TY - ADVS
T1 - The Soldier's Song
A2 - Banham, Simon
A2 - O'Shea, Renny
N1 - The Soldier’s Song was commissioned by Leeds Met Studio Theatre and supported by Nuffield Theatre, Lancaster with additional support from Fierce Festival, Birmingham. It was first seen in Lancaster (Nuffield Theatre) in March 2008.
Performed at: Harris Museum & Art Gallery, Preston; Manchester Art Gallery, Manchester; Fierce Festival, Birmingham (installed at Moor Street Station); Noorderzon Performing Arts Festival, Groningen, (installed in the park); Nuffield Theatre, Lancaster (installed in an empty city centre shop); West Yorkshire Playhouse, Leeds; Barbican Arts Centre & BAC, London; Accrington Market Hall, Accrington (23 April - 1 May 2013).
PY - 2008/3
Y1 - 2008/3
N2 - This is part of an ongoing investigation and challenging of the spectator's willingness to remain an audience, coupled with an invitation to question preconceptions about soldiers through the complicity of a mediated encounter with a serving soldier, offered through the form of an individual karaoke duet. The central question scenographically is how to effect the very personal engagement with a person who is certainly physically absent, but also perhaps culturally or politically removed from the viewer's experience. The constructed space: externally a wooden crate that implies the transportation of cultural/military cargo, and internally a meditative chamber, within which the spectator could choose to 'meet', (chosen from a karaoke menu) a soldier with whom to sing a duet. This was intended to allow, without prejudice, a consideration of the perhaps awkward and distant connection we increasingly have with serving soldiers who represent Britain overseas.
AB - This is part of an ongoing investigation and challenging of the spectator's willingness to remain an audience, coupled with an invitation to question preconceptions about soldiers through the complicity of a mediated encounter with a serving soldier, offered through the form of an individual karaoke duet. The central question scenographically is how to effect the very personal engagement with a person who is certainly physically absent, but also perhaps culturally or politically removed from the viewer's experience. The constructed space: externally a wooden crate that implies the transportation of cultural/military cargo, and internally a meditative chamber, within which the spectator could choose to 'meet', (chosen from a karaoke menu) a soldier with whom to sing a duet. This was intended to allow, without prejudice, a consideration of the perhaps awkward and distant connection we increasingly have with serving soldiers who represent Britain overseas.
UR - http://hdl.handle.net/2160/10602
M3 - Performance
PB - Quarantine
CY - Nuffield Theatre, Lancaster
ER -