by Heiner Müller
16th – 17th July 2016
Hamletmachine is a nihilistic piece full of irony and humour, depicting a world which is ready to fall apart. An orgy of pain and deconstruction which will aim to rip the audience out of their comfort of predictability.
Collide is a london-based theatre company made of emerging artists. Our aim is to speak through bold texts and to produce work which challenges, inspires and excites both us and our audience.
Hamletmachine has been chosen to be part of Ugly Duck’s latest creative season in an old warehouse on Tanner Street (Tower Bridge, London). Ugly Duck works with artists to create amazing events in unusual, underused spaces.
Why we need you:
We are a talented group of recent graduates that struggle to get the necessary economic support to produce this thought-provoking and dynamic play. With your support, we will get enough funds to cover some of our production’s costs.
What the money will go towards:
£300 - Towards performance rights and venue charge
£400 - Design including Set, Costume, Lighting and Sound Hires
£100 - Technical Support
It would really mean a lot to have you involved!
Be part of this for as little as £5, or if you cannot contribute economically there are also other ways you can help: spread the word to friends, like our page on facebook, share our video, follow us on Twitter, let your people know about us!
Ugly Duck: http://uglyduck.org.uk/about-us/
“There is no benchmark I can offer, no relevant experience to relate it to, but in terms of pure stagecraft it is an excellent envisioning of a very difficult play, and an experience worth undertaking, even if only because it is different from anything else out there.”
(A Younger Theatre, 2015)
More about the project:
Hamletmachine is a very special, and rather unstageable play! Heiner Müller’s writing has a dark, suggestive power which repels, irritates and seduces at the same time. His images and words are shocking, depicting a world which is disturbing and distracted. Hamletmachine was written in the 70s for a changing Germany after World War II, and it speaks of a Europe which is in ruins. For us, this is the Europe that we see today as well. Müller had written in the programme of a later production of the play in 1986 that, “Germany is Hamlet, never quite knowing which way to go, how to decide, and therefore always making wrong decisions… It may be read as a pamphlet against the delusions of innocence in this world.” Today, Europe is Hamlet; a continent, a world under deconstruction. We are aiming to address the young generation who is asked to survive in a world which faces so many fundamental crises - political, economic, but mostly humanitarian ones - and yet governments are being busy burying these problems rather than facing them with actual solutions, while young people do not know which way to go.
Müller might have written Hamletmachine having Germany in his mind, but today the Hamletmachine – this machine of thought, and of destruction at the same – is the whole western world. And as young people of today we feel the need to create within this deconstructed world, and attempt to find our own way through the ruins.
We are choosing this play because in order to stage it we need to face an alarming freedom: there is no formula about how it ‘should’ be done. It is a rather unstageable play which offers a huge challenge to any young creative! We are thinking of it as a meaning-making machine, powered by us, but also by the audience. All are free to move among the play’s fragments, and to create something for themselves. We aim to create an ‘other’ space, a world which is stale, cold and detached. Depicting a passive cultural nihilism and a world – which at the same time represents a family, or a whole country – ready to fall apart. Heiner Müller, didn't want to let the theatre change from a laboratory into a museum. With his writing he attempted to resurrect the spirit of disturbance in theatre, and to speak about the need to dig deep into ourselves when watching one of his plays. This is exactly what our production will aim to do. Our site-specific venue, an old warehouse near Tower Bridge, creates the perfect deconstructed environment for us to explore the rawness of Müller’s world.
More about us:
Director: Emily Louizou
Designers: Alegia Papageorgiou & Greta Landers
Music Composer: David Denyer
Producer: Rachel Horowitz
Marketing: Ines Aparicio
Movement & Choreography: Hanna Junti & Ioli Filippakopoulou
Lighting Design: Daniel English
Graphics Design: Lily Hassioti
Video & Photography: Florence Knoyle
Recent graduates of Royal Central School of Speech and Drama, Central Saint Martins, UCL, Royal College of Music, Mountview Academy, we are fuelled by our need to create theatre for an audience who is willing to think differently. Testing the limits of both our audience’s and our own imagination, we unite our forces in an attempt to speak through words, images, and sound, and create work which challenges expectations. Collide’s debut production was a site-specific promenade performance of Sarah Kane’s 4.48 Psychosis in the Crypt under St Pancras’ Church. Re-creating a raw landscape of the human mind in two sold-out runs in July and October 2015.
What the critics have said:
An incredibly powerful production which rises to Kane’s challenge
I don’t think the written word is enough to convey the power of being in the crypt with the play going on around you.
4.48 Psychosis plunges its audience into the psychotic mind of a clinical depressive. Directed by Emily Louizou, now surely one of UCL’s most accomplished directors, it is a gruelling and brilliant piece of immersive theatre.The attention to detail is staggering, testament to Louizou’s magisterial direction; the staging appeals to almost every sense. It is nothing if not a powerful piece of theatre, and one, whilst a challenge to stomach, that is entirely deserving of the upmost praise and reverence."
UCL Pi Media
“I can’t really put into words everything that I felt as I climbed out of that Crypt, but I felt changed. Bravo.”
See pictures here: https://collidetheatre.wordpress.com/photo-gallery/
The Creative Team:
Emily Louizou (director) has just completed her BA English at UCL. Over the past eight years she has been actively involved in theatre companies by directing, producing and performing in plays. Last year she was chosen to direct Euripides’ Bacchae for UCL’s annual Classics Play, which was selected by the National Student Drama Festival 2015, and invited to give a special performance at the British Museum. Recent directing credits include: Sarah Kane’s 4.48 Psychosis (Site-specific, Crypt St Pancras, 2015), Euripides’ Bacchae (International Tour, 2015), Eugene Ionesco’s The Bald Soprano (Camden Fringe 2015), world premiere of Gingerbread (Almeida Theatre, August 2015), Unknown (Bloomsbury Theatre, March 2014). http://www.emilylouizou.com
Alegia Papageorgiou (Designer) is a scenographer based in London. Alegia was born and raised in Athens (Greece). With a background in Interior Design (BA Interior Design/ University of Derby, 2013) and theatre-costume design (final BA project). Since 2012 Alegia has worked for a range of theatre productions in Greece and UK, including National Theatre of Greece, Athens & Epidaurus festival, Athens biennale, Sutton theatre. She has also collaborated with freelance artists (scenographic and video installations). Currently she is undertaking her postgraduate diploma (MA Scenography) at the Royal Central School of Speech and Drama / University of London (London UK), while also being Assistant Designer on the world premiere of Edward Bond's new play Dea. For further contact her email address is: firstname.lastname@example.org.
Greta Landers (Designer) is a Peruvian designer based in London. She is currently part of the MFA Scenography programme at the Royal Central School of Speech and Drama (University of London, United Kingdom). Her previous training includes a BA in Fine Arts with mention in Industrial Design from Pontificia Universidad Católica del Perú (Lima, 2013). Her last collaboration was as an Art assistant for a short film from RCSSD Produced by Cast Iron Productions. For further contact her email address is: email@example.com
David Denyer (Music Composer) is an award-winning composer for theatre, screen and concert hall. He graduated last year with a distinction on his MA in Composition from the Royal College of Music in London. His recent work includes 4.48 Psychosis (Crypt Gallery, London), Streetcar Named Desire (London, June 2015), Bacchae (London and Intenrational Tour, 2015). His passion for music and his compositional style are rooted in his deep-seated desire to disturb, unsettle, and confuse his audience without mercy.
Rachel Horowitz (Producer) is passionate about working with the next generation of theatre makers. Trained as a Facilitator, Writer and Stage Manager, she has worked with The National Youth Theatre (Epic Stages, Rep Season at Ambassadors Theatre) The Pumpkin Players (Brainchild Festival, Hansel and Gretel at Chiswick House) and Hackney Empire (TWIST Theatre Company, SING OUT!).
Ines Aparicio (Marketing) is an Economics graduate with useful experience in Digital Marketing and a genuine interest in Social Entrepreneurship. She has worked for large and small companies including a Digital Agency, for which she has enjoyed developing creative strategies to use the Social Web. Her passion for communications and her ability to listen and understand audiences lead her to always look for innovative ways to resonate more strongly with them.
Hanna Junti (Movement) is a movement director and theatre maker, currently training at the Royal Central School of Speech and Drama (MFA Movement: Directing and Teaching). Since her undergraduate Drama and Theatre Arts studies at Goldsmiths (University of London), Hanna has been working as a performer, director and lighting designer, her experience covering devised theatre, live art and immersive performance. Her recent movement credits include work with puppeteers as well as stage- and screen actors. Hanna is currently teaching movement on the BA Drama and Applied Theatre in Education course at RCSSD and doing 1:1 movement coaching.
Ioli Filippakopoulou (Movement) is a movement director and performer based in London. Ioli has an MA in Movement Studies from the Royal Central School of Speech and Drama and currently she is a PhD candidate at Central Saint Martins, London. Since graduating in 2012, she has worked professionally in theatre and film in both Greece and the UK. Recent work includes: Movement Director for After the End (University of Exeter), Assistant Movement Director for Posture in Dante’s Comedy (R&D project, Drama Centre), Movement Director for Splinter (Camden People’s Theatre).
Daniel English (Lighting Designer) is a graduate of Mountview Academy of Theatrical Arts specialising in Lighting and Video. Recent credits as Lighting Designer include: Violet; The Musical (Bernie Grants Arts Centre), My Friend Peter (UK Tour), The Good Person of Szechwan (UK Tour).As an Assistant Lighting and Video Designer: Shrapnel (Arcola Theatre & Turkey Tour), Re:Home (The Yard) Assistant Lighting Designer: Rotterdam (Theatre 503), Brenda (The Yard), and as Video Designer: Her Naked Skin (Bernie Grants Arts Centre), Importance Of Being Earnest (Bernie Grants Arts Centre), A Local Boy (UK Tour).
Lily Hassioti (Graphics Designer) is an undergraduate student living in Dundee, Scotland. She is in her last year of Fine Art studies at Duncan of Jordanstone College of Art and Design. Responding to an era of consumerism and an age of enhanced communications, she focuses on producing works that focus on establishing relationships between the viewer and the artwork. Lily’s art practice combines traditional media with technologies to produce interactive works that function only with the viewer’s presence. Her installations become responsive with the use of sensors and microcontrollers and engage the viewers in experiences. (lilyhas.tumblr.com)
Florence Knoyle (Video & Photography) is a Fine Art Film Maker and Photographer, best known for her contribution to the BFI Imax Waterloo, is a Camden born and Hereford based talent that has an incredibly bright future in the field. Knoyle specialises in conceptual and often edgy films depicting issues with femininity and being a woman in a modern society. Rarely the object of her film herself, her unique style means that her presence is always felt in every aspect of her incredible work. Influenced by early German Expressionism and Film Noir, including legendary film Nosferatu, Knoyle’s work lends itself to becoming truly exciting. She continues to develop her artistry studying Performance Design and Practice at Central St Martins and then BA Short Film Making at Hereford College Of Arts.