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The Performative Power of Unreliable Narration and Focalisation in Drama and Theatre: Conceptualising the Specificity of Dramatic Unreliability

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Narration and focalization. Stories. Stories don't just exist-they must be told The telling affects the story and how it is experienced. Narration. Narration is the telling of the story The narrator is the person (entity) who tells the story. Storytelling levels in literature.

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Ensemble Maths Project | ENSEMBLE | Complicité

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MEDEA MATERIAL  Landscape with argonauts - Despoiled Shore

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SOMETHING IS ROTTEN IN THIS AGE OF HOPE*

Volcano's new production for Autumn 2019 is Heiner Müller’s infamous reworking of Shakespeare's Hamlet, framing the domestic tragedy of Hamlet within the political machinations of Europe at twilight.

Volcano’s HAMLETMACHINE is no ordinary performance. Exploiting to the full the company’s cavernous home in a former High Street supermarket, we invite you on an astonishing journey from a museum of grim curiosities to a garden of delights; through corridors of power and pleasure to dungeons of detritus. Mixing live performance and bizarre exhibition with interactive and sensory elements, HAMLETMACHINE is a surprising, funny and disturbingly beautiful experience for audiences.

My main interest when I write plays is to destroy things. For thirty years Hamlet was for me an obsession, so I wrote a short text, Hamletmachine, with which I tried to destroy Hamlet. […] I think my strongest impulse is to reduce things down to their skeleton, to tear off their skin and their flesh. Then I’m finished with them.
HEINER MÜLLER

Our first task was to demolish what had previously been built. On occasion this process of demolition was done carefully. At other times the play or the text crashed to the floor in a reckless fashion – there were casualties, and a lot of cleaning up to be done.
PAUL DAVIES

A Radical Classic™ from Volcano

CAST: Cecilia Crossland, Christopher Elson, Mairi Phillips, Manon Wilkinson
Guest Hamlets: Adrian Metcalfe and James Scannell
Also featuring: Chris Carter; Franziska Müller; Krysha O'Sullivan

Conceived and directed by Paul Davies
Design by Guðný Hrund Sigurðardóttir
Movement Director: Catherine Bennett
Design Deputy and Wallpaper Design: Bourdon Brindille
Production & Technical Manager: Rich Andrew
Costume: Amy Barrett
Additional Carpentry: Eifion Porter
Production Assistant: Jenny Alderton

Additional R&D:
Mirain Fflur
Neal McWilliams
Rebecca Smith Williams

Text by Heiner Müller
English translation by Marc von Henning (Faber & Faber 1995)

THANKS!
Glynn Vivian Gallery
Jessica Thomas
Rebecca Davies
Heather Kelman
Georgia McKie
Nigel Williams

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Medea to Creusa from a Lucanian red-figure bell-krater, ca. 390 BC. From Apulia. (Louvre Museum, Paris)

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I have been working with Karola and Esme to establish costume and makeup for the character Princess Creusa. As Creusa is youthful we've decided not to wear makeup, alongside minimal styling for our hair. All the othe characters in the play are almost mirronrs of eachother. Our director decided for the characters to have a designanted colour or costume to wear. Being in the Creusa group meant we were to wear simplistic all white dress, similar to a wedding dress

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Heiner Müller Analysis by  Jemma and Alfie

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Examples of my laban effort notes on my script.

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Useful video explaining Laban Movement efforts

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Laban has been a very important aspect for the ensamble work over this unit. I have been constantly referring back to the Laban Effort Actions which has helped the rythm and pace of scene 1, and has made sure each individual can stick to the same ensemble flow.