Imagine a double act with just two people. Imagine a girl from England. Imagine a girl from Ireland. Imagine a show about the day of the anniversary of the day these two girls first met. On 26 March bassoonist Ben Brailsford participated in a peaceful protest at an upmarket London grocer. He was arrested and held in a police cell for 24 hours, with nothing but a threeday-old copy of The Sun to read.
Finally, he was charged with Aggravated Trespass and set free on bail. This is his story. And the story of over fellow peaceful protesters arrested that day. With bassoon accompaniment. A prohibition-era tale of revenge, whiskey and javelins. Directed by Jessica Ransom. Can they recognise the rogue responsible, tinker with the timeline and save their skins?
Witness the duo from their introduction to deduction to their emergence as fully fledged fighters of felony. Join the plucky prestidigitators as they romp through a casebook of detection and deception. Sell-out show , Nun fight club? Lactose intolerant robots? Seasoned improvisers Phill Jupitus, Steve Steen and Andy Smart, varyingly joined by Steve Frost, Niall Ashdown and Ian Coppinger will deftly handle these kind of suggestions and more, toiling at the coalface of audience whimsy. Marvel, as idle thought is made flesh, right in front of your face.
Four men. Limitless possibilities. Adult content, delivered childishly.