Add a Comment

Comment by carmen medway-stephens on April 13, 2012 at 0:48

I've been thinking about censorship lately - do or don't? Was wondering John as a Director have you censored anything  due to the legal implications and Tim did you self censor as a writer or leave that to the Director and team or did you write freely and see what happened? As Artists do we need to protect ourselves? Or have freedom of speech? (apologies if this has already been discussed in earlier debates). I am just interested in how information like for example NTW is available to access and comments can be monitored by 'The Powers that be!!' (whoever they are...) and more so now how our government are talking about accessing everyone's emails and also privatising some delicate court hearings?? Could we potentially be monitored and be on someone's list (remember the McCarthy Witch/communist 'unamerican' hunts) by exploring this play?? Have you had to have discussions about all of this in the rehearsal room?

Just some thoughts I've had... 

Comment by Tom Beardshaw on April 9, 2012 at 5:08

Here are the links that I'll be using on the livecast to go with the play online... http://bitly.com/HkXfxu - I'm still building my collection - they need to make sense with the script and scenes! 

Comment by Catherine Paskell on April 6, 2012 at 5:45

Here's the FB event from the first Haverfordwest promotional protest! Thanks TEAM member, Corey Bullock, for organising! 

Comment by James Doyle-Roberts on April 4, 2012 at 11:28

Here's a link to some very up-to-date info on Bradley Manning's recent hearings, courtesy of Phil Fornaci and Jane Zara:

http://truth-out.org/news/item/8297-inside-a-military-court-hearing...

My sponsor for this link was Persephone Bailey who works at Feral Theatre:

http://www.feraltheatre.co.uk/?page_id=4

Things are looking really good here in Haverford West. The set is being built around us as John works on the numerous, fast-flowing transitions demanded by Tim's script. Sky Arts are filming us working-out how we broadcast ourselves, in a play that needs to feel real.

My view is 1080degrees from a small High-School in West Wales, to the outside world.

Comment by Lindi Carter on March 27, 2012 at 13:07

Here's an update from Bradley's lawyer to say that Bradley has gone back to Ft Leavenworth and is doing well  http://www.armycourtmartialdefense.info/ 

This is the good bit - He is doing well and wishes to thank his supporters for their continued interest in his case. 

It's a strange feeling to be working towards our frantic (speaking for myself!) respective deadlines (you on the production and us on the campaign) and being reminded again that at the very same time as we are engaged in 'telling his story' Bradley's 'story' is still unfolding....

Comment by Sion Young on March 25, 2012 at 9:46

not directly linked to the play but there's an apache incident which may be of interest. Drill tomorrow...fun times. 

https://apps.facebook.com/theguardian/world/video/2012/mar/23/apach...

Comment by Gwawr Loader on March 25, 2012 at 9:37

A little update on rehearsals. We now have a basic shape / concept for every scene in the play and are all trying to be off-book by the end of the week. Tomorrow there is an ex army drill sergeant coming in to go through drill with us (which I personally am terrified about! I hope I will manage ok). He will then watch our army scenes and let us know if we need to change anything to make them as true to the real experience as possible. In Tuesday a vocal coach is coming in to help us with our American accents (looking forward to it). Will update on thise 2days and the rest of the week soon.

Comment by Lindi Carter on March 22, 2012 at 13:42

Also re the letter I mentioned below make sure you read on to section c. on page 9, where Bradley  makes the sarcastic comment about the thong of his flip flop that David Coombs reported on his blog, and which was a sign of hope to us on the outside that he hadn't gone under to the pressure, and his mental state was good.

These were the first reported words of his since we'd heard about the conditions of his confinement, so they meant a lot...

Comment by James Doyle-Roberts on March 22, 2012 at 13:39

Institutional movement & action

#NTW18 has just finished its first week of rehearsals.

“The Radicalisation of Bradley Manning” grabbed my interest the moment it was announced, when I thought how smart NTW are with their programming of well-located, relevant theatre for our times. My job title is Emerging Director, and my role in this production is as nuanced as any Assistant or Emerging Director could hope for.

The cast and creative production team are already posting a lot of their detailed research in this group, so I thought it might be useful to write from my perspective about the process so far (whilst protecting our right to surprise you, once you’ve all finished fighting for tickets).

Tim Price’s excellent script demands a lot from our half-dozen cast, and John’s provocations and choices are setting a fast pace in blocking the play. The cast will be working in limited, site-specific/responsive spaces and they all have personalities that could individually fill any School Gym Hall. Part of my experience so far, has been to think in detail about how chorus actors playing multiple roles will make transitions into central characters, in a non-linear narrative.

I think that last sentence is about as academic as I am able to be, before I start to bluff my way into writing about ‘getting a feel for the room’.

Most theatre practitioners have their own favourite workshop games/exercises; given my background in purely physically-slanted shows, I would love to luxuriate in the development of ensemble exercises for weeks & weeks. There is however, a budget, a deadline, a story to be told and a cast too talented and eager to be kept in any kind of creative holding-pattern.

In the spirit of sharing my own learning, here’s John Caird on the subject of Movement Directors:

“…find a physical language for your production that all your actors will be happy with and that plays to their physical strengths… [Help] them to integrate their intellectual, emotional and physical lives with their moves.”

“Theatre Craft” 2010

One of the many lessons I have learnt from our director this week is to really consider how essential games & exercises are in relation to actually taking the first steps in blocking a play, which needs to be experienced and thought about, as well as seen from the comfort of your plastic-bucket school chairs.

To use a negative example, a Director shouldn’t spend valuable time on theatrical devising exercises if they later find themselves saying “So, when you say that line, I think you should walk over there and look at the clock”.

Time to go now; I’ll blog again when we’re in-situ at Tasker Milward School in Haverford West.

James Doyle-Roberts

Comment by Lindi Carter on March 22, 2012 at 13:04

Bradley's letter of complaint about his treatment at Quantico, drafted with David Coombs, his lawyer, contains detail of an incident which shows that, even after all that abuse, he was not afraid to call out the Brig Commander - 

go to -  http://www.armycourtmartialdefense.info/2011/03/article-138-complai...  and click on the word 'rebuttal'  (see section b on page 7)

or try going straight to

https://docs.google.com/file/d/0B_zC44SBaZPoMzMyNWExZmUtZjEzMS00ZjM...

(section 'b' on page 7)

David Coombs blogs are worth looking at though, through the past year and a half, and include clear info on Quantico and other things - they make good reading - he's pretty direct sometimes! 

http://www.armycourtmartialdefense.info/ - scroll down to 'older posts' at the bottom of the blog on the right

• ‹ Previous
• 1
• …
• 6
• 7
• 8
• 9
• 10
• …
• 15
• Next ›
• Page