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SYLVIA RIMAT |
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Nationality: n/a Email: n/a Website: n/a |
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Literary Agent: n/a |
Please send me a biography and information about this Playwright
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Plays by Sylvia Rimat |
Being Here While Not Being Here | ||
| 1st Produced: | 2009 | |||||
Company: | n/a | |||||
| 1st Published: | I don't think it has been published. Try emailing Playwright or Agent where listed at top of page. | ISBN/ASIN: | - | |||
| Music: | - | doollee no | #99743 | |||
To Buy This Play: | If Publisher (above) is underlined then the play may be purchased by direct click from the Publisher, otherwise (below) are AbeBooks for secondhand, signed & 1st eds and other Booksellers for new copies | |||||
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Genre: | Piece | |||||
| Parts: | Male | - | Female | 1 | ||
Parts other: | - | |||||
Notes: | part of CPT's SPRINT Festival | |||||
Synopsis: | When you enter the performance space for Sylvia Rimat's Being Here While Not Being Here you find a youngish woman, crouched on the floor, flesh bulging above her tight jeans, chalking geometric shapes with a blackboard ruler. We later discover that they represent pieces of furniture and microphones. The woman then addresses us, using a microphone despite the smallness of the venue, whether consciously to distort her voice or not I am unsure, though certainly the few sentences delivered without it were much clearer on the ear, but perhaps the intention is to mark the opening as not part of a play or narrative performance. The audience is asked to imagine the first part of the action for themselves. That she isn't there; that there are curtains, closed then open, that she is there but that it is the stage of a German theatre some years ago. It is seldom these days that I see a British show and find the production using house tabs - indeed, as at CPT they often have no curtain. Is this the avant garde recreating some very traditional theatre? The performer writes phrases on a blackboard that seem to title sections of the work but have no clear connection with other material presented. There is more measuring and marking out of object positions on the floor which still seem to relate to this German stage event of which Rimat tells us (despite the fact that she seems to have been a part of it) 'I could not quite understand what the performer was doing there.' I felt the same about her own work but perhaps more strongly. | |||||
Further Reference: | - | |||||
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