Thursday, November 30, 2017

Voila! Festival Wrap-up

Theatre naturally lends itself to moving through worlds.

The etymology of the word ‘theatre’ has architectural connotations – it comes from the Ancient Greek word for the ‘place of seeing’. That place is quite specific, connected with architecture, but not necessarily bound within it. Although this is challenged by today's theatre artists treating place quite loosely (site-specific theatre, for example) and also exploring the flexibility of form (participatory theatre, for example). In its western form, theatre is a place facilitating a constructed reality.

Such that, perhaps, visiting the theatre today, one is not even moving through cohesive 'worlds' anymore, but experiencing something like a multi-track reality, that the individual desperately tries to fuse into a harmonic whole.

All this to say, by the end of the Voila! Festival, your correspondent couldn't shake the feeling that maybe he had moved through a few too many realities than a capable physician would recommend. The chaotic fusion of politics and art that was my experience at COP 23 in Germany (containing its own strange geopolitical displacement of Fiji and Germany effectively sharing the event, or if you view it more cynically, as I did, Germany hosting the event and Fiji unfortunately playing the role of some exotic, symbolic window-dressing) was replaced with the Euro-UK project of Voila!, which itself took me through some of the more distant areas of highly diverse London, and some equally kaleidoscopic staged ontologies.

It's fair to say that I was pretty spent by the end, magnified by the usual problems of not being paid for much of it, this type of labour being seen as largely valueless in contexts that favour labour that creates material wealth directly, or is involved with other types of more fashionable simulation such as IT. Compounding that is my own increasingly fluid categorisation, moving between nation states, residing in some, speaking the language of others, sometimes doing that badly. Draw from social security? Ha, good one. Ask a neighbour for help? Don't count on it. Get that random 10 euros back that you were charged for withdrawing 20 pounds? Doubtful.

But you can afford it, right?

I'm certainly not alone in this state of transience and permanent negotiation with dominant structures over which I have virtually no control, as was proven in almost every show that I saw in Voila!. It’s also a precarious time for the festival itself – perched uncertainly within the UK’s decision to leave the European Union, it finds itself thrust into a quasi-activist platform, where even existing as a European becomes something of a protest. I’ve always found the UK’s relationship with Europe strange, one of total interdependence mixed with fierce proclamations of autonomy. Expect nothing to change on that front. For the theatre, which benefits hugely from intercultural exchange and diversity, there are challenges ahead.

Some of these I outlined in a practical/theoretical workshop in London’s Cockpit Theatre, entitled Performing Europe's Non-Withdrawal: Crises of Environment and Identity at COP 23, and part of the Voila! Festival. The event was essentially a demonstration of the work from Bonn, with a performance of Gaia by Canadian writer Hiro Kanagawa, acted out by Shaila Alvarez and ably supported by Frank McHugh, who had earlier performed in (and in the case of McHugh, organised) a Climate Change Theatre Action in London earlier in the week. We finished with a short demonstration of the exercises which were used to demonstrate material in Bonn.

The full text of my presentation, is available here.

Friday, November 17, 2017

Voila Day 3 - The Bacchanals (UK)

Disclaimer first: This will be the idiot’s review, as I am not familiar enough with Euripides' play The Bacchae, its various re-stagings, or even Classical Greek Theatre.

But I know what I like.

The Bacchanals is certainly deserving of a more informed critic. Adopting the metatheatrical frame of actors preparing before a performance, the play tells the story of the power dynamics behind the all-female chorus of 6, as they strategise, form alliances, and plot against one another. The central figure of Dionysus – omnipresent and yet invisible – presents both an object of their anger and their chief tormentor. What follows is a kind of classical tragedy re-set in the dressing rooms of the British theatre, as the women jostle, ally, and attack their way through various formations of human struggle.

It’s a faultless premise that renders the politics of the original play accessible for a new audience, while casting informed and refreshing comment on the play itself. Watching the actors back-stab and bitch their way around the all-white Ikea set which forms the casual environment of the dressing room – intensely private, almost sacred – is as deeply interesting as it is pleasurable. Their machinations are only interrupted by bursts of seamlessly-inserted direct quotations from Euripides’ The Bacchae, which itself brings a certain dream-like violence. It’s a play that’s not afraid to be trashy as hell, and the effect is a kind of Real Housewives of Camden, only with a higher potency, and probably less men. 

Thursday, November 16, 2017

Voila Day 2 - Crossing the Line (UK)

Day 2 took me to the Cockpit Theatre in North London, historically the venue for the Voila Festival in its previous French-focused manifestations. This year's edition has expanded the number of venues from 1 to 3, incorporating both Applecart Arts in  Stratford, and Etcetera Theatre in Camden. The three venues are widespread - with Etcetera and the Cockpit sharing a little corner of North London, and Applecart Arts being something of an outlier in the far east. It's a situation the festival has used to its advantage, encouraging a cross-fertilisation of culture among different areas of London.

The evening ended with esprit de corps' accomplished Hyperion, based on the text from German poet Hölderlin. Coming off the back of a season at Edinburgh, I am amazed to find no significant critical writing about the work so far (at least, not that google provides). Unfortunately I won't be the first - as I missed the beginning of the performance (gotta listen out for those bells...). Nevertheless - Hyperion clownifies Hölderlin's novel about solitude, borrowing selectively from the text to generate a kind of comptemporary ode to humanity's isolation. It's a perfectly executed performance, deserves more attention than I can give it here. Suffice to say - it's a welcome addition to the festival program, and indeed would be to many others.

Prior to that, UK-based duo Przymierska Morgan (Margot Przymierska and Nicholas Morgan) present an ensemble performance of Crossing the Line, in its second performance after a development at Rich Mix. The show takes the form of a series of fast-moving vignettes, stolen from TV and film, arranged around the theme of ‘borders’. The ensemble change accents, personas, and roles in rapid-fire succession throughout, with locations and situations transforming from a meeting between politicians of GDR Germany and the USSR to a mistaken border crossing from Mexico into Texas. The situations twist and turn, plummeting the audience into the daring night-time escape across the Berlin wall, to a karaoke performance of Elton John’s Nikita, all the time rotating around the central object for examination.

Image credit: unknown

It’s an interesting and weird object of study. Borders occupy a troubled place in human history, representing initially a way for governance to be defined, and lately an oppressive tool for the nation state to assert its dominance over people. There are many times when their existence is vague, or a purely arbitrary ideological tool. Neoliberalism would have us live in border-free societies, in the meantime, creating conditions in which the border ironically reinforces itself.

Wednesday, November 15, 2017

Voila Festival Day 1 – Expat Underground (UK/ITA)

My day #1 (the festival's day #7) of this whirlwind schedule saw me out in the far east of London, visiting the newly-minted Applecart Arts for the first time.

The theatre has an interesting recent history. This year, the former Stratford community centre transformed from its roots as a Methodist Church, opening with a new lease and an arts-focused agenda. It’s not an uncommon story for London – a former church turned community centre, no longer profitable due to its surge of Olympics money coming to an end, then goes to tender to try and find a new buyer. Inevitably, property developers swoop, and the church must choose between profit and community.

This time, they chose the latter. Applecart theatre is the result – a hybrid of community centre and theatre, housing many of the former non-profit activities and housing a loosely curated program of festivals, events, and one-off shows.

Voila!, I’m reliably told, is its first major event hosting – and it’s a great way to plant seeds, both for the  future of UK-European collaboration. The venue has seen several performances as part of the festival, including a British collaboration about Goethe, and last night, two monologues from women about immigrating to the UK – Expat Underground (UK/ITA) and Rootlost (POL/UK). I’ll focus on the former, although Rootlost, professionally performed by nomadic world citizen Magdelana Krohn, contains some interesting crossovers with its preceding show.

Unless you happen to be not human, it’s hard not to love Expat Underground. Developed in the wake of the UK’s referendum on European Union membership, the show is an autobiographical retelling of performer Cecilia Gragnani’s 9-year emigration to London. Beginning with naivety, the show traipses through the struggles and disappointment of menial jobs, to her romantic encounter with a British man and feeling like a foreigner in her own country. All the time, London speaks to her – literally, in golden BBC voiceover by Steve Wickenden – explaining to her the hidden rules and regulations of being a Londoner.

Image Credit: unknown
It’s admittedly a somewhat cliché premise, that could be the beginning of any number of shows on the subject. But Gragnani’s charismatic personality, expert management, and openness as a performer, as well as some great writing by herself and compatriot Jvan Sica, more than overcome any lack in originality in the premise. The dramaturgy and direction from Katharina Reinthaller arrange her personal account into chapters that weave together beautifully – from the opening interrogation by a imaginary Border Agency officer (“but what if we got married? What do you mean, it’s too late?”) through to Cecilia’s personal experiences, to the finale which contextualises the struggle within a political situation shared by countless others currently in the UK.

Tuesday, November 14, 2017

COP 23, and the Myth of Choice

Well, that was quite a time.

The COP 23 negotiations have carried on, as I suppose they will. After some initial wrangling over the agenda, in which Germany was called in to stop Turkey from intervening and delaying the negotiations, things have been proceeding 'smoothly'. Who knows what this actually means? Smooth - as in, the negotiations are doing what we want them to do? Or alternatively, that there has been no opposition?

My experience of the COP has been limited by schedule, as we're ostensibly here to work on a project with the Umweltbundesamt, or German Environment Agency. The work involves collaboration with refugees living locally, on a performance that is presented alongside a forum about Climate Migration.

To say this work has been difficult for esteemed collaborator Sonja Hornung and I is highly understating that point.  Entering the fray of refugee politics, where the smell of blood permeates what should be matters of simple humanitarian organisation, with a group of vulnerable people is an extremely difficult thing to try and do. Compounding that, is our limited experience working with vulnerable people, and the fact that this particular collaboration is with German government - who are not always the most sensitive to either art or vulnerability. Furthermore, there's the context of this COP, itself seemingly favouring the pre-existing structures and not, say, agitating for change. All of which makes the stakes for that project high, and the pressure reasonable immense.

 Image: Victoria Bartetzko

We were aided by a group of collaborators who proved to be tremendous. I have long maintained that the resilience and openness of many of or seeking refugee status is precisely the kind of spirit that I want to coexist alongside. The experience of fleeing conflict is one that Europe believes it knows well - and yet circumstances today are quite different to 70 or even 25  (in the case of the Bosnia-Serbia conflict) years ago, as is the geography. Whereas 25 years ago, 438,000 refugees entering Germany from Bosnia, Croatia, Albania, Serbia and Kosovo seemed like a logical conclusion, in 2015 a media hysteria ensued.

Saturday, November 11, 2017

The Empty Fair: COP 23

"Es ist wie eine Messe"
So said someone with intimate knowledge of COPs. A Messe is a 'trade fair' in German, and I didn't take the comment to be complimentary, as the full sentence translates to a rather acidic 'it's like a trade fair'. Said with a shrug, as it was, it amounts to about as complete a dismissal of the credentials of the COP as you could possibly imagine.

My island home Australia seems to intimately understand the link between money and environment. The Minister for Environment these days is Josh Frydenburg, the former Assistant Treasurer and former Deutsche Bank employee. Australia’s leader of the delegation to the Fiji/Bonn COP is Patrick Suckling, whose background includes serving as High Commissioner to New Delhi and extensive work in the Department of Foreign Affairs. Both are politicians with a background in international politics and trade (and not, say, science). So there’s not really any doubt about what Australia is there to do, and it’s not about preserving nature, it’s how to turn environmental crisis into opportunities. It’s a position Germany seems to share, where grave and ernst (serious) rhetoric is seldom met with actual political sacrifice. Rather, the energiewende (energy revolution) is sold domestically as a way to sell more product, create new industries and extend humanity’s harnessing of nature.

 Climate Planet - Source: CLEW 2017

At best, COPs can be what they pretend to be – places for coming together and negotiating outcomes for protecting the environment. At worst, they exacerbate the commodification of the environment, facilitating the sectioning-off of resources prior to their inevitable exploitation. Sometimes, these things happen in the same gesture. When the world is watching, as they were in Paris, political leaders might just create some rolled-up sleeves theatre to show that they mean ‘business’. The reality is that it’s more likely that they really, *actually mean business*, as can be demonstrated when the world is not watching.

Saturday, November 4, 2017

Re-opening: Home

I guess it was only a matter of time.

Since opening this platform in 2013, it became important to me. Not really as either a sort of public personal diary, as so much of the internet has become, nor as a place where I might publicly train myself in the difficult and increasingly (I propose) unappreciated field of theatre criticism.

The empty space here is a chance - or maybe better, an excuse - for me to try to articulate something. That can be quite a difficult thing to find the time and space to do. It's a simple practice in concept, but one I increasingly appreciate even as it becomes more difficult. There were many times since 2013 when it was almost impossible. Furthermore, it's a chance to make a small home. And accommodation is a specialty of mine. I love hospitality. The giving and receiving of it is one of my unequivocal pleasures.

But not least, the digital space here was a chance to fight back. And it's on this third point that I resolved, paradoxically, to stop writing.

Climate Protest 4-11 in Bonn, Germany

Wednesday, July 12, 2017

Closure Message

This page is closed. If you are looking for old writing, it can be found by searching the toolbar to the right of the page. My current work is available in poorly-documented form at

This post explains things further.

Thank you for reading, and feel free to contact me at rpettifer[at]


Tuesday, May 30, 2017

Faki Day 5: Naranjazul Theater Company (FR) and Skaraventer Project (IT)

Day 5 concluded the festival with three performances: a physical theatre performance about migration from Aaron Govea (half of Naranjazul Theater Company), a psychological exploration based on the writings of Steve Biko from Skaraventer Project, and a re-working of the Icarus myth by Pisa-based Azulteatro (IT). Unfortunately I missed the latter - the closing performance of the festival, because of a scheduling error that saw me running for the bus an hour earlier than I had planned. My apologies to the artists from Azulteatro - and their work Icarus Studio #2 - Towards Freedom will be the only show from the festival that I did not review.

Mundo Lunaticus

Mexico-born actor and director Aaron Govea relies on personal experience and research for this performance Mundo Lunaticus (from the Latin, meaning 'World Lunatic'), adapted for a solo performance at Faki. It's a series of vignettes about mobility, loosely following the migration of a single character and his (her?) encounters with authority, and the happenings of their inner psychology.

From the beginning, the text presents the identity crisis which comes with displacement from one's homeland. Immediately on entering the stage with a suitcase under each arm, a voiceover of the character asks 'who am I?', splitting the voice of the character into two, and in conversation with itself. This turns into a conversation with the live actor, and then the voiceover transforms into a woman's voice, further confusing expectations of subjectivity, with reassurances such as "I'm a native. I'm indigenous".

Saturday, May 27, 2017

Faki Day 3+4: Waddah Sinada (UK) and Nasheeka Nedsreal (GER)

The festival continues with two performances repeated over two nights. Both are outstanding in quality, and worth reading about. The festival continues in a haze of vegetarian lunches, new arrivals and sudden departures, with the final Day 5 fast approaching.

Born into Ruins

There’s something elusive about this dance work from choreographer Waddah Sinada, making its first showing at Faki Festival after a development here. It dodges categorisation in many ways, to the extent that, even after second viewing, I was left with lingering thoughts that I think will keep nagging me. It’s that kind of work, to me.

Nominally a critique of “the stereotypical images of power, violence and conflict” between men, and especially black men, the performance participates in literal reflection of the representation. Following some blue and red light flashes, the dancers (Sinada himself, with Rhys Dennis) burst out to the high energy Niggers are Scared of Revolution by The Last Poets. Movement falls into a pattern suggesting a repetition of the targeted clichés: posturing mingles with wrestling between the figures, who occasionally emerge to address the audience directly, questioningly.

It’s movement suggestive of exactly the power struggle that Sinada is trying to critique, and an interesting place to begin. The deconstruction follows: as the track stops, the figures are left breathing heavily, the stage suddenly a vacuum. Their initial power seemingly drained, the figures roll on with their movement – this time slower and more subtle, with the wrestle now almost ballet-like. Time seems to stop at this point, and the figures explore more vulnerable variations – drifting between co-ordination and division, and away from the audience and into their own, internal contemplation.

Friday, May 26, 2017

Interlude: Criticism, Vulnerability and Care

As these will be the last days of this writing platform, and potentially my last work as a critic, I will allow myself a brief interlude of self-analysis.

I find that criticism is, far from the way it’s often perceived, a position of extreme vulnerability. There is little respect or understanding for the work, a proliferation of poor critical writing, and critical thought in general is fading from the public sphere and media - replaced with commodified clickbait and easy answers based entirely in positivism and rejection of dialectics. “They don’t read what I write: they buy what I write”, as a friend said to me recently. It’s a commonly rolled-out  narrative now: far from building communities that are capable of self-reflection, we are increasingly constructing ones which follow pre-held beliefs and biases, making it difficult for anyone who sees critical thought as an integral part of community-building, and making open conflict between ideologies inevitable. Opinion is the new criticism.

Thursday, May 25, 2017

Faki Day 2 - Blackism (GER) and Sifiso Seleme (RSA)

I'm just going to be honest: having arrived at midnight and madly scrambled to finish of my remaining deadlines, Day 2 of Faki (my first day) was one where I chased my own tail and tried desperately to make up for lost time. Such is the nature of this year's festival - normally precarious, this year it's built around a set of circumstances of eviction and withdrawal that are not necessarily conducive to art - which sometimes functions better in conditions which are less improvised.

Inevitably, the art and artists shone through anyway, and if there's any pressure, it didn't show in the performances. The day began with Blackism Collective's Back To, partly coming out of a residency at the festival, moved on to Sifiso Seleme's Extra Ordinary, and finished with a forum, led (a bit shoddily) by myself, regarding the responses to the call out from the festival. More on the latter later.

Back to

New Berlin-based collective Blackism –consisting of performance artist Nasheeka Nedsreal and actress Adrian Blount and dedicated to ‘decolonizing our entirety and centering blackness’ - bring us Back To, the result of development at Faki festival, following months of research.

The performance sees the duo slide through various ‘modes’, proceeding through some key texts regarding black identity. Poet Langston Hughes’ Notes on a Commercial Theatre appears, as does rapper Wale’s Black is Beautiful and sections from playwright Lorraine Hansberry’s Les Blancs, as well as intersectional feminist and social activist bell hooks. Two white masks are employed by the performers, probably a representation of the white identity forced upon people of colour. This is reinforced with a clever reversal of the household phrase “do unto others as you would unto yourself”, spoken like a prayer by Blount behind the white mask, before its sudden removal and twisting of the phrase into an accusation on the repetition. It points at a particular truth – that, in the reality of race politics, 'do unto other' means something quite other to its literal interpretation.

The choice of dance shows a fascination with various styles – from schoolyard ‘clap games’ to ballet. Moving through the transitions leads the performers into fairly impossible singing positions, although I’m sure people in opera would be squirming in their seats. They carry it off incredibly, and I don’t think I’ve seen a note maintained quite so well while the torso is twisted at 90˚.

Monday, May 22, 2017

Blackness, and Faki Festival 2017, 23-27 May

***This writing platform is temporarily revived over the next week, for Faki Festival 2017***

In closing this writing platform last year, I partly acknowledged that my voice - and as this is largely a personal project, it is my voice - is not the best one to do the work that needs to be done. That situation has not changed, and poring over South African black rights activist Steve Biko's writings, part of this year's festival theme of 'Blackness', only reinforces this sense of doubt that my own position is of any value to public discourse at the moment. This quote, for example: "Nowhere is the arrogance of the liberal ideology demonstrated so well as in their insistence that the problems of the country can only be solved by a bilateral approach between black and white" affronts me with the impossibility of my own position -  in this case, invited to moderate discussion and interviews at Faki Festival 2017.

To put it in plain terms: Just how, following what I view as two major race-hate events in the United Kingdom and United States in 2016, am I able to lead discussion regarding a topic such as Blackness with any legitimacy? What possible answers can I discover? Is there even any productive position to find?

But let me (and I will let myself) get up off the floor, and attempt.

Statue of Steve Biko outside East London's City Hall, South Africa (Creative Commons)

Ironically, the controversy surrounding Faki Festival this year can be seen as a microcosm of where the world is at in terms of its economic and cultural pressures. Besieged by dramas, including the threatened closure by Zagreb City Council for not having 2 fire exits in every room (a specification almost none of the official buildings in Zagreb adhere to) and reeling under the departure of its long-term curator Irena Curik who planned much of the festival, not to mention tackling a difficult theme head-on in a country not known for its racial tolerance, it is clear that, whatever happens, Faki 2017 is going to take precarity to a whole new level.