Judith Adams - Playwright & Dramatist
www.judithadams.co.uk"Judith Adams doesn't just write well-made plays, but pieces in which form and subject are perfectly matched" Lyn Gardner, The Guardian
Main Menu
- Home
- About Judith Adams
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Live & Theatre
- SOUTH RIDING
- AFFILIATED PLAYWRIGHT - UNIVERSITY OF HUDDERSFIELD
- THE GIRLS OF SLENDER MEANS
- VARIANCE
- LADY PURPLE WORKSHOP PHOTOGRAPHS
- BURDALANE ENSEMBLE PERFORMANCE PROJECT
- THE LOVES OF LADY PURPLE
- STONES WORKSHOP / FRANCE
- DANCE WORKSHOPS / CORTES ISLAND / CANADA
- VILLETTE - dramatisation of Charlotte Bronte's novel
- - and after
- MARGIE GILLIS / UBC WORKSHOP (VANCOUVER)
- SWEET FANNY ADAMS IN EDEN
- CROW PLAY
- WOMEN ON THE BRINK
- SHAKESPEARE'S DAUGHTERS
- QUEUEING FOR EVEREST
- THE BONE ROOM
- THE LITTLE MERMAID
- VILLETTE
- BURDALANE
- New Media
- Radio : Original
- Radio : Dramatisation
- Extracts
- Reflections on Process
Agent's Details
Reviews
"How to describe this bizarre and beautiful circus of a show, which provides an unforgettable landmark? - .a show about men and women and creation that manages to be deeply and thought-provokingly feminist, while never losing its brilliant streak of genial, engaging showmanship"
Joyce McMillan. Scotsman August 11th 2003
WRIGHTING OF THE HYPERTEXT SCRIPT
(SEE NEW MEDIA SECTION)
By the time of the first rehearsal, 59 had compiled a series of hypothetical timelines, giving each actor (and the director) details of where they should be at any given time, what they should be doing, and where they should go next. A skeleton script, providing a temporal and contextual framework, was then output as a hard copy for each actor, and this formed the blueprint for each of their performances. Remarkably, very little had to change when the piece was transposed from its virtual landscape to the very real one at the start of rehearsals, saving hours of rehearsal running time. Throughout this process, 59 had worked closely with the director, Muriel Romanes, and the playwright on how the multimedia elements that Adams had scripted could best be realised. These elements of film and video, with which the characters were set to interact, were fundamental to the world of the play, cutting across both time and space, echoing the past, manifesting the future, and becoming machines of control and surveillance at the disposal of the play's most power-hungry and manipulative character.
