GDIF2014 Photo Ambassador – Dave Flynn

GDIF is very excited to have Dave Flynn, winner of last year’s Awardio.io photo competition, as this year’s photo ambassador for 2014. Make sure to follow our blog for photo updates from Dave during this year’s festival!

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I am Dave Flynn, I became interested in digital photography in 2010 after being made redundant from a 15 year retail career.  Since then I’ve achieved several photographic distinctions ranging from gold awards and highly commended achievements with the society of wedding and portrait photographers (SWPP).  My highest accolade was winning Nature & Wildlife Photographer of the Year 2012, again with ‘the societies’.

I lived in Greenwich for 15 years and I attended the GDIF festival for the first time last year.  I just went along for the photo opportunities and ended up staying there for most of the first day of the festival. The atmosphere was fantastic when I arrived and the  buzz continued to grow throughout the day.  I remember it rained on and off but that didn’t dampen anyone’s spirits!

There were huge crowds and loads of fun.  Wherever you looked there was loads going on. The beached whale was a highlight and attracted plenty of onlookers.  The Orblys (huge eyeballs) on stilts were my personal favourites, they entertained everyone and the kids were excited and scared of them.  I also loved the interaction between the performers and crowd which added to the amazing atmosphere.  I’m excited to shoot this years festival and looking forward to capturing the atmosphere once again.  I can’t pinpoint who I’m looking forward to seeing the most but I’m exited to catch the highlights of the opening and closing ceremonies as those artists are there for one performance only.

Come rain or shine, I’m sure this year’s event will be the best yet and personally I’m delighted to be a part of it officially.

GDIF2013 - Credit Dave Flynn

GDIF2013 – Credit Dave Flynn

Nuno Silva on ‘Soul of Fado’

Choreographer & Dancer
Soul of Fado – GDIF 2014 (June 20 & 21)
Soul of Fado is the sister show for A Darker Shade of Fado. Whereas the latter is more intimately poetic (for indoors), Soul of Fado is more explosive and dynamic (we’re also using fire to enhance the story visually).

 

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When devising it I tried to concentrate mainly on the most important elements of the action: a love story filled with passion with a sinister twist, gorgeous contemporary dancing and live music (both the music and my singing are modern and original, inspired in traditional Fado).
A Darker Shade of Fado by Chris Nash

A Darker Shade of Fado by Chris Nash

When we started making the piece I dreamt a lot about it. And part of those dreams involved a portuguese poet (the wonderful Fernando Pessoa, now deceased), the Sandman comics, and a story about a forbidden love affair between a musician and a Moorish princess. Pessoa used to spend his nights writing standing up, creating heteronyms with the might of his pen. The Sandman inhabits the dreams of mere mortals, and the princess is transformed into a violin that her lover will play for all eternity.

A Darker Shade of Fado by Chris Nash

A Darker Shade of Fado by Chris Nash

I wanted to create a story filled with similar poetry, but this time instead of a pen, because I wanted to create a show about Fado, it would be a portuguese guitar. And inside the guitar a Spirit would reside (a malevolent and jealous Spirit of Fado!), coming out whenever the guitar is played.

A Darker Shade of Fado by Chris Nash

A Darker Shade of Fado by Chris Nash

I tried finding a portuguese guitarist here in the UK but it was proving a near impossible task (and although we had Arts Council funding, the thought of bringing a portuguese guitarist over from Lisbon was just a financial unrealistic dream because we were making a show from scratch, and their regular presence in rehearsals would be the ideal scenario) so I decided to get two (amazing) dancers who can also play the acoustic guitar. Little did I know that, half way through the rehearsal process, we all found out that they could also play the portuguese guitar (not as experts obviously, but enough for us to use the portuguese guitar instead of a normal acoustic one!). So now we have a show where dancers, apart from dancing, play the portuguese guitar and we have a fado singer who, apart from singing fado, also dances.
A Darker Shade of Fado by Chris Nash

A Darker Shade of Fado by Chris Nash

We’re poetically breaking traditions!

Behind-the-Scenes with Light the Fuse Theatre Co.

Full Stop Blog
By Light the Fuse Theatre Co.

Travelling around on buses is part of being a Londoner. Whether it’s the night bus at 2am with half a box of chips and the music still ringing in your ears or a desperate dash to grab the bus to avoid being late for work at 8.48am – we all have bus stories to tell. And that was where we started at Light the Fuse in thinking about stories for Full Stop. We soon realised that the star of this show was the bus stop itself. It’s an incredible place for people watching, random encounters and strange occurrences. The huge diversity of people that frequent a bus stop in a twenty-four hour period is mind-boggling.

Did you know that there are 19,500 bus stops in London and 90% of Londoners live within 400 yards of one!

So we decided to make a show about that. In twenty minutes. No pressure.

With three performers and a lot of running about we jump from the midnight revellers to the warring Mums, laden down with shopping and gunslinger fantasies, ticking off each hour until midnight returns again. We meet the little old lady who visits the bus stop every day, not to get on the bus, but to appease her murderous whims. There are the teenage dinosaurs, all screeching and antagonistic, the ultra competitive office workers and the couple that could have been. 

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The bus stop is an incredible crucible for human emotion: the frustration of time, the pressure of city life and the possibility of romance all in one identifiable location. It is archetypal. This meant getting the look of the bus stop right was key, so we went to the experts. Theatre Royal Plymouth create sets for productions across the UK and the world. Recent shows have included Book of Mormon, Miss Saigon, The Full Monty and obviously Full Stop

Although petrol buses have been used in London since 1904 bus stops didn’t appear till after the First World War.

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We wanted the set to look as much like a real London bus stop as possible (with a few cleverly hidden extras). When the audience spots it by the Cutty Sark, in the middle of a town square, halfway up a field, we want them to double-take and for a moment question why there would be a bus stop out there. It’s such an iconic symbol that we take for granted every day, but move it from its natural location and suddenly it becomes a space full of potential.

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Full Stop is not just about the reality of waiting at a bus stop, its about the fantasies and dreams we all have while we wait. The moment of getting eye contact with a fit looking stranger, sheltering under it when there is a downpour, vying for the bench. All these moments spark a surreal journey based around a real London landmark.

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Mimbre Joint Artistic Director Lina Johansson on ‘Bench’

Lina Johansson – joint Artistic Director for Mimbre, shares a little window into the process of creating Mimbre’s new performance Bench, coming to Greenwich+Docklands International Festival in London on 21-22 and 24th of June.

Photo by Mimbre

Photo by Mimbre

 

The idea for Bench started like a small simple idea – a set made as a park bench – allowing us to plant the show in the reality of where it is performed; in a park, a street or a square and use the theatre of our public spaces to inspire us for a series of sketches.

Photo by Marco Berardi

Photo by Marco Berardi

I knew I wanted it to reflect on the way we are among other people, and the way other people view you when in public. What assumptions do you make if you see a woman sitting on a bench on her own – do you assume she is waiting for someone? Do you think she is lonely? Who do we meet if we allow ourselves to be friendly to strangers? What do you see if you allow yourself to sit down on a bench and watch the spectacle of the street playing out in front of you?

Photo by Marco Berardi

Photo by Marco Berardi

Working with physical choreographies and using a devising process means that you don’t know from the start exactly which story it is that will carry through and have a resonance with an audience. The beauty is that stories starts to emerge that I didn’t even know myself that I wanted to tell.

Photo by Mimbre

Photo by Mimbre

Alcina Mendes created a beautifully, warm main character and Rebecka and Silvia explored a charade of different personae; flowing choreographies, dreamy fantasies and some very silly characters bringing some laughter and lightness.

Photo by Mimbre

Alcina Mendes; Photo by Mimbre

 

The acrobatic training is as of course always a big part of Mimbre’s rehearsals, with an hour long warm-up and strengthening session each morning and time for practising the acrobatics tricks both in the rehearsals and in the weeks in-between rehearsals; to find new tricks and to keep existing ones safe. For Bench our acrobatics coach Adrian Porter and my joint Artistic Director Silvia Fratelli trained up our 2 new Mimbre members; Alcina Mendes and Rebecka Nord. Finding trust, safety and confidence with the new tricks is time-consuming but is part of the physical language we use for our shows and I am as always enjoying the exploration of the ins and outs of where the physicality meet the theatre, the thrill versus the story, the physical versus the emotive impressions.

Photo by Marcos Avlonitis

Photo by Marcos Avlonitis

Through Alcina’s careful exploration of the main character the first rough run-through held a lot of loneliness and sadness. Impressions of how being surrounded by other people can sometimes make you feel more lonely then if you’re just on your own. Which led us to look for scenes of belonging, of happiness and celebration, to compliment without taking away from the atmosphere found. This led us to discuss friendships and belongings, what it is that drew us into circus and performance and what that world symbolises for us, and we used some of these conversations as inspiration for our celebratory and warmer finale choreography. As part of the rehearsal process we did several informal sharings where we invited friends and colleagues to see the material we had created so far and we also did a preview/premiere of the shows at the Crossing the Creek event at Laban Theatre and Greenwich Dance – who commissioned the show – in April.

Photo by Marcos Avlonitis

Photo by Marcos Avlonitis

Everything changes as soon as you put it in front of an audience and it helps me as a director to see it through other eyes (I normally watch the audience more than the performers at these occasions). Seeing the audiences reaction, hearing people’s feedback and get a little bit of distance to the rehearsal room gives a clearer view of what work is still needed or any structural changes to how the show hangs together.

Photo by Mimbre

Photo by Mimbre

From this we have decided on some dramatical changes and Bench is now getting ready to go off on a tour in it’s appropriate setting – around various outdoor theatre festivals around UK and Europe and of course coming to Greenwich+Docklands International Festival in London in June. I am very excited about allowing the show to take on it’s own life and paths, for me a show only really exists once audiences have had their chance to start to influence the shape of the performance and the energy of the performers and I am looking forward to see how it will be further influenced by the lovely audience at GDIF.

Photo by Mimbre

Photo by Mimbre

Last but not least a big thank you to the great artistic team who helped to make Bench; guest choreographers Natasha Khamjani and Anna Llombart who brought some fresh and different flavours to our movement. Michalis Kokkoladis for designing a genuinely old and knackered looking Bench that in reality is super sturdy and can be flatpacked! Ted Barnes who as always have woven a stunning musical score for us, binding all the different paces and atmospheres together. Last but not least, designer Kasper Hansen and maker Sophie Bellin who sourced 20 costumes for the different characters that the performers are changing between through the show….

Photo by Mimbre

Photo by Mimbre

Tombs Creatius at GDIF2014

tombscreatius_logoby Peppe Cannata
International Manager of Tombs Creatius Company
Facebook: Companyia-Tombs-Creatius
Twitter: @tombscreatius
Colors de Monstre at GDIF2014

I met Toni from Tombs Creatius company,a few years ago and really liked his installations and his work. Since 2010, I have had the pleasure of being part of this great team

5990717884_667a82623b_oThis year at GDIF we will show our first project called “Monster Colours”, several participatory installations for audiences of all ages. The idea for this project came about in 2008 when Tombs Creatius was commissioned to build a collection of games for the “Festival Internacional de las Artes” (FIA) in Costa Rica.

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“Colors de Monstre” is a collection of 25 games built in wood and designed for all ages. With colorful illustrations, we create an expressive and exciting atmosphere in the streets and plazas.

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We challenge the public to play, using their mind, body, wit and immagination, with a bit of strategy as they figure out how to play each game. The public touch, interact whilst playing with our installations.The public is our protagonist, our games are the “atrezzo”,the tools, for the people playing.

Without Walls 2014 Programme

GDIF is a founder member of Without Walls, an Arts Council funded consortium of leading festivals dedicated to the development and touring of new and exciting outdoor work. Behind the scenes, artists, performers, designers, producers and technicians have been hard at work developing some tantalising new projects, which will all be shown as part of this year’s Festival.

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GDIF is very excited to be co-commissioning Metro Boulot Dodo’s new large scale storytelling adventure with a fusion of digital imagery and aerial choreography coming together on an ingeniously designed larger-than-life house; Marc Brew’s eagerly anticipated new production which takes place on a 7 tonne island of sand; and Tiata Fahodzi’s contemporary African physical theatre parable “The Legend of Hamba”, which had a recent very successful research and development week at Diorama Arts.

Alongside these co-commissioned projects GDIF will also be presenting other new Without Walls productions by Acrojou, Wet Picnic, Nuno Silva and Ramshacklicious.  Over the course of GDIF’s opening weekend, you’ll be able to see all seven of these new Without Walls productions for 2014, so don’t miss this great opportunity!