ANTHONY NEILSON PENETRATOR PDF

Experimental writings, cod-academic critiques and all his opinions, stolen or original. Fear No Colours have in previous years been engaging with the ss contemporary tragedies and tragedians, such as Sarah Kane, Philip Ridley and Mark Ravenhill, so turning to Anthony Neilson is about continuing that exploration. Is performance still a good space for the public discussion of ideas? I definitely believe it is, I think even with the over-availability of culture and entertainment today, there are still a whole host of things that only theatre can do, in terms of aesthetics, liveness and ephemerality among other things. I think one of the great strengths of live performance in terms of discussing ideas is precisely the liveness of it; the show will draw on instant impulses and the audience in the room to shift and change from night to night and evolve across a run. How did you become interested in making performance?

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Experimental writings, cod-academic critiques and all his opinions, stolen or original. Fear No Colours have in previous years been engaging with the ss contemporary tragedies and tragedians, such as Sarah Kane, Philip Ridley and Mark Ravenhill, so turning to Anthony Neilson is about continuing that exploration. Is performance still a good space for the public discussion of ideas?

I definitely believe it is, I think even with the over-availability of culture and entertainment today, there are still a whole host of things that only theatre can do, in terms of aesthetics, liveness and ephemerality among other things. I think one of the great strengths of live performance in terms of discussing ideas is precisely the liveness of it; the show will draw on instant impulses and the audience in the room to shift and change from night to night and evolve across a run.

How did you become interested in making performance? My interest in performance and performance-making first came from mass consuming theatre as a nerdy teenager — both as a spectator and by reading all the plays I could get my hands on. The contemporary British tragedians Kane, Ravenhill, Bond, etc were particularly influential, as their plays challenge directors and actors to represent the unrepresentable, which is infinitely compelling to me. Is there any particular approach to the making of the show?

A key departure point was considering how the world has changed in the twenty-odd years since this play first came out, not just in terms of direct references but also the general discourse, and how the characters speak in a way that can perhaps seem as dated as the TV shows or political events they discuss. That is not to say the text needs to change, but we need to be aware of these challenges in performance to ensure the text still resonates and feels relevant to the audience.

Another approach was to try and identify elements that have perceivably been given less attention in past productions. Physical engagement with memories as a dramaturgy has long been a personal interest of mine in my work, so this discovery was particularly thrilling.

Does the show fit with your usual productions? What do you hope that the audience will experience? I expect the performance to be rather provocative, in particular with regards to some of the gender- and sexuality-related discourse and exposing the toxic side of urban masculinity. On the contrary, we might find ourselves sympathising with the character despite ourselves as bit by bit his world falls apart around him and we get to the core of where his vitriol might be coming from.

What strategies did you consider towards shaping this audience experience? Edinburgh flatmates Max and Alan are happily nursing their hangovers when their old friend Tadge arrives on their door, AWOL from the army and just in time to upset the delicate balance of chill nothings. Tadge is acting very strange; he says the Penetrators took him to the Black Room, and that they can make him disappear as though he never existed. The Penetrators can be anyone, anywhere and the only escape is to the past, to a time when two innocent boys promised to be friends forever before everything went so horribly wrong.

Loosely based on real life events, Penetrator takes a long hard look at urban masculinity and the limits of friendship when the loss of boyish innocence becomes savagely violent. Fear No Colours is a Glasgow-based theatre company committed to visceral and bold productions of contemporary British plays.

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Anthony Neilson

Zulkim This review has been hidden because it contains spoilers. All rights whatsoever in this play are strictly reserved and application prnetrator performance etc. Who or what was your biggest influence? But it also offers an opportunity to reflect himself to the world, and the world to him.

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Anthony Neilson: ‘Writing can become very isolating and depressing’

I want to kiss Anthony Neilson. So I do. On the lips. As I pull away I attempt to save face: "Ooh, Anthony, there goes your reputation.

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