The Arches presents
Tue 10 Mar 2015 | 7pm - 8pm | £3.50 (+£1.50 online-only TF) | Includes a glass of wine or soft drink | 18+
The anarchic, anything goes event which sees theatre companies, performers, writers and dancers from all fields take ten minutes to try an idea in front of an audience. Afterwards, the actions moves to the bar, where the audience talks back.
This month’s line-up:
The First Cut
The First Cut explores the abomination that is female genital mutilation and the wider problem of how unchallenged Western cultural norms contribute to the repression of girls’ sexuality and sense of self.
Female Genital Mutilation (FGM) refers to procedures that intentionally alter or cause injury to the female genital organs for non-medical reasons. The practice is illegal in the UK but it is estimated that over 20,000 girls under the age of 15 are at risk each year, and approximately 66,000 women in the UK are living with the consequences of FGM. Up until now arguments of cultural relatively and ‘it’s not our problem’ have prevailed and FGM has overwhelmingly been swept under the carpet. But what if it was white girls? Middle class girls? Western girls?
The First Cut imagines a Scotland where girls have always been cut, where society celebrates this brutal practice and girls prepare for their special day with a smile and a glad heart.
Amy Conway is a freelance theatre maker, performer and practitioner. She is dedicated to creating new work that speaks for the voiceless and under-represented; women, minorities and the vulnerable. She is interested in contemporary theatre that presents narrative in vivid, richly textured and surprising ways.
Amy has been invited to develop work for Arches LIVE for the past three years – Update (★★★★ The Skinny) in 2012 with Sarah Bradley and Kirsty Byers, I-HAPPY-I-GOOD (★★★★ The Scotsman, ★★★★ The Herald) in 2013 with Edward Crawley and Ishbel McFarlane, and 30:60:80 (★★★★ The Scotsman) in 2014 with Victoria Beesley- as well as being selected to present Karōshi (‘death from overwork’) at Glasgow’s //BUZZCUT// festival last year.
For more information visit www.amy-conway.co.uk.
Can I bring my Mum to the Arches?
Stephanie Katie Hunter
I want to bring my Mum to the Arches. I want to invite her into a building that is firmly placed within the performance community of Glasgow. I want to invite her without worrying she’ll embarrass me. I want to see if I can work with my Mum without her feeling like she needs to excuse herself before asking, “What was it about?”
Is it the form of performance art or the way that I talk about it that my Mum finds inaccessible? Can I say my arts practice is centred around accessibility when I’m so condescending to my Mum’s valid questions? Can I be a good daughter and a good artist? Can I bring my Mum to the Arches?
Stephanie Katie Hunter is a training artist interested in the issues of engagement, accessibility and entertainment. Having been a participant in autobiographical performance art projects she is now trying to work out ways she can explore her own experiences as a solo artist without being a self-indulgent arsehole.
Stephanie has worked with Scottish Youth Theatre (2009 – 2014), 1 in 100 Theatre Company (2011), Glas(s) Performance (2011), Junction 25 (2012 – 2013) and Mischief La-Bas (2014). She will be hosting two events at Behaviour – The Arches Commons: The New Bill and The Arches Commons: The New Bill (Amended).
Stone Cold Sober
Are you looking for love? Want someone to sit beside you in the rock garden or gaze longingly from the mantelpiece? Join me tonight for a special presentation of some of my favourite pieces from my world famous collection. Who knows – one woman’s hobby is another’s ultimate fantasy.
Claire Willoughby is a theatre maker, performer and musician based in Glasgow. She creates devised work and re-imaginings of classic texts that are often inquisitive, visually stimulating and darkly humorous.
Claire enjoys making solo and collaborative theatre and cabaret using live music, physical movement and storytelling, and is one half of children’s theatre company Giddy Aunt, with Sarah Macdonald. Their new show, Gorgon, has been programmed for the Imaginate Festival and Pulse Festival this May.
No Longer/Not Yet
St. Peter’s Seminary, a landmark piece of 1960s brutalist architecture in Dunbartonshire, has been lying empty and decaying since the 1980s. When you read this, work will have begun on a major restoration project with the view of converting the building into a large-scale, multi-purpose public arts/social venue.
No Longer/Not Yet examines the relationship between the site’s original purpose as a religious institution and its repurposing as a social arts venue, and our fluid relationships with places that are perceived to be physically ‘fixed’; using images and sound recorded on the site in the final days before works began, archive footage of the site in its original state, and recordings of 1960s modernist music.
Alex Mackay is an artist making work across media including sound/music, image and performance for a wide range of contexts, including recorded media, installation, live performance as well as collaborative work in the fields of visual art, dance and film.
He has recently worked with artists and companies such as Jana Winderen & Mike Harding (of sound art label Touch), Red Note and The Red Ensemble, and his work has been presented at venues around the UK and Europe. He is one half of EYEGRID, and is currently studying composition at the Royal Conservatoire of Scotland.
Scratch is the Arches’ way of giving companies, performers, writers, dancers and visual artists – basically, artists from any genre – a chance to try out a new idea in front of an audience.
Each quarterly event attracts an audience of theatre makers, performance artists, creatives and industry professionals who are all on hand to give you feedback in the break, and afterwards in the bar. Previous performers have gone on to develop their pieces at Arches LIVE and elsewhere.
Your piece should last 10 minutes, and some rehearsal space may be available for artists subject to availability.
For more details, get in touch on email@example.com.
See information and events listings for:
“Where can you see tomorrow’s work today? The answer is The Arches.”
Producing and presenting risk-taking work from local and international artists and companies, the building has boasted performances over the past two years from Derevo, The TEAM and Taylor Mac, hosted the National Review of Live Art and New Territories festivals and seen blistering performances from boundary-pushing artists and companies such as John Moran, Adrian Howells, Ontroerend Goed and Quarantine as part of 2010’s BEHAVIOUR festival, our annual celebration of the live experience.
The Arches is also Scotland’s leading provider of support for emergent artists and performance practitioners, providing a year-long programme of opportunities including Artist in Residence programmes and our two annual awards, Platform 18: New Directions and the Brick Award, as well as showcasing raw work from homegrown talent such as Nic Green and Rob Drummond in Arches LIVE, our annual festival of brave new work.
Our dedicated Creative Learning programme offers even further-reaching opportunities for development across a broad range of social groups, with events ranging from urban music production course Tigerstyle and the newly launched Arches Community Choir, to mentoring schemes, professional development projects and off-site performance work with diverse social groups.
Words from Jackie Wylie, The Arches’ Artistic Director, following the tragic death of Adrian Howells:
“All at The Arches are devastated by the loss of Adrian Howells this week. He was our Artist in Residence and The Arches was his creative home. But more than that, he was a dear friend and companion in life to many of us here.
So many would say that there truly was no one like him, who personified love, generosity and the deepest type of empathy and desire to understand those lucky enough to have met him. With great humour he was able to create an instant connection with anyone he encountered. He was able to translate this desire to nurture and connect into his performance practice and in doing so leaves behind not only an incredible and influential body of work but a multitude of audience members across the world who have in some way been transformed by these encounters.
He supported, encouraged and was at the heart of an entire community of artists in Glasgow who will miss him terribly.”