Regina Crowley and Bernie Cronin. Photo: Kaite O’Reilly
A day of beginnings.
After a brief warm-up, we plunged straight into exploring texts Phillip Zarrilli the director, Adrian Curtin the cellist and I as dramaturg have generated, in response to Genet’s The Maids. As the performers worked through the texts, Mick O’ Shea and Adrian created a sound environment.
Adrian Curtin.
It was uncanny, the speed with which we settled in to each other. The group has never worked together before, but the majority has worked in different contexts with Phillip over the past twelve years, and this shared language added to the ease with which we set immediately to work.
Jeungsook Yoo and Sunhee Kim
The collaboration is a coming together of three companies: Phillip’s company The Llanarth Group based in Wales, Theatre P’Yut from Seoul and Gaitkrash, from county Cork.
Mick O’Shea’s palette of sound
Mick O’Shea works as a visual and sonic artist, although he doesn’t like to categorise this way. He makes many of his instruments (I saw part of an egg slicer in one astonishing contraption) and when pressed he says he works with a palette of sound, of tone.
Jing Okorn-Kuo, Bernie Cronin and Regina Crowley
Today was a day of shared starting points, of improvisation and text-based work, exploring power, servitude, and siblings…
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