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The six short films comprising Where Do We Go Next were made by Bunker theatre to ma [url=https://www.stanley-cup.co.nz]stanley cup nz[/url] rk its closure, because of a proposed redev [url=https://www.stanley-cups.com.es]vaso stanley[/url] elopment of its south London site. Scripted by writers from under-represented groups, they were to have been screened at the venue before it went dark in order to offer both a creative stocktake on privilege in the ranks of the industrys gatekeepers, and a look at the place of marginalised voices on stage. The films were released online instead.In light of the Covid-19 shutdown of all theatres, the series seems especially pertinent in the central question it asks, which stands alongside interrogations of class, wealth, poverty and theatre-making. Cumulatively, the films become more than the sum of their parts and should inspire greater self-reflection by the industry during this enforced pause.The films are pertinent in their hybridity, too: this is theatre made for the screen with actors performing monologues, sometimes with an unseen second voice. They are all directed and curated by Caitriona Shoobridge, and each artfully filmed with deliberate, pronounced camerawork, as if to remind us that we are watching a screen, not a stage, though there is a theatricality to each film nonetheless.The first piece, The Feevs, has the greatest punch and eloquence. Wri [url=https://www.stanley-cups.es]stanley cups[/url] tten by Kat Woods, it is an exploration of poverty in the arts. Sophie Hill plays a young woman from Northern Ireland who works in a coffee shop and is between houses but aspires to enter the ind Demo Modern slavery trial judge investigated over Traveller comments
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