![]() ![]() We grasp that the women “had to leave town because of their love,” says Jones. In their first adult production, Episodes of an Easter Rising, a black activist takes refuge on a remote farm with two elderly women. In Johannesburg, they lived in a “resistance community”, plunged into the avant-garde theatre scene, joined forces with artist William Kentridge, and began to mount multimedia puppet-shows for grown-ups. They met at art school and, in the early days of Handspring, toured children’s shows around South Africa from a truck with four bunks, until a state of emergency in 1985 turned schoolyards into war zones. Kohler is the puppeteer of genius and backstage master craftsman Jones the visionary producer-entrepreneur. Jones and Kohler have been partners, personal and professional, for more than 40 years. ![]() That’s an unusual experience theatrically: it gives you something that maybe you haven’t seen before.” You are allowed to believe that you understand the horse’s emotions. Chinese audiences shared, adds Kohler, “that plunging of people into a dark and desperate place – and they survive. There, reports Jones as we talk while the daylight fades over the surf, the Great War may mean little, “but they’re completely in love with a horse and a war – any war”. Kohler and Jones, respectively the artistic director and executive producer of Handspring, have recently worked on the Chinese production of War Horse in Beijing.
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