Meta-theatre, voyeurism and the vogue for Lecoq

Nicky Woolf's second Edinburgh diary.

 

August 9. Day two.

The day dawns with rude punctuality. I am not, by inclination, an early riser, but by seven the sun is shining through the open window on my face with tropical brutality: the city is glorying in a heatwave. I rise mostly in order to stave off sunburn, and head for the Pleasance.

The first show I see is a real gem. Greenlight Theatre's Seeing Double is really two plays, Double: Vision and Double: Figures, running simultaneously with a video-link between the two, and I begin my day with the former. The shows together are a meta-theatrical farce about the collapse of an ambitious production of Macbeth, and it is riotously funny and tightly performed, so I book for the next day's production of Figures, to complete my set.

Next door to it, at the Pleasance courtyard, is a low black construction which houses the Peep stage, set up so that the audience sits in booths surrounding the stage in the middle, separated from their fellow viewers by curtains and from the performers by one-way glass; the sound comes over headphones. There are three short (20 minute) shows that play here, all about sex and sexuality, and I see the middle show, 69, by the Royal Court's Leo Butler. It is immaculately directed, production values are clearly very high and the voyeuristic effect works uncomfortably well.

My two shows for the evening are both by companies that have been formed out of the Jacques Lecoq drama school. Lecoq (childish snigger) is famous for physical theatre, focussing on dynamic movement and choreography, and is also a famously brutal learning environment: ninety students are accepted for the first year of the course, but sixty of them have been culled by the end of the first year. Lecoq is very much in vogue at Edinburgh this year; there are lots of shows by Lecoq graduates this year. I chose two of them for my first evening.

Edinburgh, built on a series of closely-packed and steep hills and hillocks, is a multi-layered city. From Cowgate, a valley street, you can look up at Nicholson, one of the city's great thoroughfares, crossing about fifty feet above you on an ancient stone arch, the buildings whose doors open onto it five stories above descend chaotically to the lower level, one city on top of another.

It is the Underbelly that takes the best advantage of this labyrinthine civic architecture. Its Cowgate headquarters is a bewildering warren of tunnels and dank chambers buried in the bowels of the city, and my first show, Captain Ko and the Planet of Rice, is in one of its deepest and dankest. This vaulted dungeon is an apt setting for a deeply, deeply surreal performance about the end of the space race, science fiction, and memory loss. The audacity of the conception is breathtaking, and the effect is a show whose overall effect is a little bit mind-altering; at times too weird, but also at times strangely beautiful. It leaves me feeling a little winded, so I gulp a restorative libation at the Library Bar at the Gilded Balloon, and then head to the second show of the night.

This is Centralia at Zoo Aviary, a charming character-comedy about the last three inhabitants of a town in Pennsylvania that is beset by a slow-burning seam of coal that runs beneath it, turning into a superheated nightmare of smoke and yawning infernal chasms. It is a wonderful play, the characters are lovingly designed and there are some fantastic physical set-pieces, just in case we had forgotten what Lecoq training is all about; but the most amazing thing is that the story of the town of Centralia is entirely and dramatically true.

Day One: The Big Four explained.

Voyeurs wanted: Peep's show, 69. Photo: Getty

Nicky Woolf is a writer for the Guardian based in the US. He tweets @NickyWoolf.

Photo: Getty
Show Hide image

Empty highs: why throwaway plastic goes hand in hand with bankrupt consumerism

We are in the throes of a terrible addiction to stuff.

A University of California study revealed this week that mankind has produced more than nine billion tonnes of plastic since the 1950s, with almost all of it ending up in landfill or the ocean. With the terrible effects of our decades-long addiction to throwaway packaging becoming increasingly apparent, it’s clear that a fresh approach is needed.

In April 2010, David Cameron set out his vision for Britain in the Conservative Party’s manifesto. Keen to show that the Tories had turned away from the "I’m Alright Jack" individualism of the 1980s, Cameron sought to fashion a softer, more inclusive brand.

The good society, Cameron argued, embraced much higher levels of personal, professional, civic and corporate responsibility. There was such a thing as society, and we’d all do well to talk to our neighbours a bit more. The Big Society, however, was roundly derided as a smokescreen for an aggressive tightening of the Government purse strings. And on the advice of his 2015 election fixer Lynton Crosby, Cameron later dropped it in favour of well-worn lines about economic security and jobs.   

While most would argue that the Big Society failed to amount to much, Cameron was at least right about one thing. We are happiest when we are part of something bigger than ourselves. No matter how much the credit card companies try to convince us otherwise, mindless individualism won’t make us nearly as contented as we’re led to believe by big conglomerates.

By any measure, we are in the throes of a terrible addiction to stuff. As a nation, we have run up unsecured debts of more than £350bn, which works out at £13,000 per household. Fuelled by a toxic mix of readily available credit and interest rates at historic lows, we cripple ourselves financially to feel the empty high derived from acquiring yet more stuff.

Purchasing has become a leisure pursuit, ensuring the rate at which we acquire new stuff exceeds the rate at which we can find somewhere to put it. Burdened with ever increasing amounts of stuff, consumers are forced to outsource their storage. The UK didn’t have a self-storage industry 30 years ago, but now it is the largest in Europe.

With the personal debt mountain soaring, we’d all do well to realise that we will never have enough of something we don’t need.

The growth of rampant consumerism has coincided with an explosion in demand for single-use plastic. Like the superfluous possessions we acquire, throwaway plastic packaging helps satisfy our desire to get exactly what we want without having any thought for the long-term consequences. Plastic packaging is easy and convenient, but ultimately, will do us immense harm.

In 1950, close to 1.5 million tonnes of plastic was produced globally. Today, the figure stands at more than 320 million tonnes. The vast majority of our plastic waste either ends up in landfill or the ocean, and our failure to kick the plastic habit has put is in the ludicrous position where there is set to be more plastic than fish in global seas by 2050.

There is also growing evidence that our penchant for endless throwaway plastic might be storing up serious health problems for our children later down the line. According to a University of Ghent study published earlier this year, British seafood eaters risk ingesting up to 11,000 pieces of plastic each year. The report followed UN warnings last year that cancer-causing chemicals from plastic are becoming increasingly present in the food chain.

Something must give. Unsustainable as our reliance on fast credit to finance ever more stuff, our addiction to plastic packaging is storing up serious problems for future generations. The instant gratification society, high on the dopamine rush that fades so quickly after acquiring yet another material asset, is doomed unless decisive action is forthcoming.

So what is to be done? The 2016 US documentary Minimalism points to a smarter way forward. Minimalism follows the lives of ordinary people who have shunned the rat race in favour of a simpler life with less stuff and less stress. The most poignant bit of the film features ex-broker AJ Leon recounting how he chose to forgo the glamour and riches of Wall Street for a simpler life. After a meteoric rise to the top of his profession, Leon decided to jack it all in for a more fulfilling existence.

While challenging the view that to be a citizen is to be a consumer is easier said than done, there are small changes that we can enact today that will make a huge difference. We simply have no choice but to dramatically reduce the amount of plastic that we can consume. If we don’t, we may soon have to contend with the ocean being home to more plastic than fish.

Like plastic, our bloated consumer culture is a disaster waiting to happen. There must be a better way.

Sian Sutherland is co-founder of campaign group A Plastic Planet which is campaigning for a plastic free-aisle in supermarkets.