Epic Theatre Research Articles

From Bertolt Brecht to Nano Riantiarno: Corruption in The Threepenny Opera and Opera Ikan Asin

This article examines corruption in two plays: Bertolt Brecht’s The Threepenny Opera (Die Dreigroschenoper) and Nano Riantiarno’s Opera Ikan Asin (The Salted-Fish Opera). Discussed herein are collusion and bribery and how depictions of these problems in The Threepenny Opera were received by Riantiarno in Opera Ikan Asin. Using this perspective, Riantiarno’s horizon of expectation as he read about corruption in The Threepenny Opera and actualized it in Opera Ikan Asin can be revealed. This study shows the transformations implemented in Opera IkanAsin, finding that collusion is more explicit and transparent in Opera Ikan Asin than in The Threepenny Opera. Meanwhile, the practice of bribery is expanded from one perpetrator in The Threepenny Opera to four perpetrators in Opera Ikan Asin. The means used for bribery are also developed; Riantiarno’s horizon of expectation played a major role in the development of his own play. Brecht wrote his play as a critique of the capitalism of Germany’s Weimar Republic while Riantiarno provided it with new context as a criticism of the New Order in Indonesia. The rampant and blatant practice of corruption during the New Order became the reason for corruption being made more explicit and transparent in Opera Ikan Asin. Even though the types of corruption are the same, there is a novelty that is more highlighted by Riantiarno’s drama. In presenting this drama as a whole, Riantiarno used Brecht’s Epic Theater style, which has been combined with traditional theater style. This novelty shows that Riantiarno’s Opera Ikan Asin stands on its own despite its affinities to Brecht’s play.

A Perspective on the Progress of the Theatre of Saad al-Faraj, with Emphasis on Censorship in Kuwait and the challenged Play Custom is Second Nature

This study is an examination of the life and work of the Kuwaiti dramatist Saad al-Faraj (1938 - ). al-Faraj’s name is virtually unknown in the West – particularly in the English-speaking West, although he is well known in Arab World. Only one academic study of any significance has appeared in Arabic on this eminent and fascinating dramatist, who was honoured by NCCAL and the Arab Theatre Institute at the end of his life. This study do not attempt to be comprehensive but focus on particular stages of al-Faraj’s career. This study is, therefore, the only one to attempt to see al-Faraj whole. To do so it combines an account of his life which seeks to comprehend the various forces that shaped his thinking with an analysis of one of his main dramatic work. The study concentrates on the years following the trauma inflicted on the Arab world by the catastrophe of the defeat of June 1967. Al-Faraj’s career can be divided into two phases: the immature plays of his young manhood; his late period – the ‘Epic theatre’, when his Nasrism politics were the main factor shaping his drama. The study places al-Faraj in his historical and sociocultural context and provides a brief background explaining the literary and theatrical traditions of the Arab world that influenced his activity as a dramatist. His late work is then examined in turn and his play Custom is Second Nature is analysed in accordance with the focus of the study. This means that special attention is given to the late period, but no significant work is neglected. The study aims to trace the trajectory of al-Faraj’s development using a variety of sources: the plays themselves, al-Faraj’s own journalism and critical writings, interviews with him, and his close friends and colleagues, in addition to a number of journals, books and articles, some of which contain important interviews with al-Faraj that shed light on his thought and ways of working. Conclusions will be drawn but, more importantly, questions will be raised, and it is hoped that scholars will consider this playwright and his work a subject meriting further research.

Theory A, Theory B and Theory C of managing people at work

Managing people and productivity are prime concerns of modern business organizations. Many empirical studies were conducted during the era of scientific management (Taylor, 1911) to investigate What and How? McGregor’s (1960) epic theory — Theory X and Theory Y, categorizing all employees into two groups and prescribing methods to motivate and control them was the best. However, his findings also suffered strong criticisms, creating research gaps. The objective of this study was to investigate further and to conclude that there are three major groups named Theory A, Theory B, and Theory C. Amongst them, a middle group — Theory B is most dominant, having all capabilities to significantly influence productivity and prosperity of organizations. The methodology used was qualitative, based upon intensive and critical shop-floor observations. Since this study was not empirical, it had many limitations requiring further researches. Therefore, rightly recommended that future studies should correlate the impact of technological advancements upon motivations and productivity of the modern business organization (Veitch, 2018).

Brechtian AlienAsian: Socialist ex Machina from Brecht's The Good Woman of Setzuan and David Hare's Fanshen

Brechtian AlienAsian:Socialist ex Machina from Brecht's The Good Woman of Setzuan and David Hare's Fanshen Sheng-mei Ma (bio) Anchored in working-class culture and socialist belief, the German playwright Bertolt Brecht theorizes Alienation-effect to advocate performers' and spectators' emotional dissociation from the stage in favor of thinking through, to borrow the title of Timothy J. Wiles's 1980 book, "the theater event."1 The A-effect intends to overhaul the modern stage for a non-Aristotelian, non-Stanislavsky alternative, partly inspired by a Peking Opera female impersonator Mei Lanfang, whose performances, for lack of a better word, "wowed" him in Moscow in 1935. Considering the political implications of the visit, John Fuegi asserts that Brecht was invited to Moscow with the express order "to be extremely explicit in opposing the Nazis in his own writings."2 But party affiliation aside, the theory of A-effect served to legitimize the dramatist's own sense of dis-orientation by "Oriental" theatrical stylization. That which is taken for granted within traditional Chinese dramaturgy so shocks Brecht that he finds the model for his vision of epic theater.3 The white love for the inexplicable, mystical Orient means to love it to death, to read into the riddle of a "Chinese box" the West's own wish fulfillment. The West's enlightenment comes at the expense of occluding the East. Not to mince words, Brecht births epic theater over the dead body of Chinese theater, a collage of fragmentary impressions rather than an evolving, organic heritage. And Brecht's self-centered, left-leaning Orientalism is inherited by the socialist David Hare in his early agitprop and populist plays. Critiquing Brecht's theory and practice of Alienation-effect, this exploration focuses on his seminal [End Page 443] essay "Alienation Effects in Chinese Acting" (1936), his play The Good Woman of Setzuan (1947, henceforth Setzuan), and Hare's copycat or "copychinese" Fanshen (1976). Alienation, by definition, involves a split, and for Brecht, alienation in drama entailed a departure from Aristotelian-Stanislavskian conventions. Such division is constitutive of Marxism, which posits dialectical forces vying for dominance throughout human history. Contestation of opposites within oneself and one's world recurs in Brecht's dramas. But even the word "alienation" casts its own shadow. Effecting Brecht's Alienation required an alien nation—a phantom one at that—to prop up the white state of being. The operative word may well be spelled with its uncanny sound-alikes: AlieNation, even AlienAsian. These two neologisms—an "alien nation" comprised of "alien Asians"—dwell holographically within "alienation." The long shadow cast all the way to the other side of the earth bespeaks Brecht and Hare's quixotic quest beyond the capitalist West, chancing upon a solution in socialist ex machina. The Oriental Other provides an "out" from their Western selfhood, an escape clause from the contractual bond(age) to the West by virtue of birth and cultural upbringing. The socialist China peoples their stage, as though crowding off the Western tradition. This replacement hearkens back, ironically, to Greek tragedies' deus ex machina, yet another Western legacy against which the playwrights presumably rebel. In Aeschylus' or Euripides' tragedies, deus ex machina or God from the machine, i.e., lowered with ropes or on a crane, or emerged on a riser through a trapdoor, rounds off the play with a divine, even cathartic, closure. In Brecht and Hare, the socialist China does not descend only when the curtain drops—it constitutes the whole play. Yet these early plays featuring socialist ex machina and Brechtian AlienAsian are but a mere "yellow" touch ("stain," some critics argue) on their largely white corpus. Whether a people's awakening to self-sufficiency in Brecht's Setzuan or Hare's communist apologia in the West's counterculture movement, this socialist ex machina is fully enacted in these early plays to intimate an Oriental utopia in the making vis-a-vis the capitalist West. Nevertheless, such dabbling in the East occupies but a miniscule portion of their corpuses, exposing the whim of young idealistic artists coming of age, a momentary flirt with the unknown beyond the West, before they [End Page 444] settle in for...

2020년 오레곤 셰익스피어 페스티벌의 The Copper Children: 인종 차별과 입양에 대한 서사극

2020년 오레곤 셰익스피어 페스티벌의 The Copper Children: 인종 차별과 입양에 대한 서사극

O gestus social em Brecht: uma análise acerca de Histórias do Sr. Keuner

Este trabalho tem como objetivo, a partir da aproximação entre elementos estéticos e teóricos, debruçar-se sobre o conceito de gestus social na obra de Bertolt Brecht, com atenção especial voltada para a relação entre sua teoria do teatro épico e seus escritos em prosa concatenados em Histórias do sr. Keuner. Ao considerar a produção artística como um laboratório experimental de (des)montagem de pormenores significativos, as fronteiras entre formas de arte e formas de vida se diluem numa reinvenção da técnica de linguagem. Além disso, ao tomar a história como montagem, no caminho contrário ao historicismo clássico, ele desestabiliza paradigmas epistemológicos da história da arte para pensar a arte construída a partir da sobrevivência de imagens – gestus.

Researching Shaw in Performance: An Interview with Aisling Smith

ABSTRACT: Aisling Smith completed her practice as research PhD program at NUI Galway from 2015 to 2018, focusing on the dramatic work of George Bernard Shaw. Specifically, she staged and directed three of his plays: a site-specific production of O'Flaherty V.C., an epic theater production of Pygmalion, and an intermedial production of The Millionairess. In this interview about her work, Smith discusses how relevant Shaw is to today's intellectual and performance scene and details the insights she gleaned into Shaw's dramatic work, including how, when creating her epic production of Pygmalion, she discovered new and revealing Brechtian elements in Shaw's play text and performance style.

Brecht’in epik tiyatrosunun Caryl Churchill'in Mad Forest ve Sarah Kane'in Cleansed adlı oyunlarında yansımaları

Caryl Churchill’s plays thematically embody elements of many -isms such as feminism, sexism, capitalism, and socialism, labeling her dramaturgy as an eclectic combination of social philosophies and political ideologies. Although genuinely creative and original in her writing and theatrical practices, Caryl Churchill does not refrain from making use of preceding European theatrical theory, practice, and culture. In this sense, she is a playwright who benefits considerably from the thematic and technical aspects of the Brechtian epic theatre, which can be observed in her Mad Forest. Sarah Kane, on the other hand, with her experimental dramaturgy that stretches and twists features of realism and naturalism into new post-dramatic forms, is no less different from her predecessor Caryl Churchill in terms of embracing challenging, confrontational ideas and reflecting them in her plays. Notwithstanding with her openness to novel dramatic styles, Sarah Kane, too, acknowledges earlier dramatic aesthetics as seen in her Phaedra’s Love, which is an adaptation of the classical Roman playwright Seneca’s Phaedra. Likewise, it can be observed that Sarah Kane utilizes certain features of the Brechtian epic theater in her Cleansed. Considering these, this article studies how and to what extent Caryl Churchill and Sarah Kane maintain the Brechtian dramatic elements in their Mad Forest and Cleansed, respectively. By examining this tripartite interaction among Bertolt Brecht, Caryl Churchill and Sarah Kane, the study also tries to reinterpret the dramatic relations among these seemingly distant playwrights of different generations.

Epic and feminist theory

The Rhetoric of antiquity which derived from old tales have emerged to be the pioneer for epic stories. ‘Parantha mozhigal adiniminthozhugam’ which is one of the rhetoric from ‘Thol’ and the long series which are meant for Perunkaapiyam creates an epic. Ethics, materials, pleasure and spiritual attainment are the four natural aspects, an epic shows off. The research deals with how the women of the particular epic’s age have excelled in their education and bravery. Our country will be developed when every people understands equal rights in the very situation. Recent record proves that the men and women equality at present has risen all over the world than any other time. Calmness, patience, sacrifice, kindness, gratitude, beauty are the feminine quality.

Comic Representation of the Tragic Past in Alexey Krasovsky’s Film Feast

The article discusses the film Feast directed by Alexey Krasovsky (2018). The analysis focuses on the use of the comic genre to portray the tragic events of the Siege of Leningrad. It is shown that the director of Feast intentionally chose such comically charged, ’non-realistic’ poetics to satisfy the audience’s demand for alternative ways of depicting war, different from those employed by Russian mainstream cinema. For the director, comedy becomes an attempt to break the stereotypical depictions of war-related events in Russian cinema. By choosing an unconventional genre, Feast challenges the viewers to form their own opinions about history and art. The semantics of Feast is not limited to its underlying political message but produces a deeper aesthetic message about the fundamental impossibility of an unbiased and truthful commentary on war: whatever we try, such commentary would always remain a construct geared towards the needs, worldviews or demands of certain audiences.
 Keywords: Feast, director Alexey Krasovsky, patriotic war films, war theme in cinema, mainstream war films, epic theatre poetics in cinema

The Directorship Vision in Epic Drama Shows " AWNI KROMI AS AN EXAMPLE"

The theory of the epic theater has received wide attention by filmmakers around the world because of its great impact on the artistic work of the theater and its relationship with societies, and among these directors the Iraqi directors have been influenced by the epic theater and its applications in the show.In order to find out the effectiveness of these influences on the Iraqi director, I found the need to do this study, which was divided into an introduction and a theoretical framework that included two topics. The first topic (Philosophical References and the Intellectual Foundations of the Epic Theater Theory) deals with the philosophical foundations that crystallized the epic theory of Burch and the mechanism of working in shows The epic theater. As for the second topic (procedural concepts in epic theater), it dealt with the most important concepts that were employed in the theory of epic theater, and then put the most important indicators from which the theoretical framework emerged. As for the research procedures, the researchers adopted an intentional research sample represented by the presentation of the play (Good Man) directed by Dr. Awni Karumi.Then the results of the research, including: The play dealt with historical events, but not for the sake of historical accuracy, but rather to drop the issues of the present on them.

Editor’s Introduction

Editor’s Introduction

Fuzuê

O artigo apresenta reflexões a respeito das noções de tragédia e trágico a partir das ideias de Peter Szondi em Ensaio sobre o trágico e Raymond Williams em Tragédia moderna, dialogando com as concepções de teatro político de Erwin Piscator e de teatro épico de Bertolt Brecht, bases teóricas da pesquisa artística desenvolvida no Núcleo de Estudos em Teatro Político do Grupo de Pesquisa em História, Política e Cena- Netep/GPHPC/UFSJ. No campo teórico, refletiremos sobre o modo como as dimensões da tragédia e do trágico atuam no campo político da cena, a partir dos modelos citados e de análise de um experimento contemporâneo. Por fim, à luz do conjunto teórico, analisamos o experimento cênico Fuzuê, resultado de pesquisa desenvolvida entre 2015 e 2017, buscando identificar como a dimensão histórica e trágica da exploração social foi ali debatida.

Bertolt Brecht. Did he really have rheumatic fever?

The writer Bertolt Brecht (1898-1956) is known for his poems, dramas and the "epic or dialectical theater" he founded. He was retrospectively postulated to have had rheumatic fever because of heart problems and neuromuscular symptoms in his youth. Based on current rheumatological knowledge, it cannot be deduced with certainty from the available documents that Brecht had rheumatic fever. At most, avery unusual manifestation of rheumatic fever can be suspected with atypical rheumatic chorea and avery atypical course of rheumatic carditis. Several deviations from the classical clinical picture-the absence of fever and arthritis, no typical symptoms of Sydenham's chorea, the lack of a diagnosis of heart valve defects in adolescence-lead to extensive differential diagnostic considerations. Apossible psychosomatic origin through functional heart complaints must even be postulated if atemporary previous organic cause cannot be excluded. Only the use of the advanced diagnostics available today with Doppler sonography of the heart, cardiac magnetic resonance imaging (MRI), throat swabs for Streptococci and streptococcal serology would have made it possible to diagnose Brecht's cardiac symptoms in his adolescence without adoubt and to differentiate them from functional heart complaints. His death is verified by medical documents clearly documenting bacterial endocarditis with evidence of coli bacteria caused by urological interventions with subsequent febrile episodes and pyelonephritis.

Brecht encounters “the system”

ABSTRACT Brecht’s “encounters” with Stanislavsky span the 1935 production of The Mother in New York and the 1953 Stanislavsky Conference in East Berlin, revealing the evolution in his thinking vis-à-vis his Russian counterpart. While the first encounter introduced him to American Method Acting as the epitome of dramatic theatre against which his epic theatre was aimed, it also convinced him that he needed a coherent “system” like Stanislavsky’s to reach a wider audience of theatre practitioners. As a result, Brecht authored during his last years of exile the Short Organon for the Theatre. If Stanislavsky’s name does not appear in it, concepts central to the epic theatre respond to Brecht’s understanding of what he referred to as Aristotelian, culinary, or Naturalist theatre identified with his rival. A similar project, Buying Brass (also known as The Messingkauf Dialogues), occupied Brecht in the years between 1939 and the early 1950’s. The fragmentary texts and conversations were the closest he came to presenting a “system,” here conceived as a theory to be performed on stage as dialogues and including references to techniques employed by Stanislavsky. This essay explores key theoretical issues in the evolution of Brecht’s understanding of Stanislavsky’s approach to the training of actors. The closest he came to experimenting with Stanislavskian “methods” was in his 1953 production of Erwin Strittmatter’s Katzgraben at the Berliner Ensemble. The documentation of rehearsals and discussions shows how Brecht used this as an opportunity to explore the affinities between the mature approaches of these two directors.

Visual hybridizations in two audiovisual productions

This paper aims to analyze and discuss two films that present hybrid aesthetics: Lars von Trier’s Dogville (2003) and Welchman´s and Kobiela´s Loving Vincent ( 2017). Dogville evokes the theatre language in its construction and develops an intertextual relationship by using Brecht’s epic theatre, while Loving Vincent is a tribute film to Vincent van Gogh, essentially intertextual because it is based on letters that van Gogh once wrote, as well as his own works of art. The theoretical frame of reference on the processes of dialogism, polyphony, hybridization, intermediality and intertextuality is provided by Araujo, Bazin, Bakhtin, Brecht, Kristeva, Metz, Muller, Nagib e Rajewski.

Estrangement, epochē, and performance: Bertolt Brecht’s Verfremdungseffekt and a phenomenology of spectatorship

During his period of exile in Scandinavia, Bertolt Brecht wrote “I don’t think the traditional form of theatre means anything any longer. Its significance is purely historic; it can illuminate the way in which earlier ages regarded human relationships […] [but] a modern spectator can’t learn anything from themz” (Brecht in Brecht on theatre: the development of an aesthetic. Trans. John Willett., Eyre Methuen Publishing, London, p. 66, 1964). To create a modern theatre fit for a modern audience, Brecht holds that not only would the content of plays have to change, but the experience of theatrical spectatorship itself. To fully capture how Brecht’s work differs from that of previous playwrights, a close analysis of spectatorial experience and perception is required. In this paper, I compare the aesthetic techniques used in Brecht’s epic theatre to the genetic phenomenology of Edmund Husserl. Reading Brecht’s Verfremdungseffekt (or estrangement effect) through a Husserlian lens, I argue that Brecht mobilizes phenomenological methodology in order to suspend the audience’s preconceived notions of theatre and to cultivate self-conscious, critically aware, and socially motivated spectatorship. Just as Husserl describes phenomenology as a presuppositionless science, so too does Brecht offer epic theatre as a way to free “[…] socially-conditioned phenomena from the stamp of familiarity” (Brecht 1964, p. 192).

Олонхо как источник пластического воспитания артиста эпического театра

Статья посвящена осмыслению роли олонхо в вопросах пластического воспитания в формировании профессиональных навыков артиста эпического театра. Эпическое наследие народа саха является уникальным явлением, содержащим в себе истоки для поисков в разных областях, в том числе и в театральной педагогике. Органичное «со-бытиé» в олонхо – это и театр «переживания» и театр «представления». Пластическое воспитание артиста невозможно рассматривать отдельно от дисциплин профессионального цикла: актерского мастерства, сценической речи, народного пения – тойук. Любое физическое действие на сцене продиктовано внутренним действием. Действие объединяет в единое целое мысли, чувства, воображение и физическое (телесное, внешнее) поведение актера, который владеет двумя потоками сознания – «Я» – образа и «Я» – артиста. Олонхо аккумулирует в себе пластический рисунок роли, внутренний монолог персонажа, описание его внешней характерности, его оценку. В статье описана постановка дипломного спектакля студентов АГИКИ. Спектакль-олонхо «Кыыс Дэбилийэ» (сказитель Н. П. Бурнашев) – это современное динамичное действо, основанное на опыте, традициях и знаниях предков, переосмысленное молодым поколением в ключе современного площадного театра, тем самым вносящее свою мощную энергетику, искрометность и задор в эпическое полотно древнего текста. Основными средствами художественной выразительности являются тойук, звукоподражание, пластика, основанная на элементах обрядово-ритуальных действ, народных игр, танцев и песен. В спектакле можно увидеть синтез эпического театра с его «эффектом отстранения» и реалистического театра. Источником пластической выразительности, разработки образов, боевых сцен является текст олонхо. Профессиональный театр Якутии сформирован русской театральной школой, школой Малого театра. Мастера кафедры театрального искусства бережно хранят традиции своей школы. Опыт воспитания артистов для профессионального театра олонхо показал, что наряду с достижениями мастеров по воспитанию пластической культуры артиста в контексте русской театральной школы, нам важно внедрить в дисциплины цикла по пластическому воспитанию элементы двигательной культуры народа саха. The article reviews the role of olonkho in plastic education as one of aspects of developing professional skills of an epic theater actor. The epic heritage of the Sakha people is a unique work that contains the origins of the search for theater pedagogy. Organic “co-existence” in the olonkho is both the theater of “experience” and the theater of “performance”. Plastic education of an actor cannot be considered separately from the disciplines of the professional cycle: acting, stage speech, folk singing – toyuk. Any physical action on the stage is dictated by an internal action. The action combines into a single whole the thoughts, feelings, imagination and physical (bodily, external) behavior of the actor, who owns two streams of consciousness – the character’s “I” and the actor’s “I”. Olonkho accumulates a plastic picture of the role, an internal monologue of the character, a description of his/her external characterization, his/her assessment. The article describes the diploma staging of 4th year students of performance-olonkho “Kyys Debiliye”, narrator N. P. Burnashov. It is a modern dynamic action, based on the experience, traditions and knowledge of ancestors, yet interpreted by the younger generation in the spirit of modern areal theater, thereby introducing its powerful energy, sparkling and enthusiasm into the epic canvas of the ancient text. The main means of artistic expression are toyuk, onomatopoeia, plastic, based on elements of ceremonial and ritual acts, folk games, dances and songs. In the play you can see the synthesis of the epic theater with its “effect of distancing” and realistic theater. The text of olonkho is the source of plastic expressiveness, the development of characters, battle scenes. The professional theater of Yakutia was formed by the Russian theater school, the Maly Theater school. Masters of the department of theater art carefully preserve the traditions of their school. Conclusions and suggestions on the education of the plastic expressiveness of an epic theater actor are given. The experience of educating actors for the professional olonkho theater showed that it is important to introduce elements of the motor culture of the Sakha people into the disciplines of the plastic education cycle.

El discurso godardiano en vivre sa vie (1962)

Se presenta la reflexión producto de investigación del análisis del film Vivre sa vie (Godard, 1962) el cual se basó en la propuesta de Jacques Aumont y Michell Marie (1990), en las teorías de Bordwell, Burch y Bergala así como en entrevistas a expertos de cinematografía en la ciudad de Medellín. La manera de vivir el cine implica la idea canónica del entretenimiento, para Godard, también involucra la capacidad de construir metáforas e ideas para un espectador reflexivo. Éste director propone un modelo desafiante y transgresor con un discurso collage, que se constituye en desafío mental para el público. En Vivre sa vie, presenta modelos “nuevos” de cinematografía tales como el teatro épico y la narrativa paramétrica, los cuales aportan argumentos renovadores al cine.

“It’s All about Working with the Story!”: On Movement Direction in Musicals. An Interview with Lucy Hind

Lucy Hind is a South African choreographer and movement director who lives in the UK. Her training was in choreography, mime and physical theatre at Rhodes University, South Africa. After her studies, Hind performed with the celebrated First Physical Theatre Company. In the UK, she has worked as movement director and performer in theatres including the Almeida, Barbican, Bath Theatre Royal, Leeds Playhouse Lowry, Sheffield Crucible, The Old Vic and The Royal Exchange. Lucy is also an associate artist of the award-winning Slung Low theatre company, which specializes in making epic theatre in non-theatre spaces. Here, Lucy talks to George Rodosthenous about her movement direction on the award-winning musical Girl from the North Country (The Old Vic/West End/Toronto and recently seen on Broadway), which was described by New York Times critic Ben Brantley as “superb”. The conversation delves into Lucy’s working methods: the ways she works with actors, the importance of collaborative work and her approach to characterization. Hind believes that her work affects the overall “tone, the atmosphere and the shape of the show”.