A sort ofThe Galway International Arts Festival has cleverly adapted to the limitations of Covid-19, using a mixed performance format: live broadcast in the theater, streaming, filming, recording with headphones, or for individual viewing by a single audience.if Loft project‘Arrest the Volcano (★★★★☆), presented in four 45-minute sections, the audience can get a strong individual viewing experience in a separate booth and catch a glimpse of other audiences through the glass screen. It can also be watched online in four episodes, just like a TV miniseries.
Cameras and screens are an integral part of the ambitious multimedia performances of dance theater artists Luke Murphy Will Thompson, who plays X and Y, is locked in a dimly lit living room with no obvious exit. Think of Sartre, Beckett or Enda Walsh, more choreography. Before this mysterious interdependence, the memories of their lives were played in highly creative sequences of actions—from gentle duets to manic revelries—triggered by increasingly distorted radio signals. For works created during the lockdown, this is unexpectedly exciting: its sci-fi premise is to send a time capsule into space, enough to cover the question inspired by the new crown virus, namely, what is the real value and what in life It’s worth saving—and what it still exists when the habitual bond is loosened.
exist Decadent Theater The company has a small kingdom (★★★★☆) Without the help of smartphones or social media, the lives of the residents of small towns in central Ireland are intertwined.Adapted from Kevin BarryIn a collection of his debut short stories, in a single day, multiple characters pass by on the main street or at the North Star Bar. We were introduced to a pair of teenage girl troublemakers “demon twins”; a sex-obsessed poultry farmer and a confused soul who tried to figure out how he became the owner of a fries shop. Although there were 50 audiences who kept a distance from society scattered around the auditorium of Galway City Hall Theatre, they had seven outstanding ensemble actors who exchanged roles throughout the process, and they managed to maintain the vitality of comedy.
Seeing that Barry’s 2007 award-winning stories are now being staged, they seem to capture a simpler era at the turn of the millennium. Because director Andrew Flynn was able to accept sudden changes in tones, from the absurdity of black to the disturbing reality, a more complex picture was created. Barry and Flynn’s finely crafted script has an intricate structure that provides a varied perspective of a close community in which emotions are restrained in the bay until it explodes violently, leaving visible damage like bruises.
Rescued from cancellation Galway 2020 European Capital of Culture Program, Bilingual in Branar Theater Language flow (The River of Languages, ★★★☆☆) Lead the family audience to understand the history of the Irish language. The work was designed by Maeve Clancy and delivered gently under the guidance of Marc Mac Lochlainn, combining storytelling, music, visual projection, graphics and installations. Miniature figures and model ships reproduce colonial history, the criminal law prohibiting the use of the Irish language, the Great Famine, and mass immigration in the 19th century, all within the sight of children. Although the presentation is fascinating, a more developed dramatization — and some additional English translations — will help keep young audiences engaged. When we arrive in a treasure trove of manuscripts played by actors Helen Gregg and Eoin Ó Dubhghail as humorous librarians, words will light up life, linking language, songs and stories to life experiences.
