During 4 Days: Curtain Call we invited two emerging writers to respond to the programme; Rosemary Wagg and Kate Kelsall (part of IBT13 emerging writers programme) were inspired to create their own performative texts. Through Forest Fringe’s Paper Stages we also welcomed audience members to exchange their critical responses for a unique book of performance. Here we present to you their collected experiences of 4 Days: Curtain Call.
How to break up with someone when you have read Foucault (…and Freud, Derrida and Sontag): Inspired by Jesse Ash’s Avoidance – Avoidance [A Project of Transparency]
"For a generation of post-postmodern twits, ‘It’s not you, it’s me’, will simply not do anymore, namely because we all know it is I and not You because I (and also probably You) have had years of expensive therapy learning all the reasons why I am so psychologically flawed no romantic relationship will ever be capable of existing. More than that, we have not just learned the reasons why we need to book therapy sessions more frequently than going on dates, we have learnt how to say the reasons why we are fuck-ups and society is fucked-up and the relationship between You and I is fucked up (and also how the fucked-up society intersects with You and I)"
A Long Running West End Ghost Play meets The Woman in White [Inspired by Barry Sykes’s It Must Be Told]
"‘The play’, according to what Barry Sykes tells us, has been running in the West End for 25 years. That incidentally, is exactly the same length of time that my own ‘show’ has been running on earth, and yet somehow the ghost and I have never met (if we did, I am sure we could reminisce about bubble watches and Tamagotchis together). I mined other people’s brains for memories of her that could, theoretically, be my own and received a nice tale of a ‘the girl next to me screamed the place down’ on a school trip, plus a recreation of the ‘Carry On style’ mime of a dog on a lead."
The Fig-Skin Shoes
"The fig-skin shoes arrived at around 11am. I went to collect them from downstairs and witnessed the postman wincing under their cumbersome weight. Thanking him, I took the parcel into the living room and began unwrapping the brown paper from around the outside."
Writing: What a performance
"What gobbledegook, Jesus. We were set up at the writer’s station - with some seriously classy paper and a lamp that at first felt studious but soon interrogatory - kids trying on mama’s high heels. Or rather a performer caught on stage not knowing the words, wearing someone else’s costume. Edwin Burdis’ The Fruit Machine: An Opera in Five Parts passed in a fit of sweat and ‘frogspawn thought’ scribbles (above.) Now I can barely remember the show - the experience of it completely eclipsed by trying to wretch/wrench sensible words from a panicked, white noise blankness."
Forest Fringe's Paper Stages contributions:
Barry Sykes It Must Be Told
"Part performance lecture, part auto-narrative, part adaptation, Sykes opens this piece ‘off stage’. He plays the narrator, describing the set and props as they appear to the audience. Appearing from behind a draped black curtain, he then addresses the audience directly, breaking the fourth wall, and turns our attention to a series of PowerPoint slides projected onto cloth."
"Edwin Burdis ‘The Fruit Machine’ is theatrically menacing, like sitting in a stationary ghost train or living through a frenzied waking dream one might have after a late night of watching ‘A Clockwork Orange’ on repeat."
"The opportunity to engage with the process of a performance company before watching their latest work is always exciting, particularly with a company so engaged with processes in their work as Every House Has a Door (who are Lin Hixson and Matthew Goulish, founders of the legendary performance company Goat Island)."