One of the reasons I am on Twitter is, apart from the social and networking elements, that it provides a platform for compounding a wealth of knowledge from a variety of different sources and areas of interest, personal to each individual user based upon who they follow. I have read so many articles and come across scores of ideas that I never would have access to or inclination to find otherwise, thanks to links from others.
Today, such a link came my way via the Frag Dolls' twitter feed. I am sure many of you are familiar with these ladies but for those who don’t, they are an Ubisoft-sponsored, all-female gaming group who attend conventions, write articles and play games. Alright for some, huh?
Anyhoo, this video, despite being 20 minutes long, is well worth a look:
'Jane McGonigal: Gaming Can Make a Better World'
I'll wait for you to finish. No really, go on....
First off, I wish I was as good with public speaking as this lady.
I think the core idea is an ingenious one, make real life like video games to encourage us to ‘go on epic quests’ to save the world. What a shame she only had 20 minutes. The implementation requires a little more thought; unless she has a plan she’s not telling us here, the three ‘world-saving’ games she demonstrates don’t sound interesting enough to encourage billions of people to play them instead of something with more escapism.
She also doesn’t mention the risk that encouraging more people to game more often may encourage more people to become addicted to gaming, which in itself could only add to the world’s problems.
Definitely worth a further ponder though, and I'm interested to see where this leads. *strokes beard*
Friday, 22 April 2011
Wednesday, 20 April 2011
Review: Macbeth
Lazarus Theatre Company's 'Macbeth,' dir. Ricky Dukes. Seen Friday 15th April
After auditioning for Lazarus Theatre Company twice and getting no further than recalls, I thought it might be a good idea to actually check out one of their shows. Having heard from the director’s mouth what his vision for theatre is, it sounded at once something interesting, accessible, different, visually wonderful and just a little bit wanky (technical term). But hey, that’s how I like my theatre and goodness knows the devised pieces I co-created in university fit the last part of that brief.
So off I went to see their Macbeth, which promised to be an ‘explosive and bloodthirsty production,’ and found pretty much what I expected. That isn’t to say I enjoyed it, nay, I did very much. There were some real moments of dark beauty found in the movement sequences and I loved, loved, loved the use of the torches through the atmospheric smoke. (Incidentally, had already done that myself for a uni performance attempting to stage Film Noir 4 years ago. I’m totally, like, such a visionary trend-setter. Darling.)
Duke’s penchant for throwing together decadence and decay and images of dark, violent lust were clearly evident, although at moments perhaps a little much for the production at hand. At one point I was distracted from one of Macbeth’s soliloquies (one of the lesser known ones, but still important for character development) by a couple miming the throws of a quick and violent fumble off to the right. Probably had a meaning but didn’t feel right at that moment.
The ladies costumes were all wonderfully fitting; I was particularly a fan of Lady Macbeth’s red dress once she became queen. Less so of the dead fox hanging off her shoulder, but hey, it fit in well with the style of the piece. The men’s costumes, though flattering and in-fitting with the styling of the performance, seemed overtly more modern in comparison, however, and caused confusion as to the time setting, although perhaps that was the point. I also got a sneaking suspicion that the majority of the men’s costumes were sourced from the director’s wardrobe.
The acting was all top notch, although some did shine more than others. Dotty Kultys, a friend of mine from uni before she went on to better things at East 15, played a delightfully freaky witch with an odd smile on her lips all the way through. Nice to see old acquaintances doing well. Elly Lowney provided an oddly fitting female Duncan, at once regal, authoritative and motherly in a way that made her murder harder for her subjects to take, and even harder for her murderers to commit. The feminisation of Duncan added an interesting dynamic to Macbeth and Lady Macbeth’s relationship, and further subtext to his thoughts about murdering her, and his Lady’s inability to do so because she looked like her own mother.
Robin Holden’s Macbeth at points didn’t quite seem to have the ‘viscous and savage thirst for power’ that the Blue Elephant Theatre’s website suggested he had, but nonetheless gave a strong and passionate performance. Some of his best acting happened in the quiet, reflective moments that show Macbeth’s indecisive, thoughtful and indeed more interesting side. There was plenty of chemistry and lust between him and Victoria Sye’s Lady Macbeth, and it was easy to see how she could persuade him to kill.
Sye herself produced a frantic, oddly smiley Lady Macbeth. Her sleepwalking scene proved her to be a fine actress but for my personal taste she wasn’t a dark enough Lady. Upon reflection, however, I’m not sure I have actually seen a Lady Macbeth dark enough to my liking. I want to feel thrillingly scared by her during the performance, and sympathise with her only upon reflection after the play has finished. I suppose partly there is a danger of taking her into a panto-evil queen that must be avoided, but I wonder if there is also something to do with the role. Playing a genuinely dark character like that properly poses a risk of emotionally affecting the actress, a risk some directors aren’t willing to take perhaps?
If I find a Lady that I feel is right, I’ll let you know. In the mean time, Lazarus Theatre Company have reaffirmed my wish to work for them at some point.
(At the time of writing the show has closed, otherwise I would recommend going to see it for something a bit different.)
After auditioning for Lazarus Theatre Company twice and getting no further than recalls, I thought it might be a good idea to actually check out one of their shows. Having heard from the director’s mouth what his vision for theatre is, it sounded at once something interesting, accessible, different, visually wonderful and just a little bit wanky (technical term). But hey, that’s how I like my theatre and goodness knows the devised pieces I co-created in university fit the last part of that brief.
So off I went to see their Macbeth, which promised to be an ‘explosive and bloodthirsty production,’ and found pretty much what I expected. That isn’t to say I enjoyed it, nay, I did very much. There were some real moments of dark beauty found in the movement sequences and I loved, loved, loved the use of the torches through the atmospheric smoke. (Incidentally, had already done that myself for a uni performance attempting to stage Film Noir 4 years ago. I’m totally, like, such a visionary trend-setter. Darling.)
Duke’s penchant for throwing together decadence and decay and images of dark, violent lust were clearly evident, although at moments perhaps a little much for the production at hand. At one point I was distracted from one of Macbeth’s soliloquies (one of the lesser known ones, but still important for character development) by a couple miming the throws of a quick and violent fumble off to the right. Probably had a meaning but didn’t feel right at that moment.
The ladies costumes were all wonderfully fitting; I was particularly a fan of Lady Macbeth’s red dress once she became queen. Less so of the dead fox hanging off her shoulder, but hey, it fit in well with the style of the piece. The men’s costumes, though flattering and in-fitting with the styling of the performance, seemed overtly more modern in comparison, however, and caused confusion as to the time setting, although perhaps that was the point. I also got a sneaking suspicion that the majority of the men’s costumes were sourced from the director’s wardrobe.
The acting was all top notch, although some did shine more than others. Dotty Kultys, a friend of mine from uni before she went on to better things at East 15, played a delightfully freaky witch with an odd smile on her lips all the way through. Nice to see old acquaintances doing well. Elly Lowney provided an oddly fitting female Duncan, at once regal, authoritative and motherly in a way that made her murder harder for her subjects to take, and even harder for her murderers to commit. The feminisation of Duncan added an interesting dynamic to Macbeth and Lady Macbeth’s relationship, and further subtext to his thoughts about murdering her, and his Lady’s inability to do so because she looked like her own mother.
Robin Holden’s Macbeth at points didn’t quite seem to have the ‘viscous and savage thirst for power’ that the Blue Elephant Theatre’s website suggested he had, but nonetheless gave a strong and passionate performance. Some of his best acting happened in the quiet, reflective moments that show Macbeth’s indecisive, thoughtful and indeed more interesting side. There was plenty of chemistry and lust between him and Victoria Sye’s Lady Macbeth, and it was easy to see how she could persuade him to kill.
Sye herself produced a frantic, oddly smiley Lady Macbeth. Her sleepwalking scene proved her to be a fine actress but for my personal taste she wasn’t a dark enough Lady. Upon reflection, however, I’m not sure I have actually seen a Lady Macbeth dark enough to my liking. I want to feel thrillingly scared by her during the performance, and sympathise with her only upon reflection after the play has finished. I suppose partly there is a danger of taking her into a panto-evil queen that must be avoided, but I wonder if there is also something to do with the role. Playing a genuinely dark character like that properly poses a risk of emotionally affecting the actress, a risk some directors aren’t willing to take perhaps?
If I find a Lady that I feel is right, I’ll let you know. In the mean time, Lazarus Theatre Company have reaffirmed my wish to work for them at some point.
(At the time of writing the show has closed, otherwise I would recommend going to see it for something a bit different.)
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