Desperation Bingo // Creative Electric

It is brave to incorporate a game of chance like bingo within a show that has a serious message, but Creative Electric manage it well with a pair of camp, confident hosts. Eyes down, dabbers ready... The audience is playing, but there are also three 'contestants' who respond to each called number with a fact about themselves based on that number. It might be something that happened when they were that age, or something they bought for that amount of money, or the number of years they've been taking medication to treat their anxiety.

The audience can win prizes in the first two rounds, even as the information we learn about the contestants' characters gets more personal and more desperate. By the third round, it is clear that the point is to rage at the deadly impacts of the current government's austerity policies in the UK. A case here in Leith is mentioned, in which a local man died by suicide and the coroner said the trigger had been the decision of the Department of Work and Pensions to rule him fit for work, in spite of contrary assessments by his GP and psychologists.

Unlike Kaleider's Money, seen in Edinburgh in 2015, which asked the audience to agree on how to spend a pot of money, Desperation Bingo culminates in the opportunity for one audience member to win £82. The prize is the weekly benefits of the final contestant's mother, which she is at risk of losing now that her Disability Living Allowance has been replaced by an opportunity to apply for Personal Independence Payments. Last night the audience member declined, and it would be interesting to know whether anyone has ever, with an actor shouting 'You are Iain Duncan Smith; you are the Tory government', dared take the money.

- Michael Regnier

Links relevant to this diagnosis: 

Desperation Bingo - Creative Electric

The Money | Kaleider - British Council Edinburgh Showcase 2015

What Is Austerity? - The Economist 

GP's Report Was Ignored During Assessment - Pulse

Life and Death Under Austerity - Mosaic

Personal Independence Payment (PIP)

The Samaritans - How to Get Help

Rap Guide to Consciousness // Baba Brinkman

Have you ever wondered if a zombie is conscious? Do you love hip-hop? This a show that addresses the former through the latter. Baba Brinkman tackles ‘the hard problem’: how are we conscious? Consciousness is the awareness of your own existence, sensations and thoughts. So how then do the 90 billion or so neurons in our brain create a conscious being? This is a question science does not yet have the answer to, but though a series of ‘peer-reviewed raps’ Brinkman explores what we know about the brain and what this can tell us about the nature of consciousness.

Brinkman takes us from Bayesian probability theory to panpsychism (the theory that the universe is conscious). He breaks down these complex ideas using his son, acid trips and Google’s DeepDream generator, to create a funny and enjoyable hour long discussion about some hardcore scientific ideas. This makes Baba Brinkman’s Rap Guide to Consciousness a fantastic example of how to communicate complex scientific ideas. Every day we are bombarded with news stories about the latest scientific discoveries and asked to change our behaviours and lifestyles, and yet more often than not we are expected to just believe in the experts as the science is too hard to explain. With global phenomenon like climate change and obesity having the ability to affect us all, it has never been more relevant that we demystify science and remove the lab coat and safety goggles. 

- Kate Porcheret

Links relevant to this diagnosis:

Baba Brinkman - Rap Guide to Consciousness

Consciousness Round-Up - New Scientist

Your Brain Hallucinates Your Conscious Reality - Anil Seth (TED)

Rapping Evolution: An Interview with Baba Brinkman - Committee for Sceptical Inquiry

DeepDream Generator

Being Hueman Being // Luke Nowell

Friedrich Schiller wrote that we play only when we are fully human, and are fully human only when we play. In Being Hueman Being, Luke Nowell creates a playful world in which everyone is invited to participate, play and perhaps achieve a state of full humanity.

This world is grounded in his art as a clown - his demeanour, his attitude, even his posture is playful as he has fun with art and the cycle of life. No big deal, he's just being human. Audience participation is crucial. You might be recruited to play a sperm racing to an egg, or to be a flower for a bee to pollinate, or to be a human with a swatter, or to be a bee that forms part of a swarm to sting that human to death. There is so much to do, everyone has a chance to play.

In recent years, there have been many stories about playful workspaces - office ball pits, laughter clubs, colouring books for grown-ups. This trend is not an attempt to revert to childhood, but an attempt to recover an essential part of adulthood. Play allows for creativity: it is necessarily voluntary, enjoyable and flexible. When you join in a game, or run with someone else's idea, you inevitably create something new. This is the playfulness of all performance - there may be rules to learn but performers and their audiences create a new experience every time. Although Nowell begins his show by saying everything is controlled, it is clear that each time he invites someone to participate, he cedes some of his control to us so that we can also play and create a new experience.

- Michael Regnier

Links relevant to this diagnosis:

Being Hueman Being - Luke Nowell

Johan Huizinga's Homo Ludens - PopMatters

Play is More Than Just Fun - Stuart Brown (TED)

Seriously Playful: Creativity, Being and Play - Institute of Arts and Ideas

The Psychological Case for Adult Play Time - Pacific Standard

Me and My Bee // ThisEgg

Me and My Bee is a family show, in the best sense of appealing equally to both adults and children. Like The Muppet Show or The Simpsons there are jokes that sail over the heads of the youngest but reveal a sharp seam of humour embedded in the show for the older attendees. The silly irreverence of what the group describe as a ‘political party, disguised as a party party, disguised as a show’, dramatizes the looming extinction of bees and asks that its audience join the three performers in helping them resist it. A lonely bee looks for a flower to pollinate through a series of dance routines, monologues and audience participation. Politics, ecology and disco converge. The bee’s story is continually framed in relation to his importance to the continuing survival of other species, and as a result of the impact of humans on the eco-systems he relies on.

Just what the extinction of bees would mean for the world is increasingly part of public discourse. The cataclysmic effects of colony collapse disorder (CCD) could result in the disappearance of not only honey but enormous amounts of crops that couldn’t survive without the pollinating insects. As this contributes to a shrinking of the resources of the world, the problems that we already see, of migration and of conflict, will be exasperated. Like the rest of the public, artists are waking up to this and attempting to raise the alarm on behalf of the furry little insects, from Reverend Billy to Black Mirror. The satirical clowning of Me and My Bee deals sillily with an incredibly serious issue, highlighting a pressing ecological issue to its young audience. As they leave, clutching a pack of seeds they’ve been encouraged to plant, they importance of reversing the decline becomes ingrained early on.

-       Lewis Church

Links relevant to this diagnosis:

Me and My Bee - ThisEgg

Extinction of Bees – Global Research

Honey Bee Extinction Will Change Life As We Know It - Motherboard

The Climate Change Generation Gap – The Bulletin of Atomic Scientists

Reverend Billy Vs Robobees

Black Mirror ‘Hated In the Nation’ – The Atlantic

Awake // Miranda Colmans

Sleep: we all need it and most of us probably think we don’t get enough. But what is it like to get a bad night of sleep, day after day, week after week, month after month? Awake, by Miranda Colmans, explores this. Told through a series of characters who find themselves awake in the middle of the night and come together in an online chat room, Colmans highlights the difficulties experienced by people with chronic insomnia.

Around 6-10% of the adult population will meet the clinical criteria for insomnia disorder, which requires at least 3 nights a week of poor sleep, for at least 3 months, causing significant distress or impairment to daytime functioning. Colmans portrays not just the exhaustion that is experienced by successive nights of little sleep, but also the frustration and loneliness that people experience being awake while everyone else is asleep.  Starting off with the at times comical side of the often conflicting advice and strategies offered to get to sleep, like trying to relax for the third time that night. 

Colmans leads us down a path of the increasing frustration and loneliness her character’s experience to the onset of mental health problems. Insomnia is a recognised risk factor for the development of depression and commonly occurs alongside many mental health conditions.  Colmans’ portrayal of a single mum as she tries to cope with a new baby on little or no sleep, eloquently demonstrates how things can quickly unravel. The onset of insomnia is not uncommon during or shortly after pregnancy and can be linked with the development or exacerbation of post-partum depression. This is a very vulnerable time for many new mothers and fathers, especially for those with little or no support. Sleep is often low on the list of priorities but more needs to be done to ensure that we give sleep the time it deserves. Work like Colmans’ bring sleep to centre stage, recognising the importance of sleep in all of our lives. 

- Kate Porcheret

Links relevant to this diagnosis:

Awake - Miranda Colmans

Scientific Review of Chronic Insomnia - The Lancet

Why Do We Sleep? - Russell Foster (TED Talk)

Having Trouble With Your Sleep? - Nuffield Department of Clinical Neurosciences

Primates // Tessa Coates

A stack of hefty hardback books wobbles next to the microphone throughout Tessa Coates's stand-up show. An aged academic tome sharing the title Primates is there, but also Girl's Own Adventures and the Famous Five - and is that a Harry Potter towards the bottom of the pile? Yes it is, and despite the initial suspicion that these books have been chosen solely for their looks, it turns out that they are all pertinent to the show.

Coates begins by thanking the audience profusely for coming, establishing her persona as an earnest, prudish and perhaps rather posh anthropology graduate who is going to share with us her passion for the study of humans, in particular the study of penises. But she adopts an alternative persona - a cool American - in order to express this as 'I love dick'. And she plays another character, her former lecturer, to introduce the subject. With a background in sketch comedy, Coates is a natural at putting on funny characters, but there is surely an anthropological angle to why it is easier to say certain things sincerely only when playing at being someone else.

Anthropology is the frame for the show. While we learn the reason for the human penis having the shape it does and why some sperm have been called 'kamikaze' by scientists, the content is mostly observational comedy about sex, dating and relationships. Perhaps that is a large part of anthropology, too. But if we understand modern human behaviour as simply the results of past evolutionary pressure and biology, does that reduce our experience of life and love? Like scientists from other disciplines (such as neuroscientist Anil Seth), Coates grapples with this dilemma, and earnestly concludes - in the character of the professor - that while life is essentially meaningless, we are all special.

- Michael Regnier

 

Links relevant to this diagnosis:

Primates - Tessa Coates

Why Is the Penis Shaped Like That? - Huffington Post

Nothing to Be Afraid Of (Anil K. Seth) - Granta 

The Meaning of Life and the Search for Happiness - Popular Social Science (2013) 

Debating Self, Identity, and Culture in Anthropology - Current Anthropology (1999)

Is the Presented Self Sincere? Goffman, Impression Management and the Postmodern Self - Theory, Culture and Society (1992) 

The Science of Cringe // Maria Peters

As a child, Maria Peters went to school early every day to conduct a secret science project (investigating the effects of shampoo on hair strength). But she stopped when she could no longer keep it a secret from her friends, fearing social rejection. This is just one of many personal 'cringe-cidents' revealed during the course of her show, which uses comedy and science to explain what cringe is, why we feel it, and whether sharing the most cringeworthy experiences of her life will help her control her fear of rejection.

The audience, too, is invited to share, albeit anonymously. Everyone has the chance to write down an embarrassing memory that Peters will later use as the basis for an improvised reenactment or song. We get to cringe for each person's remembered experience as well as for them having it replayed in front of all of us. How much we cringe or laugh depends on our level of empathy - people's capacity to feel each other's emotions, including social and emotional pain, is a strong part of human culture. Cringe, it seems, helps bind us together and exclude anyone who doesn't quite fit. Peters pulls in arguments from neuroscience and evolutionary psychology to support this idea.

Research into modern-day emotions can be complicated and sophisticated, but can it help us cope when excessive cringe interferes with our lives? 'Shame attacks' form part of some types of behavioural therapy designed to ease social anxiety. Participants are tasked with going out and committing small acts of social disorder (loudly calling out every floor in a crowded lift, for example) in order to learn that cringing is not the end of the world. Peters seems to be trying something similar with this show, and her conclusion is that while cringe may sometimes save us from social embarrassment, it also sometimes stops us being who we truly are. Her suggestion is to embrace the cringe, and when everyone in the audience joins her in a most cringeworthy dance at the end of the show, it is hard to argue.

- Michael Regnier 

Links relevant to this diagnosis:

The Science of Cringe

Reputation is the Modern Purgatory - The History of Emotions Blog (2012)

The Centre for the History of Emotions - Queen Mary, University of London

Cells That Read Minds - New York Times

Evolutionary Psychology - Science Daily

Shame Attacks - The Albert Ellis Institute

Stegosaurus // ES Productions

The breadth of shows engaging with eating disorders at the Fringe in 2017 reflects the rising rate of admissions and treatment for anorexia, bulimia and newer, less clinically defined conditions. Presenting her story through a simply illustrated and focused monologue, Ersi Niaoti documents obsessive bingeing, harsh denial and destructive behaviours and their impact on her life. Tiny moments reinforce the everyday reality of conditions like these - a long pour of coke into a bucket like the sound of a purge, and the flick of a lighter an obsessive distraction. Her performance recounts a story familiar from several other shows, the continual denial of her own body’s needs and a warped sense of her own health and attractiveness. It focuses on bodily detail, on the bile and liquor of the condition, rendered in sharp language. She describes her personal climate as arctic and her visible bones as her jewellery. The bony ridges of an emaciated frame give the piece its name, a child’s observation on the changes in a loved one’s body.

The rise in eating disorders, amongst men as well as women, has been linked to the continual comparison engine of social media and shifts in popular culture. Obsessive gym going, personal grooming, and the obsession of taking the always best-facing picture perpetuate and reinforce a culture the encourages unfavourable measurement of your worst against the best of others. Clean eating, thinspiration and Tumblr goals lead more and more to a culture like that referred to in Professor Renee Englen’s psychological research as ‘beauty sick’. And whilst there are no simple answers to public health crises, continual comparison distorts perception. To observe something is to influence it, a continual pressure to change your body in the hope of better results.

Niaoti’s monologue focuses on her very personal experience of anorexia, bulimia and depression, but whilst the metaphor and language of Stegosaurus is affective in its subjectivity, the experience it documents is an increasingly familiar story.

-       Lewis Church

Links relevant to this diagnosis:

Stegosaurus

The Reality of Anorexia – b-eat (Beating Eating Disorders)

NHS Digital - Eating Disorder Admissions

Eating Disorders Rising All Around the World – Eating Disorder Hope 

Eating Disorders in Men - Guardian

When Beauty Obsession Becomes A Disease – Pacific Standard Magazine

Facebook Use and Poor Body Image - UNC Healthcare

Fashionable Medicine: Syphilis, Spas and Melancholy // Sibbald Library Productions

How should art deal with science and medicine? Should it even try? It often does, ‘science plays’ have been around for centuries, and films have covered these topics since their inception. How should those working in science and medicine explain what they do and why it’s important in a non-condescending way?

There are many different initiatives, such as the Pint of Science events that take place in pubs across the UK, which represent new ways of making science accessible. Fashionable Medicine: Syphilis, Spas and Melancholy is more of traditional approach. I listen to the lecture, watch the PowerPoint presentation and take notes. We’re in a venerable old hall that in itself might be off-putting for some, surrounded by portraits of great men (yes, men). Iain Milne and Daisy Cunynghame provide a slick double act; their presentation is funny in places and neither stuffy nor condescending. It is accessible to a far wider audience than has been tempted here. 

The lecture focuses on four aspects of fashionable medicine: theories, cures, diseases and clothes, using the college archives as illustration. They introduce the theory of disease linked to the four humours (black bile, yellow bile, blood and phlegm), which probably originated with Hippocrates nearly 2500 years ago, although it was later adapted by others, notably Galen. This nonsense wasn’t seriously challenged until the scientific and medical enlightenment that accelerated through the 18th and into the 19th century. Nevertheless, we still use concepts based on the humours, describing people as sanguine, phlegmatic and bilious. The fashionable cures involving spa waters at least did little harm, compared to other cures which were usually poisonous.

The main fashionable disease discussed was melancholy – a vague chronic disease, and thus ideal for doctors, who could prolong treatments and payment accordingly. Today’s fashionable disease is probably stress, a term that has been corrupted to cover everything from being very busy to suffering severe clinical depression. The syphilis of the title hardly gets a mention, but then concepts of contagion or infection were hazy and contentious until the mid-19th century. 

In contrast, Samantha Baines’ 1 Woman, A High-Flyer and A Flat Bottom, is a solo comedy act where she highlights 3 forgotten women of science. Its best example is Margaret E Knight, a 19th century inventor. Mattie lodged multiple patents and, amongst other inventions, came up with a machine to fold and glue the flat-bottomed paper bag that we all know. Baines' pun-laden informative comedy is a different way of making science accessible. Both ways are engaging and entertaining, but its important to engage if you are to be entertained. 

-       Alistair Lax

Links relevant to this diagnosis:

Fashionable Medicine: Syphilis, Spas and Melancholy

Pint of Science

Science in Theatre

Royal College of Physicians Library Blog

Samantha Baines - 1 Woman, A High-Flyer and A Flat Bottom

Women Inventors 

Wretched // Richard Stott

Richard Stott’s stand-up show documents his experiences as an actor with a disability. Born with Poland syndrome, a condition that resulted in an underdevelopment of his hand and chest, he recounts his experience of existing in an awkward position between identifying as disabled and not due to his ‘non-conformist left hand’. Re-enacting the misguided attention of casting agents and directors, his jokes orbit the fallibility of arbitrary labels, and the grim irony of his position. Once told that he was too young to play Richard III, it was nevertheless acceptable for a marginally older actor to adopt a clawed hand in the role. One incongruity with the character’s body as written was acceptable, whilst the other was not.

Stott’s performance traces the shifting attitudes to disability through the prism of the experience of a performer, from the Ancient Greece through the Victorian era to his own today. Drawing on a memory from a holiday in Athens, Stott asks what his potential as an actor in the Theatre of Dionysus might have been. He asks if he would have been able to perform, or thrown from the rocks in the distance as an ‘imperfect’ specimen. Or would he have participated in the Victorian freak show, making money from his difference? Is it better to hide his disability or engage with it?

The question of disabled actors and disabled roles is one that periodically emerges in high-profile public debate. Eddie Redmayne, Daniel Day Lewis, Tom Hanks and Sam Clafin have all engaged in this ‘disability drag’, as Roger Ebert once put it, to extended protest and debate. The ‘shortcut to an Oscar’ route for playing disabled characters is a cliché, and is now at least questioned when it emerges. The other side of this coin, the stereotyping of the disabled actors, within the work they are able to secure, is equally problematic. The pressure to resist poorly written characters that correspond to a disability is a dilemma within an ultra-competitive casting climate, where any work is to be treasured. Those who manage to negotiate this, are few and far between. Even disabled actors at the peak of their fame still face this difficult negotiation, as Peter Dinklage has attested to. Diversity quotas are a blunt instrument, and as Stott observes, it is one that often leaves actors like him, with a disability but not particularly disabled, in the moral dilemma of grasping the opportunity or denying the work.

-       Lewis Church

Links relevant to this diagnosis:

Wretched - Richard Stott

Actor Has Fingers Replaced With Toes – Huffington Post

Poland Syndrome - Genetics Home Reference

Disability Drag - Roger Ebert

Peter Dinklage on Choosing Roles Carefully - The Talks

Out // Rachael Young with Dwayne Antony

Rachael Young and Dwayne Antony choreograph their challenge to homophobia and transphobia in Caribbean communities through a stylised repetition of tasks and dance steps pushed to the limits of endurance. Their two bodies exist in relation, not only in the obvious moments of unison or canon, but in the instances of quiet as well, in the peeling of oranges and the unzipping of shoes. Two bodies, poised and beautiful, unapologetically black and queer. One of the most impactful moments of the performance features the voice of a pastor haranguing the ‘immorality’ of homosexuality and of trans identities, looped and warped to accompany a lean and bend, in and out of a strict band of light. The performers faces appear and recede, into light and out of sight into darkness. The hateful narrative of the soundtrack loses its legibility through its rhythmic hijack.

Out engages with the legacy of colonial laws that still permeate the legal systems of many Caribbean countries, buggery laws that foster and endorse a wider homophobia. The histories that affect cultural perceptions of sexuality involve the world, and the contemporary experience of individuals in diasporic communities echoes the legacy of varied oppression. Whilst Western societies congratulate themselves for increasing (but still not universal) tolerance, the impact of its role in the origination of these attitudes must be still acknowledged and reflected on.

The fierceness of the movement in Out, the physical conviction and relentless power reflects an often-unacknowledged strength in difference. It reflects the egregiousness of masculinist and cisnormative dialogues, and the fragility of cultural stereotypes. These different signifiers circle throughout, race and sexuality, bodies and power. Dancing in abandon to dancehall in the opening, a genre that became a musical byword for homophobia in the 1990s, the two performers assert their place in wider culture, the importance of their identities and an affirmation of their selves.  

-       Lewis Church

Links Relevant to this diagnosis:

Out - Rachael Young

LGBT Rights in Jamaica – Equaldex

Being Black and Gay: The Illusion of Inclusion – The Fact Site

 Being Black and LGBT in Britain (2016) – Maroon News

Britain Can't Just Reverse the Homophobia It Exported - Guardian

5 Guys Chillin' // King's Head Theatre and Em Lou Productions

As you check into 5 Guys Chillin’, you are handed two condoms and told not to use them during the performance. There’s some irony in the joke as the characters in the show probably wouldn’t want them.

The play is a snapshot of five guys during a chemsex party. This is usually defined as sex where the drugs (G or GHB, crystal meth and mephedrone) are taken before and during a prolonged ‘chill-out’ to prolong and enhance it. As with any other play, it would be wrong to extrapolate too widely, to suggest that it represented all in the “gay community”, itself a lazy term sometimes wrongly used interchangeably with “gay scene.” Both terms imply a complete uniformity of gay and bisexual experience. Nevertheless, a report on a survey of 1000 gay men in London in Lambeth, Southwark and Lewisham suggested that a tenth had had chemsex in the past 4 weeks. Reading into the actual survey though shows that the sample was recruited via “on-line social and sexual networking sites”, so it is unclear how representative it is.

The characters of 5 Guys Chillin’ reminisce about past fuck parties, and the drugs that allow them to party orgasm-free for days. Their conversation is only about sex. Most of them are HIV+, but they are fairly blasé about this as they have a low viral load. They prefer riding bareback anyway and are not all concerned about telling new partners their HIV status; one thinks all gay men should be HIV+ – after all PrEP is the solution. Other STDs are dismissed as curable inconveniences.

Gradually as the drugs start to work, individual differences emerge, with small glimpses of the men's back stories. Cultural pressures led to one guy to getting married, a set-up he has mixed feeling about, even though his wife knows he has sex with men. Others display wistful reflections on a past life without drugs. The guy who feels that being fisted helps someone to connect deeply inside him remains resolutely unquestioning – no regrets there. Strangely, much of this hedonism is reminiscent of attitudes during the 14th century to the Black Death, when desperate people who saw no future for humanity lived for the day and entirely for themselves. The guys in 5 Guys Chillin’ are cavalier about others, but also fatalistic about themselves.

- Alistair Lax

Links Relevant to this Diagnosis:

5 Guys Chillin'

What is Chemsex? - New Scientist

The Chemsex Study - Sigmar Research

Chemsex, HIV and STI Transmission - British Medical Journal

Personal Testimony of Chemsex Experience - London Evening Standard

Ensonglopedia of Science // John Hinton

Featuring a song for every letter of the alphabet on a different scientific topic, the ambition of this performance is to make some impressively complicated ideas accessible and enjoyable for younger audiences. N is for neuron, P for Phylogeny and R for Relativity, which comes complete with a rap. And whilst as with any performance that aspires to present 26 moments of genius the hit rate varies,  the clarity of the scientific concepts is maintained throughout. Ensonglopedia of Science is couched in vaudevillian humour, and although the accent used for the ‘Cell Calypso’ is unfortunate, the other humour helps difficult ideas to stick.  

It’s goal of familiarising the young audience with the mechanics of scientific inquiry, foregrounding the central process of a hypothesis tested by experimentation, is vitally important in an era of fake news and alternative facts. As scientists have continually asserted, one of the biggest issues they face is the way that the public understand the language and processes of science. It is essential that both the public and politicians appreciate what is meant by terms like ‘theory’ and ‘proof’ in relation to the research of scientists. Correcting misrepresentations, particularly amongst the young, could help avoid the kind of debate seen around the validity of the science of climate change, for example. Greater scientific education can leave the next generation less susceptible to the distortions of research in the service of political positions.

Hinton is in a long line of performer/scientists that engage with the silly to help foster understanding, from Don Herbert to Bill Nye, a family friendly entertainer and educator. Manic energy and the breakneck speed with which he moves from one song to the next relates to the fizzing of electricity, the vastness of space and the breadth of human inquiry.

- Lewis Church

Links relevant to this diagnosis:

Ensonglopedia of Science - John Hinton

10 Scientific Ideas Scientists Wish You Would Stop Misusing - Gizmodo

The Association of Science Education

Engaging and Educating the Public on Environmental Science - BioMed Central

How to Make Hydrogen - Mr Wizard (Don Herbert)

Climate Debates on Television - Last Week Tonight with John Oliver

Siri // La Messe Base with Aurora Nova

The central concept of Siri, using the iOS assistant AI to fulfil a speaking role in the performance, is intriguingly complicated by the biography of Laurence Dauphinais, the actor conversing with the disembodied voice of her phone. As one of the first Canadians created by artificial insemination, Dauphinais shares some unusual certainties about her conception – exact time and place, process and design – that echo the available information about the creation of Siri by Dag Kittlaus at the SRI Artifical Intelligence Centre. Two derivations of ‘AI’ are at play in Siri, artificial insemination as well as intelligence. Continually questioning her phone to answer the deeper, more emotionally resonant questions that arise from the bare facts of her creation provokes unnerving confluences and responses from the now-familiar voice from the phone. Dauphinais plays with this, the answers that might most approach a Turing-test pass instantly undone by repeated and carefully provoked stock answers.

Fragments of songs and films are used to give Siri the illusion of personality. Familiar touchstones like the homicidal HAL from 2001: A Space Odyssey, a reference so familiar that it is actually built into the software of Siri itself, are used alongside the autobiography of the performer to question identity, intelligence and the nature of consciousness. As artificial intelligence arrives and becomes part of our lives, these questions become even more essential. Siri provides an anthropomorphisation of external supplementary memory. She is a deferral of the responsibility to remember numbers, the layout of cities or good restaurants near me, and a step towards the normalisation of everyday AI. The performance asks what it means to create it, and to accommodate it into our lives.

Just as Kittlaus saw his creation developed by another, the anonymous donor that provided half of Dauphinais’s genetic makeup is a spectre hanging over even the most technobabble dialogue. Dauphinais recounts how her home DNA test, an increasingly common postal swab, led her to a previously unknown relative and the potential of reconnection. The performance dwells on the risks of pursuing it, asking whether Dauphinais’s biological father might feel differently to now see his anonymous donation realised in a full person as complicated as any other, just as Kittlaus might not recognise the original goals of his creation in the program we carry around today. 

- Lewis Church

Links relevant to this diagnosis:

Siri - CanadaHub at Summerhall

Turing Test

Siri Development

History of Artificial Insemination in Canada

The DNA Test as Horoscope - The Atlantic

I Am A Tree // Jamie Wood

I Am a Tree is not a return to nature as much as a reassertion that the separation between humans and other living things is not absolute, that the human body and its processes are as natural in their rhythms as the growth of a tree or the migrations of birds. It is a memory and a eulogy, to nomadism and to mortality and the fallibility of living things. Jamie Wood greets the audience by listening to their hearts, laying his head on their chests and expelling their worries like a cresting whale.

The show loosely follows the progress of Wood’s journey by foot from Coventry to South Wales, leaving his young baby and partner at home in order to reconnect to the wild. The story meanders like its protagonist, but like any journey the progress is more important than the destination. His walk is a peculiar kind of mindfulness exercise, a mental health time-out in a relentless period of change. Wood’s life at home haunts the piece, never really spoken of in detail but always lurking beyond the next hill. Questions of responsibility vie with a commitment to self-realisation. The comedy in his journey too is always on the verge of tipping into abstraction and doubt. Wood’s clowning and slapstick blurs into meditative tasks, an unlooping of bootlaces slowly moving from Chaplin to Mona Hatoum.

I Am a Tree also asks that the audience use their own bodies in service of the story, whether using a blowdart to pop the ‘weight of death’ that hangs above Wood’s head during a speech about his grandfather, or asking several spectators to move on stage as animals whilst he cradles another. Participants are gifted a vegetable reward for their efforts, hacked from a broccoli tree. A plant-based replacement for the energy they expel. These actions are measured by a slow drip of water from a red bladder that marks the duration of the show. These images remain, half remembered and fleeting, like moments from a walk.

-       Lewis Church

This diagnosis is based on a preview performance at Ovalhouse, London. I Am a Tree runs in Edinburgh at Assembly George Square from the 14-27th of August.

Links relevant to this diagnosis:

Jamie Wood – I Am a Tree

What is Walking Meditation? – Wild Mind

Humans Need to Reconnect with Nature – Tree Hugger

Walking and Grief – The Globe and Mail

Parental Burnout – NYMag 

Charlie Chaplin Eat His Shoes - From The Gold Rush (1925)

Mona Hatoum – Performance Still (1985/1995)

Bechdel Testing Life

Bechdel Testing Life is a series of plays inspired by the Bechdel Test, which asks whether a film, play or television series features a conversation between at least two women, about something other than a man. The question is one of representation. But it also makes me wonder whether women share ideas in a different way when they are together. 

Kate Fox, in her essay Girl Talk, tells us that there are many studies which demonstrate that the ways genders bond are different. As she writes, ‘male bonding tends to be more formal and organized’, and also that ‘every known human society has some form of men-only clubs or associations, special (often secret) male-bonding organizations or institutions from which women are excluded’. The private interactions between women are similarly important and should be foregrounded as well.

Caitlin Moran points out that women have fears totally outside the male experience. No man can really get why women hesitate before walking home in the dark. Girls are raped, robbed, assaulted, as well as diminished and demeaned for no reason other than that they have a vagina. That is terrifying. As Moran writes

We're scared. We don't want to mention it, because it's kind of a bummer, chat-wise, and we'd really like to talk about stuff that makes us happy, like look at our daughters — and we can't help but think, ‘which one of us? And when?’ We walk down the street at night with our keys clutched between our fingers, as a weapon. We move in packs — because it's safer. We talk to each other for hours on the phone — to share knowledge. But we don't want to go on about it to you, because that would be morbid.

Communication between the sexes is certainly possible, and understanding knows no gender. But empathy might be a different, and more complicated, matter. 

-       Lynn Ruth Miller

This diagnosis is based on the performance Bechdel Testing Life at The Bunker, London. Bechdel Theatre are at the Fringe highlighting shows which pass the Bechdel Test. Check in with their work here.

Links relevant to this diagnosis:

The Bechdel Test - Dykes to Watch Out For

What Women Say to One Another - Huffington Post

Women in Conversation - Elite Daily

What Do Women Talk About Mostly? - Quora Topic

What Women Never Say to A Man - Caitlin Moran, Esquire

Girl Talk - Kate Fox

Hear Me Raw // LipSink Theatre

Hear Me Raw dissects the culture of ‘clean eating’ through a semi-fictionalised monologue based in the personal experience of its performer. Questioning the logic of whether raw smoothies and matcha provide any real solution to deeper emotional problems, Daniella Isaacs blends her real story of acute anxiety and distress with an imagined identity as a food blogger. As ‘Green Girl’, Isaacs evangelises about the need to remove dairy from your diet, replace caffeine and deny sugar, with all the zealotry of a convert. But the stability of this identity is disrupted by the interventions of concern from family, friends and clinical professionals. Isaacs’ clean eating obsession, watched over by the sinister figure of now-disgraced prophet Belle Gibson, grows into a recipe for distress, a diagnosis of Orthorexia Nervosa, and a familial rift.

Alongside its expose of the sometimes-worrying orthodoxy of clean eating adherents, and the modern obsession with demonstrable ‘wellness’, Hear Me Raw also reveals more general problems. Isaacs, graduating from drama school at the start of her story, embodies the anxieties of the modern twenty-something, particularly in the industries of theatre and performance. Her bullshit job typing up casting calls for ‘hot ex-girlfriends’ is a clear reference to the pressures of conforming to industry ideals, and to the unrealistic expectations for young performers that stifle the industry. Encouragingly, there seems to today be a greater awareness of the importance of diverse bodies in theatre, film and television, and a slowly building intolerance for retrograde casting practices. Here a young actor discusses the gulf between her expectation of fame and success and the realities of trying to get there, within the frame of a show that itself gestures towards that same frustrated expectation.

Isaacs suggests at the close that she had previously promised never to make an autobiographical show. Hear Me Raw is defiantly autobiographical, and is at its best when it abandons ‘acting’ in favour of personal testimony. Its central performance is not a dramatic role, but a sharing of a personal story, and a repudiation of the pressures that provoke the quarterlife crisis. 

- Lewis Church

This diagnosis is based on a preview performance at Hackney Showroom, London. Hear Me Raw runs throughout the Fringe at Underbelly George Square.

 

Links relevant to this diagnosis:

Hear Me Raw

Orthorexia Nervosa

“Clean eating” How good is it for you? – BBC News

Belle Gibson Court Case – Guardian

The Quarterlife Crisis - Guardian

Lady Parts (Sexist Casting Calls)

Drama Graduates One Year On – The Stage

Touch // DryWrite

I myself have never been able to find out precisely what feminism is: I only know that people call me a feminist whenever I express sentiments that differentiate me from a doormat.

- Rebecca West

In her new play Touch, Vicky Jones explores what the fruits of feminism are, and questions who has the real power in a relationship. Dee, a 33-year-old single woman, has left a failed relationship in Wales to establish herself and make a life in London. She tries to connect with herself and build meaningful connections through a variety of online dating sites, but each liaison widens the gap between her expectations and reality.

Dee confronts Miles, an older man who is part of a group involved with S&M, and argues that he is trying to make her weak. ‘It’s no fun for me if you are weak’ he responds, because that is the game. We pretend we are strong to be mastered by another. Although Dee talks as if she is in control of each relationship, she is actually a victim of what her partners want from her. Eddie, the first man we meet on stage, tells her that ‘there are woman out there who are doing better than you at being a woman. Who enjoy being a woman. And who have their fucking shit together’. But getting her shit together is the very reason Dee rented her tiny bedsit in London.

The big question becomes one of what being a woman is supposed to be in this liberal, forward-thinking twenty-first century. As Elf Lyons writes:

You can’t use multiple relationships to fill the void and give you the gratification that you should be able to give yourself. More love doesn’t mean better love. If you are dating multiple people in order to enhance your self-worth, you end up feeling like out-of-date hummus, feeling jealous anytime anyone chooses to spend time with anyone else, resulting in you treating your partners badly and without respect. 

And this is exactly what happens not just to Dee, but to far too many single thirty-something women, with their biological clock ticking, their hormones buzzing and constant reminders that they are not cohabiting, reproducing, or being what they thought they would be at this stage of their lives. 

Some of the confusion rests with the new generation of men who support the concepts of feminism and yet do not know what is expected of them as partners. As Mark White writes in Psychology Today 

It is difficult for men, especially those of us who appreciate and embrace the importance of being respectful and considerate toward women, to balance those attitudes with the animalistic, non-rational expressions of passion and desire that women want from us.

That is the dilemma faced by singles today. We have commercialized sex to the point where partners are touted as objects to shop for on sites like Tinder or in pornography for momentary excitement and passion, but when it comes to the long haul we are at a loss. No one knows how to react. Just where is the line between subservience and co-operation, dominance and abusive control? 

-       Lynn Ruth Miller

Touch is at the Soho Theatre, London until August 26th 2017. A new production of DryWrite's  Fleabag is at Underbelly, George Square during the Fringe from 21st-27th August.

 

Links relevant to this diagnosis:

Touch - Soho Theatre

Fleabag - Underbelly George Square

Why Men Find It So Hard to Understand What Women Want - Psychology Today

Women’s Attitudes Toward Sex - Huffington Post

Has Feminism Worked? - Telegraph

Elf Lyons - Polyamory: A New Way to Love

What Is the City But the People? // Clare McNulty

Manchester

Madchester

Womanchester

It has a good few names. Quite succinctly it is goosebumps. A frisson of fashion and fascination. Shudders of connectors and receptors. Born from changes and hormones.

Piccadilly Gardens grew a limb for MIF's opening ceremony. It was strong, white yellow and black, a suspended scaffolded catwalk bookended with gargantuan screens. Forcing us to face elevated people of hairs and muscles we wouldn't necessarily notice but need. 

Outcasts can find homes here and be heard. Happiness happens. Ageing graffiti is persistent proof on decayed tooth buildings. In love longing and loss, the people present made the same marks of defiance and delighted in difference. 

The community of Manchester is multicultural, multidimensional and multi-layered. Overhead city birds flew through bringing beats of Graham Massey, familiar yet distant and path-promising. The music drove the spirit. Instrumental expressions inspired individuality in absolute purity. Each person offered a preserved presence and prominent pride. Some were meditative and mindful. Moving with the same precision, simplicity, honesty and dignity of a Japanese Tea Ceremony. 

This misplaced MIF limb shone an examination light on the pulse of Manchester, linking lives and the humbling cure of courage people can bring. That's how the city sings its sounds. They echo against minimalist movement in a microcosm magnified. 

We are all blood cells moving through concrete capillaries, veins and arteries. The buildings house pains and electric brains. Without our power our city's complexion would wither to the wan of winter.  There would be no ideas. A computer not operated, not invented even.

We consider a baby's first breath. Nature and inherent beauty. A mother's love and another mother's duty.

Beautifully beaming brothers burst out. One romancing with adrenaline fuelled break-dancing. We all feel it. It happens again. We smile. We are related in bird skin. We rub our arms but we are not cold. In that collective moment we're reminding each other of our fragile mortality through silent screened stories and broken open emotion. Undoubtedly, those of us who were not elevated, were raised in other ways.  

A counterbalance of contemplation and cognition came curling round cogs of memory, giving mind to Maslow's hierarchy of needs. A medical tool based in subjectivity and judgement, stuck in me from my nursing history. The individuals we saw seemed to present in Maslow’s self-actualisation. It gave a great faith for fruitful futures in friendship. We surely shouldn't take our time or significant others for granted. That is a given. Each moment is a gift into learning about ourselves and others. Promoting our purpose. But entrenched medical models are archaic and here in Manchester we face forward. Or at least we try to. 

Ahead on my own path I look to a person lying on the floor. Amongst bags and cans and covers. Somewhere else on the scale of self-actualisation. I judge. I do not want to but I do. I've already assigned him a gender. I wonder about this life story. How he see's the city. How he saw the runway? I imagine his goosebumps are from other places. I hand him some money from a guilt-lined purse. 

- Clare McNulty

Links relevant to this diagnosis:

Womanchester Poem - Ella Otomewo

Why Do We Get Goosebumps?

808 State – Pacific State

Baby Delivered Inside Amniotic Sac Takes First Breath

Maslow's Hierarchy of Needs - Simply Psychology