Hay Festival 2016, Part Two

Peter Carey talks to Martha Kearney:

A less coherent event in which we learnt far more about Carey’s (sometimes controversial) political opinions than we did of his books and writing techniques. He spoke of often thinking that what he is creating is original and very different to anything he’s done before and then being somewhat disappointed to discover that there are definite patterns in his writing.

Kearney commented that many of his books are set in the past, although they wear the research lightly, and asked about his processes in creating a believable world that he has never inhabited. Carey is very against being referred to as an historical fiction writer but admitted that a lot of research goes in to being able to put in the little details that make the fictional world feel real. Oscar and Lucinda was the first book he really researched deeply as he realised that he had to. He argued, however, that it should always be the story that is the main focus, not just a vehicle for showing off all the research you’ve done.

His latest novel, Amnesia  is far more obviously a modern novel (he likes to think of them all as such), dealing with technology and its impact on our lives. He spoke of Julian Assange as being part of the inspiration for it, the sense of people getting excited over someone they’re calling a traitor without knowing what they did to their country. He was quick to point out that the hacker in the novel is very different to Assange, the most marked difference being that his character is a teenage girl. When asked whether or not it was difficult to get into the mind of a teenage girl Carey replied that he’s received comments that it was astounding how well he’d achieved it. The factors he cites as having helped with this are the fact that everyone has been young and you don’t forget that but also the importance of being aware of what people are going through.

BBC Storyville: Notes on Blindness:

We were privileged to be present at the discussion with filmmakers Peter Middleton, James Spinney, and the wife of the subject of their film Notes on Blindness, Marilyn. It was a moving evening hearing of John Hull’s rapid move into blindness and the challenges and triumphs it led to in their young family. John recorded his experience of blindness on audio cassettes and it is these recordings that have been used as the basis for the film.

Middleton and Spinney first heard of his remarkable story  in 2010 and spoke of being drawn to the poeticism of the recordings. The tapes show a journey of loss and grief leading to a sense that by the end his blindness was seen more as a strange kind of gift.

Marilyn spoke of the ways John learnt to adjust to his new life and find his own identity. Part of this was to deliberately forget what colours were and more difficult still, what his wife looked like. These painful decisions were essential to accepting himself. She spoke not only of the losses but also the way in which he gained through other senses, for example the sound of falling rain allowing a space to become 3D.

Middleton, Spinney, and the Hulls had clearly developed a great trust between them. They had conducted a number of interviews with John and Marilyn, encouraging them to talk to each other more than to them. These later recollections are merged with the original audio recordings in what promises to be a sensitive, moving piece. The film is due for release in UK cinemas on 1^st July and more details of the project can be found here.

Christiana Figueres talks to Nick Stern:

Christiana Figueres and Nick Stern discussed climate change and the 2015 Paris Agreement. Figueres spoke of the practical factors that contributed to success in Paris such as the drop in price of sustainable energy but also of a general change of feeling, a realisation that it’s not a competition and that collaboration would benefit everyone. She also stressed the importance of the US and China wanting to do something together, at home, and to set an example, without which the Paris Agreement would not have been possible.

They went on to discuss the voluntary nature of parts of the agreement. Stern expressed the view that people are often more devoted and co-operative when it is voluntary and asked Figueres to explain the mix of voluntary and compulsory in the Agreement. There is a legally binding end point and an expectation of constantly increasing performance and collaboration but there is no set contribution between each five year checkpoint. This decision was made partly due to the fact that it’s incredibly difficult to predict.

This is not to say that they are lax in their expectation or sense of urgency – both Stern and Figueres emphasized how critical the next twenty years are. Figueres claimed that as difficult as Paris was it was the easy part, it is what comes now that is hard. Ever the optimist, and wanting to end on a positive note, she spoke of being in a strong position with both the technology and its costs being with us now.

Hay Festival 2016, Part One

A.C. Grayling: The Age of Genius:

Grayling began his eloquent talk with two images – one, someone looking up at the night sky in 1600 and seeing a beautiful display created for human pleasure, the Earth at its centre, man at the heart. Second, the same action but in 1700, this time seeing a vast spread of space from a small pinnacle, aware of how tiny our planet, our lives are. He questioned why this drastic change in mindset had occurred, listing other examples as evidence of intellectual change such as the execution of Charles I a mere generation after Macbeth premiered, a play based around the idea of the divine right of kings.

He points to the Thirty Years War as a catalyst for change, as war so often is. It was the most destructive war Europe had seen at that point and it took some areas two centuries to recover, yet it allowed great genius to flourish. Practical changes such as the breaking down of barriers allowing easier movement and greater transfer of ideas contributed to the advance of progress. He also cited the breaking of the Church’s power as a major influence. It had prevented development with its harsh regime of punishing, even by death, anything that went against the orthodoxy. This meant research and experimentation had to be carried out in secret, severely stunting its potential spread. When the chains are loosened progress will naturally follow.

Grayling expertly demonstrated the move to the liberty of conscience and the further move to liberty of thought. He spoke of the realisation slightly before this period that history does not merely show decline but that progress has been made and that predecessors had not had the knowledge, the equipment available to them to make further discoveries. This realisation of potential, and greater freedom of expression and transfer of ideas made the period ripe for genius. He conclude that the impact of this had far greater reach than being confined to the time, but allowed our world to be born out of it.

BBC Radio 3: Free Thinking – New Generation Thinkers with Rana Mitter:

New Generation Thinkers is an initiative run by BBC Radio 3 with the Arts and Humanities Research Council, bringing exciting academic research to the public through radio programmes. Rana Mitter introduced the ten winners of the title this year and we were given a snapshot of their research.

Varied and unusual are their current projects, from the scientific instruments used and made by medieval monks to the history of hairdressing to the child’s voice in contemporary fiction on Biafra, and the relationship between the telephone and literature. This was a tantalising glimpse into the broad range of topics being explored. They will be appearing on BBC Radio 3 throughout the month to share more details of their investigations.

Russell T. Davies and Maxine Peake: A Midsummer Night’s Dream:

Russell T. Davies and Maxine Peake discussed the creation of their new version of A Midsummer Night’s Dream which aired on BBC One the day after their talk, Monday 30^th May 2016. They did more than speak about how it came aout however, discussing how important it is to introduce people to Shakespeare, to allow them to enjoy it. Peake admitted to having left RADA without having ever performed in a full Shakespeare work and felt for many years that it wasn’t for her, something of a contrast to Davies who knew by the age of 21 that he wanted to create a version for television.

When asked about the challenge of condensing and whether or not he’d had any difficulties with people being too precious over it he responded that he hadn’t met anyone like that. He pointed out that there is no definitive version, and that every production does something different, which can help to keep it fresh. He spoke about his decision to cut all lines referring to women killing themselves for love. He wants to engage girls with the story and wouldn’t have felt right leaving such lines in, something that he was clearly passionate about.

Both Peake and Davies described their version as dramatic, that they’ve made Titania a strong warrior and Bottom less annoying. Despite the drama and comedy they spoke also of the underlying love and the references to peace. They see the story as relevant to today with links to environmental issues.

Jane Eyre – Northern Ballet, 1 June 2016

Cathy Marston’s Jane Eyre is backed by Patrick Kinmonth’s sparse, modern set evoking the windswept moors yet successfully transforming into Lowood School and Thornfield Hall. Stylised choreographic motifs are established early on with a young Jane (played expertly by Antoinette Brooks-Daw) being tormented. The use of these throughout and the free-flowing exchange of Brooks-Daw and Dreda Blow as adult Jane serve as a constant reminder that her strong character, her tics and preoccupations are direct results of her difficult childhood.

In her first interactions with Rochester (a confident Javier Torres) we see this deviant spirit present as he tries to exert his dominance over her. Even in the more intimate scenes she never becomes submissive, staying true to the feminist figure she is so often interpreted to be. Both their movements soften, however, as they melt into their beautiful pas de deux, so wrapped up in each other that they fail to notice Bertha’s stalking figure behind them. Marston cleverly re-uses movements later with slight variations in how they’re danced to show the tortured, necessary separation of the lovers and their desire to stay together.

The staging creates great atmosphere and the small space is used to great effect. Jane’s separation from Rochester and his wealthy guests is highlighted by the colours of the costumes, the different stances of them, raised on a rostrum at the rear of the stage with Jane in her dreary dress down stage, visibly unhappy. Recognition must also be given to the choreography and performance of the character of Adèle – childlike, playful, and with a huge grin plastered on her face throughout she captures perfectly the energy of Jane’s charge.

This is a quality addition to Charlotte’s bicentenary celebrations, and one that I hope will make many reappearances over the years - Brontë’s famous novel is masterfully condensed into less than two hours. The staging, movement, and music are modern and yet pay homage to the traditional. Philip Feeney’s score is beautiful and memorable, wrapped around the skillful performance of the Company. The production is faithful to the original whilst doing something new with the material, very appropriate for a novel so ahead of its time.

1984 – Northern Ballet, 25 May 2016, Sadler's Wells

Northern Ballet brings Jonathan Watkins’ ambitious take on Orwell’s famous novel to London this week. A brave move perhaps to take on the challenge of conveying a story that is so embedded in the written word through a non-verbal art form. Big Brother’s eyes are fixed not only on the dancers but often also on the audience, Simon Drew’s designs creating a circular experience. The look of the piece, for me, is one of the strengths of the production – minimal sets with sharp lines transform easily into various locations, screens ever present, watching. The dancers for the most part in blue uniforms, dancing as one under the control of Big Brother transform from obedient workers to angry crowds.

The subtlety of the movement separates the brainwashed from the rebels, the occasional view of a free, loose dancer in deep red/brown costumes contrast beautifully to those trapped within the system. Winston and Julia are conspicuous by their fluidity of movement, a thin strip of red around her waist marking her out as a rebel. The corps de ballet moments are aesthetically pleasing, their virtuosity clear amongst the uniformity. It is, however, Winston and Julia’s passionate pas de deux that captivates. Seemingly free from the constant surveillance their movement becomes lucid, they embrace with the ferocity that the breaking of restrictive chains brings.

Their fantasy cannot last long however, and act two brings a darker tone to the evening. The climactic scene in Room 101 is perhaps not as intense as one might hope but it is not without its merit. Tobias Batley makes Winston’s terror palpable and the vision of Julia’s form tantalizingly close in his moments of despair is moving. The dancers as ever give a sterling performance and the cold set and music help to build atmosphere. Perhaps it would have been a more powerful scene had the other characters been more developed earlier in the evening.

As a relatively short piece it could benefit from slight additions to bring extra depth and detail. Although familiar with the story I felt it would have been confusing for those who weren’t. A greater sense of intimidation and claustrophobia would enhance this telling. The play of the same novel performed at the Playhouse Theatre last summer left me feeling somewhat traumatised, this ballet allowed me space to enjoy some lovely choreography but did not have such a lasting impact. As commented earlier, dance is a difficult medium to translate 1984 into and although not perfect this is certainly a quality work.

Nothing, ed. Jeremy Webb

Nothing is a compilation of works by New Scientist writers on far reaching topics, with the one thing in common being that they all relate to nothing in some way. Whether this be the placebo effect, the number zero itself, black holes, or boredom. The articles are not arranged by topic so if you read from cover to cover you jump around a lot, which I enjoyed, but for the more conventional thinkers among us they have handy pointers as to where to turn to in order to continue a thought.

The writing is accessible even for those sadly ignorant of scientific theories such as myself. I’d say, however, that even if your knowledge is sharper you’d still find something here to fascinate as the topics are so broad. This book had me thinking in new ways, and considering ideas it had never occurred to me to think about. The presence of the number zero now seems obvious, necessary, permanent, but in fact it has only existed for around half the time we have evidence of counting. The mental struggle for our ancestors to come round to such an idea was surprising, and yet once thought about more deeply, entirely understandable. The strength of the placebo effect, although not a new idea to me, never ceases to amaze. Not, however, as much as the power of the belief in being on death’s door. It is quite terrifying to think how susceptible our minds are to suggestion, how our lives can be extinguished by the mere belief that the end is nigh.

Nothing makes for an excellent read that will make you question the way doctors talk to you about medicine, fear lack of exercise, and ponder the lives of sloths. Rarely do you find a book that covers so much in such little space. They are but mere tasters of much broader topics but if you want a book to guide you toward your next topic of investigation or are merely after a few scientific factoids to impress your friends, this book could well be what you’re looking for. Who knew nothing could in fact encompass so much!

A Heart So White, Javier Marías

Javier Marías’ A Heart So White is an exploration of relationships, growing up, and the power of secrets. It starts dramatically, a newlywed committing suicide in the middle of a lunch with her family and husband. Although we don’t yet know the characters it is an emotional scene – the detail of the description, the assertion that she’d left the door unlocked, perhaps in the hope that someone would come in and stop her. It is heartbreaking.  The narrative quickly jumps forward to shortly after our narrator’s (Juan’s) wedding. This creates a neat symmetry, the difference between the two events. He talks of a sense of a loss of future, of the change in feelings toward Luisa, his new wife. This is not to say he does not love her, it becomes clear throughout that he feels strongly for her, but he worries about their new life and how it will change their relationship. Marriage is not portrayed as simple, there is no sense of happy ever after in this novel, but the reality of married life, the growth and work that is necessary.

If you expect the focus of this book to be the suicide, you will be surprised. After the initial scene it is barely alluded to throughout. Instead, Marías delves into the lives and relationships of Juan, questioning familial relationships and the way we think about our parents and the transformation it goes through as the child grows to adulthood. This is certainly a book that will make you think. He makes the events not merely about the lives of the characters but broadens them out as opportunity for musing on ideas in general. Even as the cause of the suicide is finally revealed there are comments on the nature of love, and the desire to share everything. Marías also proves something of a tease, beginning the revelation and then delaying the final moment, discussing details of daily routine and the speakers’ voices.

Marías does not opt for a straight narrative but it is easy to follow, even if he is somewhat coy about saying exactly when something happened – telling the reader in a roundabout way through the age of different characters, the length of time since something else happened. He uses long sentences and repetition of phrases is common, indeed there are large sections of the end passages which are direct repeats from various points in the novel. This helps to focus the reader’s attention on the ideas that are prevalent and to understand how all the seemingly unconnected events do indeed relate. The technique also gives a sense of reality, people do no think in entirely original thoughts all of the time, ideas will be pondered many times, and the repeated mantras throughout become familiar, and yet different as the characters develop and a deeper understanding is possible.

This was my first experience of Marías’ work and it’s safe to assume I’ll be coming back for more. He creates a world where you can be both entirely involved in the characters while also being encouraged to think about the issues in terms of real life. It is rare to find a book so engaging and thought provoking, to start so dramatically and yet explore the everyday. A Heart So White is definitely worth a read.

Frankenstein – The Royal Ballet, 4 May 2016

Copyright ROH

Liam Scarlett’s much-anticipated Frankenstein got off to a slow start with a lengthy first Act giving the audience Victor Frankenstein’s family story. The death of his mother, his growing affection for Elizabeth, and his departure for University are portrayed in a fairly conventional way, the choreography having no particular defining identity. The dancing is pretty enough but lacks the individuality I have come to expect from Scarlett. A change in aesthetic arrives with the anatomy theatre and dissection creating a darker, more dramatic tone. A fairly unnecessary tavern scene follows before the Creation gets under way. Crackles of electricity and a few pyrotechnics add some theatricality to proceedings before the more subtle gradual awakening of the Creature. A twitch of a hand, a movement in the arm and Steven McRae’s Creature is ready to dash off stage amid the smashing of glass.

Narrative ballets often take a while to establish the story, and so I held out hope that Act two would prove more intensely gripping. Alas, McRae spent most of his time lurking upstage while Frederico Bonelli’s Victor Frankenstein grew ever closer to Elizabeth with only slight hints at the damaging effect of his dark secret. The emphasis throughout felt more firmly focused on their relationship than that of Victor and his creation. This led to an under-developed psychology for the Creature and a slight shallowness to Victor’s character, a surprise considering the psychological complexity and deeply disturbing characterisations Scarlett has given us in Sweet Violets and Hansel and Gretel. The deaths at the end of the Act offered the first thrills of emotion, Guillem Cabrera Espinach playing the innocence of William superbly. His limp figure in the arms of Justine a striking image.

Act three’s design was opulent, the lighting kept low, costumes glittering and Victor and Elizabeth in their bright white wedding clothes, it could easily be mistaken for a scene from Cinderella. A visually pleasing corps de ballet dance ensued and the mood was darkened with McRae’s brooding presence amongst the guests, camouflaged and yet prominent.  Victor’s distraction at his appearance displayed his obsession with his past transgressions and highlights his secrecy with Elizabeth. The placing of the dancers is expertly thought through, maximising the intimidating figure of the Creature. The subsequent struggle and deaths make the internal conflict physical and highlight the isolation of the Creature. However, I feel this would have been enhanced by more character development throughout. I felt a lot of the emotion of this scene arose from a direct experience of the power of Shelley’s novel rather than from the performance. Reading the programme note it is clear that Scarlett engaged deeply with the story yet didn’t quite succeed in transmitting this to the audience.

The music is pleasant, the sets impressive, the dancers skilled, and yet something was missing. McRae oozes stage presence which is always a joy to watch but the Creature goes from Creation to fluid, articulate movement somewhat too rapidly. McRae’s confidence is perhaps too apparent for the confused, rejected Creature that we see too little of. This is not a bad ballet, Scarlett is a solidly talented choreographer, but with such high expectation it falls somewhat short, something that could be remedied with slight alteration.