Manipulate Festival Archives - Page 2 of 2

Evahisseurs (Invaders) – Traverse Theatre

6Feb

By Greg HolsteadNo Comments

Scotland

Evahisseurs (Invaders) – Traverse Theatre

Part of Edinburgh’s Manipulate Festival 2024, Evahisseurs is a one-man show directed and performed by Olivier Rannou for Compagnie Bakelite. With tongue firmly planted in dead-pan cheek, Rannou shows that language is no barrier at all as he clowns his way wordlessly but very effectively through this short but nicely formed nostalgic, alien invasion caper. With little more than a table, and a handful of props, Rannou weaves his unlikely story, with just the hint of a glint in his mischievous eye! Featuring UFO abduction, human experimentation, dog decapitation and exploding jelly aliens, there are certainly plenty of laugh-out-loud moments. Rannou’s actions are nicely backed by a prerecorded soundtrack of weird and wonderful sounds and a miniature screen with scratchy black and white ...

L’Amour Du Risque – Manipulate Festival

In this show by Compagnie Bakélite, a man (show creator Olivier Rannou) is served dinner by a collection of automatised vacuum cleaners piloted off-stage by Morien Nolot. Covered in small tables equipped with everything you need for a meal, including romantic music, tablecloths, a candle and a surplus of spoons, these vacuum actors roam around the lined stage with a mixture of robotic awkwardness and occasional personality, bumping into some objects and ignoring others in their mechanical pursuit of simple functionality. The result is a comedic and hypnotic mix of Jacques Tati and a Pixar short. We watch as these vacuum cleaners struggle with their restaurant jobs, sometimes cleverly, sometimes not, and sometimes both, under Rannou's constant but mostly non-judgemental gaze. As the cust...

Plinth – Traverse Theatre

Part of Edinburgh’s Manipulate Festival 2024, Plinth is created and performed by Glasgow-based, Al Seed. A darkly intense, wordless portrayal of human conflict, and a timely reminder that actions speak louder than words. A show that comes with a warning, that it contains loud music/sounds, flashing lights and smoke effects, and rightly so. At times this was certainly in the ‘uncomfortable’ zone. But then again, you could argue that the depiction of war should be uncomfortable. Reminiscent of one of my favourite shows from last year, As Far As Impossible (Lyceum), which questioned why some medics continually return to conflict zones, Plinth asks some similarly unanswerable wordless questions about the inevitability of conflict and the human thirst for ascendancy. Seed’s unquestion...