So as migrant French speakers, we decided to bring plays from the French language repertoire in English to the UK. For example, Molière seemed very obscure or misunderstood even to esteemed drama-school trained colleagues, whereas we had learned about Shakespeare and his modernity in our training abroad.ĭavid Furlong: Classics are symbols but beyond the theatrical heritage, there was a gap in international theatre’s presence, in the plays produced, and in the proposed esthetics. And we felt among our peers a lack of knowledge of plays and theatre from outside the UK. Very quickly, as foreigners, we felt that our roles and jobs would always be pigeon-holed and that we needed to create our own work. Fanny Dulin: David and I were already working as actors in the UK doing Tours in Education or language based plays, and some small fringe productions.
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