Robert Icke and Duncan Macmillan's critically acclaimed production 1984 has returned to the Playhouse Theatre for a second West End run.
The show previews from June 12 and runs until September 5 before embarking on an international tour.
Emma was having the time of her life. Now she’s in rehab.
Her first step is to admit that she has a problem. But the problem isn’t with Emma, it’s with everything else. She needs to tell the truth. But she’s smart enough to know that there’s no such thing. When intoxication feels like the only way to survive the modern world, how can she ever sober up?
People, Places and Things is the latest collaboration between Headlong and the National Theatre, following the acclaimed Earthquakes in London and The Effect.
'It is doubleplusgood. It's not easy to make something vividly dramatic from a novel of ideas. This pulls it off in style.'
★ ★ ★ ★★
'Robert Icke and Duncan Macmillan have pulled off something tremendous'
★ ★ ★ ★★
'Headlong’s brilliant stage version ... Rather than just tell the story, this show, written and directed by Robert Icke and Duncan Macmillan, creates a dynamic response that strips away complacency and plays on those creeping anxieties about trust, manipulation and freedom.'
★ ★ ★ ★★
'This extraordinary adaptation by Robert Icke and Duncan Macmillan for Headlong makes a virtue of the book’s internal nature... It is a troublingly, often horrifyingly sensual experience, a tech-enhanced, heavily stylised race through a mind collapsing under terrible pressure.'
★ ★ ★ ★★
'Brilliantly imaginative adaptation of George Orwell's great dystopian novel'
★ ★ ★ ★★
WHAT'S ON STAGE
A frustrated mother, a daughter lost in her imagination, and a son intent on rebellion.
By night, Tom lives the life of an assassin, an outlaw, a czar of the underworld, via his trips to the movies. By day, he works in a factory. In the apartment he shares with mother Amanda and sister Laura, the air hangs thick with the scent of sickly sweet flowers and his mother’s oppressive nostalgia. When Amanda insists he brings home a gentleman caller for Laura, the fragile dreams of all three are shattered with consequences they may never escape.
What are possible relationships between text and performance? Some sixty years ago the British philosopher Raymond Williams, troubled by the way in which the development of print had turned a moving and open art into something ‘relatively static’, discerned four potential relationships between the words on the page and their potential staging.
Week Two is a strange but exciting place. At the same time as trying to understand the rich, layered text in front of you, you’re also making certain decisions about the production you have to put in front of an audience in three (THREE!) weeks. Nonetheless, it’s where some of the most invigorating discoveries happen and where you set the tone for the rest of the rehearsal period.
Prof Alex Callinicos reveals how Orwell's politics and the world in which he lived shaped his vision of 1984.
To find out more about how Orwell's politics and the world in which he lived shaped his vision of 1984, watch the full length version of this video at www.digital-double.com.
Michael Takeo Magruder talks about how he created the artwork PRISM. The talk was given at the Nam Paik June Art Center in Seoul, South Korea. The talk is in English and translated into Korean.
On 6 June 2013, journalists from the Guardian and Washington Post reported that the US National Security Agency (NSA) was undertaking a portfolio of clandestine mass surveillance programs on a scale reminiscent of George Orwell’s dystopian society of 1984. PRISM is a digital artwork by artist Michael Takeo Magruder reflecting on these revelations and the person who brought this information to the public's attention, Edward Snowden.
Michael Takeo Magruder and Headlong's associate artist, Sarah Grochala, will be giving a talk on PRISM and the 1984 Digital Double project at the Nam June Paik Art Center on Wednesday 17 September. For full details of the event available here.
Monday 15 – Friday 19 September 2014
Nam June Paik Art Center, Seoul, South Korea
Entrance: 4000 won
Is Big Brother watching you?
As you use the internet, your activity is tracked and monitored. This data is collected by organisations whose interests range from marketing to national security and is used to build up a profile of who you are based on your online activity. This is your “digital double”.
Click here to discover how Big Brother sees you.*
*Best viewed on an iPhone or Android phone or using a Chrome or Safari browser.
After your heart stops beating, you'll keep tweeting ...
‘The patient is alive’ declares Jeremy Herrin after the first run of the play on Saturday. After five weeks of staging 110 pages of drama – a process that includes absorbing cuts to the script, changes in costume, and the construction and interrogation of movement sequences - we put the show together on a grey morning in an empty rehearsal room and pray that it will work. What ensues is a heart breaking and engaging two hours twenty minutes of theatre. The operation was successful; this production is very much alive.
Confession: I am writing this entry mid week five, and because I am struggling to remember what we did, I look back over my exercise book. Here is what I find at the top of the page...
In his 1641 book, Meditations on First Philosophy, Rene Descartes starts by considering the nature of reality. How do we know, he asks himself, that the world around us actually exists and is not just a projection of our minds?
Is the web changing us? How does spending time online affect our brains? Can you spend too much time online? Journalist Madhumita Venkataramanan (Associate Editor of Wired Magazine), BBC Click presenter Spencer Kelly and game designer Holly Gramazio discuss the implications.
One of the major tasks of any first week of rehearsals is to bring together a company in order to create a shared understanding of the text in question. For four weeks’ rehearsal and months of performances to follow, it’s important to cohere this group of people - all with their separate lives, experiences and interpretations of the play - and forge a collective idea of what the thing in front of us might mean, how it might work, and who the people on stage might be.
At the halfway point of our six-week rehearsal period it’s all about the practical. Gone are the days of long conversation, emotional exploration and research; it is time to stage the play and learn the lines.
In the summer of 2001, I was living in a factory, in a village, in central China. I was in the middle of a two-year stint of fieldwork for my PhD.
It was hot. So hot in fact, that the factory’s furnaces blazed only during the night, for fear that workers would succumb in the day. Most nights, I lay awake into the small hours, sweating, my senses overloaded by the clangs and flashes from the factory courtyard.
Dr Paolo Gerbaudo discusses the use of social media by political activists, including those involved in the Arab Spring and Occupy Wall Street. He also examines ways social media can be used by the state as a tool of repression.
“The more we talk about this play the more it feels like a central theme is objective truth”.
- Director, Jeremy Herrin.