ELECTRIC DREAMS Dumbshow

Politically inspired by Naomi Klein’s Shock Doctrine, Dumbshow’s quite epic one hour play, performed by live accompaniment, covers a vast spectrum of issues related to mental health, psychiatry, torture, political strife and the importance of staying strong against oppression. The piece’s humble beginnings – in which now-redundant librarians break into their now-shuttered library to fetch seemingly innocuous, or even nostalgic, items left by an elderly woman – rapidly descends into a far-reaching look at how governments use fear to control populations. The ethics of psychiatric practice are looked at in depth, and reminiscent of shades of Kane’s 4.48 Psychosis, but here are more politically inflected. While the central character of Rose had, in fact, pursued psychiatric help (in the 1950s), the power of her psychiatrist to control and ruin her life in the name of research feel reminiscent of Mengele’s experiments at Auschwitz, or the horrifying syphilis experiments at Tuskegee. While we hope such experiments don’t exist anymore – particularly with excesses of ethics forms necessary for all human- and animal-based research, Electric Dreams highlights a still prevalent, and mostly-unquestioning attitude towards science and towards government. Do we still think that we will do anything for scientific, political or economic growth? What are the costs to our health, both physical and emotional? Both central characters initially live a life in which they are unable to remember their past, mostly for their own good, but grow into a space and place where they can incorporate these past horrors into both their lives and their activism in unique and inspiring ways. Ultimately, Electric Dreams is both a warning and a call to action, raising its flag high for a population which is anti-austerity, anti-torture, and empowered in their activism, as well as being a show which fiercely lambasts scientists who have ever used behavioural research to torture or otherwise harm, and the political leaders who would employ scientific research to learn about such things. 

ELECTRIC DREAMS, Dumbshow, 7-30 August, Jack Dome, Pleasance Dome. Please check venue for accessibility.https://tickets.edfringe.com/whats-on#q=%22Electric%20Dreams%22

More about Dumbshow:http://www.dumbshow.org/

About KUBARK (CIA manual regarding torture): http://nsarchive.gwu.edu/NSAEBB/NSAEBB122/

Naomi Klein’s Shock Doctrine: http://www.naomiklein.org/shock-doctrine

On Dr. Cameron and torture psychology: http://www.mcgilldaily.com/2012/09/mk-ultraviolence/

At the end of a show about torture and psychology, you may need some light relief:https://www.youtube.com/watch?v=PE1lzqJCeJ0

TO SPACE Niamh Shaw

Dr Niamh Shaw’s To Space interweaves the informative with the personal in this performance lecture on the impossible enormity of space and one woman’s impossible(?) dream to see it for herself. In the apt setting of Summerhall’s Anatomy Lecture Theatre, Shaw positions us in the known universe, upon a blue speck in the void, and within the history of astronomical discovery – our present moment. As she does, she tells the story of her dream of becoming an astronaut, from her first encounter with Han Solo at the age of eight, to her visit to the European Space Agency last year at the age of forty-five. 

To Space questions how the individual’s pursuit of the ‘elite dream’ - only 536 people have ever been to space – enables frontline scientific advancement. Shaw herself stumbles in her anecdotal narrative when considering the myriad risks of astronautics, and in doing so asks the question: how do we value the human in advancing humanity? This is highlighted most discomfortingly in Shaw’s discussion of the two embryonic plans to set up a colony on Mars: NASA/ESA’s, set for 2037 (waiting for technology to advance enough to bring colonisers back to Earth); and Mars-One, projected optimistically for 2025, in the knowledge that those sent will die on Mars.

Unlike NASA’s elite entry requirements, Mars-One accepted applications from 200,000 civilians from various backgrounds - Shaw is evidently not alone in being seduced by the promise of extraterrestrial travel. But the metaphor offered by her live whey protein and glycerol experiment remains problematic: is individual suffering (however consensual) in the name of ‘giant leaps’ more ethically complex than “making the useless useful”? (HM)

TO SPACE, Niamh Shaw, 11-17, 19-24, 26-30, Summerhall Anatomy Lecture Theatre, Wheelchair Access and Level Access. https://tickets.edfringe.com/whats-on/to-space

More about Dr Niamh Shaw: http://www.tospace2014.com/#!niamh-shaw/cfe5

Mars-One: http://www.mars-one.com

Chris Chambers in The Guardian: http://www.theguardian.com/science/2013/dec/11/mars-one-ethical-questions-bas-lansdorp

THE SCIENCE OF SEX Rosie Wilby

Wilby’s The Science of Sex mines its comedy from the seeming absurdity of analysing the intensely personal, emotional and erotic through a clinical, statistical, biomedical lens. Armed with the familiar labcoat-and-flipchart accoutrements, Wilby conducts tongue-in-cheek sex research with the audience. She invites someone to draw a line graph of their relationship’s happiness over time, produces a parody of the ball-and-stick molecule model to illustrate the separation of love and sex, and exhibits a pie chart featuring ‘people I might fancy’ slightly overlapping with ‘people who might fancy me.’

Amongst the jollity, however, Wilby includes actual examples from the canon of sexology; Havelock Ellis, Masters and Johnson, even elucidating the anthropological roots of syncing menses. Though we laugh at Wilby’s graphs, we unwittingly contribute to dialogues on how some fields seek to ‘quantify the unquantifiable’, to clinically observe and explain the functions that feel so removed from the absolute. How do we feel knowing that love, lust, and attachment have purely endocrinal explanations?

Wilby’s piece also raises questions about how we collate data about sex and relationships, offering us a bar chart featuring the average weekly frequency of sex for lesbians, straight men, straight women and gay men. In noting the absence of bisexuality in this 1980s data analysis, we might consider how contemporary sexology can accommodate a growing social movement towards the expansion, fluidity, or even obsolescence of labeled gender and sexuality, whilst it continues to rely on categorised and quantified data for validity. (HM/KB)

THE SCIENCE OF SEX, Rosie Wilby, Sneaky Pete’s, PBH Free Fringe, Aug 11-15, Level Access (one step at venue entrance).

More about Rosie Wilby http://www.rosiewilby.com

The Institute of Sexology, Wellcome Collection: http://wellcomecollection.org/exhibitions/institute-sexology

See also Lois Weaver’s public engagement/research work on sex and ageing, in her show What Tammy Needs to Know About Getting Old and Having Sex

BBC interview with Lois Weaver: http://www.bbc.co.uk/news/magazine-33278117

Telegraph on Facebook gender options: http://www.telegraph.co.uk/technology/facebook/10637968/Facebook-sex-changes-which-one-of-50-genders-are-you.html

PEER REVIEWED POETRY Dan Simpson and Dr. Sam Illingworth

‘Peer-Reviewed Poetry’ introduces, play-fights with, and eventually dismantles the idea that there is an insurmountable opposition between ‘perfect/cold’ science and ‘irrelevant/beautiful’ poetry. Co-opting the audience into this binary (we are invited to hold up two-sided flashcards to meaure our responses), Simpson the poet and Illingworth the physicist take turns reading excerpts from a lengthy canon of poetry - on science, and by scientists.

The extent of the tradition of renowned scientists doubling as poets is actually surprising for the uninitiated (Primo Levi a prime-o example, as well as poet/immunologist Miroslav Holub, but dating as far back as Erasmus Darwin’s paper in verse, The Botanic Garden), and invites us to consider how recent a development is the perceived division of science and art. Though we celebrate the celeb-science of Brian Cox, do we discourage real interweaving of empiricism and aestheticism in the individual?

An excellent recent example of the meeting of the minds of science and poetry is the Refracted Light anthology, edited by James Wilkes: twenty contemporary poets respond to Jackson Mac Low’s LIGHT POEMS – famously constructed through non-intentional compositional methods. (HM)

PEER REVIEWED POETRY, Dan Simpson and Dr. Sam Illingworth, Cowgatehead UpTwo(M), until Aug 9 (event passed). No Wheelchair or Level Access.

More on Dan Simpson: https://dansimpsonpoet.wordpress.com

More on Dr. Sam Illingworth: http://www.samillingworth.com

More on Refracted Light poetry anthology:http://sabotagereviews.com/2015/05/08/refracted-light-20-poets-respond-to-jackson-mac-lows-light-poems-ed-by-james-wilkes/

Siddhartha Mukherjee on Primo Levi in The Guardian: http://www.theguardian.com/books/2011/dec/02/my-hero-primo-levi-siddhartha-mukherjee

BEFORE AND AFTER Jonny Pelham

Before & After photos are ubiquitous: we see them in advertisements for diet supplements, home improvements, anti-wrinkle cream. For Jonny Pelham, the Before & After are related to the major (and expensive) facial cosmetic surgery offered to him on the NHS. His discussion of how the NHS justified its expenditure because of possible psychological distress for his appearance (affected by a cleft palate and a number of facial surgeries as a child), is made more potent by his reflections on the cosmetic, as opposed to medical, goals of the surgery. In The Cancer Journals, Audre Lorde famously recounts a similar surgical dilemma, discussing how breast reconstruction is one of the few surgeries that doctors recommend which serves no medical function aside from making others more comfortable. A similar energy is discussed in Lucy Grealy’s Autobiography of a Face, who recounts the horrific process of being subjected to years of painful and unsuccessful facial surgeries. Although Pelham’s interaction with surgeons and the NHS is overall very positive, these assumptions about appearance (and who the surgery will benefit) seem to be a still-deeply rooted issue inside of medical care, recognising a medicalised norm that we all must aspire to. While Before & After presumes a singular start and finish to the journey, it is exciting to think of Pelham’s journey as one which will move and grow and change over time, with new Afters to the current After, as well as new beginnings. 

JONNY PELHAM: BEFORE AND AFTER, 7-31 August, Pleasance Courtyard (Bunker). Venue is wheelchair accessible.

https://tickets.edfringe.com/whats-on/jonny-pelham-before-and-after

More about Jonny Pelham:

http://www.bbc.co.uk/programmes/p01n2whk

On Audre Lorde’s Cancer Jounrals:

http://www.thefeministwire.com/2014/02/breast-cancer-lessons-audre-lorde-taught/

On Lucy Grealy’s As Seen on TV

http://www.salon.com/2000/08/16/grealy_2/

LOVELY Laura Lexx

In Tig Notaro’s epic 2013 Live at Largo set, Notaro drew from a world of extensive pain (the death of her mother, a near-death experience with an infection, a diagnosis of breast cancer) to deliver one of the world’s most impactful sets in recent memory. Laura Lexx takes a different tack, finding comedy in the everyday, the cheery, the lovely. While audience members don’t demand comedians/performers go through hardships, there is an old adage which says that one needs to mine pain to get to real depths. Is this simple privilege speaking, or is there philosophical territory to explore about why we think people demand to see pain in order to empathise. 

Lexx looks at documentaries – particularly nature documentaries, and particularly about animal sexuality – as clearly containing metaphor for human behaviour, which of course they do, and it would be interesting to mine how animals do – or do not – look for drama in their own lives. If they can do without it, why can’t we? Her work on irritable bowel syndrome (IBS) interrupts this lovely, drama-free life, as many medical conditions do, and Lexx demonstrates that even a non-life-threatening condition can provide the drama which facilitates real comedy. (BL)

LAURA LEXX: LOVELY, 11-17, 19-30 August, Underbelly Med Quad. Venue is wheelchair accessible.

https://tickets.edfringe.com/whats-on/laura-lexx-lovely

On Laura Lexx:

http://lauralexx.blogspot.co.uk/

On Tig Notaro’s Cancer Set: 

http://jezebel.com/5932048/tig-notaro-performed-some-amazing-comedy-about-being-diagnosed-with-cancer-according-to-everyone

On Kazuko Hohki’s Incontinental 

http://exeuntmagazine.com/reviews/incontinental/

SICK GIRL Mel Moon

Mel Moon’s stand-up performance charts her journey being diagnosed with a chronic, and incredibly dangerous, rare endocrine illness, which forces Moon to consider life, and living with dignity with a chronic condition. Although the show received major media attention for its contribution to conversations about assisted suicide, Dignitas, EXIT etc, Moon is fervent in her apolitical stance - thankful that she didn’t choose to end her life while at her most fragile and painful, she seems to speak compassionately about euthanasia activists. Even then, though, the journey is significantly less about how the personal journey intersects with political controversies, and more about the development of a chronic condition, and its effects on family, life goals, and how one interacts with the outside world.  

Moon’s work demonstrates how desperately the world needs better understandings of a social model of disability which recognises the the body grows and changes over time, versus a medical model which demands the body always returns to a stable ‘normal’. The lack of language around disability/medical condition creates huge rifts amongst Moon’s relationships, a common effect of serious illness and major changes in health. Also potent in the work is the frustrating and difficult journey of diagnosis of a rare condition: while Moon praises her current doctor as a genius, months and months of unrecognised or under appreciated symptoms is all too common, particularly for young adults, people statistically unlikely to have serious conditions.

Jess Thom, as Touretteshero, talks extensively about how interdependence (with an onstage co-performer and offstage with support workers) is critical to a life which might be seen as independent. For Moon, drugs and her partner are constant companions, and it is exciting to see how initial resistance blossoms into a great understanding of a life which is more complicated and untraditional than perhaps one thought it would be.

SICK GIRL, Mel Moon, 10-30 August. Laughing Horse @ The Counting House. Venue is not wheelchair accessible.https://edinburghfestival.list.co.uk/event/494715-mel-moon-sick-girl/

More about Mel Moon: http://www.independent.co.uk/news/uk/home-news/comedian-mel-moon-how-the-decision-not-to-end-my-own-life-became-an-edinburgh-show-10334223.html

*Liz Carr will be, as part of The Sick of the Fringe, delivering a keynote address entitled RATHER DEAD THAN DISABLED which will also be dealing with some similar themes*  

http://thesickofthefringe.com/people/liz-carr

On the medical vs. social model of disability: http://www.disability.ie/disability-ie-information-portal/site-sections/rights-legislation/185-society/538-social-and-medical-models-of-disability

Resources for those with rare diseases:

http://www.raredisease.org.uk/

http://www.technologyreview.com/view/512606/the-rare-disease-search-engine-that-outperforms-google/

 

More about Touretteshero: touretteshero.com

HOW TO BE FAT // Mathilda Gregory

Mathilda Gregory’s How to Be Fat mixes stand-up comedy, storytelling and self-experimentation to deliver a performance about fatness, body policing, how one feels about their body and how this grows, changes, move forward, moves backward and often contradicts itself. Gregory’s various months spent documenting her food intake and adherence to different fad diets, feels like Instagram running amok, and is reminiscent of early scientists conducting experiments on themselves – somewhere between Benjamin Franklin and Jekyll and Hyde. The many contradictions inside the work are not the result of inconsistent storytelling (very much not so) but rather because Gregory is responding to the world of the policed female body, and the institutional structures which demand certain kinds (and amounts) of consumption and blame anyone who doesn’t fit into a prescribed norm.  Gregory charts these conflicting messages inside herself and also lambasts the etiquette and judgements around size which make it impossible to talk about fatness, and bodies, in public with both people who identify as fat, and those who do not.

While Gregory’s story is a personal one – and she makes sure to only make claims on her own experience – the work is a political one, bringing to mind Carol Hanisch’s seminal ‘The Personal is Political’ which charts how individual experience and oppression demands collective action. By charting the micro-aggresions and inequity experienced by fat people from various sectors in society, it is clear that a more collective approach is needed to open up conversation. Mathilda Gregory is in good company with work on body shaming and body positivity, with other artists including Selina Thompson, Le Gateau Chocolat (currently at Assembly, diagnosis on Black below), Scottee, and Charlotte Cooper’s blog Obesity Timebomb.

HOW TO BE FAT Mathilda Gregory 7-31 August Zoo Southside. Wheelchair Access and Level Access. https://tickets.edfringe.com/whats-on#q=%22How%20to%20Be%20Fat%22

More about Mathilda Gregory: https://mathildia.wordpress.com/

‘The Personal is Political’ http://www.carolhanisch.org/CHwritings/PIP.html

Scottee’s Short Film FAT: https://www.youtube.com/watch?v=r8nS5HpZirE

Ten Strange Self-Experiments: http://www.madsciencemuseum.com/msm/gallery/top_10_strangest_self_experiments

Obesity Timebomb Blog: http://obesitytimebomb.blogspot.co.uk/

OBLIVIOUS // Jamie MacDonald

Jamie MacDonald charts his experience with being oblivious to many things around him. Although his blindness keeps him physically unaware of much of his surrounding, the obliviousness he actually charts in his stand-up comedy reflects on much more, considering his experiences through childhood, trying to impress his fiancé, and trying to deal with the world’s ever-growing acceptance and accessibility to disabled people. MacDonald charts the downside of a post-paralympic interest and public engagement with disability – talked about extensively by artists like Katherine Araniello and DAG (Disabled Avant-Garde) – which promotes inclusion at all costs, and often presses disabled people to provide inspiration for others. While MacDonald speaks about the burdens of accessibility with a cheeky grin, the expectations of sameness and a ‘nondisabled washing’ points to things that may be lost as everyone becomes expected to achieve the same things. While we know that the world of his childhood – in which he was humiliated for his disability by students and patronised by teachers – was not an ideal environment for feeling empowered as a young man, the world he shows as existing today (exemplified by a young child feeling free to annoy him with all sorts of questions about his blindness) may still have some great inequalities and annoyances. (BL) 

JAMIE MACDONALD: OBLIVIOUS Jamie MacDonald, Assembly George Square, 7-30 August. Venue is wheelchair accessible.

More on Jamie MacDonald: https://tickets.edfringe.com/whats-on/jamie-macdonald-oblivious

Acoustic Shooting (Described by MacDonald in Oblivion): http://www.disabledshooting.org.uk/getting-started/introduction-to-shooting-disciplines/acoustic-shooting.html

Katherine Araniello: http://www.araniello-art.com/

Further reading: http://www.disabilitynewsservice.com/national-paralympic-day-artists-dismiss-talk-of-2012-legacy/

MAGIKO // Siegfried Tieber & Dog House Theatricals

This close-up magic show is spectacular without containing any spectacle, with Siegfried Tieber’s storytelling engaging an audience in not only the individual tricks, but in our society’s broader understanding of mystery, illusion, and what it means to live with curiosity. Tieber’s mindreading and sleight of hand tricks challenge our confidence – if we see something, it must be real, mustn’t it? Similar to Complicite’s The Encounter (currently part of the Edinburgh International Festival, which cleverly reveals the mechanism in the binaural sound design), Magiko seemingly shows how the trick is made and then quickly, and astoundingly, expands the magic into a place where your mind wasn’t looking. These tricks of perception which have been used for ages by magicians and illusionists, are increasingly relevant to science, and scientific research work on phantom limbs, synaesthesia, neurological disorders, etc. While many successful magicians, such as Penn & Teller (who have engaged with the neuroscience behind their work) use illusions to wow their audiences, Tieber uses the set up to the illusion, as well as the denouement, to make us reconsider why we want to know how it works. Turning scientific and rational inquiry on its head, Tieber encourages us to live in a world that is not fully understood, and seek mystery and magic in our own lives.

MAGIKO, Siegfried Tieber & Dog House Theatricals, 9-31 August, Spotlites

This venue is not accessible for wheelchair users. Please contact venue for other accessibility requirements. https://tickets.edfringe.com/whats-on/magiko

Complicite’s The Encounter: http://www.eif.co.uk/2015/encounter#.VccpwlxVikp

Penn & Teller on Magic & The Brain: https://www.youtube.com/watch?v=OZg1KDEMzjo

On phantom limbs and perception: http://www.bbc.co.uk/news/magazine-15938103

 Vincent Gambini (another great close-up magician): http://www.vincentgambini.com/the-show.html

BLACK // Le Gateau Chocolat

Le Gateau Chocolat mines the personal and the political in this cabaret-infused performance, which embraces an intersectional understanding of identities and powerfully presents a life in progress, without happy endings or narrative closure. The work draws from Le Gateau’s autobiography – while often artists use pseudonyms to hide their personal story, here it feels like the pseudonym and character provide entry into the performer’s authentic self, with snippets of reflections, top tips, and animated interludes which guide the story through a challenging life. In a year of BlackLivesMatter and increased recent media attention to gender expression, sexuality, and body policing, a show about any one of these issues would be relevant, but it’s the blending of the issues together which makes the real impact. The final revelation of mental health difficulties, challenges and the spectre of suicide adds an important and unexpected dynamic. Presented without hyperbole, Gateau uses his baritone to push forward the impact that accompanies such a serious story and such a serious consideration of these issues. (BL)

BLACK, Le Gateau Chocolat, 7-30 August, Assembly Hall. Please confirm accessibility with venue: https://tickets.edfringe.com/whats-on/le-gateau-chocolat-black

More on Le Gateau Chocolat: http://legateauchocolat.com/

Other artists working on intersectional identities: Selina Thompson (http://selinathompson.co.uk/), Season Butler (http://seasonbutler.com/), Scottee (http://www.scottee.co.uk/), Ria Hartley (http://riahartley.com/)

Readings on Intersectionality: https://kclintfemsoc.wordpress.com/reading-list/

Recent controversy on body shaming and opera: http://www.newyorker.com/culture/culture-desk/operas-fat-shaming-controversy

DISABILITY FOR DUNCES // Lost Voice Guy

In Disability for Dunces, Lost Voice Guy, a 2014 BBC Comedy Award winner, presents a vicious show which unapologetically confronts the nondisabled people he encounters everyday. Lost Voice Guy’s guide demonstrates the often silenced voice in society and how it responds to ignorant comments from wankers (his words). The piece is similar in tone to Franchesca Ramsey’s “Shit White Girls Say to Black Girls” which exposes people to the permissible micro-aggressions experienced by others everyday. And in a climate of decreased benefits for disabled people, and an increased rhetoric around ‘scroungers’ in media and in government, Lost Voice Guy’s comedy is a bold retort, far from the inspirational tomes of many others. Even his occasional, casually misogynistic language works to prove that he is the empowered bastard (his words) he claims to be. 

His descriptions of looking at himself in the mirror are pointed and reminiscent of the work of Lucy Grealy who, in Autobiography of A Face, describes what it’s like to have an unconventional, or non-normative, appearance. And other potent reflections, on the ‘fixing’ of disabled people, feel to be sharing excellent artistic company with documentaries like ‘Fixed’, the play ‘Telethon’ and (plug for future Sick of the Fringe talk) activism by people like Liz Carr. The hour of standup reminds people to engage with all voices, even silent ones. 

DISABILITY FOR DUNCES, Lost Voice Guy, Stand Up Comedy Club - 5 & 6, August 9-30 (various dates). Please contact venue for Accessibility

https://tickets.edfringe.com/whats-on/lost-voice-guy-disability-for-dunces

More information on Lost Voice Guy:

http://lostvoiceguy.com/

Liz Carr - Talk on 'Rather Dead than Disabled'

http://thesickofthefringe.com/people/liz-carr

Francesca Ramsey's "Shit White Girls Say to Black Girls"

https://www.youtube.com/watch?v=ylPUzxpIBe0

Lucy Grealy - Autobiography of a Face

https://www.youtube.com/watch?v=DpYgEYhAd1c

Fixed - Documentary

https://www.youtube.com/watch?v=84TaYi15vps

Telethon - Play by Kristin Newbom

http://www.nytimes.com/2009/06/24/theater/reviews/24tele.html?_r=0

THE EULOGY OF TOBY PEACH //Toby Peach

We know that Toby Peach will live to the end of his cancer story, of course, because he is the performer, but the journey through his experience with illness remains harrowing. Peach’s solo performance walks the audience through one man’s growth into understanding his own mortality, with reflections on time, appreciation, and meaningful relationships. The work looks at cancer as a strange sort of illness – theoretically speaking – as it grows undetected for a long time (as reflected on by Jackie Stacey in her work Teratologies) and as it is the part of ourselves which is most successfully fights mortality (which is written about in Siddhartha Mukherjee’s The Emperor of All Maladies) – and it is particularly strange for young people, who have never had their life, and the privilege of a long comfortable life, challenged.

Peach’s career as a model – particularly when he was photographed with cancer – interestingly, and unintentionally, echoes the work of both Susan Sontag’s in Cancer and Its Metaphors (which charts how standards of beauty were influenced by plagues) and Matuschka’s groundbreaking mastectomy photo Beauty Out Of Damage from 1993, still one of the most striking and bold images depicting illness. Peach engages with a kind of youthful male humour which is reminiscent of 50/50 (and Seth Rogen's incessant jokes which can be misogynistic and endearing) and a number of recent TCT campaigns. Even as we live in the shadow of Stephen Sutton and a huge increase in awareness of young people’s cancers, we are still in need of more stories – about cancer, about HIV, about invisible illnesses – in hopes of creating a community of bold storytellers creating work about their body and ours. 

THE EULOGY OF TOBY PEACH, Toby Peach, 7-30 August (Various dates), Underbelly Cowgate. No wheelchair access to theatre.

https://tickets.edfringe.com/whats-on/eulogy-of-toby-peach

Jackie Stacey, Teratologies

https://www.timeshighereducation.co.uk/news/the-unspeakable-spectre-of-big-c/105435.article

Siddhartha Mukherjee, The Emperor of All Maladies

http://www.theguardian.com/books/interactive/2011/sep/01/extract-the-emperor-of-all-maladies

Susan Sontag - Cancer & Its Metaphors 

http://www.susansontag.com/SusanSontag/books/illnessAsMetaphor.shtml

Matuschka - Beauty Out of Damage

http://www.beautyoutofdamage.com/Aboutphoto.html

Stephen Sutton

http://www.bbc.co.uk/news/uk-england-27408818

THE ELEMENT IN THE ROOM: A RADIOACTIVE MUSICAL COMEDY ABOUT THE DEATH AND LIFE OF MARIE CURIE // Tangram Theatre Company

Tangram’s retelling of the life and research of Marie Curie encapsulates the passion, dedication and creativity involved in both medical research (particularly early medical research) and art-making, demonstrating a life’s work filled with challenges and sacrifice in the name of uncertain progress. The work, performed by John Hinton (as Curie) and Jo Eagle (on accordion) highlights a number of critical themes important to biomedical research, these include: the ongoing struggles of women to be funded and encouraged in medical training and as research leaders; the uneasy relationship between medical research and private charities; and intellectual property and the winners/losers of extensively patented research.

Curie’s relationship with Missy Meloney (the fundraiser responsible for her not-so-whirlwind tour of America) nicely captures the historic and uneasy relationship between medical research and private funding – and the demands of fundraisers to set agendas – which is also highlighted in Murkherjee’s Emperor of All Maladies, which documents the history of cancer research in the USA. And Tangram’s passionate song about Curie’s decision not to patent her process of radium procurement provides significant proof for the overall rationale for open source technologies, open journals and free resources. While the struggles faced by Curie as a female researcher seem quite heightened by the marginalisation of Eagle (on accordion) into near-silence, the work celebrates the ground-breaking work by an important voice, regardless of gender, and seems to make a passionate claim for equality in research and science.  (BL/KB)

THE ELEMENT IN THE ROOM: A RADIOACTIVE MUSICAL COMEDY ABOUT THE DEATH AND LIFE OF MARIE CURIE, Tangram Theatre Company, 5-31 August (various dates). Pleasance Courtyard. Please check accessibility with venue. http://www.tangramtheatre.co.uk

More on Siddhartha Mukherjee’s The Emperor of All Maladieshttp://www.newyorker.com/magazine/2010/11/08/cancer-world

On intellectual property – and the patenting of genetic code: http://www.genome.gov/19016590

A history of Rosalind Franklin, noted chemist/geneticist: http://www.newyorker.com/magazine/2002/10/28/photo-finish-2

A JAM-MAKER’S GUIDE TO SELF-PRESERVATION // MDs Medical Revue

The privatisation and struggle of the NHS to do its work, despite budget crunches and government inaction, provides the backdrop or loose frame for this series of sketches. The MDs Comedy Revue Society’s youthful energy provides both its most problematic and unexpectedly-positive qualities: a number of misogynistic and immature jokes feel frightening when presented by this troupe of medical students and future medical professionals, but the company’s passionate defense and love of the NHS also rings clear.

A JAM-MAKER’S GUIDE TO SELF-PRESERVATION, MDs Medical Revue, 8 & 10-15 August. Wheelchair Access and Level Access available. https://tickets.edfringe.com/whats-on/jam-maker-s-guide-to-self-preservation

Day in the Life of NHS – BBC Documentary (2013): http://www.bbc.co.uk/programmes/b01rn7pp

Other work about NHS at the Fringe :https://tickets.edfringe.com/whats-on/nhs-don-t-ask-it-s-private

NOT DISABLED… ENOUGH // Romina Puma

For Romina Puma, as for many people who engage with medical and social models of disability on a regular basis, the question of ‘proof’ remains nagging: assessments for disability benefits are increasingly scrutinised, certain resources are only available to patients with certain kinds of cancer, and there are forever competitions which praise the supersurvivor or supercrip while denigrating those who are unable to inspire with their narratives. Puma’s stand up comedy act guides the audience through her journey with a Muscular Dystrophy diagnosis, particularly as Puma fails to ‘fit in’ to the limited discourses on disability currently available.  There are, thankfully, a number of great comics who look at disability and intersectional identities (Maysoon Zayid for example, who talks beautifully about being both disabled and Palestinian), and Puma covers some of the more challenging topics, such as sex and drugs (and how Viagra is seemingly a cure for MD-related exhaustion) which adds important examples of how these questions are negotiated not only by disabled people, but by those around them.

Carrie Sandahl and Philip Auslander’s book – Bodies in Commotion – as well as Rosemarie Garland Thomson’s Staring are great reads for further consideration on how many disabled individuals see themselves and how they are seen in public space. Puma’s work adds a unique and challenging dimension to this canon – bodies with degenerative illnesses are often not looked at in depth as they often engage more with medical lenses of disability than the more acceptable social model. As her doctor tells Puma, after revealing that there is no cure for Muscular Dystrophy and that the condition is degenerative: “If anything comes up, I’ll call you.” This rarely heard voice and perspective necessarily adds depth to a rich body of discourse on health, disability and dignity.

NOT DISABLED ENOUGH Romina Puma, Laughing Horse @ The Three Sisters, 7-30 August, FREE. Wheelchair Access, Level Access, Wheelchair Accessible Toilets. 

Link to Romani Puma’s show:https://tickets.edfringe.com/whats-on#q=%22Not%20Disabled...%20Enough!%22

TED talk with Maysoon Zayid:   https://www.ted.com/talks/maysoon_zayid_i_got_99_problems_palsy_is_just_one?language=en

Rosemarie Garland-Thomson’s work Staring: https://www.youtube.com/watch?v=jALsDVW63wo

On Disability Benefits and ‘Proof’: http://www.independent.co.uk/news/uk/home-news/disabled-people-are-trapped-in-assessment-nightmare-by-benefits-regime-says-dr-stephen-duckworth-9272423.html

I AM BEAST // Sparkle and Dark

Comic books, graphic novels, videogames and animated films have always been serious business, from Magneto’s origin as a Holocaust survivor, to Alison Bechdel’s Fun Home. Even Godzilla was originally conceived of as the byproduct of nuclear warfare.

In I AM BEAST, Sparkle and Dark (one of our Partners in Sickness and Health) demonstrate the capacity of our imagination to provide an important mirror to our reality, no more how difficult it appears to be. I AM BEAST is a tale of bereavement, in which a girl, Ellie, and her father do their best to avoid talking about their respective grief, and Ellie regularly escapes into a world of comic books, where her sadness can take on an active (and aggressive) quality, and she can intervene in the helplessness which comes from serious grief. The reflection on bereavement and on (lacking) communication is powerful, with the young girl feeling the pressure to be ‘fixed’ and being unable to see anything other than the fact that the cure to her sadness (ie, the continued life of her mother) is an impossibility. With so little ordinary writing on death and dying (particularly from the perspective of children), the fact that Sparkle and Dark choose to engage with the aesthetic of comic book is noteworthy, particularly because it demonstrates the heightened or strained reality which is lived by those experiencing trauma.

I AM BEAST’s coverage of bereavement is quite extensive, and looks at the state from many angles – including guilt, blame, anger and silence – without placing things chronologically or conveniently. Instead of happily coming together with sadness being nicely incorporated into a person’s narrative of growth (as so annoyingly happened with The Last Tango in Halifax this year), in the end of I AM BEAST, the audience is still unsure how long this grief might last. As a person who has experienced significant grief myself, this lack of easy ending is probably the work’s most psychologically salient and relevant feature. (BL) 

I AM BEAST, Sparkle and Dark, 6-31 August, Pleasance Dome Above (Venue 33) Please check accessibility with venue.

More on Sparkle and Dark:http://www.sparkleanddark.com/#!

http://thesickofthefringe.com/partners

Winston’s Wish (UK’s largest children’s bereavement charity): http://winstonswish.org.uk/

Hannah Eaton’s Naming Monsters (fastastic graphic novel on bereaved young adults: http://forbookssake.net/2013/10/07/naming-monsters-hannah-eaton/

DAS ORGIEN MYSTERIEN THEATER // Hermann Nitsch

Hermann Nitsch’s work is famous (or infamous) for its bloody, gruesome, and intensive processes – the carcasses of cows paraded through streets, the nudity, and crowds and crowds of spectators which mix quite spectacularly with performers. Summerhall’s three-room exhibition of documentation of Nitsch’s work looks both critically and lovingly at the challenging work which is based on orgiastic and bacchanalian ritual.

By viewing the body, and all of its parts, as a tool for expression, Nitsch’s work has always harkened back audiences to the gruesomeness of medical and religious history, which was as bloody and horrifying as it was searching and curious. With the addition of Nitsch’s tools for performance – presented quite clinically and with precision – viewers can understand a method to the mess, and the work will be of interest to those interested in body-based performance practice (like that of jamie lewis hadley, Kira O’Reilly or Ron Athey) or those who have looked at their own bodies as specimens (a practice captured by Clod Ensemble’s Under Glass previously, and explored in Gianna Bouchard’s research on medical history). The work can be challenging to look at, and perhaps not for those with a weak stomach, but can be instructive and engaging for those interested in the blood and guts which are the stuff, the raw materials, of humanity. (BL) 

DAS ORGIEN MYSTERIEN THEATER, Hermann Nitsch, 5 August-5 October, Summerhall, Free Entry, Exhibition is on the Ground Floor

More about Hermann Nitsch: http://www.nitsch.org/index-en.html

More about jamie lewis hadley: http://www.jamielewishadley.com/

More about Clod Ensemble’s Under Glass: http://www.clodensemble.com/performance/underglass.htm

PORTRAIT // Rachael Ofori

Rachael Ofori’s multi-character examination of the lives of young black women is encapsulated in one of her central character’s first lines: “What do you see when you see me?” Portrait presents Ofori travelling through a number of quiet, peaceful reflections on body image, religion, education, class and, above all, the perception of black women in the media, to other black women, and to others. The format of the multi-character drama, championed by the likes of Anna Deavere Smith, Sarah Jones, Danny Hoch, and debbie tucker green – provides short case studies for any number of women who exist both as stereotypes/archetypes in society, and real women whose voices are often unheard. The format works to build empathy and to spend time with women in a private moment, a moment usually misunderstood by society at large.

One of the most striking aspects of Ofori’s performance is the way her voice switches between characters, alongside her physicality. While this is a trait of a great actor, it also resonates with how people negotiate the way their voice may or may not give them access to certain cultural capital. There has recently been a controversy over ‘gay voices’ with David Thorpe’s new documentary ‘Do I Sound Gay’ and a number of research studies and twitter responses. At the heart of the matter, and particularly relevant to Ofori’s work, is how the voice, and the control of the voice, is often a strategy (for better or for worse) that is taught, enforced and praised by some, reminding us of how inequitable a world is in which a certain tone of voice – be it black or gay or Northern or American (I often find that I use my more British accent on the phone when doing official business) – can so radically shift not only how we are perceived, but how we perceive others. This fascinating and difficult subject reminds us that we should not only be asked “What do you see when you see me?” but “What do you really hear when you hear me?” (BL) 

PORTRAIT, Rachael Ofori, Pleasance Dome 7-29 August. We are unsure of access to this theatre, please contact Pleasance directly. http://www.fueltheatre.com/projects/portrait

More about Rachael’s work: http://vilearts.blogspot.co.uk/2015/06/portraying-dramaturgy-racheal-ofori.html

Other links that may be of interest: 

http://www.theguardian.com/commentisfree/2015/jul/17/camp-the-voice-gay-rights

https://www.ted.com/talks/anna_deavere_smith_s_american_character

FAKE IT 'TIL YOU MAKE IT // Bryony Kimmings + Tim Grayburn

Bryony Kimmings has made a name for herself as a fearless performer creating work explicitly about a particular social issue through a lens which is colourful, abstract, and always personal. The process of creating Fake It Til You Make It, in collaboration with real-life partner Tim Grayburn, initially appears similar, until we realise the fragility and danger of the work which focuses on their relationship, and their relationship’s relationship with mental illness, as Tim experiences severe clinical depression.

The performance mixes interviews of Tim with songs, dances and monologues, and is notable for its unflinching look at mental illness – with some incredibly difficult stories told without dramatic affect – and for its unique focus on mental health and relationships. Like Spalding Gray’s Monster in a BoxFake It shares its focus quite evenly between the effects of illness on the person who experiences it and those who surround them. Fake It serves as both a performance and a piece of advocacy, providing examples for impactful public discussion.

Researchers will be interested in Bryony’s engagement with Tim (as a professional performer crafting his story) as an opportunity for reflection about qualitative research and the ethics inherent in patient engagement.  What does it mean to use your partner’s mental illness as the territory for collaboration? How are researchers currently looking at support, how to be an effective support, support for supporters, etc? And what about audiences who don’t have a partner, or a supportive community around them? What might success look like, and is this different when creating a show not about health? What are the safety mechanisms put in place, professionally and personally, to allow for the ups and downs of mental health and arts practice? There are no simple solutions, but lots of high-energy and engaging exploration around these questions and many more. (BL) 

FAKE IT 'TIL YOU MAKE IT  Bryony Kimmings + Tim Grayburn  Traverse Theatre, Venue 15 Aug 6-9, 11-16, 18-23, 25-30: https://tickets.edfringe.com/whats-on/fake-it-til-you-make-it Wheelchair Access and Level Access, BSL interpreted shows available

Bryony and Tim are also speaking at the first Open Meeting of The Sick of the Fringe! August 10th, 12-1pm at Summerhall: https://www.eventbrite.co.uk/e/the-sick-of-the-fringe-2015-tickets-16972998696?ref=estw

For further information on Bryony Kimmings' work visit: http://bryonykimmings.com/

http://www.independent.co.uk/arts-entertainment/theatre-dance/features/fake-it-til-you-make-it-bryony-kimmings-has-made-a-drama-out-of-her-boyfriends-depression-10395322.html

Some Related News:

Mind study on Mental Health and Relationships

http://www.mind.org.uk/news-campaigns/news/mental-health-and-romantic-relationships-research-released-today/#.VcJJ0VxViko

International Studies on Mental Health and Caregiver Burden

http://medical.cloud-journals.com/index.php/IJANSP/article/viewFile/Med-18/pdf

http://www.ncbi.nlm.nih.gov/pmc/articles/PMC2936431/