Good Chance may be the only chance they have

…between the British-funded razor-wire fences on one side and the French riot police on the other, these two governments have turned the Jungle into a vacuum of their own moral authority. The only thing currently filling that vacuum are the volunteer organisations that have popped up, at the heart of which sits the theatre. For many of the camp’s residents, Good Chance may be the only chance they have.

A great article discussing the efficacy of contemporary applied theatre practice – well actually it reads more like an advert…but still – VERY interesting


What is the Jungle: The jungle’ is the name of an ad hoc encampment of about 6,000 people who have made trans-continental journeys from their home country for a wide array of reasons. There are people here from countries all across the Middle East and Africa, including Sudan, Syria, Iran, Iraq, Afghanistan, Kuwait, Morocco, Egypt, Eritrea, Pakistan, Bangladesh and Nigeria and more. There are many languages spoken in the camp, and many cultures, situations and stories present.

Company aims:

What is Good Chance Calais?

Our aim is to provide a safe, warm and welcoming space for people to express themselves and their situations in the Jungle in Calais.

We have been up and running since October 29th and will stay for as long as the space is needed by the people here.

We work hard to deliver a full and surprising programme of theatre, art and music events, and are planning residencies by visiting companies from around the world all through winter.

We believe expression is a basic human right for all. In a situation as terrible as this, it is essential.


Complicitie LIVE – March 1st

CAN’T WAIT to listen to this show

They will be live streaming ‪#‎TheEncounter‬ from Barbican Centre on Tuesday 1 March 7.30pm to YouTube.

Watch from the comfort of your own home by subscribing to our YouTube Channel here:

“Inspired by Petru Popescu’s book Amazon Beaming, based on McIntyre’s experiences, McBurney’s piece is a Chinese whisper of a show from a far-distant world that is delivered straight into the audience’s head using binaural technology and headphones. Its intimacy is both an astonishment, and at times, a challenge.”

“Watching theatre can be a transcendent act, design can be used to move people.”

Beautiful article on some of the exquisite designs by Tom Scutt

“I don’t create design for design’s sake, but to make a piece of theatre – to conjure something into being.”

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“I generally read a play through once at the beginning, and then not again until quite late in the design process.

Screen Shot 2016-01-28 at 09.01.50.png‘Images and ideas land in the mind,’ says theatre designer Tom Scutt. ‘Sometimes an image is hard to shake, and the job is to work out why it’s there.’

Lighting’s gone more digital – obviously

Techniques such as light or pixel mapping are all the rage – see The Curious Incident of the Dog in the Night-Time

Basic tutorial

Some useful examples here:

How does pixel mapping work?

Pixel Mapping isn’t projecting media content using a projector and firing it from the lighting console. The main brief of mapping is to turn your array of “simple” fixtures into a giant telly. The “screen” doesn’t have to be rectangular or even one complete surface – using pixel mapping, you could create some great effects with a long single strip of RGB LEDS or play a huge image across a number of different elements.

The pixel mapper treats each fixture as an individual pixel and sends the correct information (usually colour and intensity) to the array: This article also explains how you can pixel map on a budget.

See this blog for a response to a recent symposium: #lightmapping




Bowie’s contribution to Theatre

The late artist’s unique stage legacy includes a Broadway turn in ‘The Elephant Man,’ rock concerts famed for their blazing theatricality and the recent sui generis musical, ‘Lazarus.’

From his groundbreaking “Ziggy Stardust” concerts of the early ’70s to Lazarus, the divisive off-Broadway alt-musical that premiered in the final weeks of his life, David Bowie was a chameleonic creature of the theater.


David Bowie’s Secret Theater Project ‘Lazarus’ to Feature New Songs

Musical uses same characters from the musician’s cult film ‘The Man Who Fell to Earth’

By April 2, 2015

No stranger to keeping secrets, the ever-incalculable David Bowie has revealed that he’s been laboring for years in private on a musical-theater extension of Walter Tevis’ 1963 novel The Man Who Fell to Earth, which will be produced later this year. The singer – whose latest single, “Sue (Or in a Season of Crime),” veered toward the theatrical – co-wrote the production Lazarus with Tony-winning playwright Enda Walsh (Once) and composed new songs for it.


‘Pierrot in Turquoise’: David Bowie’s little-known first theatrical appearance, 1968


David Bowie’s acting career began with record-breaking week in Denvera-david-bowie-elephant-man-5.jpg

Bowie (and Kate Bush) were heavily influenced by Lindsay Kemp’s FLOWERS by the Lindsay Kemp Company –

Copy-Transform-Combine – Some recent words from Anne Bogart:

Interesting – when thinking the Collaborative Project….

The task of an artist, much like that of a scientist, is to re-combine or edit existing materials in order to create something new.  Ideas are adapted, extended or improved upon based upon the needs and circumstances of the time.  Every work of art contains a recognizable reference to another work and this can be traced historically throughout the development of the arts and sciences.

Connecting ideas together and merging multiple, unrelated ideas in new and creative ways require an ability to spot the potential for creative leaps.

Combining knowledge, synthesizing information and fitting things together that do not normally go together can lead to new perspectives on a subject. By fitting things together in unexpected ways that do not normally go together I am allowing for new things to happen.

Improv and Invisible Theatre

G11 came to the aid of Grade 3 teachers today. Teachers wanted a provocation for their PYP unit on Peace and Conflict – a performed argument which would generate conversation and debate in the students who happened upon the piece of ‘invisible theatre’. The experience, and subsequent reading on Boal’s Invisible Theatre pieces in his book ‘Games for Actors and Non Actors’, began an interesting debate – how much can we rely on improvisation in Invisible Theatre? Boal’s position is – not a lot. He writes about the importance of working to a tight structure and carefully crafted script particularly when describing the piece for the Paris Metro. Is it responsible to go into a situation without careful planning and script writing? When do we know when to move away from the script and respond to our audience ‘off script’? Is the safety of actors and audience always carefully considered? Is the stuff we see in some of TV shows seen below examples of invisible theatre? I would like to argue that they are not – mainly because of their over reliance on improvisation, this means they no longer follow the conventions set out for the style of work Boal named ‘Invisible Theatre’.