Judith Adams - Playwright & Dramatist
www.judithadams.co.uk"A delicious, sensory overload of future gothic." (Ghost) Neil Cooper
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
SFAinHE PODCASTS DOWNLOADING HERE
Whitestone Arts/59 Ltd production team: Jemima Levick, Leo Warner, Robert Sharp, Doug Walker, Henry Broadhurst
Fifty-Nine were funded by the Scottish Arts Council and Arts Council England (Yorkshire), to bring the play (composed in hypertext by Judith Adams, Leo Warner and Robert Sharp) back to its original home on the web. Visit the site at sweetfannyadamsineden.org, download the daily podcast, and step into the world of Victorian showground, timeless fairy tale and feminism, as women gardeners and explorers seek to escape the Paradise built for them, and rediscover the secret Edens buried in their own hearts.
LOST GIRLS
The fearless and indestructible LILY (Pauline Lockhart), avatar of Frances Adams and all lost and murdered girls throughout history, unlocks their cages and releases the buried forces beneath the soil with the assistance of web technology.
"Inside each of us there's a hero, a heroine and a monster, desperate to speak' - Michele Roberts
"the fragments of text in the simultaneous middle sections are like squares on a quilt that can join up in any way we choose, (since they all share the same pattern in miniature) according to choice and setting - which means I make more patches than we need to use, and each show - or performance if we like - can choose what it wants......(it will be) a defeat of linear thinking. And also each square of quilt can be a microcosm of the whole story - which doesn't mean that it is tightly woven text, just that it has pieces that contain their own integrity, which can then be boldly and flexibly shaped into any space, and reduced or expanded accordingly. To construct text like this, one needs new composing structures. Typing a linear sentence on a flat page just won't do the job, however prettily they read"
Judith Adams 2002
"I have been involved in developing collaborative creative projects from a film and design viewpoint, using digital technology. For Stellar Quines' Sweet Fanny Adams in Eden, I am evolving a concept for merging the apparently two-dimensional process of playwrighting into the four dimensional process of staging, using digital technology designed originally for three dimensional animation. I believe I can map out a virtual space which can incorporate not only text, but images, sound and video, which will allow all elements of a live script to be laid out spatially on computer. The writer can then "walk" different pathways between them, see/hear elements in different combinations and move backwards and forwards through time. In its simplest form, such a structure is most closely described as a 3-D mind map, but it is more than that. As the script evolves, text can be replaced by voices, allowing a writer to hear overlapping text, and as is very important in the case of the garden site-specific project Sweet Fanny Adams in Eden to move between different areas of performance and get a sense of how these areas interact and conflict."
Leo Warner, 2002
