วันอาทิตย์ที่ 16 ตุลาคม พ.ศ. 2554

Edinburgh festival 2011: where National Theatres meet

crucified Christ is in Port Talbot, and a Greek tragedy was performed in a range. . . as the National Theatre of Wales and Scotland are preparing to share the stage, Andrew Dickson looks at what has delegated theater

Ten years ago, we had a national theater, and everyone knew where I was locked up in a few million tons of concrete along the Thames. These days, it is not so simple. In addition to the Royal National Theatre of Great Britain - to give the total, a hat-off title - Theatr Genedlaethol Cymru ago, the Welsh National Theatre, founded in 2003. Three years later, the National Theatre of Scotland has come. Last year, the family grew to four with the arrival of the National Theatre of Wales, in English. Only Northern Ireland has failed to get into the act - although there are rumors that it might. What with TGC and SNT, NT and NTS, British theater begins to resemble a 1970 TUC conference.

As the return was supposed to have published the national policy of Westminster, the idea that the British theater is governed by the Bank of the South - and the West End - is now supposed to be a thing of the past. So how is this all along? What do you learn from each other? Have they managed to shape the theater scene? And how many national theaters need a nation?

These questions can perhaps best answered by those who run the National Theatre of Scotland and the National Theatre of Wales: the two companies younger and those who have more in common - and, as is the case, the two sharing the narrow passage of the theater in the Edinburgh Festival this year, the first time it happened. After diplomatic negotiations that would make proud foreign ministry finally succeeded in Vicky Featherstone filed, NTS has led since its founding, and John McGrath, who started last year NTW, lunch at Glasgow. When the train Hotfoot, which is a relief to find them in the same room.

First, the obvious: that some might think four national theaters is quite a lot. McGrath laughs. "I know that I was at a conference in Europe, and was thinking that we are the only ones with this problem, but it turns out that everyone has this crazy set up in Belgium, there are two languages different;!. In Greece, you have one at each end of the country ... a pair of Portugal "Featherstone up." Once, there was an arts council, a national theater. Now several years ago. 'S Change all the time. "

But for decentralization, would not be having this conversation. Although Scotland has long had major production centers in Edinburgh and Glasgow, powered by a powerful network of regional production houses, it was not until 2000 that the Scottish Executive announced its intention to create a National Theatre. It took until 2007 for the Welsh Assembly to follow suit, perhaps because the history of Wales Theatre is more fragmented, despite living tradition amateur - and, of course, a fierce love of the Opera - the theater has never been a dominant force in Welsh culture. Attendance rates are lower than in other parts of the country (but growing), the population is more dispersed, theaters are increasingly among the

All this has created some interesting challenges. While the history of the National Theatre in Britain (founded in 1963, but debate over a century ago) was dominated by the struggle to engage a troupe of actors and incorporate them into a fine theater in London (the Bloomsbury original site) and NTS NTS work very differently. Nor has a stage to call its own. NTS operates a tour of Glasgow Business Park any committee that travels in Scotland, playing all the cinemas in Dundee and Perth to the remote village halls.

NTW, stuck in a shopping center in Cardiff, was even more adventurous. His debut was given the keys to the hearing of the strangely empty house in Snowdonia, for a show without actors called The Time Factory by bus to the beach Brecon Beacons for a version of Aeschylus' The Persians, and invited Cardiff to wander in taxis to a round piece of mind called The Bag.

But the highlight of the first year of the SNT was passion, 72 hours a contemporary account of the Gospel history, last Easter, brought what appeared to be the whole of life in Port Talbot, point was the final procession, in which 12,000 people were local hero Michael Sheen dragged his cross along Station Road. I could not help but notice the smile on the face of McGrath last night when it unveiled a reserve that would be the envy of many a rock promoter, independently of a theater director: Wales own Manic Street Preachers, who played a secret concert at a club of men working. McGrath smiles. "This is the glory of being an emerging country. Everyone is stuck in "

If you

Passion NTW is encapsulated - the site response, co-produced, community-centered - NTS still lives in the shadow of the Black Watch, a hit TV show is John Tiffany Scottish soldiers Iraq, which opened its doors in a room last year, just behind Edinburgh Castle in 2006 and has since traveled to 26 locations around the world and find an interested audience at home (the game is now Scottish common text even higher).

seems unlikely that Black Watch tour, or more NTS subsequent programs would go if it was not built in, I tell you. The two companies were made homeless in an asset, to create work that could not be contained by a single theater. Featherstone agrees. "We are able to be totally flexible about the work we do, where to go, what it does. I could not do a show a year if he chose, the same program in all car parks in Scotland. "It seems fun." We can do this. May continually revitalize what is our path. "

"It would be a waste of time my feeling worried about it," said Featherstone. "When you move away from London and see what we do is that it's ok for their own reasons. I love that you can find everything here. "