Witchcraft, fairy tales, and a modern-day love story are drawn together in ‘Blood and Roses’: an audio play that tells a tale of loyalty, sacrifice and love spanning 400 years. Using the hidden beauty of a city’s dark corners, Poorboy takes its audience on a journey that unravels family mysteries from war-torn Russia to modern-day Scotland.
‘If the situation is desperate enough then a mother will eat her young said Baba Yaga…’
Battle lines are drawn across 400 years between Scotland and Russia as two families prepare for a wedding. This uplifting audio play leads audiences through the streets and hidden spaces of Edinburgh, as Poorboy bring alive their imaginative world of sinister fairytales and the realities of family life, through stories, music and soundscape. Written by Sandy Thomson, music by Alex Attwood, direction by Sandy Thomson and Alex Attwood.
‘Make the journey if you can’ – The Herald ★★★★
‘Richly atmospheric drama…. tenderness that shifts the heart.’ – The Scotsman ★★★★
‘…Richly atmospheric aural and installation drama…with a tenderness and insight that shifts the heart.’ Joyce McMillan, The Scotsman ★★★★
‘As vividly written as it is beautifully recorded… It is a love story well worth crossing Europe for.’ Mark Fisher – The Guardian
How does intimacy change as time passes? Do our relationships alter as we get older? As we age we can become increasingly isolated and less intimate, often losing our connections to the world around us. But, for some, they value the depth that their experiences bring to bear on their present lives.
Unusual Places to Dance Part Two is an honest and beautiful portrayal of older people’s lives, it explores several taboos and challenges perceptions.
The production draws from real-life experiences of older people, exploring what growing older in Scotland looks and feels like today with the use of drama, dance, digital art and music.
“Utterly engaging… unseen voices spoke vividly of love found on the dance floor.” – Mary Brennan, The Herald
Scottish Dance Theatre and partners ran a two day Symposium in Dundee on 19th & 20th January 2012. The Symposium was aimed at disabled artists (from aspiring to professional), those working with young disabled people, performing arts training providers/organisations, and arts industry employers.
The Symposium aimed to bring about a cultural shift in thinking about disabled people in the performing arts and to move from a place of awareness to a place of action and increase the number of disabled people involved in the arts.
The Symposium aimed to:
Over 200 delegates and speakers from across the world came to Dundee for the event which included keynote speeches from industry experts, panel presentations, networking opportunities and an evening performance from some of the best disabled artists from the UK.
SPACEMAN presents the performer within an imagined physical framework. The unidentified place represents an isolating structure and remains ambiguous. It feels at times like a prison cell, a spacecraft, an animal cage, an interrogation chamber or even a place inside the subjects own head/ imagination. Inspiration comes from scientific texts, manga animations, 50’s kitsch Sci-Fi and NASA footage.
Dudendance Theatre create work that defies a singular interpretation having pioneered an original voice by layering film, soundtrack, narrative and movement. Each new piece exists within an ever evolving narrative whereby characters re-emerge in later work. Very often live performance is transposed into film- shifting from the rehearsal studio onto location and then re-absorbed into live work. The starting point remains physical and devised from rigorous research with international collaborators as well as non-professionals. Some work exists purely on film and has been screened in galleries and cinemas. Dudendance also create site-specific pieces, most recently as durational work in public spaces.
….”Dudendance- Paul Rous and Clea Wallis- are based in Huntly (NE Scotland). Rous’s riveting work-in-progress SPACEMAN, makes you wish they were here more often. Taken as a piece of physical theatre his slow and meticulously detailed morphing from one inhabited “skin” – a dainty female to upright male, prowling animal to robotic machine- are thrillingly well done with incredible clarity and precision maintained throughout. Add in his own voiced over text about a space mission gone awry- and you gain a sense of how movement defines us and how an alien shape-shifting intelligence might seek to communicate through appearances….”
Arts Review The Herald 29/09/08
“lively, inventive, funny and charming and is complemented by a really characterful musical score, full of melody, fun and atmosphere… I have no hesitation in recommending it” – Ken Alexander – Liverpool Royal Court Artistic Director
The Story – this energetic, fast-paced new musical, created specifically for young audiences aged five and over, is filled with colorful characters, physical story telling and original music, all sung live on stage by a talented cast of four, thus creating a lively, fun, relevant and educational theatrical experience.
Ella is a wildly creative eight year old. She doesn’t see her Dad much, her Mum is always busy and the most popular boy in her class picks on her. In a fit of frustration, Ella escapes into the weird and wonderful world of Transmagia.
Here, she befriends the Dragophant, a shy, silent creature who needs her help. Together, the two journey through the magical Transmagian forest facing their fears, helping the creatures they meet and battling against the mysterious Sir High and Mighty.
Ella and the Dragophant
The children in the audience are held at the centre of the story, invited to use their imaginations to enter the world of Transmagia with Ella. They are encouraged to explore the themes of the piece, including parental separation, bullying and peer pressure by experiencing Ella’s journey with her.
Ella and the Dragophant centres itself on the unlimited creative potential found in the imagination of young children and the ways in which this can be used to face problems they may be having in their own lives.
Ella and Education
“The play and its workshops opens [the children] up new experiences, helps them develop confidence and teamwork skills, involves the kids seeing [their] ideas valued and displayed to other audiences” Head Teacher – Philip Lohse (Kender Primary School)
Working with key literacy and PHSE aims from the Key Stage 1 and 2 curriculum, children are encouraged to think about the words they use, understand about speaking confidently and learn to listen to what others have to say. They are encouraged to think about the language used in the piece, to explore their own experiences and imaginary worlds, as well as their personal relationships and how they interact with their peers.
The educational themes explored within the piece include escapism, friendship, bullying, teamwork, developing self-confidence, parental separation and abandonment.
Written by Naomi Lee Schulke with music and lyrics by Matt Board.