Pamela Lombari on playing Liddell’s Ricardo/Richard III in Argentina: El Aňo de Ricardo/The Year of Richard

Earlier this year, I blogged on an appropriation of Richard III by Spanish playwright and performer Angélica Liddell called El Aňo de Ricardo (The Year of Richard) which was performed at the Habemus Theatre in Pergamino, Argentina (July 2014). Here, I interview the production’s lead actor, Pamela Lombari, on her experiences with this play. Questions and answers translated by Adriana Lombari Bonefeld.

Interview with Pamela Lombari on El Aňo de Ricardo 

Can you tell us about your role in El Aňo de Ricardo? Who do you play?

Argentinian actor Pamela Lombari

Argentinian actor Pamela Lombari

In The Year of Ricardo by the Spanish author Ricardo Angelica Liddell, I played Ricardo. The author based her character on Shakespeare’s Richard III. The character is transferred into the contemporary world, presenting a sinister and dark view on the weakness of democracy, on religion, on politics, on genocide. It challenges these values from a stand of fragility but also from the stand of the play’s perverse proposition.

What drew you and the company to Liddell’s play?

Raul Notta, the director, was attracted to the proposition put forward by Angelica Liddell: her play is a provocative, and self-reflective critique of established social conventions.  The playwright  challenges and destabilizes these social conventions. As a perfomer, I felt drawn to the text as it conveys a seductive understanding of contemporary western society … I fell in love with the dramatic structure. As soon as I read it, I felt passionate about performing it. I did not want to miss the opportunity to play such a text.

How did you prepare for such a role? How did it differ from other roles you have played?

To enter into ‘Ricardo’ meant a lot of work and preparation. It entailed an organic commitment where intellect, emotion and body interplayed. In this and all my work I surrender. I trusted both the director’s and my own instincts. I listened to what he had to say but I also listened to my body. ‘Ricardo’ requires the body’s involvement and physical work, but also emotional preparation and energy. All this is necessary to get into and out of a variety of dramatic and diverse situations. I can say that Ricardo goes through my body so that I can express his voice not only with words but with all my body. It has been, indeed a huge challenge … after 25 years this is my first one person show. After Raul Notta chose me to perform this play,  we worked intensely for five months creating, researching – and enjoying!

What is the significance of gender in this interpretation?

With regard to gender, Liddell at no time indicates if she thought the text should be interpreted by a man or a woman … she just named the character Ricardo. [Liddell herself did originally play the role, however.] The director thought of me when he read the script. As a performer I did not think about the character as having one specific gender …I work ‘organically’ investing my resources in the character … I guess the character can be played by a man or a woman. I would like to think that both of my masculine and feminine identities were invested in the performance. Moreover, I think I made good use of my irrational aspects – what I can describe as the ‘animal inside me’. All aspects [of the self] are required when ‘entering’ such complex characters. As a performer, I draw on high levels of consciousness to get rid of my prejudices that may limit the creative process. The gender perspective is somehow less central in ‘The Year of Ricardo’.

How does Liddell’s Richard relate to Shakespeare’s Richard?

There is a relationship that lies in his schizophrenia, his ambition for autocratic power, his sinister irony, his wicked seduction used to achieve his lifelong aim to dominate others.

There are many striking images from the production and from the video that was part of the production. Can you elucidate some of these for us? For example, what did the burning books represent? And the broken dolls? And the string wrapped around the woman’s face? (Significantly, this was translated as: And the thread sewn around the face of the woman?)

(c) Grupo Fratacho

(c) Grupo Fratacho

The burning of the books is closely linked to the original text of the play, it is a sign of the destruction of poetry, the death of poets and writers who challenge the power that Ricardo pursues. [Adriana Lombari Bonefeld glossed this further: ‘Liddell’s play references ‘Nazism and dictatorships current and past. Knowledge has to be burnt and destroyed as it poses a threat to power,’ she explained.  So, did she think that the play related to the Argentinean situation, past or present? ‘It relates to all dictatorships, and in Latin America unfortunately there is a sad and long history of that!’]

(c) Grupo Fratacho

(c) Grupo Fratacho

The broken dolls represent life’s devastation. Not only is life devastated in the imagination of Ricardo, but in Angélica Liddell’s view and – I have to confess – in mine too. The broken dolls led to the idea of fragmented bodies, sick bodies, corrupted bodies. The unfinished desires fill the flesh of venom. (“He who desires but does not act, breeds pestilence” Milton).

(c) Grupo Fratacho

(c) Grupo Fratacho

The thread that binds is a prison, the barbed wire hair, it is like a concentration camp. Ricardo is a prisoner of himself, of his own folly; psychopathy and his thinking do not set him free. His heinous acts are not cathartic: they only imprison him to his obsessions, which spin all the time about the same (the genesis of his insanity).

To what extent does this production take on new meaning when transplanted to Argentina?

The dimension is very moving for the universality of the themes that the author raises, it can be performed in Argentina just as it can in Japan.

How would you sum this production up for audiences who have not had a chance to see it?

The Year of Ricardo is a proposal for reflection and questioning about moral aspects such as good and evil, about religion, racism, human foolishness, politics etc.

What else do you think it is important for audiences to think about in relation to your production?

For us it is important that our proposition challenges the audience on the human level and, also, that they can enjoy a theatrical approach that integrates different stage languages.

Advertisements

Press Release – The Grand Opening of the Gdańsk Shakespeare Theatre (Gdański Teatr Szekspirowski): 19 September 2014

Gdansk logo

The Gdansk Shakespeare Theatre in June 2014 with the roof in the open position. (c) Dobrochna Surajewska

The Gdansk Shakespeare Theatre in June 2014 with the roof in the open position. (c) Dobrochna Surajewska

Theatre Website and Festival Website (click on Union Jack icon for English translations)

Ladies and Gentlemen, 

On the 19th September 2014 the Grand Opening of the Gdańsk Shakespeare Theatre will take place. It is one of the most unusual venues in the world and the only modern theatre building with an opening roof that allows the staging of plays in daylight, in the tradition of the Renaissance. 

This is an exceptional event as the Gdańsk Shakespeare Theatre is the only dedicated theatre building that has been constructed in Poland for almost forty years. Therefore the Grand Opening ceremony will gather many notable persons from the world of culture and business, as well as government and local authorities.

The Fencing School is thought to be modelled on the Fortune Theatre, an Elizabethan playhouse in London, as shown in this engraving by Dutch artist Peter Willer from the second half of the seventeenth century. The so-called ‘New Fencing School’ was constructed by Flemish craftsman Jakob van Blocke in 1635. No information has been preserved about the earlier ‘Old Fencing School’, built circa 1610 where English travelling actors performed during Shakespeare’s lifetime.

The Fencing School is thought to be modelled on the Fortune Theatre, an Elizabethan playhouse in London, as shown in this engraving by Dutch artist Peter Willer from the second half of the seventeenth century. The so-called ‘New Fencing School’ was constructed by Flemish craftsman Jakob van Blocke in 1635. No information has been preserved about the earlier ‘Old Fencing School’, built circa 1610 where English travelling actors performed during Shakespeare’s lifetime.

The idea of the Gdańsk Shakespeare Theatre, a modern reconstruction of the Elizabethan-style Gdańsk playhouse, where English travelling actors performed in the seventeenth century, was born under the patronage of HRH Charles, Prince of Wales. Other notable supporters of the project include renowned Polish film director Andrzej Wajda, celebrated British theatre director Sir Peter Hall and many leading British and Polish actors, among them Ian McKellen, Dame Judi Dench, Emma Thompson, Allan Rickman, Kenneth Branagh, Krystyna Janda, Jerzy Stuhr, and many others.

Because the building cannot accommodate all the guests we would like to invite, the Grand Opening of the Gdańsk Shakespeare Theatre will take place in two stages: a closed ceremony will take place inside the theatre with VIPs, sponsors, foreign guests and journalists. All other festivities will take place outside the building for other guests wishing to take part in the celebrations. 

The Grand Opening of the Gdańsk Shakespeare Theatre will start in the evening, at 8.30 pm. It will begin with a celebratory performance outside the Theatre that will last approximately 30 minutes. It will

The interior of The Gdansk Shakespeare Theatre configured with the Italian box stage. (c) ASP Obiektywni.

The interior of The Gdansk Shakespeare Theatre configured with the Italian box stage. (c) ASP Obiektywni.

include a Spanish fencing show and a performance of aerial acrobatics. The performance will close with a march of all the spectators, led by the fencers and actors, through the Theatre’s Main Hall, where they will be welcomed by Shakespearean characters. 

The design of the Gdańsk Shakespeare Theatre by renowned Italian architect Renato Rizzi has been recognised as one of most interesting architectural projects of the twenty–first century. The outside brick construction, reminiscent of Gdansk’s Gothic churches, contains a wooden, early modern playhouse interior, and is thus an architectural dialogue with the building’s past. Rizzi’s design uses the seventeenth century Fencing School in Gdansk – said to be the first public theatre in Poland – as its inspiration. At the same time the Gdańsk Shakespeare Theatre provides a real glimpse into the future of theatre

The public opening ceremony of the roof structure as part of the 450th anniversary of William Shakespeare’s birth which took place 23 April 2014. (c) Rafał Malko

The public opening ceremony of the roof structure as part of the 450th anniversary of William Shakespeare’s birth which took place 23 April 2014. (c) Rafał Malko

design with its unique architectural and technologically advanced elements – created with daring and ambition – such as the opening roof which provides daylight during performances and a retractable modular stage design providing both an Italian box stage and Elizabethan thrust stage. 

The Gdańsk Shakespeare Theatre will become a vibrant centre for culture and the arts. Its forthcoming programme of events will include: a series of week-long events celebrating European culture (starting with the British Week from 20 until 26 September), a series of month-long events devoted to Polish theatre, an extensive educational series for primary and secondary schools, and finally the annual International Shakespeare Festival, currently in its eighteenth year, which will take place from 27 September until 5 October 2014. 

The distinctive combination of historical tradition and modernity makes the Gdańsk Shakespeare Theatre not only a unique tourist attraction but also a new international cultural platform dedicated to theatre innovation and artistic creativity.

Dr Aleksandra Sakowska

London Shakespeare Centre, King’s College London

aleksandra.sakowska@kcl.ac.uk

07774553044

 

or

Magdalena Hajdysz

Press Office, Poland

rzecznik@teatrszekspirowski.pl

tel.: +48 691 08 22 77

The Year of Ricardo: Richard III in Argentina

The Year of Ricardo by Angelica Liddell at the Habemus Theatrum,  Theatrum, Pergamino, Argentina, with Pamela Lombari, directed by Raul Nutta, video directed by Fabian Diaz. Performances on  5, 6, 12, 13, 19, 20, 26 and 27 July 2014

Ricardo publicity

Versión española/Spanish version of Rolandelli's review (without my introduction).

Living in York, I have to be careful how I respond to a question like ‘How do English people think of Richard III?’ After all, this city has a museum dedicated to righting the wrongs of the Tudor propaganda that came out of London… Yet, despite Philippa Gregory’s and the BBC’s recent attempts to repackage Richard sympathetically as a smouldering heartthrob, manipulated and maligned, to most he is still the ‘poisonous bunch-back’d toad’ of Shakespeare’s play. My friend, Adriana, who originates from Argentina, had a specific reason to ask such a question: her sister had been cast as Richard in a production of Angelica Liddell’s free appropriation El Aňo de Ricardo (The Year of Richard).  In this monologue, part of Liddell’s ‘trilogía de actos de resistencia contra la muerte’, or  ‘trilogy of acts of resistance against death’ , the Spanish playwright and performer re-imagined him as everything that is dark and twisted within the world. The authenticity of a historical Richard is irrelevant here: it is the symbolism that counts. “We identify with him. Ricardo shows us how democratic mechanisms are used to abuse power, cause suffering, and compensate for personal faults,” said Liddell.  As the prison of Denmark becomes a parallel for any totalitarian regime in global Hamlets, so the figure of Richard can be seen to stand in for any dictator, from Hitler to Saddam Hussein, but also in Liddell’s work the implication is that he stands in for all that is dark and twisted in the self: we too are complicit, perhaps?

(c) Grupo Fratacho

(c) Grupo Fratacho

Striking in the images released by Lombari and the Fratacho Company is the burning of books. Liddell’s play references ‘Nazism and dictatorships current and past. Knowledge has to be burnt and destroyed as it poses a threat to power,’ explains Adriana.  So, did she think that the play related to the Argentinean situation, past or present? ‘It relates to all dictatorships, and in Latin America unfortunately there is a sad and long history of that!’

Currently running at the Habemus Theatrum in Pergamino this theatre isn’t afraid of putting on challenging productions and its lead actor, Pamela Lombari, is no stranger to challenging roles.

This review of the production by Carmen Rolandelli, translated by Adriana Lombari-Bonefeld, gives a flavour of how Shakespeare’s play transforms across time, place and gender.

The Year of Ricardo

Pamela Lombari’s  performance in “The Year of Ricardo” excels. It can be argued that this is her best work but that would detract from the many other important projects that this actress has faced throughout her career. Yet, in this play she has come of age, overcoming her own goals. It is a difficult performance, splitting the action from the word, that Stanislavsky himself considered was so important, when words become alien themselves, displaying the subtext, the cross action of the word. A stark text by Angelica Liddell that is difficult to digest, it is uncomfortable and angry. A ruthless criticism of the social system that goes beyond the disappointments of Liddell, it arrives at a place of absolute disbelief and scepticism, a place that does not give rise to hope.

“Dying is as close to the truth as  we get,” says the author and from that position generates anxiety in the audience, from that place challenges power. Who speaks in the voice of Ricardo? The perverse capitalism, which excludes, which preys, which feeds his more egregious greed? It presents a cynical look at the only tool capable of transforming reality, politics. But is it not, that voice that mocks the ideology and power of the masses, is not speech the right of the last man? And after that, what? The author does not tell us what after that. Or maybe this, its revealed truth, is nothing more than a desperate cry. “Uninterrupted pessimism makes me distrust the human being,” says the Spanish author but also adds that the overwhelming desire to side with the loser appears. This is, in my opinion, a reaffirmation of the political. It would be good to open a discussion with the public, and that is who Liddell questions and challenges.

(c) Grupa Fratacho

(c) Grupa Fratacho

Raul Notta, responsible for an impeccable adaptation of the play, proves once again his ability to translate complex plays into stage language. His work and drive, keeps the spectator in awe from the beginning. Here, I can say that the concept of “spectator” is present because it is impossible not to be swept away by the action. The message confronts us, making it impossible to remain as passive subjects. On the contrary, it is impossible as a subject not to feel thrown to the depth of the swamp, that makes us angry and uneasy. Beautiful and deep is the intervention of Fabian Diaz, with his aesthetics of the margins, the unspoken words and what underlies his images. Could this be the beauty of the unhappiness and the anguish of Liddell? Hence, this is a confrontational text that leads us to the discussion of our own ideas anchored politically and collectively, and shows the excellent level and place of honour that the theatre in our community must occupy . The year of Ricardo achieved this.

By Carmen Rolandelli, translated by Adriana Lombari-Bonefeld

 


Versión española/Spanish version of Rolandelli's review.

Carmen Rolandelli: ‘El año de Ricardo’, Habemus Theatrum

For English translation and introduction click here

(c) Grupo Fratacho

(c) Grupo Fratacho

‘El año de Ricardo’

Excelente trabajo de Pamela Lombari en “El año de Ricardo”. Podría decir que es su mejor trabajo pero sería como desmerecer tantos proyectos importantes que esta actriz ha encarado a lo largo de su carrera. Pero, indudablemente, en Ricardo ha alcanzado su madurez, la superación de sus propias metas.
Un trabajo arduo, un desdoblamiento desde la acción a la palabra, a la que el propio Stanislavsky daba tanta importancia, cuando las palabras ajenas se convierten en propias, la visualización del subtexto, la acción transversal de la palabra
Un texto descarnado, difícil de digerir, incómodo, rabioso, una crítica impiadosa al sistema que va más allá de la decepción de Liddell , llega al descreimiento absoluto, al escepticismo, que no da lugar a la esperanza. “Morir es lo más cercano a la verdad” dice la autora y de ese lugar genera la angustia, desde ese lugar interpela al Poder. ¿Quién habla en la voz de Ricardo? El capitalismo perverso, el que excluye, el que depreda, el que se retroalimenta con su voracidad más atroz? Una mirada cínica sobre la única herramienta capaz de transformar la realidad, la política. Pero no es acaso, esa voz que burla la ideología y el poder de las masas, la voz se las derechas, del no lugar, del último hombre? ¿Y después de esto, qué? La autora no nos lo dice. O quizás, esta, su verdad revelada, no sea más que un grito desesperado
“Un pesimismo ininterrumpido me hace desconfiar del ser humano” dice la autora pero también agrega que aparece el deseo irrefrenable de ponerse del lado del perdedor y esto es, a mi criterio, una reafirmación de lo político. A ese público que Liddell incomoda sería bueno proponerle el debate.
Impecable dirección de Notta que elige obras complejas y demuestra, una vez más, su capacidad de trabajo y conducción, y una puesta fuerte, que mantiene al espectador en tensión y acá puedo decir que está presente el concepto de “espectactor” porque es imposible evitar ser arrasado . No es un sujeto pasivo quien se enfrente a esta puesta, a la profundidad de esa ciénaga donde parece que caemos permanentemente, que nos enoja y nos confronta.
Profunda y bella la intervención de Fabián Díaz, la estética de los márgenes, de lo no dicho, de lo que subyace. ¿Será esa la belleza de la infelicidad y la angustia de Liddell?
De lo dicho, de un texto confrontativo que nos dispara a la discusión de las ideas, ni más ni menos y a nuestros propios anclajes en lo político y en lo colectivo, se desprende el excelente nivel y el lugar de honor que debe ocupar el teatro en nuestra ciudad. “El año de Ricardo “es prueba fehaciente de esta realidad

Carmen Rolandelli

 

Shakespeare in Ukraine

Daria Moskvitina & Bogdin Korneljuk

Daria Moskvitina & Bogdin Korneljuk

Thank you to Paul Edmonson and Blogging Shakespeare for the update and photo!  

We had great fun dancing and dining with Daria and Bogdan at the 10th Craiova Shakespeare Festival in Romania in May, but just in case anybody thinks that Shakespeare isn’t relevant today, here is their latest dispatch from a part of the world that ‘lives’ Shakespearean scenarios in a way that, thankfully, I do not :

 

‘The Ukrainian Shakespeare Centre express our great appreciation of the wholehearted support for our struggle for democracy expressed by the European scientific community. Shakespeare wrote that expectation usually hits “where hope is coldest; and despair most sits” (All’s Well That Ends Well, 2.1.144) and thanks to your inspiring aid we go on fighting, keeping our hope and creative spirit alive. We feel enormous gratitude to you for all the encouraging emails we have received – your warm words reassure us that even in the hardest times we must (like that line just before the end of King Lear) “speak what we feel, not what we ought to say”. And so, rehashing the words of Sebastian from Twelfth Night “We can no other answer make but thanks, and thanks, and ever thanks” (3.3.14-15).

We also want to remind you that the members of our Centre are eagerly waiting for your applications for the Fourth international conference “Shakespearean code in the global cultural space: Between call and challenge” which will be held in Classic Private University, Zaporizhzhia, Ukraine on 25-27 September, 2014.You can contact us via uashakespeare@gmail.com for more information.

At the moment we are preparing the new issues of our journals “Renessansni studii” (“Renaissance Studies”) and “Shekspirivs’kyi dyskurs” (“Shakespeare discourse”). The journal “Renaissance Studies” deals with the broad range of problems of Renaissance literature, philosophy and culture. The journal “Shakespeare discourse” publishes scientific articles about Shakespeare’s biography and writing, it also casts light upon the issues of reception of the Bard’s legacy (translations, adaptations, parodies, intertextual references, stage versions) and of his influence upon other spheres of intellectual and cultural space (music, painting, education, advertising etc.). If you are interested in the cooperation with us, please, do not hesitate to address the Centre (our e-mail addresses areuashakespeare@gmail.com and renaissance@zhu.edu.ua.

The international conference is the part of the Ukrainian Shakespeare Project 2014 arranged by the Ukrainian Shakespeare Centre. It is the chain of events dedicated to the 450th anniversary of the Bard which will be held in different cities of Ukraine. Working on this project we tried to cover the broadest range of recipients of different ages (school teachers and pupils, students of universities and academies, all other people who are interested in Shakespeare and his writing). Together with the autumn scientific conference the Project includes:

All the year round: The mailout campaign “Shakescribe.ua” for everyone who subscribes to it on the registration page of the project (https://tinyletter.com/Shakescribe_ua). Each week the subscribers get informational e-mails with interesting facts about the wide range of Shakespearean topics (curiosities concerning the Bard’s biography, screen and stage versions of his plays, Shakespeare’s presence in modern art and mass-media). All the e-mail issues are supplied with rich illustration materials; each e-mail also contains web-links to pictures, videos, sites that can make the textual information more vivid.

Spring 2014: The contest among the school-teachers of world literature “Shakespeare Lesson 2014”. The participants send summaries of the world literature lessons which deal with one of Shakespeare’s works. The jury, which includes the members of our Centre and teaching staff from all over Ukraine, choose 5 best lesson-summaries. The teachers that are the authors of these summaries are invited to the best schools of Kyiv to give this lesson to the unfamiliar class of pupils. The best lessons will be filmed and recorded on DVDs which will be spread among the Ukrainian teachers of world literature.

Spring – autumn 2014: The contest of research papers dedicated to the Ukrainian reception of Shakespeare’s works “Shakespeare: the Ukrainian version”. Young scholars – students and post-graduates – can take part in the contest. The papers should deal with the intertextual traces of Shakespeare’s works in Ukrainian literature, with the problems of Ukrainian translations of the Bard’s legacy, theatrical versions of his plays, etc. This event is sponsored by the Ukrainian National Women’s league of America.

Summer 2014: The intellectual quest for students “Shakespeare forever!”. Student teams (each has up to 9 members) which represent different cities of Ukraine come to Lviv and compete for the title of “Shakespeare experts”. They fulfill various tasks – answer questions, make project-work, present the results of it. After the competition all the teams can attend some special events – Shakespeare theatrical master-classes, Shakespeare coffee-break and the round-table seminars with the leading Ukrainian scientists.

We would appreciate your help and your kind advice in implementing the Ukrainian Shakespeare Project 2014. For us it’s very important to know about your experience of arranging such events, you can also share with us information about the events that will be held in your country to commemorate the Shakespeare’s anniversary.

Do drop us a line to uashakespeare@gmail.com

Many thanks!

Bogdan Korneljuk and Daria Moskvitina’

– See more at: http://bloggingshakespeare.com/shakespeare-ukraine#sthash.34dJIqPO.dpuf

Shakespeare and Myth: ESRA Conference, Montpellier 2013

ESRA, Montpellier, 2013

As a colleague put it: ‘four days of sun, sea and Shakespeare’ in the beautiful South of France city of Montpellier. I’m discussing my paper ‘Denmark’s a Prison: Appropriating Modern Myths of Hamlet after 1989′ on Friday in the Shakespeare and Global Myths seminar convened by Alex Huang and Aneta Mancewicz, but today I’m off for a stroll around Domaine d’O, where there will be an opening reception in the grounds of the 18th Century house, home to the Printemps des Comediens Festival.

Sun, sea and Shakespeare with Alexandra Portmann

Sun, sea and Shakespeare with Alexandra Portman

Most exciting for me today is Jerzy Limon’s plenary on ‘Jan Klata’s H.[amlet] and the Myth of Solidarity’ and an out of doors production of Richard II by the Berliner Ensemble, the company founded by Brecht. I think I’ve died and gone to heaven…. Information on the European Shakespeare Research Association and the conference can be found here: http://www.um.es/shakespeare/esra/conferences/montpellier.php

Berliner Ensemble do Richard II under the stars

Berliner Ensemble do Richard II under the stars

And see if you can spot the baby Shakespeare masquerading as the Messiah…

Michael Dobson's talk, of course...

Michael Dobson’s talk, of course…

Performing China on the Global Stage: Confirmation of Speakers

University of Leeds students perform 'The Sun is Not for Us', China 2012

University of Leeds students perform ‘The Sun is Not for Us’, China 2012

Following the previous post about the March Symposium to be held at stage@leeds (details below) on 26 & 27 March, the organisors are pleased to confirm the attendance of several significant theatre professionals to give talks, including:

* Gregory Doran from the RSC,

* Tian Qinxin from the National Theatre of China,

* Davey Anderson from the National Theatre of Scotland,

* Guan Bo from the National Centre for Performing Arts, China

* Zhang Ping from the Henan Yuju Theatre.

On top of this, there will also be an exhibition of 10 different productions of ‘The Orphan of Zhao’. The productions cover different genres of Chinese spoken drama, four local operas, Western style opera, English and Korean. There will also be two workshops on the 27th led by the Royal Shakespeare Company and the National Theatre of China. Spaces for these are limited so book your place now!! (Details attached) ‘Stage@leeds’ is the performance building situated at the University of Leeds (Woodhouse Lane, Leeds, LS2 9JT). There will be signposts on the day to guide you to the venue. Please note: It is advisable to book your tickets in advance. The event is bilingual (Chinese and English), subtitled or interpreted live by our MA Translation students.

For any further information please don’t hesitate to contact:

Milly Dent Symposium Management Intern pc10ed@leeds.ac.uk  

Elliot Pannaman Symposium Management Intern jl10ejap@leeds.ac.uk