Changing the Story: FEAST review by Charlotte Crawshaw #YorkInternationalShakespeareFestival

Charlotte Crawshaw reviews FEAST, the first play by London-based Romanian theatre maker Olivia Negrean, making its York debut after being performed across Europe. Directed by Philip Parr of Parrabola.

“And as the show came to a close, the players dished out the meal for the audience to enjoy – a really unique  innovation on a play, something I personally had never seen before.”

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Sci-fic for a realist: ‘we need it now more than ever’. Annice White reflects on the Terra Two Anthology Launch #YorkLiteratureFestival

Terra Two Anthology Launch with special guest Temi Oh

“The note that I took from this morning’s launch was that exploration into exploration of space is often an exploration into the self.” Annice White reflects on the Terra Two Anthology launch earlier this year on 16th March 2019.

As a fan of realist fiction, currently researching fictional representations of the Yorkshire Ripper, I would not call myself a science fiction fan. However, when York Literature Festival advertised their spec-fiction day I thought I’d step out of comfort zone and see what sci-fi is all about.

Before today I had this notion that Sci-fi is about things that don’t or wouldn’t happen. However, as I learnt today, it isn’t that the things in sci-fi aren’t real, it’s that we don’t want them to be. Continue reading “Sci-fic for a realist: ‘we need it now more than ever’. Annice White reflects on the Terra Two Anthology Launch #YorkLiteratureFestival”

All’s Well That Ends Well Review YISF @Friargate Theatre

By Charlotte Crawshaw

Thursday 9th May saw the opening of the York International Shakespeare Festival, kicking off with the fantastic performance of ‘All’s Well that Ends Well’ at the Friargate Theatre. Director Paul Burbage provided an interesting and modern take on the performance, in the note from Burbage  he said ‘with a little fine-tuning, a surprisingly contemporary voice emerges’ which he succeeded with.

            Even before the performance began the take on the performance was very interesting, as the players were introduced to the audience as people working on the set. It was really interesting to be able to see all of the players before the performance actually begun. The set itself was minimalist, yet impressive and immersive. The set consisted of two tables, which moved around the stage periodically as the scenes changed. The seating in the theatre draw the members of the audience in, making everyone feel involved in the performance.

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The Problem with “Social Progress”: LGBT History Should Teach Us To Challenge The Present, Not Assume Everything Is Sorted

Inspired by responses to the recent National Theatre Live production of Cat on a Hot Tin Roof, Adam Kirkbride contemplates the dangers that arise when we assume the problems of the past are no longer visited upon the present.

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Seven Books to Buy on National #BookshopDay!

  • By Charlotte Stevenson

As some of you might know, this Saturday is National Bookshop Day. This means that across the weekend, specifically October 8th, there will be lots of book related events going on across the country such as author readings, signings and such. It’s an occasion to show your local bookshop some love as, whilst Amazon is convenient and easy to access online, there is nothing like going for a browse at your local store. There is a community there, a tangible hum to all of those spines full of potential calling out ‘pick me’. Every penny we spend there goes towards keeping those sanctuaries in place and making sure they remain on our high streets for the long run.

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‘beyond all imagination’. holocaust memorial day and writing the incomprehensible

By Charlotte Stevenson

Current student Charlotte Stevenson reflects on the recent screening of Night and Fog for Holocaust Memorial Day and on her reading of Rena’s Promise for the module Conflicting Words, commenting on the tension between the necessity of commemoration and impossibility of writing about the unimaginable.  Continue reading “‘beyond all imagination’. holocaust memorial day and writing the incomprehensible”

words matter review: house of leaves

By Adam Cummins

‘This is not for you.’

So begins 2000’s House of Leaves. Why do I give the year and not the author? Because the author of House of Leaves is deliberately hard to find, much like the text itself. Where does the text begin and end? Who writes, and who reads? House of leaves is ergodic literature at its finest, and it might just be the most disturbing thing you’ll ever read. Continue reading “words matter review: house of leaves”