gremlins-wisp)
Commentry on a street troupe I did some costume work for. They’re currently up in cairns and there has been some really interesting reactions.
">Man: They’re trained by a guy from Cirque du Soleil.
Woman: But they don’t DO anything!
Man: But they have they’re own language and culture and kind of exist instead of performing. It’s really quite clever.
Stephen Fry lookalike talking to Kim Kardashian lookalike. (via gremlins-wisp)
Commentry on a street troupe I did some costume work for. They’re currently up in cairns and there has been some really interesting reactions.
An interview with
Jennifer Bismire
In the lead up to Fresh Blood 2011, Matthew Higgins had an investigative chat with Jennifer Bismire, director of Nothing Mattress:
Firstly, what was the inspiration for this piece?
Jennifer: The initial text developed out of an extended creative writing piece written early last year. Conceptually the show stems from a frustration at the human need to define relationships and their expectations quickly, instead of just enjoying them. Instead we decided to explore beginnings and endings without forcing people to make conclusions on how ‘things should be’. While the stimulus text and associated imagery was the initial inspiration I’d say the piece now very much belongs to the 10 collaborators, (8 cast, myself and Assistant Director, Emily Clark) and their own experiences and ideas about romance.
Why did you choose to submit a devised/collaborative piece over a text based piece?
Jennifer: I felt that the concept would work best if it represented a broad spectrum of experiences. I wanted the opportunity to explore different moments and ideas visually, textually and sensually. Working in a collaborative way with a large ensemble seemed the best way to achieve this mixed effect. It’s been really challenging and rewarding to develop skills as a devising facilitator/director working with 9 excited, thoughtful, beautiful people. I suppose it’s fair to say that the piece really is text based, but the process that contextualises the writing has been highly collaborative.
After seeing the show, there are these beautifully poetic moments in your piece - who is your inspiration? Who are you influenced by?
Jennifer: The language, particularly within the AV, is poetic but we’ve tried to contextualise and balance it through the visual elements of the piece as well as the rawer, ruder, funnier or harsher moments in the text. I was once told my writing should be more flowery and soft and happy; more like a girl should write. Stuff ‘em, things can be poetic without being soft and fuzzy.
Influences: The dictionary, Brett Easton Ellis, Dylan Thomas, bad (amazing) 90s television, Leonard Cohen, past & future lovers, The Decemberists, my mother, Oscar Wilde and red wine.
You were previously involved in MALFI with Vena Cava earlier in the year as the Production Designer - did you find the work you did with MAFLI has influenced your current work?
Jennifer: I wouldn’t say the piece itself is artistically influenced by MALFI, but being so heavily involved in Matt Delbridge’s process definitely taught me the value of taking risks rather than pandering to expectations, as well as techniques to run a rehearsal room inclusively but efficiently. Nothing Mattress is definitely a different aesthetic style to MALFI and aims for a different audience response, but I’m learning not to play things too safe.
How are you finding the devising process?
Jennifer: Wonderful! We’ve got a really great mix of people involved who are thoughtful, empathetic, opinionated and fun all in one bundle. By the end of every rehearsal I have one busy, sore, excited and happy brain.
What are your future aspirations?
Jennifer: I’m fairly preoccupied with creating theatre that’s really visually stimulating but doesn’t sacrifice the idea of story-telling; where the two elements are inseparable. I hope to continue working as a director, collaborator and designer that continues to value those things. I also aspire to drink good wine and coffee, make pretty things, and make enough money to cook all the time.
(Source: venacavaproductions.com)
