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festtheatre Going global has, however, had its difficulties. While audiences of the 2011 plays were “quite savvy” about the political and social issues being dissected, conveying national problems to an international audience presents a much greater challenge, but one that Callander describes as “wonderful.” Such challenges are partly the reason for presenting a selection of the 2012 plays at the Traverse this summer, which will provide a brief glimpse of the work ahead of the full run in the autumn. Reversing last year’s performance schedule, the Fringe is something of a test run for the new pieces, as well as a springboard to reach out to potential collaborators. As Callander points out, there are few better places than Edinburgh to reach an international audience. In addition to the previews, each Monday morning programme will include quick-fire pieces from emerging writers Stef Smith and Kieran Hurley, hurriedly written in response to whatever is hitting the headlines that week. Sweeping aside the suggestion that the form might have inherent limitations, Callander is infectiously enthusiastic about the possibilities of rapid response theatre. “It’s an immediate, live debate about something that’s happening right there and then.” Callander sees this form of theatre as a catalyst for discussion, a “totally differ-

ent beast” to work developed over a longer period. “I don’t even see time as a limitation,” she insists. “The whole point of this kind of theatre is that it’s rough, it’s vital.” To nurture such discussions, Theatre Uncut will be holding post-show talks after each performance, asking that audiences share their thoughts about the plays and engage in debate with the theatremakers. Despite its origins and the very political nature of the material it explores, Callander is uncomfortable with Theatre Uncut being pigeonholed as political theatre. “All theatre,” she argues, “is in some way political, because everything is political.” But what she does recognise is drama’s ability to effect change, on individuals as much as policy-makers. “It’s where I go to learn how to live better,” she says of the theatre. “It’s the way that I best understand the world, so I hope that I can facilitate that for other people.” Above all, she stresses, Theatre Uncut hopes to “encourage debate and galvanise action”. And can we expect this debate to continue? Callander’s answer is firm and concise. “As long as we feel the need is there, we’ll present it.” f Theatre Uncut @ Traverse Theatre

10:00am – 11:00am, 6 Aug, 13 Aug, 20 Aug, £6.50

Four new operas packed full of emotion

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The Lady from the Sea In the Locked Room & Ghost Patrol

Clemency Wed 29 Aug to Sun 2 Sep PART OF THE EDINBURGH INTERNATIONAL FESTIVAL Traverse Theatre Edinburgh/ King’s Theatre, Edinburgh Call 0131 473 2000 to book

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Thu 6 Sep to Sun 9 Sep

Theatre Royal Glasgow | Call 0844 871 7647 to book

Book online at scottishopera.org.uk Registered in Scotland Number SCO37531 Scottish Charity Number SCO19787 Registered Office: 39 Elmbank Crescent, Glasgow G2 4PT

edinburgh festival preview guide 2012 fest 63

Fest Preview 2012  
Fest Preview 2012  

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