Anatomy: Finest Cuts
a best of five years of genre-defying performance
Traverse Theatre, Edinburgh
Full-throttle live art cabaret: an unpredictable cauldron of mischievous performance, featuring everything from tactical action to bleak bouffon, from noise art to fart jokes, from opera to pop and ballet to biscuits.
After five years of producing a wild diversity of genre-defying work in Edinburgh, gardening the grassroots for gorgeous originality, legendary local music hall outfit ANATOMY takes a cleaver to the renowned international archives to carve out juicy morsels and terrifyingly tender tastes.
Date & Time
Thu 10 & Fri 11 May, 8pm
Full price £17
Standard concession £14
Under 30s / Student £12.50
Other concession £9
Integrated British Sign Language interpretation both events
Step-free venue access and wheelchair-accessible toilets
Contains nudity, violence, adult themes and strong language, strobe lighting and audience interaction.
Anatomy is supported by Summerhall, Imaginate and Creative Scotland.
The Cloud of Unknowing: Palimpsest
How to move, what to buy, how to human form in the constant messages from space?
The “should be” advertising, media, fashion, diet, pop-ups, jingles, noise in the street. A cultural landscape pressing down on the body.
Come with music, flowers, language, smoke, dancing, human weight. Come with messages of resistance from the flesh.
Feel, impress, succeed, how to look…. How to look…. money money.
To be bodies (our only immediate tools).
We have to break out of this.
image by Rich Dyson
Cultured Mongrel Dance Theatre: It’s Not Over Yet
“I said I’d never make a show about having cancer. This is a show about having cancer. Two years ago, aged 30, I was diagnosed with Hodgkin’s Lymphoma. This is part of the story, but It’s Not Over Yet…”
Using movement and text Emma Jayne Park invites you to share part of her life only those closest to her witnessed: a journey of remembering, evaluating our life choices and exploring why they even matter. It’s personal, it’s funny, it’s angry in places but above all it’s honest. Everyone has a Cancer story, this is hers.
image by Deborah Mullen
Jordan & Skinner: Sanitise
In the most private of places you can flush away dirt in an instant…
One woman, alone in her bathroom. The outside world is disgusting and her bathroom is a wipe-clean sanctuary to escape to, to hide in, to worship.
But, there is something lurking beneath the bath, the sort of thing you wouldn’t want anyone else to see and it is calling to her. Exploring our tortured relationship to filth of all kinds the multi-award winning Jordan & Skinner present an extract from their debut production without words, Sanitise, which first appeared as an early scratch performance at the first ever Anatomy.
WINNER: Scotsman Fringe First Award 2014
NOMINATED: Arches Brick Award 2014
“sharp, vivid and witty”
★★★★ THE SCOTSMAN
image by Jassy Earl
Rosa Postlethwaite: Without Whom We Would Not Be Here Tonight
Without Whom We Would Not Be Here Tonight is a list of the benefactors we’re bound to forever. It’s an uneasy expression of thanks and an honest account of where the money came from. Tonight, I not only acknowledge my sponsors but the human cost of our transactions.
This comic, absurd and painfully personal list examines the relationship between honour and wealth. It’s a bespoke performance rewritten for each occasion. A process that forces me to think about the consequences of taking the money and running.
image by Chris Bishop
Moreno Solinas: Uranus
URANUS is a performance for body and voice. Love and sex, need and fear, spirit and fluid. Entertains the audience with song and performance, then sets them a challenge they weren’t expecting.
Lewis Sherlock: The Undercog
I once — not too long ago — believed artistry and facial hair correlated and that to be recognised for my achievements I’d have to have edgy greying facial features, or at least stubble or the showings of a man who could grow a beard well or be like a man, like a real man; like a boxer, a softly spoken boxer, or better a robot boxer all solid and tin.
Basically, to sum up, I used to think that to be a good artist you had to be a robot… an incredible mass-producing, all dancing and fidgeting, all singing, sweating man robot with at least a moustache and goatee combination. The Creative Scotland Prize Fighter.
image by Charlotte Hastings
Xelís de Toro – Until the Cows Come Home
Until the cows home is a one man, one voice show. It is the struggle and the journey of a performer to find his voice. And that voice can only we found in the talking, in the voice, pity that he does not have much to say, but the telling is in itself his discovery. This show is about presence and how to be there, exactly there, in front of the audience, in front of himself; there is not nudity, but the voice is naked. You can expect a mouth that does not stop talking, a body that does not stop moving, a beginning and an end, helped by a chair, a hat and a pair of boots. That is it.
image by Rich Dyson
Sara Zaltash: SEX – SEX – SEX
SEX – SEX – SEX is a ritual live art action that supercharges the relationship between pop song lyrics and our social and sexual condition, offering audiences an arresting visual spectacle and heart-wrenching sonic journey that is familiar to the collective experience of romance, lust and heartache.
“Zaltash is electrifying… See her if you can.” The Guardian, 2015.
image by Rich Dyson