Tag Archives: Agent 160

We are having a party with Cassandra and you are all invited

Image by Keith Morris

Image by Keith Morris

Response Time will be returning this weekend with it’s unique form of performed response to art, space and environment with a response to Cassandra’s Rant by Shani Rhys James at Ceredigion Musuem.

So what exactly is unique about it and what is a performed response you might ask. Two very good questions!

Response Time is a collective of artists and performance makers from varying disciplines of performance including dance, performance art, playwrights, physical theatre, poetry. They are given 48 hours to respond to an exhibition – responding to the art, space and environment.

The project started at the Gas Gallery in Aberystwyth where responses included Transitions, Beneath The Surface, Open Space and Adleisio which have included exhibitions by Annie Suganami, Catrin Webster and artists from Aberystwyth Printmakers. At Aberystwyth Arts Centre we responded to Tim Shaw’s Black Smoke Rising and we responded to Artes Mundi 6 at both National Museum Wales and the Ffoto Gallery in Penarth.
exhibition shaniThe participants spend 48 hours in the gallery and are asked to create a short piece of work which we then collectively curate into about an hour of performance. The audience are invited along at the end and follow us through a promenade performance of the pieces. The 48 hours demands an immediate response – there is no time to think too much about it. Participants have to formulate their initial responses, their gut reactions to the work because there is simply not enough time to do anything else.

There are no restrictions on the work that participants create – we simply ask that it is a response to the art. It allows the participants a freedom to explore their own work and practice through the stimulus of art, space and environment. Effectively they can leave whatever project they are working on, and ideas about how they normally work at the door and enter a space for 48 hours in which they can play. Very importantly it offers the chance to gain valuable and rare performance experience. Everyone knows it is a piece of work created in 48 hours and so it will not be polished, it will probably not be complete, and so the participants can also simply enjoy sharing the work with an audience.

Also importantly we respect the work and the artist – we have spent 48 hours with the work, we have lived with it for two days, we have probably seen things that a quick visit to a gallery will not offer, we have looked at it from different angles, we have challenged our own thoughts on it, and interrogated our thoughts on it, it has haunted our dreams and kept us from sleeping. We will through the 48 hours fall in love with, fall out of love with it and then fallen back in love with it – and occasionally sworn revenge on it.

We have declared on several points through the 48 hours that we are simply not worthy of the art, we have become intimidated by the hours, days and weeks the artist has taken on each piece and been overwhelmed by the thought of how we can possibly express something worthy of what the artist has put into the work.

Also though we have had fun, been part of a great and growing collective, we have had a space to play, a space to talk, a space to chat about what is bothering us about our work and the world. We have shared 48 hours of magical moments and we’ve opened up our hearts to the art and the artist and we’ve been brave enough to share our thoughts and ideas to an audience.

Shani Rhys JamesTomorrow we will begin that journey with Cassandra’s Rant an exhibition of Shani Rhys James automata at Ceredigion Musuem – we will be sharing the work as part of the official opening of the exhibition on Saturday 14th February at 12PM. Come along, see the exhibition and see what we have created. We will probably look tired but we will be really pleased to share what we have created with you.

If you would like to take a look at what we get up to through the 48 hours then do call into the museum during the next two days – or follow us on www.facebook.com/scriptographyproductons or @scriptography

If you would like more information on the project then contact us at scriptographyproductions@gmail.com

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Response Time: Transitions – introducing the curator Branwen Davies

Branwen Davies

Branwen Davies

Branwen Davies who wrote and performed for the first project Response Time: Pilot Light and will be curating Response Time: Transitions.

She is a writer who writes in Welsh and English. A founder member of ‘Agent 160 Theatre Company’  and Welsh language theatre company ‘Torri Gair’ and has written for Sherman Cymru, Dirty Protest, Undeb Theatre Company  and Sgript Cymru.  She co-wrote ‘The Exquisite Corpse’ for True Fiction Theatre Company which was performed at the Millenium Centre Cardiff, The Edinburgh Festival and Southwark Playhouse. She also co-wrote the Welsh language play ‘Dominos’ for Theatr Genedlaethol Cymru.

She is currently a PhD student at the Theatre, Film and TV department at Aberystwyth University. Branwen is interested in discovering new ways of creating theatre and stepping away from text based theatre and delving in to the world of devising and experimenting.

“I’m interested in curating as I’m excited about weaving the variety of individual work that will be created and presented in order to tell an unique story as a whole. Not knowing what will be created is exciting and refreshing and a tight deadline will bring plenty of adrenaline!

The project allows for  an eclectic mix of responses from people approaching art from all sorts of different angles and spectrums. I am excited to have artists, writers, performers, musicians, live art performers and mixed media artists under one roof. People who might never work together sharing  ideas and inspiring each other to make great art.

The Gas Gallery / Oriel Nwy is a gift of a venue. It’s central, it’s accesible with a constantly changing exhibition to inspire and provoke everyone.

Having taken part in the first ‘Reponse Time’ I realised the broad mix of people making and creating inspiring work in Aberystwyth. This needs to be celebrated and exploited! ‘Response Time’ gives people the freedom to experiment, play and discover in a creative and supportive environment.

Anything can happen. Who knows what direction the artists will go. One thing for sure it won’t be dull and there will be something to delight everyone.”

More information on Response Time: Transitions is available here

Interview with Branwen Davies about her short audio drama Lost

Branwen Davies

Branwen Davies

Branwen Davies is a third year PhD student in the Theatre, Film and Television Department
at Aberystwyth University. Branwen writes in Welsh and English. She is a founder member
of ‘Agent 160 Theatre Company’  and Welsh language theatre company ‘Torri Gair’ and
has written for Sherman Cymru, Dirty Protest, Undeb Theatre Company  and Sgript Cymru. She co-wrote ‘The Exquisite Corpse’ for True Fiction Theatre Company which was performed at the Millenium Centre Cardiff, The Edinburgh Festival and Southwark Playhouse. She also co-wrote the Welsh language play ‘Dominos’ for Theatr Genedlaethol Cymru. She is currently under commission with Living Pictures and Theatr Genedlaethol Cymru  to write a play that will be performed at Sherman Cymru in September 2013. You can follow Branwen @BransDavies

Branwen’s short audio drama Lost is a play for a community that lose their folk too easily. Too often.

Lost by Branwen Davies. Illustration by Boz Groden

Lost by Branwen Davies. Illustration by Boz Groden

Tell me about your play, what is it about and where did you get the idea?
I wanted to write about Aberystwyth. I wanted to write something specific for the town. When I heard the news that somebody had gone missing and posters had gone up asking for information it made me sad and made me question what must be going through the persons mind but also what must
be going through the mind of the loved ones left behind and community as a whole. I wrote the play to try and make sense
of the situation and somehow rationalise it. It stirred  up many emotions. Missing posters reminded me of lost cat and lost dog posters and made me think how lost the missing person must have felt. I decided rather than to use a loved one – a family member or partner of the missing person to use a dog and vocalise how the dog would feel having been left behind.

This is your first time writing a audio drama/You are fairly new to audio writing, what where the differences in how you thought about finding an idea for an audio play?
An idea is an idea in whatever medium. I just felt that with audio drama I could tackle my idea from a different perspective. Approach the idea from a totally different angle and gain a different insight in to the story that  I wanted to share and the idea I wanted to develop.

How different did you find the writing process working on an audio play? Did you do anything differently?
I wanted to ensure people would listen.  I wanted to make it quite intimate. It’s an emotional piece but it had to be real.  I wanted the listener to feel that they were sharing a private and intensely emotional  moment with the main characters. Almost listening in somehow and feeling bad for intruding but not being able to help themselves but listen. I found myself writing very sparsely – I didn’t want to waste any words and I wanted every word to earn its place. That’s true for writing in any medium I guess but with radio the words have to work harder. It’s the words that hook the listener.

What did you learn about writing an audio drama from the EarCandy project?
That sad dogs make people cry! Seriously  – that the possibilities are endless.

What was your favourite thing about writing for audio?
That anything could happen. That there were no constraints. That I could be completely free and open to experiment and give anything a voice.

What was your least favourite thing about writing for audio?
Not a least favourite thing just something  I hadn’t thought of before but incorporating sound effects and thinking of writing in a technical way – footsteps/breathing sounds –  add-ons I guess. I guess I had them automatically in my bed just had to remember to write them down and not take them for granted and remember how useful they are to enrich the listening experience and help focus the listener.

Tell me about any othr projects you are working on at the moment.
I am currently redrafting my Welsh language play ‘Gwagle’ (Empty Space) that is to be produced in collaboration with Theatr Genedlaethol Cymru, Sherman Cymru and Living Pictures and performed at Sherman Cymru in September 2013. It is a two hander play loosely based on the Mabinogion tale ‘Blodeuwedd.’  I am also working with the new writing company Dirty Protest  (www.dirtyprotesttheatre.co.uk) writing  a  short one woman show ‘Suffocate’ for their project ‘Play in a Bag’ that will be performed over the summer. The play comes to terms with losing one’s childhood once childhood heroes and memories become tainted and  are no longer relevant and having to face up to brave new adult world at the age of 33.  I am also coming to the end of my second year practise based PhD based on ‘new writing’ and working on a devised theatre piece and a full length bilingual play ‘Llond Bol/A Guts Full’ a response to the decline of the Welsh language and the future of the Welsh language.

Lost is part of the Earcandy audio drama project by Scriptography
Productions. 12 plays by 13 writers, 15 performers playing over 50
characters. Follow news of the project www.facebook.com/earcandyaudiodrama or @earcandy_plays