Underground, Overground (The Dungeoneers Book 6)

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Manin Fondements des civilisations de l'Asie : science et culture by Michel Soutif Statistical quality control : a loss minimization approach by Dan Trietsch. Problems in plane and solid geometry, V. European Lobbying Guide. Innocenti Cluster and classification techniques for the biosciences by Fielding A. Soft ground improvement: in lowland and other environments by D. Bergado How Much is Enough? Introduction to methods of ring theory by B. Second edition by Hansen S. Ray Gesammelte Werke. Vorlesungen ueber Dynamik by Jacobi C. How to read a paper: The basics of evidence-based medicine by Greenhalgh T.

Bhat Lecons sur les equations lineaires aux differences finies by Norlund N. Kind der Prophezeiung. Panagakos Computer arithmetic. Lectures C. Jones Liquid crystal displays : fundamental physics and technology by Robert H Chen Faery craft: weaving connections with the enchanted realm by Emily Carding Studying human populations: An advanced course of statistics by Longford N.

Introduction to methods of ring theory by Stenstroem B. An introduction to recursion theory by Enderton H. Hsu They Take our jobs! Alaskan Malamutes Stone, Lynn M. Semestr V. Davis Das Rad der Zeit Drohende Schatten. Bacon One Two Three User's Guide and Reference by Chittlster M. Hann What If? Sacred worlds: an introduction to geography and religion by Chris C. Richards Encyclopedie des sciences mathematiques. Theorie des nombres by Molk J. Interview: Jenni Ajderian you want to be a comedian or whether you want to have kids.

It's a really sad factor that for women now we still face this question. The idea that women have to choose one mask to wear for the rest of our lives is absurd, but so is the idea that we should wear all the masks and be amazing at everything. Why couldn't it have been her that went on to become the incredible artist, why did she have to stay at home?

And you can do that, but it doesn't really help anyone. We've got to stop being so judgemental towards women and their choices. Is that good, bad or neither? We find out what she has planned for her second solo show. Is there still a need to inform audiences of these things? What's different about Around the Way Girl? I'm starting with my real lived experiences like this fucking goddamn vicar as a prompt to understand what is happening with the way women are treated, how they see themselves and trying to understand what we can take as positives from pop culture icons.

I can only but dream of waking up to a steaming bowl of bisque. It's classy AF. I'm here for you, X. If he doesn't know where his dogs are at, should he get them microchipped? I think he means his friends though, not dogs. Now, this is the first of three from someone who calls themselves K. That's the thing with Kanye — he believes himself to be a revolutionary. He recently declared that he invented leather jogging pants as well. He's a pioneer. He reminds. It was Virgin First Class and it was like getting brain.

We were given complementary sandwiches and that was great. Although, if I was offered brain on a plane, I don't know if I'd really be in the mood to take it. If he was a pharoah, he kept that well under his wraps. I'd love to have sex with a pharoah though. My bed is just so sandy. Crumbs everywhere. It looks like I've already had sex with a pharaoh in my bed. One of my friends sat in it and he said it was like sitting on a Ryvita. I feel like you can kick it. Kick it with me, anytime. You can kick it absolutely.

Little Raskal After scooping a best newcomer nomination in , Steen Raskopoulos returns with a new selection of characters including a rather unorthodox drill sergeant Interview: Emma O'Brien.

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You need the strength of a Full Metal Jacket to have the courage to do the Fringe while Saving Private Ryan reminds me of performing your own show and looking out for your friends at the same time. Threads are the only thing you have left when it's all over. What comedy festival experience took you into your own heart of darkness, and did you end up in a river? Also, one time I ended up in a river but that was because I drank too much Schnapps and love a dare.

People often consider National Service to be a character-building experience that enriches a young person's understanding of the world and their place in it. Can the same be said for comedy? Comedy is a constant character-building experience. If you have physical and mental strength, the support of your fellow soldiers and the right tools you can travel the world and learn a great deal about yourself. I suppose the only major difference is being in the army puts you at risk of death and injury, whereas comedy puts you at risk of on-stage death and reputational scarring.

They do this by putting pencils up their noses and underpants on their head. It doesn't work, of course. How would you convince your own drill sergeant you're too crazy to be shot at? Excellent commitment. Well, I would tell him that mental illness is a serious. Then rip my shirt off and moonwalk away. If someone was crying tears of joy he'd probably make them drop and give him 20 hugs. If they were tears of sadness, he'd probably encourage them to talk about their feelings. He'd then hit them with an air strike of support and a barrage of reassurance. If your drill sergeant were doing a charity record, what would be his bizarre cover and what's his good cause?

He says it's the most important ship in the fleet. Steen Raskopoulos. This year her Edinburgh show suggests stitching of a different kind Interview: Stu Black. This is not an accident. Both write the shows but Drake is the one that performs. And perspires. The joke was going to be that he was really bad and he was going to do things really badly. But then when we rehearsed it he was so bad at being bad that we had to cut it. I found one video on YouTube, but all the comments underneath were about how much everyone hated their step-parents.

So are the step-kids allowed to watch? The show still has some rough elements, plus I do call their dad my sexy, horned goat that I ride to climax peak. She admits. It was too short, it was huge and it was lilac — so it looked like a hospital moomoo. The second dress I made, the collar was the right way round and it fitted a bit better, okay the pockets were still a bit skewiff but it was getting there. So what does the shiny gold bolero of comedy that follows the dodgy dresses of comedy look like? Boundless energy brings the whole thing vividly and hilariously to life.

The gags per minute and rate of the dialogue are reminiscent of Airplane! This year they have a bigger stage as their popularity has dictated they move to the Piccolo theatre in George Square Gardens. But one big problem faces them — will it be hot enough? To become popular through an obscure art form is surely not as easy as Nina Conti makes it look, but then the ventriloquist is never alone Interview: Cara McNamara. From the state of his eyebrows, he was plainly baffled but supportive. It would seem a leftfield choice for any parent — an antiquarian, out-of-time profession; like choosing to become a telegrapher, or one of those women who shove model troops across tables in old war films.

But, she's certainly made it work. Left a box of puppets in the will of her former lover, theatre director Ken Campbell, Nina Conti found her voice. I thought I wanted to be an actress, but I was wrong. I always had much more interest in playing character parts, a girl in a bar for instance. Playing a lead just wasn't I wanted to create art, but I had no clue — I didn't pick up a pen until I had a puppet.

It was when I started to think in dialogue rather than monologue that it began to work. Achieved, perhaps, because the puppets are not. They volley between each other, a divided self, the celebrated Monkey affecting a sardonic compulsion seemingly absent from his comedic partner. It's hugely liberating. I like saying the worst things, and then making it OK again. With Monkey, it's in a place between irony and politics, so silly, so wild — he. Like a conjuror, she apparates life-size dummies and grants them five minutes of squirming discomfort.

It's less lonely. I remember touring with multi-puppet shows and coming into the dressing room afterwards, thinking back to what it was like doing shows with other people, and here am I,. I made him say it. I fool myself. But of course, they're all human beings; a new person exists for that little while.

Party Time Birthday Girls chat about sketch comedy's missing generation, the importance of a bruising Fringe experience and how to cultivate the exact aroma of a deep fat fryer. Not that it mattered, the unstoppable Party Vibes became a word-of-mouth hit. Last year, they returned to reprise the show for a short run, but became ensnared by the spectacular fall-out between venue operators — the fiasco known as Cowgateheadgate. Birthday Girls were turfed out of the cursed building they had come to think of, and made feel like, a home. But they were also one of the lucky ones; managing to land at Pleasance's quickly organised afterhours rescue operation for some of the displaced acts.

This year, they're back in the Courtyard with an all-new show. Formerly part of mega-ensemble Lady Garden, when this group disbanded the remaining trio reformed as Birthday Girls, but perhaps underestimated they were now an entirely new entity. But it allowed us to strip it right back and really think about what we wanted to do. To go from to Party Vibes the next year — a show we're really proud of — was amazing.

I don't know what the channels think is going to happen with this missing generation. Interview: Ben Venables in the UK is helping plug the gap. This year, Birthday Girls released a mockumentary — Birthday Girls on Tour — through Turtle Canyon, the Pinewood based comedy producers with a growing reputation for the quality of their online content. The Nature of the Beasts High-energy sketch group Beasts return to the Fringe to settle their differences once and for all. By way of an answer, Beasts explain their upcoming show Mr Edinburgh has been designed to settle this knotty conundrum once and for all.

These Beasts are fun company out of character, but they also think deeply about their. Self-sabotage is the name of the game here, so imagine a battle for supremacy that leaves everyone with egg on their faces. We are frustrated in real life and our characters are frustrated with each other in the show. McNicholas reads a text they've just got. The clock's ticking and it needs to be the best show in the world. You're welcome.

He's got a great mind for pacing and structure. Whether they'll finally answer the question of who is the funniest remains to be seen. Oh, my God, that means that that dude that I fucked at 25, literally fucked an idea out of my head! He's run companies into the ground, let's help him run America into the ground! I've been doing this for a couple for decades. Can I be a butterfly now?

When we were younger, we changed because of time. Now, it's not like that. Nothing besides death is going to come along and change you. Having discussed sex with her trademark honesty and frankness, she wanted to present something that was more comedic and less restrictive. Pleasance Futures Multi-stranded development scheme Pleasance Futures has helped shape a multitude of creative careers.

Designed to offer a leg-up into a range of creative industries, the different Futures paths welcome everyone from budding writers to aspiring theatre producers, fledgling comedians to whizzkid technicians, all of whom get to learn the ropes on that most turbulent and thrilling of rides: the Fringe.

Though Pleasance has helped launch careers for more than three decades, the last couple of years have seen the Futures initiative grow; brand new for , for example, is a technical mentorship programme. Meanwhile, the Media Futures strand continues to strengthen, now offering three reporters, one filmmaker and one photographer the chance to boost their portfolios producing festival newspaper The Pleasance Times; and more than people join the Pleasance Festival Volunteers Programme each August in a variety of capacities, from stage management to artist liason, all receiving a subsistence and, if they need it, accommodation.

For journalist Ellen Cawthorne, her month working on the Pleasance paper in helped pave the way towards her later roles: as presenter of a documentary series on BBC Radio 4, and as website assistant with BBC History magazine. And comedians, and actors To be able to meet them and pick their brains was just incredibly enjoyable. A stint with Pleasance also proved something of a turning point for Marec Joyce, who volunteered with the company in and is now Technical Operations Manager, responsible for pretty much everything you see around you as you enjoy a show, move between venues and gaze up at those friendly yellow signs.

When I started working for Pleasance I started to fall in love with the organisation and procedures side of theatre. I honestly thought it was some kind of experience grading system — was I below everyone else? This can mean a working day of up to and in excess of 12 hours per day, every day for 28 days. Plus there is a lot of beer to drink in Edinburgh The sheer volume of people involved in putting together the festival is phenomenal, so the chances that someone has observed you work and is impressed are stacked in your favour.

Maddix has since written his debut solo hour, Chickens Come Home to Roost, a frank piece of work exploring how different chances and choices. For others, Pleasance has been a part of their lives since they were little. After three seasons in which she performed in shows as varied as Faustus and Bus! And just as Pleasance can help an individual realise their ideas, so too can it guide the formation of a work.

Skin of the Teeth, an adaptation of a Brothers Grimm fairytale by theatre com-. We wanted to see where they found the comedy and the darker sides But I love it, you know. But dying for an hour?! Feels like for fucking ever. If music be the food of love, their eponymous debut saw the duo singing, rapping and darting around displaying their trademark surreal take on relationships. The show that never happened garnered fivestar reviews and sold out runs from its very early days, but its legacy was to pave the way for the comedy duo to get their teeth into something bigger.

It felt like you could pour so much more into it, you could tell so much more of a satisfying story over the course of an hour than you could within 30 different two-minute chunks [in a sketch show]. It was well received, which was lovely, but we really enjoyed the process of firstly creating it and then, more importantly, performing it.

It was super lo-fi, we sold out the next year and got two chairs. They have also both given ridiculously athletic performances as pro-comedy-wrestlers at Fringe bi-annual barnstormer The Wrestling: a highly physical, comedic free-for-all which has to be seen to be believed.

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This Fringe will not see The Wrestling take to that stage, however. Which I do with my long-time wrestling collaborator Dan the Hammerhead who is well-versed in slamming comedians. These vignettes of smaller relationships build up into a complex whole. In more recent shows in particular, the comedy and breathless character acrobatics have been centred around a powerful emotional core.

The Reunion saw unrequited love battle chronic illness, and The End brought a prodigal son back home to watch the end of the world with his emotionally distant father. Are they mixing comedy and tragedy on purpose? After five years of pretending to be other people, Max and Ivan are finally telling us about themselves. But how much of the extraordinary true story is true? It got to the point where it got too bizarre. Whatever kind of furniture that story is accompanied by, Max and Ivan are excited to tell it on stage, all their complex story-weaving coming to life. The Wrestler who Met his Match Colt Cabana tells us how he learned everything he knows in comedy and self-sufficiency — by watching the very worst of wrestling.

The professional wrestler has carved out a unique career, reinventing himself away from a huge corporation such as WWE. Instead he has found success on the indie wrestling scene, as well as with his podcast The Art of Wrestling, his comedy web shows Creative Has Nothing For You, Worst Promo Ever and his live shows — in which he and his guests commentate on bad wrestling.

I get really inspired when I go, seeing the other shows, seeing other people perform It helps me as a performer so I try to see as many shows as I can. I really love that aspect of it. What is most alluring about Cabana is his refusal to conform to being one thing.

For so long it was only the wrestling, and now you see wrestlers on television shows, reality shows I love doing comedy and I love being the wrestling guy in comedy. I love inter-splicing myself into shows as the wrestler. Date Night Rob Drummond returns to the Fringe this year with In Fidelity, a play that brings members of the audience onstage for a blind date. Naturally, we sent our Deviance editor to the rehearsals to find her one true love. In Fidelity swaps out the bombastic Franglais croons of First Dates' Fred for the wit, shoulder shrugs and casual companionship of Rob himself, who plays the dating show host.

My own experience with In Fidelity was a pared-down affair. Though the actual run will take place in the Traverse, I was spared the stage and spotlight in favour of a rehearsal room in HighTide. The invited audience was a modest dozen or so, and Steven, the director, stood in as my date under the pseudonym of Sebastian.

Contrary to my expectations, Sebastian turned out to be, well, a bit of a shit. I immediately regretted it, but the audience giggled, the tension disintegrated, Rob grinned and — victory of victories — my fictional date smiled too. Maybe sincerity is easier to pull off than comic timing. In the same way that the central stunt in Bullet Catch facilitated a theatrical investigation into human nature, free will and magic, the In Fidelity dates are embedded within other subplots and segments. They also have a pleasant habit of leapfrogging from topic to topic.

They were all three streets away, burning cars. Do you share similar interests? Have you given enough time to getting to know that person? And for two such people — after choosing to see the same show, queuing up on the same fairy-lit Fringe evening and sitting under the same Traverse roof — to meet finally their match? Mist obscures the peak of Mount Bugaksan, and warm rain drips from the eaves into our shoes, sandy and abandoned at the palace door. Spanning ancient and contemporary practices from mask play and folk song to b-boying breakdancing and beatboxing, the programme showcases the range and artistry of Korean culture.

Set in a. You do it to fall in love. The tight-knit production team, cast and director of Chef are our hosts for the weekend, and they introduce us to the tastes and pace of Seoul: the boutiques and green-tea emporia of Insa-dong; the medicinal temple foods of the Goryeo Dynasty, served in the peaceful Gosang restaurant; the after-dark social clubs of street food markets; and, reluctantly, some sea squirt which does exactly what it says on the tin.

After weeks of anxious suspension in a postreferendum media climate, this all feels a vital reminder that life is bigger than click-driven panic. That said, the world is as small as it is enormous; or rather, we are as connected as we are distant. The teen boys who show us around Gyeongbokgung as part of a youth volunteering. Reports of the Bastille Day attack reach us on arrival at Incheon airport; our host hands us his phone and, as we drive through the immense urban sprawl — hundreds of outlying apartment blocks in uniform brown, dust and salmon pink — this unfamiliar landscape is shot through with all-too-familiar news.

Here, instead, exchange is at the heart of everything. The charismatic young drummers of Tago ask us for our thoughts on a new segment — how do we think it will go down in Edinburgh? Which songs do we think Fringe audiences will enjoy the most? As we share ideas, we share bottles of soju; baskets of sweet-sticky chicken; flame-fresh stoves of seafood stew, and bowls of creamy wine.

Hell, we even share the penalty in a particularly fiendish drinking game. No wait — let me pour. Let me. Marking the th anniversary of his birth is the first full retrospective of Lee Jung Seob , who lived and worked in a time of continuous turmoil; as a student during Japanese occupation and, after his marriage, in poverty during the Korean war.

The pivot point of the exhibition is. Lee died alone at just 41, having never been reunited with his family. This is a hugely moving show, a portrait of a man whose life was refused by hardship and yet for whom a largeness of spirit and insistence on artistic expression survived longer than could be reasonably expected.

As in the grounds of Gyeongbokgung Palace, where a history tarnished by tragedy has been remembered and restored, there is a sense in these low-lit galleries of time in concertina; of past folding into present, sadness into repose. Above all, despite the fabled speed of Seoul there is a heavy serenity here — in the gardens of Deoksugung and in the blinking night skyline, which tracks our return to the airport along the vast Han river. As we outstrip the sunrise on our flight back home, the light seems to lift three times: three cheers, perhaps clinkclink!

Chef: Come Dine With Us! We sent one of his former classmates to interview him ahead of his eagerly-anticipated return to the Edinburgh stage with The End. In the intervening years it has been a pleasure to watch him succeed, with funding, and tours, and to see him so well supported by Scotland, his homeplace. He has had much success relative to many of our contemporaries. So has this success changed his practice as an artist? The name instantly inspires curiosity — what does he mean, an end to what? His use of improvisation as a performance tool is not entirely unique, but definitely still uncommon.

Improvisation has long been used as a way of creating work in dance, but much less so in performance. His newest work is greatly inspired by working with larger groups of dancers he has made numerous solos , and improvisation is used as a way to give the dancers space to keep the spontaneity, to give them room to stretch and evolve the choreography on a daily basis, to express how they are as people on that particular day within the work.

This takes place within a set structure — the sequence of events is the same, but the details may vary. It asks the audience to look at the dancers, to look also at themselves, and to slow down, to experience time, to look at how one is in the world. Returning to his process, I wonder if he edits the work? Everything is filmed, and he spends hours trawling back and forth through the videos after leaving the studio, watching and pulling out the moments that work.

For him this is not an editing process but a refining process… condensing. Does he ever think of narrative structures in his work? Although not overly literal, this takes the viewer on an emotional journey through the piece, with room for interpretation. Despite this room he allows, he says he has tried to give clear signals as to what the audience should experience. Has his practice changed with this work or is it a clear development of previous work, can he draw similarities?

The huge difference is the element of time. Now, this work stands at one hour long. One hour is exactly what is needed to express the clearest version of what I want to say. He has worked from time to time within visual arts institutions, for research and performances. Does he draw inspiration from any other artistic fields in his practice? I feel a real parallel to my work in this. In his work they have become an extension of his body; he finds simplicity in objects rather than complexity.

Within his practice, does he create any other types of art, work with other forms? Finally, a Scottish artist working his whole career in Edinburgh — how is it? He loves it. Many years ago I toyed with the idea of moving to London. Being committed to working in one place, and equally committed to travelling with the work is the idea.

Having a place, a home to come back to that he loves. What the Fuck is Gig Theatre? With the trend of gig theatre at the Fringe and beyond growing, we talk to a handful of performers who are bridging the gap between gigs and theatre Interview: Amy Taylor.

Based on her recent explorations and research of Fala Flow, a local moor with environmental protection near her home in Midlothian, the piece was inspired by the flights of the pink-footed geese that fly to Fala. She found herself creating a piece that discussed cooperation. Wondering what a human skein the name given to a flock of flying geese would be like, she set about creating her latest work.

Except it wasn't totally folk music, it was something totally different, and Polwart was unsure. Later, after performing the piece at the Traverse as part of a scratch night, she received a call from David Greig, who had just been appointed as the new Artistic Director of the Royal Lyceum Theatre. No idea what it is, no idea how to describe it to anybody, but really loved it. In fact, could you get us a pitch for it within the next 24 hours?

Not quite a gig, not quite theatre, Wind Resistance falls into the growing genre of gig theatre, a more relaxed, less formal performance, where music, storytelling and performance combine. But the idea of gig theatre isn't limited to a few lone musicians going where they have never been before; the genre is a growing trend, with performers such as Kieran Hurley and Mhairi Campbell choosing to tell their stories in the overlap that exists between gigs and theatre.

And this new movement isn't just limited to the EIF, or the Fringe, but can be seen throughout the country, where it is being used to attract new, more diverse audiences. I think theatre needs to learn how to adapt for them, rather than getting them to change for it. Wonderman at the Underbelly this year, agrees. We find with our show, that people like to come back again and again. I think it is the music element, because they know they're going to get some good songs and music.

I know we have attracted live music lovers into the theatre for the first time, so that's good. Matt Regan, a Belfast-born composer based in Glasgow, and creator of the. Greater Belfast, fell into gig theatre after he realised that simply singing a song just wasn't enough for him to tell the full tale. But there are a couple of places where it gets to be a little bit grand, and everything that's happening phonically, visually, writing-wise is supporting that. It's like having a cushion to fly on, actually, it's really lovely. If gig theatre is about breaking established rules for performers, what does that mean for the audience?

According to Petkovski, it's all about inclusivity in theatre. At the moment in New Zealand - I don't know if it's the same in Scotland - the theatre audiences are getting older and older. We wanted to create something that was for people at our age and I think the music, or the gig theatre element, is what will reach out to people. I'm totally ready for that. Some people do want to sit and be told a slow, quiet story, but I don't want to judge that at all.

I mean, I enjoy that too! What we're trying to do is attract new audiences in new ways. Polwart is optimistic about the future of fellow musicians straddling the music and theatre worlds. There's some really interesting shows going on using music, we're just adding to the collection. Everything about Roundabout, from our perspective, is about inviting people in and saying theatre is not intimidating, theatre is not formal.

Theatre can be really fun and joyous and a shared experience. And if you like comedy, or music, or Netflix, then you might find something that you like here too. Why not come and have a live experience? Try something different in a different environment. So much of what the play tries to do is take the audience on a journey towards empathy so that they feel complicit and accountable for this young person in front of them.

Boy meets girl leading to a romantic first date in Tesco. They really make you feel as a writer that you are at the heart of their research. Nothing fills my heart with joy more than an audience with non-traditional theatre-goers. Not a moment too soon as the world is on the brink of being swallowed up by an evil overlord, The Darkness, who is planning to drag Earth as we know it kicking and screaming into a new ice age.

Award-winning playwright and television writer Katie Douglas premieres her original play for seven year olds and up. I will be bringing my seven month old. He might make a bit of noise but if he starts properly kicking off, I will probably take him outside. That kind of raw theatre just focuses everything into the characters without any set or costume particularly or anything else. This leaves three separate cuts of varying size across his forehead, decorating a face crimson from exertion.

A fist hits the ceiling after a punchline lands imperfectly. The anger made sense in that context, but was it real? Phoebe Eclair-Powell on Epic Love and Torch Phoebe Eclair-Powell is the playwright behind two productions at the Fringe, exploring identity through comedy, music and the troubling answers she received from questionnaires Interview: Ben Venables. It was titled Wink and revolved around a teacher and pupil baiting each other from behind social media masks before they became tangled in their digital cross wires.

Though remarkably fresh and up-to-date, structurally Wink seemed to owe a debt to good old stage farces, with its mistaken identities, escalating complications and a plot that zipped along to a shit-your-pants funny crescendo. What really singled this script out, however, was not its quality but just how funny it was on the actual page — just as funny as when later performed at Battersea Arts Centre.

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Now, she brings two very different plays to the Fringe. I do have this weird fabric in my head of one school with many, many stories. School is such a holding pen of that cusp from teenager to adulthood, with everyone finding out who they are. Her second play at the Fringe, Torch, is something of an altogether different production in mood and execution. It is a much more nebulous and chameleon type of show. We had fun with that sort of material! There was an overwhelming sense of fear and confusion.

It has felt like a conversation between a lot of women rather than just my thoughts. Vive le Fringe! Words: Rachel Bowles. Emerging from a chrysalis on stage, a snail brings out pieces of fabric to dance with, starting a whimsical and beautifully choreographed transformative journey to becoming a mermaid. Our unlikely hero, the underachieving Arksenty Ivanovich Poprishchin is a low ranking civil servant in the Tsarist bureaucracy, who becomes unstuck as he records his insanity in his journals. Poprishchin discovers he can speak dog fluently, prevent stellar collisions and through his deranged diary entries discovers he is destined for the Spanish throne in this comic and biting satire.

Where to Begin Edinburgh Art Festival sets up Platform, its emerging artist set of exhibitions at the very centre of its map in the Kiosk. This year marks another diverse grouping of some of the most exciting emerging talent from around the country with two duos and two solo presentations. The works and performances will be showcased at the epicentre of the festival, within the Edinburgh Art Festival Kiosk on Blair Street. As the cultural climate shifts so precariously in a time of bewilderment and dismay, Platform offers an outstanding opportunity to explore those artists whose practices will be navigating the treacherous cultural landscape to come.

Hearing snippets of Aniela Piasecka and Paloma Proudfoot discussing the placement of sculptures and how the performance will work around them has made us consider how other artists go about collaborating with each other. The notion of ritualistic tradition is eked out of the performance works by Paloma Proudfoot and Aniela Piasecka, which push the boundaries. Words: Rosie Priest physicality and power — both of these artists are pushing their own vulnerable boundaries in both practice and performance. Made to be Broken will be a re-imagining of what it means to create sculpture and perform whilst also being aesthetically intriguing and illustrious.

Ceramicist and performer Paloma Proudfoot and Aniela Piasecka will be presenting a series of performances throughout the festival. I trust that through this persistent process the work might reveal something. I start working and then go further and further until items or ideas start revealing themselves and the works start speaking. Even now you still get old boys stopping [us] in the pub then proceeding to tell a story about how when Lochee United won the cup [our father] filled the trophy with voddy and coke and everyone passed it round the pub. Their work may explore the loaded connotations of symbols and signs and the bombardment of complex understandings surrounding this imagery, but as a work Lying on the Temple Floor refuses to take itself too seriously.

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We take it for granted, but we are surrounded by an enormous amount of history and culture. It is something that we often reference within our own work — playing with colloquial norms and this self-deprecating humour that the Scots have perfected. It was the first time we had used iconic logos in our work and considered how branding is being used all around us for both positive and negative means. Perhaps due to the cultural climate these artists are working in, or maybe a kind of collective unconsciousness of the creative community, every single one of these works promise to reveal new boundaries to push against.

Despite Braun being represented as a solo artist, his practice is possibly the most collaborative of all those represented by Platform this year. In the past I have collaborated a lot but never to this extent. He's intending to acknowledge some of his anxieties about the individual-centric format of the solo show, and the fact it was given to him as a cis white male. Across the videos, paintings, sound work, drawings and collage he's including, the show's put to this specific end.

He might have accepted the solo show, but the works are each in different ways intended to frame his position as a queer-but-cis-male artist, and problematising the masculine elements but foregrounding the queer elements of that position. I don't want to make any big claims for it being an anti-solo show before I know how it will work, just acknowledge that the solo show is quite an uncomfortable format.

Though not rejecting theory, Black's suspicious of a certain canon of writers. As one example, he questions if. I still do feel like it is quite heavily authored. I definitely also want to acknowledge that whatever's in that. That's not for me to qualify And that's how we hang out, in someone's bedroom and we talk a lot, and about music.

The intense moment of shameful penetration is something that has echoes at the points where an element of queerness is identified in myself in a non-queer environment. Homophobic abuse given to male-gendered people is often around that, and sadly, it's tied into a complex of shaming that was established at school. I don't want that to be the language I'm talking in, or what represents these things.

It's more about being a fairly straightforward reflection on, and framing of these things as they are experienced. Like how there are more statues of dogs than of women in Edinburgh? Is that where Tollcross Primary gets involved? The show is the visual response to that in a way that makes sense to these kids and to adults.

I found out from asking what they wanted to be when they grew up that a lot of them wanted to be YouTubers. I wanted to be a Spice Girl, but they want to be YouTubers. The idea of documenting themselves continues In the. Glazing elevates the ceramics into being artefacts, and the idea of the pieces that were painted by kids suddenly having that status gives the kids this huge opportunity, and gives other people an opportunity to see their work.

Children have great ideas and we can reconnect with that part of ourselves as adults, but only to an extent. Conversations is more about how the objects communicate and learn from each other. When two differing perspectives come together, there is the opportunity for lear-. Often the characters in the conversations fail to understand each other or explain themselves, just as we humans do.

I see humour as being a quality that can be employed in art. Comedy is a humorous art form that happens in comedy clubs, or is a genre of film or literature. I really enjoy writing dialogue and making it sound life-like and discursive. Writing Conversations was very much like writing stand-up comedy, but because I was writing for other voices, I had to work on the characterisation more than I usually would.

Their interpretations helped me to bring the characters to life. I was also thinking about how the different timescales that objects live through might affect their perception. In some cases, I started with a particular subject for the conversation and the objects were decided on later, as in the discussion between the apple and the grass about metaphors and symbols.

Lipstick and Breeze Block was written from the starting point of tactility; I was imagining how they would touch each other, in a really sensual way. The objects become aware of their own roles because they have to explain themselves to another object. The colours on the monitor are more something to rest your eyes on while you listen, and a way of maintaining the playfulness of the work in a fairly stark room. Using everyday objects that are familiar eases the imaginative. There are some talking concepts in there too, but they are always coupled with an object.

Perhaps the most moralist conversation is Pillow and Revenge, but there is also something in Flying and Feather, which is about whether abstract concepts can take responsibility for actions. Can businesses take responsibility for damages? Legally and financially they can, but not emotionally. Partly as, while sunnier in disposition than many previous works, its story is still painted over a backdrop of grief. Partly as the formidable novelist would surely hunt me down.

Still, Dirt Road is undeniably optimistic. Moments of wonder radiate from its pages like sun streaming through a window. It is a story of family and freedom. Of a son travelling from Scotland to Alabama along with his father. The Saltire Society Scottish Book of the Year Kieron Smith, Boy with its unrelentingly and utterly realistic worldview of an unremarkable Glasgow youth — what Michel Faber described at the time as "revolutionary and very, very dull. A form of alchemy perhaps? Canada and the States are littered with communities of Caledonian origin, many traceable to individual crossings or acts of history, like the MacDonalds being driven out in.

It's the same for those in turn reaching Scotland. Dirt Road sets a significant section at The Gathering, a display of shrink wrapped shortbread tin tradition in Alabama. A celebration of outdated heritage by an enclave community clinging to marks of identity. You enter into places that are ghettoised, either enforced or through choice. Dirt Road gathers together the pieces of the American cultural jigsaw, including amongst others the French divided here further into Cajun and Creole , Scots, Irish, Mexican and African. I mean what are you talking about?

The idea of any culture being homogenous, which is nonsense. There are those who stoked the fires of nationalism. Will they now be able to dampen them? The need to destroy human rights legislation… they want absolute freedom to employ people at [a rate of] free teacakes for an hour week… they want to be able to discriminate against disabled employees… close down any factory, close down anything.

Kelman has spoken often of this war with the UK literary establishment. During a interview with 3AM Magazine he replied: "Your question suggests it is a fair go, an even fight, or some such nonsense. One has the power to stop the other from earning a living. Never competing for applause or chasing monetary reward.

Might this be your own creative manifesto? I ask. An incomplete guide to the Book Festival Our Books Editor struggles to work logically through a recommended list for Edinburgh International Book Festival — such is the volume and quality of events on offer.

enexalec.ga Finally, through the power of cheap and ambiguous links, there forms a path Words: Alan Bett. How do you plot a map through the multitude of conversations and themes on offer? How to break them down into separate groups? I mean, along what lines? To start, the term author relates to novelists, poets, scientists, philosophers, sportsmen, illustrators, comics creators, historians, musicians, biographers, environmentalists and economists. We have writers from China, Korea, Russia, the USA; a multitude of nationalities presenting their work and discussing the big questions which arise from them.

So you like graphic novels? Very much? You say you want a revolution? In the highly recommended first Skinny sponsored event on 15 August, he speaks with our Makar Jackie Kay on being a British writer of mixed heritage in the 21st century, Between the Dee and the Don. Then our greatest living Scottish novelist travels over different. This is a beautifully optimistic novel of family and freedom: huge and important themes blending seamlessly into a simple narrative of a boy and his love for music.

Kelman is a must-see; controversial, divisive and outrageously talented. On August 20 she discusses her new novel The Mandibles: A Family, , set in an America stunted by a vast financial crisis. Where do these authors come up with their ideas? How can we avoid this worrying future? Hinde looks to the perfect model, or is it? A Utopia Like Any Other separates the reality and myth of the Swedish political model — one many suggest an independent Scotland pursue.

Hinde is an acknowledged Nordic expert having written for a number of respected publications, reserving his best work for The Skinny. Bates is the founder of the highly influential online project Everyday Sexism. And what loosens us up more than music? Goes On. Good family that is. Although, if that floats your boat then meet a man who stuck their members behind bars. Giancarlo Carofiglio is a former anti-Mafia prosecutor from Bari.

He has now turned real life court cases into bestsellers — the Guido Guerrieri legal thrillers — and lived to tell the tale. Refunds hopefully available just in case for an event he shares with crime writer Steve Cavanagh: Legally Thrilling 27 Aug. These are simply my personal picks and there is something for everyone. Tickets are on sale now www. The tech is already in the wild. Google Cardboard, a cheap and cheerful virtual reality set-up that plugs straight into your smartphone, is already out there too — the New York Times gave over a million of them away to their subscribers last November.

You can pick one up yourself for less than a tenner. In other words: VR is about to go mainstream. It may be the next major innovation in filmmaking. The technology could also revolutionise immersive theatre, bringing this live, local experience to a mass audience and allow these ephemeral performances to be kept forever. So it is a very exciting moment to be involved. The challenge is to take the skills learned there and create something truly interactive. The filmmaker is in total control of what you see.

But then if you go and create a film in virtual reality you have to think about how that story is going to play out in a degree environment. It changes the way you read the news subsequently.

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Will they look up? Will they look down? Or will they just freak out and not look anywhere? Atkin reckons the key to filmmakers being successful in VR is to embrace some of that chaos of immersive theatre. It really is a different medium. You have to be in the moment. The experiences on offer are myriad. You can visit the ice-encrusted plains of Pluto, swim with dolphins or check out the art of Skid Row. Or you might have completely different expectations of it until you put it on.

For more information and tickets please visit www. Coming over here, taking up our streets, plying us with all the things we love the most. Brilliant things like jokes, drama, glitter, booze. However, unless you're into classy concertos or questionable open mic covers of Wonderwall, music bookings have taken a bit of a back seat in years previous. We're going to walk you though the whole damn lot. First, a disclaimer: gigs throughout August are jumbled within loads of fantastical, artsy happenings. Black Emperor] really like Godspeed.


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Nothing Ever Happens Here, Summerhall's sassily named gig series, addresses Edinburgh's lack of mid-sized music venues. Linehan thang, Summerhall indeed has plenty. It's not a fun night out It's a tough theme and it's really good. All of them. Every single one.

I hope so! We'll bring in more musicians to fill out the sound — and the instrumentation on the album does feature drums and stuff, so it's a nice thing to do! Don't In contrast, Sage Francis will be travelling Transworry; we've got you. From our favourite garage-pop two-piece Tuff atlantic to woo Edinburgh crowds for the first time. Via emails from over the ocean, Francis tells Love taking to theatrical boards at the Traverse, The Skinny that his label-mate and co-performer as part of the New Zealand play Daffodils A Play with Songs or beatbox maestro Shlomo leading B.

Dolan has been encouraging him to watch kid-friendly workshops, there's a righteous documentaries on the Edinburgh Festival, but abundance of talent. Jazz control! Duncan describes her festival history as each other and that brings us back to how we met in the slam scene in the early 00s. It's only an hour show, so there's no time to play around! Despite sounding totally calm and completely Let's go! Give all your time to it and in the room was quite reverby… it was a challenge, just go wild, follow the free drinks and follow the but it was good! We had a good time!

Local Heroes Looking for a survey of contemporary Scottish design? Local Heroes are here with a range of original souvenirs. The reasons for this new movement are at least twofold. From a practical viewpoint, the internet has made it easier to access markets anywhere in the world. It has facilitated increased ease of production, and allowed brands to create an identity which transcends locale. From a creative point of view, the injection of energy, confidence and ambition that came about in the debates of the Scottish referendum, of our communities discussing and reimagining the shape of the world that we wish to live in, cannot be underestimated.

Local Heroes curator Stacey Hunter is certain that the referendum offered a turning point for the confidence of our creative life. People started to think about their businesses and their practices a bit differently and be more experimental. They found it easier to collaborate with one another — there was a lot more trust.

You can just go and do something. Karen Mabon, known for her fantastical scarf designs, used the opportunity to try out making an umbrella. She enjoyed the unusual level of freedom the Local Heroes brief offered. She says,. Each product in the range has been created bespoke and is available for the first time.

Warriors studio represent graphic design, with Nummer Wans, a souvenir poster celebrating. Turns out we started Halloween — who knew? Jewellery designers Tom Pigeon have created an acrylic neckpiece that can be worn in the pool, perhaps with your Rebecca Torres swimsuit before drying off with the Risotto towel. Orkney knitwear designer Hilary Grant has made an intricately woven travel blanket out of geelong wool for extra strength and cosiness.

Laura Spring and Trakk offer practical products for airport travellers, with a purse for your liquids and a bright waterproof rucksack respectively. Best get along to the airport quick. Products are available to buy online at localheroes. Best of Both Worlds What happens when a classical composer tries her hand at a pop record? I guess that was my starting point; what things could I not, not include. I love my trashy synth. I love a trashy dance anthem, and I suppose that those sounds are in there.

Much more challenging — but I also think much more exciting — is to try to look for the similarities. Is there much compartmentalisation going on? This is kind of how I write, and there are variations of that; the way my musical interests can lead to music that can sound quite different.

Admin that includes the ephemera of organising and playing live — again, a contrast to the day job. So playing with the band is a huge change. The music actually works best on a huge sound system with space for everybody to get into a bit of a tunnel and focus on it with a bit of room to breathe. Varmints is out now via Moshi Moshi. Its inhabitants are mean, the news is drunk, and we need a whole new set of musical heroes because the current lot are all in the morgue. We could do with something to get us back into the groove. To assist in that quest to keep feeling fascination.

A new Factory Floor record, you say?

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