The Aesthetic of the Macabre: A Critical Look at Junji Ito’s Horror of the Bizarre

Sweet Talk

Junji Ito has gathered something of a cult following here in America as of late. Already known among horror lovers in Japan, Ito is, in my mind, more closely aligned with the weird fiction of old than with the contemporary horror genre as it stands in this country. I read his masterpieces, Uzumaki and Gyo a few years ago, as well as a few of his short stories. I recently encountered a list of his works with links to each, and worked my way through a few I hadn’t heard of. We at Sweet Talk tend to lean towards social science, but I’ve been hoping we might plumb deeper into the humanities. Art criticism seems about as far from science as it gets, so with Junji Ito fresh on my mind I thought I might engage in a little.

I will start with Uzumaki, move to Gyo, and conclude with…

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“The Fairy Queen” vs. The Faerie Queene

karissakeir

As I read the first two acts of A Midsummer Night’s Dream, I could not help but think of it as a bit of a satire of another work published around the same time: Edmund Spenser’s The Faerie Queene. Shakespeare’s work contrasts with Spenser’s on nearly every level, creating a series of humorous, parallel opposites. Whereas The Faerie Queene is a serious epic poem, A Midsummer Night’s Dream is a lighthearted comedy. The Faerie Queene harshly denounces Catholicism; A Midsummer Night’s Dream embraces a variety of religions, ranging from classical mythology, to the worship of faeries (2.1.123), to Christianity—Catholic Christianity, no less (as we see expressed in Quince’s allusion to the Virgin Mary in 1.2.9).

In addition to these variations, Shakespeare’s “fairy queen,” Titania, is a much different character than Spenser’s is. Spenser’s faerie queen, Gloriana, colors but never actually appears in the poem, and remains a remote…

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‘Dinner-Time’: Comedy is Served

I’ve had a lovely morning at the Bristol improv theatre. It is the UK’s first theatre exclusively for improv- and has only recently opened after its major refurbishments. But what’s even more exciting is in the Pegg Theatre next week, a cast from the Bristol University Improv Society will be performing an all new-entirely-improvised-full-length-play: ‘Dinner-Time’. The whole cast are friendly and entertaining to talk to, and had so much to say that this write up doesn’t quite do them justice. We all gathered round a table, I set up a borrowed zoom-mic, and we began.

Question: What is ‘Dinner Time’?

Philippe: Food you eat at the end of the day (does something with his arms, like finger-guns but not quite?)

Everyone, reacting: oh good one Philippe oh yeah food, didn’t you know that? Hahaha! No seriously, what is ‘dinner time’, the show ?

Patrick: It’s this year’s long-form show, and the setting is at a dinner party. Unlike our previous shows, which are like lots of short scenes, this is two long scenes, like two acts.

Flora: Pre-dinner and Post-dinner. My only experience of long-form improv was Spon-Trek, which was a parody of Star-Trek. It was really out there, like ‘Oh look! Were now on a completely different planet!’ or ‘How do I land a space ship?’ but I like this format because it’s more down-to-earth.

James: The audience never actually see the meal, [that’s off stage] because it’d be boring to watch people eating.

(Then everyone jokes about how actually it might be entertaining to watch James just eat for a whole show. He’s good at space-work.)

Even more great reasons to see the show ; the ‘Dinner-Time’ cast is an exclusively BME cast, and to quote Pravanya Pillay, the director:  “It’s not progressive to complain about how white the industry is and do nothing about it… It’s important to give BME performers a platform to call their own. It’s time to carve out a space within mainstream comedy instead of relegating people of colour to the fringes. This is why [Dinner Time] will have an exclusively BME cast. This is only a small step in the right direction, but it is a start, and it’s an action that I can proudly and correctly refer to as ‘progress’.” (Pillay: 2017)

Question: And what is this show in relation to how it addresses BME and comedy?

James: It’s about providing a format for our BME performers, where they are playing genuine human characters without having to relate it to race. Characters that could easily have otherwise been played by a white cast. They could be played by anyone.

Flora: Yeah- I’ve come here from a sketch comedy/Revuinions background, so I think it goes back to that odd question ‘How do you write characters for people of colour?’, to which I always say, well, just write characters as you normally would, with all their quirks, intricacies and backstories. And why wouldn’t you?

Sarah: It’s about how comedy isn’t exclusive to white people. It’s a universal thing; everyone is funny, has a sense of humour and can make people laugh.

Question: What is it to be a BME person in comedy? What are the challenges, experiences or expectations?

Flora: When writing stand up sets it seems like you’re expected to make jokes about your ethnicity, and my impulse was to not do that because that’s what every BME comedian does.  But then, why should I avoid the subject, because that’s my experience. Why should I feel like mine won’t be relatable? Almost because white is the default, so the experience of white male comedians feels universal whereas mine is niche.

Prav: When I started doing stand-up, I thought Race formed a part of my identity and I enjoy talking about my experiences and I would have loved to have turned those experiences into comedy, but it isn’t all of my identity, and I was so worried that if I talked about it I would become the “Indian Comedian”, so I decided to avoid the topic completely.

James: When I first saw Phil Wang I thought ‘Damn he’s taken my job as The Asian Stand-up Comedian, now I’m never gonna make it’ but I realised later ‘Wait hang on, why can’t there be two Asian men doing stand-up at the same time? It makes no sense that there can only be one.’ But for some reason I entirely believed beforehand people wouldn’t want to see another Asian stand up and that he had almost taken up the one “slot” that existed.

Question: What experiences of media representation– positive or negative- have affected you?

Philippe: I noticed Raj in the big bang theory; main joke about him is his voice and his culture. It’s such a cheap laugh and it’s a shame that he’s stuck with that. The whole thing very much opened my eyes to how ethnic actors are written for. Often Black Americans will be from the ‘ghetto’ or speak colloquially and be drug dealers etc.

Flora: I watched Fresh off the Boat the other day, an American sitcom which centres around an Asian family, and I learned that this was the first time in 30 years that there’d been a sitcom where the BME characters were central, and not just side-characters. Knowing about issues like this sometimes puts a lot of responsibility on your shoulders, both as a person of colour and a woman- although I’m not as comfortable doing improv as I am doing sketches, I feel I ought to go up on stage in improv workshops to encourage others like me that this is a space you can get involved in. Rev’s has a sketch show coming up with an all-white male cast, and they are very talented- we wouldn’t cast anyone just to be politically correct. But its white-washed because we didn’t actually have any people of colour or women coming to the auditions.

Prav: I forgot that if you made an exclusively BME show here you’d be taking out all the diversity from the other shows on this term. But that’s the issue- that the five people in this cast happens to be the only five people in the society who could do this show.

Sarah: I grew up in a predominantly white area, and it wasn’t until I was older that I realised there was an issue here. When I came to university and met others who discussed it, I realised I’d been living in a bubble. Even though there aren’t any other girls like me, other black girls in the improv society, its nice that there is still a group of us who experience the same thing and can create this show.

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At this point in the interview, I realized the zoom mic had not been recording all this immense discussion. We all laughed about it, and this interviewer was mortified. Ohh will the comedy ever stop? [No.]

Question: What do you enjoy most about improvised comedy?

Philippe: I’m quite new to improv, but I really like how I can get so engrossed in a character and a scene, and I sometimes forget that I’m actually just standing and rehearsing in someone’s living room. At first I was like everyone else- thinking that it was a lot of pressure to come up with something on the spot- but now I know that you get a few milliseconds to make choices, but you have to be very switched on. I like the way it uses your brain, and you really have to be there in the scene, and not anywhere else.

Sarah: I love the fact that people’s minds work in so many different ways. It opens up a range of paths for an idea or scene to go. Literally everyone is funny in their own way and improv gives people a space where anything, no matter how small, can be made into something amusing. It’s amazing to be surrounded by people who celebrate and thrive off of the weird and whimsical.

Isra: English is my second language, so when I do an improv scene, I’m learning a lot. I listen to some of the lines people come out with and think, hey, that’s an interesting thing to say in that situation. Although sometimes people- Philippe- will say something and I think I need to clean out my ears.

Question: What are your individual strengths as improvisers?

Flora: Philippe is really good at coming up with lines, he’s so quotable. There was one the other day–

Philippe (and everyone else joining in): “Negligee? More like Negli-Yay.”

Prav: Isra is a wild-card. There was a scene in rehearsal where Sarah’s character was about to drop the bombshell that she was homeless, and we could all see it coming, because she’d been dropping hints all the way through. But then Isra said to her ‘I’m a woman, I can tell these things, you’re pregnant, aren’t you?’ It worked out okay in the end though- Sarah is very good at absorbing everything that’s said on stage and creating strong characters.

James: Which is good, because this is a very character driven show. A lot of the comedy will come from how we interact as people.

Isra: I like improv because it’s a place where it’s okay to be random! It’s okay to be weird and be who-ever you want. I enjoy getting the chance to act like a wild-card. Also, Flora is really good at ‘arranging the flowers’. She makes all the randomness make sense.

Final question: What can we look forward to in the show?

Isra being a wild card, Philippe’s quotable lines, Sarah’s strong characters, James’ space work and Flora will make sure it all makes sense. Not to mention, we’d get to see the final result of all of Pravanya and Patrick’s hard work directing.

Dinner-Time will be performed on Friday 24th and Saturday 25th March at the Pegg Theatre at 8pm. Tickets: £4 Members/£5 Students/£6 Adults. Stand ups include: Jamie D’Souza, Michael Odewale, Evelyn Mok, Gabriel Ebuele, Athena Kugblenu, and Vera Chok. Improv Cast: Sarah Alli, Philippe Boshe, Isra Dar, Flora Donald, and James Trickey. Music: Hari Sood. Directors: Pravanya Pillay and Patrick Levermore. Producers: Pravanya Pillay and Jack Butler.

The Bristol Improv Society holds free workshops every Thursday evening from 6pm in the S.U, and Revuinions Sketch Comedy society every Wednesday from 8pm.

 

Originally Written for Epigram, the Student Newspaper at Bristol University. 13/03/17

http://epigram.org.uk/lead-article/2017/03/dinner-time-interview

‘The Ridiculous Darkness’ – A Review

I’m not sure if this play can be reviewed.

At the Wardrobe Theatre from Tuesday 21st to Thursday 23rd  February 2017, Niall Potter sent out his adaption and interpretation of Wolfram Lotz’s ‘The Ridiculous Darkness’ into the world. And the world was caught at a bar afterwards, frowning into a can of red stripe, not knowing if they were ready for such an entrancing, surreal production. It was a fine example of absurdist theatre; and it captured the feeling associated with this style: Sharp, nonsense humour, followed by the soft embrace of an existential crisis-or in this case; hearty laughs followed by an uncomfortable darkness- in the good way.

I cannot even begin to explain the plot to anyone who did not see it; but this play was worth watching. The interpretation was excellent; the lines were very visual, and had no trouble in getting the audience to suspend their disbelief. It’s not hard to imagine that Lotz would be impressed with this UK debut.

The whole cast made for a very slick ensemble, and few mistakes were made. If they were, they were dealt with professionally, and with humour. The overall performance was extraordinary, and they must be commended on their teamwork in engaging the audience with difficult concepts through visual ensemble action. The lighting, set, costume and sound worked very cohesively; all were simple, effective and inventive. We were fully immersed. Issac Lawrence-Thompson’s Foley sounds were ingenious, and added extra entertainment. The lighting was good at conveying mood and time of day simultaneously- but was better kept simple, as there were times when too much flickering got a little distracting.

The style and direction was very strong overall, but because of this, weaker moments were highlighted. The pace of each individual scene was varied, comedy timing and delivery was satisfying for most scenes, though not always consistent. Amongst the clever, unpredictable jokes, (the church of ABBA, and a monologue about ‘being paid to put things in orifices’ were the favourites) there were a few disappointingly obvious ones.

Some of the boat scenes may have benefitted from being cut shorter and choreographed more precisely- as although the aim of the production was to present chaos, there were times- particularly towards the end, where chaos and humour detracted from poignancy. However, the duo of Teja Boocock and Thomy Lawson stood out as soldiers Pellner and Dorsch, for their ability to portray such a versatile range of emotion. A boat journey into the darkest depth of the psyche is no easy feat, but these two carried us there- even while holding up an ‘acting paradox’, showing a breakdown of coherence and identity, whilst keeping characterization constant. It was very well done.

While on the subject of paradox, I come to the subject of para-text. Marketing for this production told us to ‘be shocked and confused’ and yet, I felt ‘The Ridiculous Darkness’ was ‘not all that ridiculous after all’- to quote the dramaturg’s notes. To me, though the plot is odd, it was clear. Perhaps there needed to be more faith in the audience, or in the production? Or perhaps it could have been pushed further into surrealism? Despite this criticism, there was an ‘unknown’ in this experience that was successfully uncovered. The audience will be discussing it for hours afterwards, or staring at their ceilings, unable to sleep.

And the rating?

To quote Dorsch: I don’t know I don’t know I don’t know I don’t know I don’t know I don’t know.

Normal stars and half stars do not do this unusual play justice.

So to conclude: somewhere between 3.76 and 4.48 out of 5.

 

—Soph M

Originally written for Intermission Online

http://www.intermissionbristol.co.uk/theater/2017/2/27/the-ridiculous-darkness

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