ANATOMY: FINEST CUTS
Thu 24th October, 8pm
Traverse Theatre, Edinburgh
Fully BSL Interpreted
Join Anatomy at our supermassive takeover of the Traverse Theatre, for our biggest event of the year, Finest Cuts!
Finest Cuts is a full throttle live art cabaret, a selection of some of our favourite performances. After seven years of producing a wild diversity of genre-defying work in Edinburgh, gardening the grassroots for gorgeous originality, our legendary local music hall is taking a cleaver to the renowned international archives to carve out juicy morsels and terrifyingly tender tastes.
- A wounded performance about fragility from ex-wrestler Philip Bedwell
- A five-clown retelling of Dracula from LARDS
- The destruction of Halloween toys from Yol
- A film about the joy of screaming from Zeynep Dagli
- A tangled knot of love from Ro-nin & Xian
- A story about an octopus from Rebecca Green
- Cutting commentary from hosts Ali Maloney & Harry Josephine Giles
- British Sign Language interpretation throughout
In his work “Defence Wounds”, Philip seeks to show how we all find our identity and how he finds his place in masculine spaces. He asks which roles and archetypes we choose to live by and which to resist, and in this resistance, how others perceive us and help us. He asks the question, how can we help others and ask for help ourselves?
Philip is a London based live artist with a background in martial arts, physical fitness and performed as a professional wrestler for 22 years across Europe. Towards the end of his wrestling career he transitioned into live art as he found some of the performance similarities intriguing, such as displaying the body in poses to draw emotion from an audience. Philip discovered that live art could lend an authenticity to his work which couldn’t surface through the theatricality of wrestling.
Content note: Nudity and minor bloodletting.
Sensory note: Visual, no dialogue
A story of vampires, castles, coffins, blood-sucking terror and all of the other familiar characters, clichés and dramas is turned on its head in this subversive and anarchic adaptation of a well loved classic. Our storytellers have forgotten exactly how the story goes (or maybe they never knew) but carry on regardless. Perhaps in doing so they’ll accidentally summon up a terrifying unspeakable evil. Using physical theatre, clowning, live music, polyphonic folk singing, dancing, fake teeth and just a little French, Italian, Spanish, Romanian and gibberish. Suitable for clever and daft people alike.
LARDS is a new theatre company of Scotland's finest physical comedians and visual theatre makers. We embrace the universal languages of love, absurdity and stupidity to make experimental, entertaining and accessible performances for all ages and none. LARDS are Lewis Sherlock, Andrew Simpson, Ruxandra Cantir, Dylan Read and Sita Pieraccini.
Sensory note: Primarily visual, minor dialogue
An Halloweed junk exorcism. Spooky trash turned into instrument, broken fragments of seasonal songs, ritual yelling, noise and damaged language celebrating or cleansing, depending on your point of view. What does it feel like to be a rotting pumpkin. Contributions of Halloweed junk welcome.
Content note: Loud noises
Sensory note: Minor dialogue. Strong visuals and strong sound.
Negotiation Between Madness and Sanity
This collective experiment unleashing the most primitive and urgent has started in 2014. The project engages directly with our right to scream as a means of negotiating between madness and sanity, to let ourselves take refuge in screams and capture the cathartic interruption in time.
Having already captured dozens of screams, I was struck by the range and intensity of emotions expressed by participants and elicited in the audience – rage, fear, sadness, but also seemingly joy. What does a scream signify? Is it a taboo, often repressed? Does one scream trigger another, like laughter? Is it possible to capture a collective cathartic experience both for the screamer and the viewer? Regardless of age, gender, culture, and race, a scream is universal and cannot be easily ignored.]
Content note: extended loud noises
Sensory note: No dialogue. Strong visuals and strong sound.
Xian and Ro-nin
A rope dance between two bodies, two minds – one mind? Impulse, emotion becomes motion then emotion again. This piece is a part devised, part improvised physical performance. Rope is used as a means of communicating motion, energy, intent and
emotion between the performers. Whether one is tying or being tied, rope is a language, a physical dialogue. The Movement, the projection of intent and the expression are key to the creation of a tactile and emotional landscape – moments of magic and love.
Ro-nin (he/him) is a rope practitioner, performer, rope maker & photographer. Nomadic rope fiend and missionary, using and promoting the use of rope since 2006. He has been practising an Asian influenced style of tying, focussing on the deeper layers of the craft and obsessive about technique, efficiency and training.
Xian (they/them) is a queer model and artist, first trained in Hong Kong and now Edinburgh-based. Xian works with rope across the UK, and is particularly drawn to the potential for expression, movement and spontaneity. In a headspace where tension becomes a framework for communication, rope becomes a meeting of two minds, a dance, a means to enhance and distort reality.
Content note: Physical constraint and suspension.
Sensory note: Visual, no dialogue.
Extraordinary Octopus Takes To Land
It’s about puncturing the membrane between this and that. It’s a mixture of autobiography, poetry and visual art.
Rebecca Green is a performer and visual artist who lives in Edinburgh. She writes, performs, paints, makes objects, and messes about with forms in between, showing work in galleries, theatres, comedy clubs and everyday spaces.