![dear esther music dear esther music](https://i.ytimg.com/vi/zdWV68fc9TE/maxresdefault.jpg)
She is now a Teaching Fellow at Exeter University and an Associate Lecturer at Dartington College of Arts. She recently completed a Research Fellowship at Exeter University, investigating writing processes in contemporary performance, including site-specific work. Cathy Turner has produced a number of site-specific ‘mis-guided walks’, tours, and performances in her work with Wrights & Sites since 1998. She refers to performances by Lone Twin and to her own work with site-specific company Wrights & Sites, who created An In this article, Cathy Turner focuses on Mike Pearson's descriptions of site-specific work, particularly his involvement with archaeology, before proposing that we might find a useful, complementary vocabulary within psychoanalytic theories of object relations. There are therefore a range of lenses, a range of vocabularies, through which site-specific theatre and performance can be considered. In this way, I propose that the council estate setting of the play coupled with the realist detail in which the domestic space was depicted evoked a compl.Ī recent preoccupation with space and place has drawn together theorists and workers in a wide range of disciplines, including human geographers, archaeologists, architects, cartographers, psychoanalysts, sociologists, poets, novelists – and theatre practitioners. I offer an autoethnographic reading of the performance, framing my analysis within a lived understanding of South East London. I provide an analysis of God's Property, which examines the complexities thrown up by the paradoxical estate narratives of nostalgia and ruin and the particular complications that the historical and current context of race and racial difference in South East London adds to these narratives. This article positions the council estate as an archetypal contemporary ruin.
#Dear esther music series#
The play focusses on the aftermath of longstanding racial tensions in the area that led to the 1981 Brixton Riots - a series of violent confrontations between the police and, primarily, members of the local African-Caribbean community. Drawing from a range of theories and practitioner reflection, this article puts forward a design framework – storywalking – which reconciled the two adaptation challenges: responding to the site and to the game.Īrinze Kene's domestic drama, God's Property (Soho Theatre 2013), is set on a council estate in Deptford, South East London in 1982. This hybrid event – multimedia (promenade performance, gameplay and musical performance) and mixed-reality (with physical, augmented and virtual components) – required the development and implementation of complex processes of remediation and adaptation. The resulting performance, Dear Rachel, was then experienced alongside the game under the umbrella name Inchcolm Project. In October 2016, Dear Esther was adapted as a site-responsive, promenade performance set on the Scottish island of Inchcolm in the Firth of Forth. Walking simulators renounce traditional game tropes and foreground walking as an aesthetic and as a dramaturgical practice, which engages the walker/player in critical acts of reading, challenging and/or performing a landscape. In 2012 The Chinese Room launched Dear Esther, a video game that would go on to shape video game history and define a new genre: the walking simulator.