guardian.co.uk: "After a panel discussion between fringe playwrights David Greig, Zinnie Harris and Lynda Radley yesterday at the Traverse in Edinburgh, conversation – inevitably – continued in the theatre bar. Chat turned to intimate versus large-scale theatre, to the relationship between devised work and the writing of plays, to the interesting business, raised by Radley, of the difficulties of young theatre-makers of her generation making the leap from small-scale plays such as are brilliantly commissioned by Òran Mór in Glasgow to being invited to create work for the main stages of the Traverse or of the National Theatre of Scotland. (Radley, 31, has herself just made the transition from devising and performing her own work to a play, Futureproof, with a cast of seven on the Traverse's larger stage.)"
1 comment:
Although I do not want to discount large-scale theatre productions, I’ve always found myself more inspired, engaged, and touched by small-scale productions. I feed off of the intimacy between the actors and even between the actors and the audience members. There’s something magical about seeing the sweat slowly fall down the actor’s brow as the character contemplates death. And the feeling when a character becomes so angry that you find yourself sinking in your chair in fear is immeasurable compared to the shouts of an actor 500 ft away from your seat. Then again, as a designer, large-scale productions can easily satisfy the hunger pains for 100 moving lights and 50 different costume changes in ten minutes. They’re two different animals for me, but no matter how much I try to keep an open mind, I will always prefer the butterfly room to viewing the lions in their glass cages.
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