ORLANDO AFTER VIRGINIA WOOLF ADAPTION ANDREA CARR
FAB15 Bath Love & Death@Walcot Chapel Director/Designer: Andrea Carr Performer: Kyra Williams Photographer: Peter Williams
PQ15 Prague and Beyond… Show and Tell Presentation Plus a series of interventions In the streets of Prague, Budapest and Bath Photographer: Peter Williams
R & D at Shoreditch Town Hall Co-Director: Janette Froud Performer: Kyra Williams Performer: Tracy Bargate Tech. Support: Kate Whitehead Photographer: Samuel Overington
This costume/sculpture explores the transformations and transitions of Virginia Woolf’s Orlando (1588-1928) – a character whose life spans over a period of 400 years and mysteriously changes gender (man to woman). Created in response to themes of time, body/politics, poetry and nature, the scenography of the costume/sculpture is revealed through Orlando’s journey through time and space. Embedded in the costume’s transformation is the commentary on the spirit of each age, the combining of fact and fiction, notions of cross-genre, cross-gender, cross-dressing, cross time zones and cross-country. The costume/sculpture is part corset, part armour and part constraint. Attached to the skirt is a 15m long train, representing a timeline from a mythical past through to present day. Stepping out from the costume (which is left standing as a sculpture) the costume/sculpture now becomes re-purposed as a scenic element: part dwelling, part cave, part well and part river.
Orlando was performed by Kyra Williams at Love and Death@Walcot Chapel as part of FAB15 Bath and is continuing to be developed into a fuller version. Andrea took the sculptural costume on tour with a Show and Tell performance/presentation at PQ15, Prague. During the Show and Tell she entered the space in the costume and began in character a demonstration of the costume’s scenographic transformation. Drawing upon PQ’15’s theme of Climate Change, the excerpt she chose (Chapter 1. Great Frost 1608) recounts the sudden and devastating effects of an extreme change in climatic conditions. She then wore the costume/sculpture on the streets of Prague, Budapest and Bath and explored how the different locations and contexts might effect the perception and narrative content of the piece.
She is interested in the life span of her work and how costume and set can be integrated. The train, when not in use has been used as part of an interior decoration.