Horse and Bamboo Theatre or Horse + Bamboo Theatre is a British theatre company founded in 1978 by Bob Frith. The company works with a commitment to strong narratives but using visual, physical, and music-based forms rather than text. In particular it uses distinctive full-head masks. It works internationally as well as from its Centre in Waterfoot, Rossendale, Lancashire, UK.
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Origins
Frith taught in the early 1970s at Manchester School of Art (later Manchester Metropolitan University). Unhappy with the prevailing abstraction of the period he experimented with extending purely visual forms to include live performance and music, influenced by Allan Kaprow, Red Grooms and Claes Oldenburg, and working with groups of his students. At the Bede Gallery, Jarrow, he worked on a large scale project with his friend Dave Pearson, filmakers and artists, and including the musician Alan Price, as well as engineers from the local shipbuilding industry.[1]
In the mid 70s he met Welfare State and worked with that company for two years. [2] He formed Horse + Bamboo Theatre in 1978, with a group of ex-students, musicians and members of Matrogoth Theatre from Leiden, Netherlands.
For the past decade or more Frith has worked closely with Alison Duddle, originally of In the Heart of the Beast Puppet and Mask Theatre from Minneapolis on the majority of the company's productions.[3]
Name
The name derives from the use of horses to pull a caravan of vehicles when touring, which was a central feature of the company's work from 1979 to 1999. This grew from their commitment to taking their work to rural communities, and using the horses and horse-drawn wagons to attract an audience. Bamboo, due to its lightness and strength, was the main structural timber used in the early horse-drawn touring sets, and was also used to make puppets and music instruments.
Horse + Bamboo now tours theatres in a more conventional manner, but its roots in rural touring are maintained through the pPod, a specially designed portable structure[4] that tours to festivals and community venues; small, flexible shows that lend themselves to community venues, and the development of the Boo, that serves as a centre and venue for the company's local community in Pennine Lancashire. In this regard Horse + Bamboo has much in common with Kneehigh Theatre, who maintain a locally-based presence in Cornwall in addition to their wider touring work.
Productions
Horse + Bamboo Theatre creates its own material, occasionally in collaboration with other artists and writers, with the majority of its productions made by the core team of artists. Its hallmark is in creating sustained theatrical narratives without the use of dialogue, as well as the use of full-head masks and puppetry. Film, music and dance are often integrated within the company's productions.
"The work that they create is uncompromising in terms of artistry and subject matter. The artistic directors Bob Frith and Alison Duddle create work to which they bring the passion of great artists - emotionally powerful, beautiful to look at, laced with humour and pathos that reaches out to audiences, and one more thing that is quite difficult to describe. It is a roughness, an absence of slick polish and finish in the design. A deliberate roughing of the edges which contrasts with the beautiful precision of the performance and the soundscoring. Watching and being involved in a Horse and Bamboo performance, we as the audience aren't allowed to forget that this is an event that is being hewed from the wood, metal, paper, cloth, paint and bodies of flesh and blood in front of our eyes. It brings the moment into focus for us."
"Horse and Bamboo isn't a puppetry company, but it does use puppets. From what I've seen, puppets are mixed in for either stylistic or semiotic reasons, or both at the same time." [5]
Touring
For the first two decades Horse + Bamboo toured using horse-drawn transport. These productions started as outdoor shows, and moved into a marquee after four years. Eventually the company began to create shows that played in village halls and other community centres. The performers walked about 400 miles each season, living in tents and cooking on open fires. Horse-drawn touring took place in England, Scotland, Ireland, Hungary and Slovakia. Now the company tours its productions throughout the UK, and has also toured in Spain, the Netherlands, Germany, and Belgium. A co-production (with In the Heart of the Beast Puppet and Mask Theatre) of Company of Angels toured the United States between 2003 and 2006 [6].
Significant Horse + Bamboo Theatre touring productions include The Woodcarver Story (1982); Dance of White Darkness (1994), about Maya Deren in Haiti; Harvest of Ghosts (1999) created with Sam Ukala, the Nigerian playwright;[7] as well as Company of Angels (2002) about the life of Charlotte Salomon.[8] The company toured an epic production Veil in 2008 that contrasts the lives of two young women, one an Iraqi, the other brought up in Europe, and is set across two generations.[9]
In The Shadow of Trees was written and designed by Bob Frith for the Royal Exchange Theatre Studio in Manchester. Directed by Associate Director, Alison Duddle, it won the Best New Play at the M.E.N. Awards in 2006 and subsequently toured, despite being created especially for the Royal Exchange.
In 2009 the company are developing and touring Little Leap Forward, a new production in collaboration with Barefoot Books adapted by Alison Duddle from the book by Guo Yue and Clare Farrow which is also due to open at the Manchester Royal Exchange. They are also in the second phase of the 'Valley of Stone' project inspired by the landscape of Rossendale, its geology and industry - Deep Time Cabaret, with reference to Deep Time, Peak Oil and Climate Change.
The Boo
Horse + Bamboo is based at The Horse + Bamboo Centre known as The Boo, in Waterfoot, Rossendale which is used as centre and venue for arts events and the development of visual theatre, as well as being a rehearsal and workshop space for the company. The Boo also hosts an annual summer puppet festival, and has close links with the local visual arts community. The Boo is also used by the Waterfoot community as a meeting place and venue for other events. Horse + Bamboo Theatre has a long history of producing community projects both in its home community of Rossendale, and beyond - for example the Good Friday Parade and Service at Westminster Abbey in 1994 and 1996.
The building is also used by other artists and theatre companies as a place to research and develop new visual theatre work, sometimes in a mentoring partnership with Horse + Bamboo. The Centre is also the base for PLACES, a group of artists associated with Horse and Bamboo Theatre who work with people of all ages on projects that help them to engage with the built environment. The long-term collaboration between Horse and Bamboo Theatre and PLACES began with a project to introduce young children to the experience of architecture through visual theatre.
Guided Imagery
Horse + Bamboo has also been influential in its work with people who have special needs through its Guided Imagery programme. This programme, started in 1982, uses a large-scale built environment and performance space through which small and intimate groups journey, and interact with, a highly sensory environment. These 'performances' last several hours, and are notable in blurring the gap between performer and audience. 25 years later Punchdrunk has taken up and developed aspects of this work for a mainstream theatre audience.
See also
External links
- Horse + Bamboo Theatre website
- [1] pPod images - Italiano
- [2] pPod images - English
References
- ^ Palmers Yard, V Rea, pub. The Bede Gallery, Jarrow, 1975.
- ^ Engineers of the Imagination, Coult/Kershaw, Methuen 1983, ISBN 0413 52800 6
- ^ Horse + Bamboo Theatre 2002, Neville, pub. Horse and Bamboo Theatre
- ^ Engineering for a Finite Planet. pub. Birkhauser, Basel 2008, by Peter Davey. ISBN 3764372206
- ^ Adam Bennett, Animations, Puppet Centre Trust 2007
- ^ Horse + Bamboo Theatre website - A History of Touring http://www.horseandbamboo.org
- ^ African Theatre in Development/Banham, Gibbs, Osofisan/pub. Indiana Univ., James Currey 1999/ISBN 0 85255 599 7; ISBN 0 252 21341 X
- ^ A Widening Field p 269/Tufnell, Crickmay/Dance Books 2004/ISBN 1 85273 096 X
- ^ Veil by Bob Frith. pub. Blurb 2008. ISBN 978-0-9558841-0-8
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