She and her car

In Undercoat: A Parafoxical Tale, the character ‘She’ is clearly part-transformed into a red fox. For much of the show She is also immobilised in the rusting mound of a small car. Set and costume designer Emily Collett is currently creating this car for the stage at Melbourne’s La Mama Theatre. And kindly agreed to a short interview.

‘The car isn’t simply a detail of the set’, Emily says, ‘in effect it’s an additional character’.

As a basis for her design, Collett has sourced original parts from a mustard-coloured, two-door Toyota Corolla sedan (E20). Bec Etchell, who was until recently Technical Manager at La Mama, has donated these parts from the first car that she ever owned. Etchell remembers her Dad buying it for her secondhand. ‘I needed a car for a show. That was in 1999, I think. It cost $500 registered. I loved that car. If I could afford to I’d buy one now!’.

‘As well as the front passenger door, we have the front grill and bumper’, Collett explains. ‘These remind me of the smiling Cheshire Cat from Alice in Wonderland. In that story, the Cheshire Cat is a knowing presence, quite philosophical, and feels like a guide in Alice’s journey. The car in Undercoat plays something of the same role’.

‘The whole Cheshire Cat is often represented by a part, such as its big grin. The car that’s centre-stage in Undercoat will also be implied by bits and pieces’. It’s important to Collett that the car parts are recogniseably historical, and hardy, as well as compact. My own Dad used to say that those second-generation Corollas, launched in 1970, could run on the smell of an oily rag. In that year the Corolla was the second-best selling model of car in the world.

‘People still drive such Corollas’. Collett observes. ‘Yet the colour and styling of these parts also gives the sense that the car is timeless. So it supports the idea of fable, which is exactly right for the world of Undercoat’.

Undercoat is a paradoxical story. Set in an Australian landscape, as well as She it features three characters that are foxes. And because these three foxes live on the urban fringe, they know that a major cause of death to their species is collision with motor vehicles. Both She and the car represent a very disturbing intrusion into their habitat—the car, for the foxes, is surrounded by force field of repulsion-attraction. Like humans these characters project aspects of their particular reality onto the car’.

Meanwhile, for She, Undercoat is a tale of metamorphosis. Once upon a time She’s car represented protection and freedom of movement. At the opening of the play, the car is literally the vehicle that has brought She to the brink of her transformation. Then, at the edge of the remnant forest, its meanings begin to change.

Flamingo stories. And a tide of change?

At five years old I was given a book titled Daddy, Read Me a Bedtime Story, which was first published in 1971. Presenting the collection to young readers, the editor, Mary Parsley, wrote, ‘Who reads the bedtime story in your family? Chances are […] Father would if he knew he might enjoy the story as much as his children will’. I have no recollection of my late father reading aloud from this volume, although he certainly delighted in sharing a good tale (read his obituary here).

Parsley recommends the volume particularly for its humour. Yet the emphasis is much more on the uncanny—the fearfully strange. One story that recently resurfaced in my imagination concerns a schoolboy named Gregory, who literally transcends the unkind appraisal of his headmaster by changing into a flamingo. ‘In his new colours of rose and red, the feathers black at the end of each wing, Gregory flew towards his new life. […] “Goodbye,” called Gregory to the rooftops of the town, in a raucous but faintly sorrowful voice. “I’m off to live by the great rivers of India and East Africa.”’. ‘Gregory’, and Tony Escott’s illustration of a large bird framed by a wash of sky over narrow rooves, first introduced me to the flamingo.

‘Flamingo’, from early forms of the word ‘flaming’; named for its vivid red and roseate plumage, which from afar can seem to shimmer. Associations with fire are apposite to a story centred on freedom achieved through metamorphosis. In ‘Gregory’ the flamingo also transfigures the boy’s sense of alienation from his bleak horizons in an English town. Leaving behind his ‘long raincoat’, he migrates to tropical and subtropical habitats where, as a young reader, I was sure he would feel ‘at home’.

Flamingo populations can migrate in search of more favourable weather and water levels in the saline lakes or lagoons that are their feeding grounds. Aeolian artist Ambra Mirabito points up the analogy between this ecological fact and the basic quest for safety and better living conditions that continues to result in human fatalities in the Mediterranean, and the arrival of migrants at European shores.

Mirabito sourced her project ‘Fenicotteri Migranti’ in a news article about a ‘stray’ flamingo that stayed feeding at Lake Lingua on the island of Salina for some four months. The artist repurposes this story by making paper flamingos: giving each a name; decorating the wings with hand-drawn patterns and silk stitching. The new flamingo then ‘takes flight’ in a large envelope, migrating by post to the address of a waiting addressee. Each effectively carries a question—namely, is it possible to transcend fear towards the unexpected arrival of ‘strangers’ with an attitude of hospitality?

According to the UNHCR, so far in 2016, 272,296 refugees and migrants have arrived in Europe by sea. Such numbers are abstractions from always perilous journeys, and landings uncertain at best. They are part of the attempt, however, to document the current refugee crisis. On World Refugee Day, the trenchant statement issued by PEN International asserted that the world’s present system for protecting refugees is no less than ‘broken’. The horizon could not be bleaker for the hundreds of thousands of people fleeing conditions of war and persecution.

Uncannily, through the overlong campaigns that preceded Australia’s July federal election, rhetoric from the Liberal-National Coalition and the Labour party barely registered immigration policies as a matter of concern to voters. The great bird that came to mind during those weeks was the ostrich. Or rather the age-old myth that the ostrich buries its head in the sand when seized by fear.

Now, however, against the Australian government’s habits of silence, obfuscation, and point-scoring, there is an increasingly vocal consensus that Australia’s system for meeting humanitarian obligations toward refugees and asylum seekers is broken too. Compulsory offshore detention is the stuff of brutal horror stories. By its themes of abuse and abandonment, this chilling chapter in the history of Australia’s relationship to the 1951 Refugee Convention evokes the earliest Children’s and Household Tales published by the brothers Grimm. Except that at present it is haunting, outrageous fact.

Meanwhile, the #BringThemHere campaign just might represent, at last, an implacable tide of transformation—to a prevailing attitude, in Australia, of compassionate hospitality towards some of the globe’s displaced people, who, so close to our shores, continue to suffer unnecessarily. Dare each of them, like Gregory, imagine ‘a new life’ of thriving in dignity? If sponsoring one of Mirabito’s paper flamingos seems far-fetched, signing the #BringThemHere petition is a more direct way to express support for people seeking basic safety and protection. We can respond on the basis of our common humanity.

Who reads the bedtime story in your family?

Thoughts Parafoxical

We don’t need Patricia MacCormack’s argument for an ahuman theory of ethics to acknowledge that ‘nonhumans don’t care’: to appreciate that the nonhuman animals assimilated into human discourse, endlessly re-grouped and set against one another, ‘don’t care’ about news stories (or play scripts). Thank goodness. Three weeks ago Melbourne’s population of red fox, vulpes vulpes, was again mentioned in local news, under the headlines ‘Fox Massacres Melbourne Zoo Penguins’, and ‘Fourteen Penguins Killed in Fox Rampage at Melbourne Zoo’. Presuming readers’ sympathetic (domesticating) identification with the ‘little’ penguins, these headlines demonise the figure of the fox. As such, they distil from the news a moral tale with an ancient heritage—a tale, however, more usually driven by contentious humour.

There are plenty of sharp nods to this heritage in the script Undercoat: A Parafoxical Tale. The project first glimmered in my imagination years ago when I read about a fox found trapped at the rear gate of the Melbourne Zoo. As noted in an essay for Writing from Below (which you can read here), Undercoat takes the absurd liberty of anthropomorphising no fewer than three foxes. Or is it three-and-a-half? Set in an Australian landscape, this fable ‘for performance in seven scenes’ begins edging off the page this week, in anticipation of three showings as part of La Mama Theatre’s Explorations series. Inwardly I hear the chant of the character Ruber becoming more insistent, ‘Be careful, be careful, be careful what you fox for!’ … .

Peter Wiltshire, longtime ranger at the Darebin Parklands, kindly agreed to be interviewed while I was researching for Undercoat. In Australia’s inner urban environments, Wiltshire says, foxes have no natural predators. ‘They’re extraordinary creatures’, he begins, ‘they’re flighty, moving continually. They disappear into the grass, they’re agile, extremely fast, well balanced’. At one level Wiltshire’s interview suggests that, mercifully, gloriously, no combination of adjectives can suffice to convey—let alone ‘capture’—human impressions of a fox’s singularity. Quite simply, like the quickening aliveness of a rehearsal, a fox, or a penguin for that matter, is not what we think.



Flights of idealism: Turbulence online and in print

Since November last year I’ve been working with a team led by composer Juliana Hodkinson to re-version our chamber opera Turbulence for LIGE—a project commissioned by the Danish Ministry of Children, Gender Equality, Integration and Social Affairs, and the Danish Agency for Culture. Launched last week at the Royal Danish Academy of Fine Arts, LIGE is a digital collection (or e-book) of contemporary art published to mark the one hundredth anniversary of the achievement of women’s suffrage in Denmark.

Amendments to the 1849 Danish Constitution gave women the rights to vote and to stand for parliamentary election, and were signed into law on 5 June 1915. In Denmark, 5 June is a public holiday known as ‘Grundlovsdag’—Constitution Day; this year the full weekend of 5–7 June was given over to government-sponsored celebrations. ‘Lige’ is the Danish word for ‘equal’. Since 1915 Denmark has been a leading nation for legislative recognition of gender and same sex equality. (As marriage equality is so topical in Australia right now it seems worth acknowledging that on 1 October 1989 Denmark became the first country to make legal provision for same-sex marriage.)

The new digital version of Turbulence comprises ‘chapter’ XIV of the LIGE collection (keep scrolling … ). Over six months, it was developed with co-creators variously based in Berlin, Copenhagen, Melbourne, Sydney, and a snowbound village in Sweden. The live recording made by ABC Classic FM in 2013 became the basis for a mesmerising dual screen video work, which might be described as a visual meditation on impermanence (impermanence at once mechanical, emotional, and in nature). Filmmaker Peter Humble’s response to the libretto and music of Turbulence is a moody and surprising essay layered with 16mm and 8mm handprocessed footage; a shifting landscape made vast, at times, to accommodate the sonic pattern of oblique lines given to the opera’s main characters—a Mother (soprano Deborah Kayser) and her Daughter (Anneli Bjorasen).

The vision for Turbulence in LIGE was to include a range of multimedia options, such that, at any point, the opera might be read, listened to, and watched. Digitally embedding such a variety of experiences proved beyond the means and scope of the LIGE project. Yet with the ‘reading’ in mind, Juliana and I integrated the libretto and musical score into a single object, now published by Edition Wilhelm Hansen in Copenhagen (you can preview the book here—again, scroll down).

The LIGE project is framed by idealism in abundance. Recognising that ‘the art world is a place where gender equality and the balance of gender representation still lag behind’, the editors introduce the e-book as a celebration of ‘gender equality in the arts’. As with the possibility of such equality, so with ideas for a truly flexible and multifaceted online experience of opera: let’s continue to hold them richly in the imagination.


My ear to the question: Margaret Cameron

Lately I have been reading Hanif Kureishi’s ode to his father, to family history, and to writing itself, My Ear at His Heart: Reading My Father (2004). Kureishi has combined memoir with candid, insistent questioning; he is as articulate about the maddening stresses of writing as he is alive to the continual undertow between writing, love, and mourning. While Kureishi’s ear listens for insight about child-parent relationships, his book repeatedly turned my mind towards memories of dear friend, fellow artist, and mentor Margaret Cameron (20 January 1955–20 October 2014). I wondered whether Margaret had come upon My Ear at His Heart. She would surely have delighted in conversation about it, if not also in a reading aloud of an excerpt or two, preferably on a weekend afternoon, near the lit stove in the bright living room of her home by Port Phillip Bay.

‘What is the history of each individual? Where does it start and end, and, more importantly, how does this history continue to work in you? Unknowable though they might be, where do the dead go and what do they do? … To what extent do the dead determine the lives of the living? … How do you keep them vital within you?’ (My Ear at His Heart, pp. 197–98).

Carved with the word ‘poet’, Margaret’s gravestone can be found on the hillside of Portarlington Cemetery, overlooking Port Phillip Bay in the direction of Melbourne (read her obituary here). I am glad to be able to keep thinking of her in connection with the skies and moods of the bay. Margaret swam at the beach located a hundred paces from her front door in the township of Indented Head. The ritual of immersing herself in water was a reliable source of solace and inspiration. She took baths in the morning so as to think. One day during work on Care Instructions, we were struggling to understand one another, and she described herself to me as a dolphin: a creature needing to dive down below the topmost waves before resurfacing to communicate. I learnt to be more patient. And like a dolphin, Margaret could surprise by suddenly, playfully leaping to the surface—with a fresh word, or more usually an image, to offer as a procedural suggestion.

Maybe Kureishi’s spirit of fearless enquiry reminds me of Margaret. This spirit was inseparable from her dramaturgical talents and creative stamina. To the task of lifting breath and body, words, images, and ideas into the realms of theatre, she brought a deep respect for the strange logic of intuition—and for the richness of ‘not knowing’ until ‘it’ becomes manifest. Making new work together was a precarious, demanding process, with all the trickiness and felt texture of committing to a koan. Becoming willing to plunge in to such a process with Margaret has been formative for me since a first rehearsal in 2003.

In April 2006 I posted Margaret a copy of The Uninhabitable of L. B., a script of sorts very recently completed. The project had begun in the preceding year, and finishing the writing produced more relief and trepidation than usual, since The Uninhabitable of L. B. had weighed upon me as ambitious. A fortnight later I received an email from Margaret: ‘Dear Cynthia, today—sunny Anzac Day holiday, I collected the mail. I’ve just sat in the sun and read your text’. Margaret’s communications could be cryptically brief; another reason to treasure her thoughtful missive of that day now nine years ago. ‘L. B.—her body is present, viscous and solid (a body / a building), but glistening also. … Sometimes I think I’m breast-stroking—coming up (to her presence) and going down—seeing through a lens as water can provide. Hearing also above water and beneath water. … It’s a very surprising journey you take. Immense. Glacial. Funny’. She was receptive to humour in my work where I had failed to notice its potential. ‘I can’t pretend to know what you’re doing, or how you’ve done it, but it is really fascinating and absorbing. … Don’t doubt’.

Through the drawn-out, perplexing intervals of creating her solo works, Margaret’s practice was attended by great doubt, and increasing confidence. She could encourage others because she understood the necessity of biding with both, past the shallows. The first chapter of her forthcoming book, I Shudder to Think: Performance as Philosophy (2015), considers her decision to ‘“stop acting” and “start writing”’. She recalls wondering if she could ‘find words that were not a source of ridicule or alienation’. The chapter culminates with this observation: ‘it seems to me that an artist very often moves toward their greatest difficulty. It is the very thing in the way, the uncomfortable grit of one’s nature and biography that rubs’. Like Kureishi’s, Margaret’s ear was searching, sensitive, generous, closely attuned to the repercussions of childhood, and to the resonant influence of the dead in the lives of the living. She too would have appreciated Kureishi’s unfathomable question, ‘how does [their] history continue to work in you?’.