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Hannah Barker
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Аннотация
2011 Fringe First Award Winner‘Henry, are you awake?’Henry lives each day like the last. Exactly like the last. Every day, he tries to make sense of the world around him; the girl sitting on the lawn outside his window, the pages of a book filled with the same sentence, the 80 year old man looking at him in the mirror.In 2009 Patient H.M.’s brain is dissected live on the internet to a global audience of 400,000 people, cut into carefully preserved slices: manuscripts of tissue like the pages of a book.In 1953 Henry Molaison emerges from experimental brain surgery without any recollection of the last two years of his life or the ability to form new memories.In 1935 nine-year old Henry is knocked over by a bike, leaving him unconscious for five minutes.Following Analogue's critically acclaimed Mile End and Beachy Head and inspired by the world’s most important neuroscientific case-study, 2401 Objects tells the remarkable story of a man who could no longer remember, but who has proven impossible to forget.‘I defy anyone not be drawn into this deeply moving examination of life, death and memory.’ – Telegraph ‘2401 Objects is a solid, well-researched piece of theatre that adds to Analogue's ever-growing canon of work.’ – Total Theatre Review ‘Beautifully-sculpted… an understated and outstandingly gentle piece of theatre’ - The Scotsman
Аннотация
It has been a month since Stephen jumped. Amy collects her husband’s effects, the things he had with him gathered in a single box. There was no sign – no warning of what he would do. As fractured memories of their last night together rewind, replay and unravel, she is desperate to find out why.Joe and Matt are making a documentary. Whilst reviewing their footage they make a startling discovery that takes their film in an unexpected direction – the blurred image of a man jumping from the cliffs. Beachy Head is a powerful look at the ripple effects of one man’s decision to take his life.‘A quietly splendid production, magically well staged; it lingers long’ - The Observer ‘Beachy Head treats its sombre core themes – mortality, grief and artistic responsibility – with a clever, caring and occasionally humorous theatrical intelligence. Well-researched and simply but fluidly staged, it is a skilful blend of text of technology. Analogue’s desire to probe the painful, mysterious emotions behind clinical facts is honourable.’ – Donald Hutera, The Times
Аннотация
A Boeing 777 begins its descent towards Heathrow. The wheels unfold out of the belly of the plane. The frozen body of a stowaway is tipped out and cuts through the clear morning sky. In the car park of B&Q, Andy looks up. Something is falling out of the sky. A man crash-lands on the ground in front of him. Stowaway is a story about a man from India who finds himself far from home and adrift from everything he knows. He hides in the wheel arch of a commercial airliner bound for the UK, in a bid to change his life. Stowaway is the story of an extraordinary journey in search of an impossible future. But what are the rules of telling someone’s story when they come from a world so different from our own?
Аннотация
The history of the Black Sea as a source of Mediterranean slaves stretches from ancient Greek colonies to human trafficking networks in the present day. At its height during the fourteenth and early fifteenth centuries, the Black Sea slave trade was not the sole source of Mediterranean slaves; Genoese, Venetian, and Egyptian merchants bought captives taken in conflicts throughout the region, from North Africa, sub-Saharan Africa, the Balkans, and the Aegean Sea. Yet the trade in Black Sea slaves provided merchants with profit and prestige; states with military recruits, tax revenue, and diplomatic influence; and households with the service of women, men, and children. Even though Genoa, Venice, and the Mamluk sultanate of Egypt and Greater Syria were the three most important strands in the web of the Black Sea slave trade, they have rarely been studied together. Examining Latin and Arabic sources in tandem, Hannah Barker shows that Christian and Muslim inhabitants of the Mediterranean shared a set of assumptions and practices that amounted to a common culture of slavery. Indeed, the Genoese, Venetian, and Mamluk slave trades were thoroughly entangled, with wide-ranging effects. Genoese and Venetian disruption of the Mamluk trade led to reprisals against Italian merchants living in Mamluk cities, while their participation in the trade led to scathing criticism by supporters of the crusade movement who demanded commercial powers use their leverage to weaken the force of Islam. Reading notarial registers, tax records, law, merchants' accounts, travelers' tales and letters, sermons, slave-buying manuals, and literary works as well as treaties governing the slave trade and crusade propaganda, Barker gives a rich picture of the context in which merchants traded and enslaved people met their fate.
