WEBVTT
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Hello and welcome to tomorrow's festivals, the
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content series exploring the signals from Edinburgh
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in August and looking for ways we can explore.
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the future of arts and culture and entertainment
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based on all that's going on in Edinburgh in
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August. I am Nick Sherrod, an MD of Label Sessions
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and also a slightly reluctant futurist, and I'm
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also joined by our content producer, Josh Nixon.
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Josh, hello. Hi. So this episode, we're talking
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about split ends, which is the interviews with
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Claudia Schneier. The show is on A Pleasant's
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Courtyard at 12 .30 every day in the below. So
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it's really interesting. conversation. This is
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also, I think, the first episode that has any
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puppetry involved in it. I think in the show,
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the first time we probably featured that on this
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content series. So tell me about how you found
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the whole interview, Josh. Yeah, yeah. So she's
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first time performer, and this is her first show
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ever, and not necessarily at the Fringe. So how
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she came to be at the Fringe was she had really
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good success at the Brighton Fringe. And people
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were saying to her just a couple of months ago
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that the show's great, you should take us to
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the Fringe and just managed to get a slot at
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Pleasance, quite last minute. And the show's
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about, it's another personal show and it's another
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really quite a brave show actually, because she's
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doing it entirely by herself. There's no sort
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of producers know anything else helping her out.
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And it's about her 10, her struggles with OCD
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and she was in a recent relationship at the time
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with a boyfriend who had... who was really hairy.
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So there's a character called Hairy Vacuum in
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the show that's sort of a personification that
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OCD and she had a real bad tendency to sort of
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cut her hair really short, hence the split ends.
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And so it's really interesting that, you know,
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that relationship wasn't even that long ago.
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It was like a year ago that she was saying and
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to already have turned that into a show and sort
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of reflect on that in a really personal way and
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then have that open for people to see is quite
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fascinating. I think it's quite hard for outsiders
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to get their head around the kind of relentless
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exercise, the relentlessness of running a show
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for three weeks out of the fringe, but doing
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that around a really personal story like that
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and it's quite recent is a really... really brave
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thing in the true sense of that. But let's let's
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head into the show. So let's head into the interview.
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So once again, just remind people it's 1230 Pleasance
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Courtyard below. Let's head in and we'll see
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it on the other side. So Claudia, thank you so
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much for talking to me. But I'd love to start
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off with just, you know, what audience can expect
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from your show Split Ends this year. I was telling
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you before that I did at Brighton Poole and some
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audience feedback was a skillful punch in the
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gut and my parents came from Australia to see
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it and it's autobiographical and they didn't
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know a lot of the stuff that I talked about.
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My mum said she felt like she got hit by a bus
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but in a really good way but I think audiences
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can expect like really organised chaos. Like,
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it's really chaotic but it's all very deliberate.
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And maybe, like, I like the skillful punch in
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the cup, but maybe that's not the best way at
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the time. Well, for people who aren't in the
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know, or maybe even a little bit under the rock,
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I'd love for you to talk through a little bit
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more about what Splitlands is. It's, so it's
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an autobiographical one -woman show, and it's
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about an experience I had last year. And basically
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it's, I have OCD tendency or I'm, she wouldn't
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give me a proper diagnosis, but compulsions to
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cut my split ends for the hair. And I've had
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that since I was 14. It's like an all consuming
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thing that feels so without, outside of my control.
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And then I started dating the hairiest man I've
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ever seen in my life. And he shed his body hair
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everywhere. And so like my compulsions moved
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from my own hair to collecting his hair but his
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hair would keep appearing and it would be months
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and I'd vacuum like everything and they'd keep
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appearing in the most random places like the
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kettle. I found one of his hairs in the kettle
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and I thought it was such a great metaphor for
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how For control and like how I'm trying to escape
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this relationship that I'm in and it feels outside
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of my control but I keep like I Moved apartments.
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I still found his hairs in the new apartment
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God field and maybe that wasn't true what I just
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said But I feel like it is I know I would have
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believed you honestly. Yeah, maybe it No, I think
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I did. It was in my bedsheets or something. I
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don't know. But yeah, I just thought hair was
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a great metaphor for control and things that
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are deeming or that people perceive outside of
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our control that are actually within it. And
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a big part of that story is how the sort of personification
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of the hairy vacuum came into play. Yeah. So,
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yeah, because I became obsessed with my vacuum.
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Like in love with my vacuum. Not really, but
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really. As I would, the satisfaction I would
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get from sucking up little hairs was everything.
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And like a sense of empowerment, but then it
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actually was quite a debilitating compulsion
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that developed. So, and then I also thought that
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the vacuum was a great metaphor for if I used
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the vacuum as A puppet of this partner who sucked
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the living... Are you allowed to swear here or
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no? Oh, by all means, fill your boots. The living
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heck! It's obviously intensely autobiographical,
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like you're saying, and it's a really difficult
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subject matter to tackle. It's obviously very,
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you know, intense and personal, like you say,
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a punch in the gut. But one of the things that
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I've found when I was like looking at the show
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and looking up interviews with you and... is
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that you seem to have a really good sort of irreverent
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sense of humor about it too. Like one of the
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quotes that I saw that I loved was, I'm glad
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you think it's bonkers because I am bonkers.
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Yeah. So how much of a, how important is it to
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you to sort of using humor as sort of like a
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coping mechanism in this in this instance or
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is it something that you think really adds to
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the show or just just the way that how you see
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things in general? Well I think it's like an
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objectively absurd and niche funny situation
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that I have had this hair obsession and then
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this happened unless I just made the links like
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the dramaturgical links and thought it would
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be great for a play but um uh but I've tried
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to use comedy as like points of levity in the
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piece but I think it's I don't think it's funny
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what happened but I think like I just think the
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metaphor was really like that God really has
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a sense of humor sometimes. I thought it was
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such a gift. That's a great way of putting it,
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honestly. And I know you were talking before
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about, you know, how you weren't originally going
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to come to the Fringe and the success from being
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at the Brighton Fringe and sort of taking the
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show to places has really brought you to Edinburgh.
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But a question that we always ask is, you know,
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White year, but obviously, you know what that
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is That's different for you because it's you've
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sort of came a little bit later to it But why
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is it now that you found that sort of power to
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tell you story? Well last year I was studying
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my masters at RADA and It was a lot of like self
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a lot of create a lot of work Yeah, and as I
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was experiencing this all my work happened All
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my writing was really visceral. I'd never really
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explored that voice before, but it was just so
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alive to me at the time that everything I performed
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was quite visceral. And then we did 10 -minute
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solo pieces where I explored a short version
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of this and loved it so much that I wanted to
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extend it to a... an hour long piece. And it
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was just, it was just, that's what I was going
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to do when I graduated, but I was going to write
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this. And it was like, if I performed it, great.
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If I, no, that's a lie. Sorry. My goal for this
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year was to perform it. But you said why I is
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now, can I talk about it? Is that what you asked?
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you know it's such a it's a personal detraumatizing
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thing and obviously you know like you said now
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you've crafted it through um you know doing masters
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but it seems like it's very it's very quick it's
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it's been very quick in terms of like the span
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of a year it feels like a bit of a whirlwind
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yeah and also i was riding it while i was still
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together with him oh my god i know and then he
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kept giving it was so bizarre He kept giving
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me more material. And then I was like, Oh my
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God, I'm destroyed. But then I went through my
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laptop to write stuff down that like quotes that
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he said and stuff. But I was, he knew I was right.
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And it was weird. We were still together while
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I was writing it. But then it ended in quite
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a great scene there. And then after that, he
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The whole thing is that I was just under his
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thumb the whole time. And if he could, if he
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came back, I'd say, yeah, let's go again, even
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though I knew it was bad and whatever. But the
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last time was in February that we saw each other
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and had a bad tiff. And then he never came back
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this time, which is not the message I want to
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say in my play because it was about him. I was
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empowered. I empowered myself to not go back.
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but I also think that there is that nuance of
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and I know I would never ever go back but it
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also helps that he didn't like it's more complicated
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than just I was able to just cut it off and you
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know it's important to to keep that truth in
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there right yeah because it's empowering in its
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own sense to know that someone else has gone
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through that And to know that it's never a clean
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break. It's not just something that can immediately
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just be dropped on. Yeah. And I've changed the
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version of parts of the show that, since Brighton,
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that explore more that the actual process of
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writing the show and rehearsing the show was
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really difficult. And I've put a lot of meta
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stuff about me rehearsing in the piece that I
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didn't have in Brighton. that I haven't tested
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it out on an audience but we'll see. Well that
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is a good lead -in to what I was going to ask
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you next so obviously you know this is a it's
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a first time you're a first time performer and
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it's a really you know brave thing to do such
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a personal piece is like a first time performance
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but how have you first time performer you mean
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at the Fringe? At the Fringe yeah yeah yeah I
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was in an interview and she said it was my stage
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debut and I was like, no, it's not. Someone didn't
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use Google. But it was like, yeah, first time
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performing at the Fringe and, you know, the Brighton
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Fringe is a huge thing, but, you know, Edinburgh
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is the one that everyone always hobbles on about.
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What are your expectations of coming to the Fringe
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and what kind of audiences? Like you were saying
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before about how you weren't expecting like an
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older generation to take to the show. How, what
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are you expecting from, you know, the bigger
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sort of space and more footfall? Very in over
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my head. Because I'm going like completely alone.
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The only team is me. And then I hired PR because
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people told me to. So that's it. But I like people,
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everyone was like, oh my God, it's going to be
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nuts. It's going to be absolute. So I actually,
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I, I've never, I have no idea. I think I'll be
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really overwhelmed, but I've also never performed
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this many days in a row. And when I got the slot,
00:13:14.519 --> 00:13:17.679
she said, do you want to have a break? And I
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said, no. And I was like, no, I don't. But it
00:13:28.919 --> 00:13:30.960
was also why I wanted to do Edinburgh because
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it was... I've heard mixed things about you're
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lucky if you get six people in the audience,
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but then other people are like, you'll sell out
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easy. Yeah. And so it's but I wanted to do something
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as big as Edinburgh to get people to see it because
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I think it's great. Yeah. And I mean, the the
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Pleasant's Courtyard is often like even on weekdays
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during the Fringe, there's always hustling, but
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like there's always so many people there. because
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I've gone to the Finch for a few years now and
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it's one of the most packed venues so I feel
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like there'll be a lot of like crossover in terms
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of like just people being like at loose ends
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and looking for like looking for someone unexpected
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you know and even more so weekends to be fair
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but yeah that that's really exciting and yeah
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you're right it's it's kind of rare to have a
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show where you don't have like a couple days
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of sort of downtime. Yeah, yeah because that
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I was I'm doing I am going by myself and I directed
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it and I did one of my friends told me she was
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like this is such an incredible opportunity not
00:14:46.980 --> 00:14:50.039
many times in your life will you be like the
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sole voice behind the entire creative process
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and because if this hopefully gets picked up
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or whatever you have a team that you wouldn't
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do it all by yourself, but how lucky to create
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something and be in charge of everything, every
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aspect of it, like the sound and everything.
00:15:09.570 --> 00:15:14.269
But you didn't ask about that. No, well, that's
00:15:14.269 --> 00:15:15.909
perfect. I'm glad you brought it up, actually,
00:15:16.049 --> 00:15:18.730
because, you know, you're right. Like you hear
00:15:18.730 --> 00:15:21.549
about so many one person shows and they've got
00:15:21.549 --> 00:15:24.570
like a team. behind them and it makes you wonder
00:15:24.570 --> 00:15:26.809
how much of that sort of one person show is diluted
00:15:26.809 --> 00:15:29.169
in that so having someone like yourself that's
00:15:29.169 --> 00:15:31.250
all hands on deck for everything as much as it
00:15:31.250 --> 00:15:34.669
can be overwhelming like you say it must be a
00:15:34.669 --> 00:15:38.190
really great you know experience to sort of handle
00:15:38.190 --> 00:15:43.289
certain aspects and and also for me i really
00:15:43.289 --> 00:15:47.730
wanted everything to come from my voice because
00:15:47.730 --> 00:15:52.509
it got so muddled and blurry for so long that
00:15:52.509 --> 00:15:56.750
I didn't know where it went, like it disappeared.
00:15:57.210 --> 00:16:01.610
And so then I just wanted to make a big effort
00:16:01.610 --> 00:16:04.590
to be like, even I'm doing the sound, even I'm
00:16:04.590 --> 00:16:10.110
doing the... So just no one... But not in a self
00:16:10.110 --> 00:16:12.529
-indulgent way. It was just very important that
00:16:12.529 --> 00:16:16.870
it wasn't stifled at this iteration of it. Do
00:16:16.870 --> 00:16:19.750
you know what I mean? Yeah, 100%. Because like,
00:16:19.750 --> 00:16:22.200
you know... Like you say, since this is your
00:16:22.200 --> 00:16:24.740
first time, you bring it yourself and this is
00:16:24.740 --> 00:16:26.820
your piece and then you have the opportunity
00:16:26.820 --> 00:16:29.299
to grow it in the future. So getting all the
00:16:29.299 --> 00:16:31.820
things on your terms now and getting it all nailed
00:16:31.820 --> 00:16:34.500
down in your voice now is a really important
00:16:34.500 --> 00:16:36.860
thing to sort of grow and take it to different
00:16:36.860 --> 00:16:40.759
places, perhaps. Yeah. It's been cool. I didn't
00:16:40.759 --> 00:16:43.779
know I could do all of this stuff. It's good
00:16:43.779 --> 00:16:45.879
that you can surprise yourself, you know? Yeah.
00:16:46.019 --> 00:16:49.120
Yeah. And that's something I always love to ask
00:16:49.120 --> 00:16:51.629
is, you know, there's a little hint there of
00:16:51.629 --> 00:16:54.370
like you know if you're gonna get picked up or
00:16:54.370 --> 00:16:57.909
but regardless of you know the reality of now
00:16:57.909 --> 00:17:00.690
what sort of aspirations do you have for this
00:17:00.690 --> 00:17:02.590
do you always see it to be a live performance
00:17:02.590 --> 00:17:05.369
or would you want to could you see it like moving
00:17:05.369 --> 00:17:07.130
into like a different sort of medium or would
00:17:07.130 --> 00:17:09.589
you want to tour the show and then maybe move
00:17:09.589 --> 00:17:13.269
on to something else um well there's a lot of
00:17:13.269 --> 00:17:22.880
video uh elements in it um because I speak to
00:17:22.880 --> 00:17:27.019
a filmed version of myself and like interact
00:17:27.019 --> 00:17:34.380
with her. And then I was like, oh, would it be
00:17:34.380 --> 00:17:39.599
interesting if I just filmed it all, or not all
00:17:39.599 --> 00:17:43.359
of it, but filmed, made a short, not, but I,
00:17:43.380 --> 00:17:46.539
cause I've been editing a lot and filming myself
00:17:46.539 --> 00:17:49.680
a lot that I thought and maybe it would be just
00:17:49.680 --> 00:17:53.880
for me, but how it could translate into a film
00:17:53.880 --> 00:17:57.460
medium, still doing meta stuff, still record,
00:17:57.940 --> 00:18:01.579
like doing a pastiche of performance and behind
00:18:01.579 --> 00:18:04.579
the scenes, but making it all performative, I
00:18:04.579 --> 00:18:06.140
don't know if that made sense, but I had the
00:18:06.140 --> 00:18:08.440
idea. No, no, like the idea of sort of breaking
00:18:08.440 --> 00:18:11.339
the 4 -4 a lot with it. Yeah, yeah, yeah. Yeah,
00:18:11.339 --> 00:18:14.920
I guess that's it. No, no, that's fun and it's
00:18:14.920 --> 00:18:18.170
really interesting to hear. And you know, With
00:18:18.170 --> 00:18:21.609
something so exciting is this I'd love to ask
00:18:21.609 --> 00:18:24.410
you like one thing that we love that a big part
00:18:24.410 --> 00:18:26.829
of the series is about is You know look into
00:18:26.829 --> 00:18:29.529
the wider scope of you know of live performance
00:18:29.529 --> 00:18:31.970
and even just like sort of you know mediums such
00:18:31.970 --> 00:18:35.970
as film And it's a bit of a wide one Like I say
00:18:35.970 --> 00:18:38.210
what is exciting you right now when it comes
00:18:38.210 --> 00:18:39.710
to live performance because you obviously know
00:18:39.710 --> 00:18:41.750
you recently graduated And this is like a first
00:18:41.750 --> 00:18:46.480
time Show you know or like first time bringing
00:18:46.480 --> 00:18:50.720
the show to a bigger audience and such? I love
00:18:50.720 --> 00:18:54.299
when and it's just I've specifically found it
00:18:54.299 --> 00:18:57.099
in one people shows but when they do something
00:18:57.099 --> 00:19:01.700
really bold and like really crazy but it is rooted
00:19:01.700 --> 00:19:07.880
in vulnerability so it's not like those shows
00:19:07.880 --> 00:19:12.759
blow my head away because it's like you you were
00:19:12.759 --> 00:19:16.670
able to surprise me and And it's still so engaging
00:19:16.670 --> 00:19:20.710
and so fun for me to watch, but it is really
00:19:20.710 --> 00:19:26.009
dark at the same time. But managed to make this
00:19:26.009 --> 00:19:31.289
such an enjoyable experience. Yeah, I really
00:19:31.289 --> 00:19:35.529
love. That's really exciting to me. Awesome.
00:19:36.029 --> 00:19:38.930
and then to flip it on its head and to go a little
00:19:38.930 --> 00:19:41.410
bit negative here for a second, what is it that's,
00:19:41.410 --> 00:19:43.410
you know, scaring you when it comes to the art
00:19:43.410 --> 00:19:45.589
form? Is there any sort of dangers that you find
00:19:45.589 --> 00:19:50.109
yourself in right now? I had a thought about
00:19:50.109 --> 00:19:54.250
this because I use a pair of scissors as a puppet
00:19:54.250 --> 00:19:57.349
and I like, I put it in my mouth and it gets
00:19:57.349 --> 00:20:00.269
quite close to my skin but I've rehearsed it
00:20:00.269 --> 00:20:04.309
so many times and I think I would call myself
00:20:04.309 --> 00:20:07.809
a professional. But when my friends watched it,
00:20:07.809 --> 00:20:09.329
they were like, I was really nervous you would
00:20:09.329 --> 00:20:12.809
cut yourself. And then I was like, maybe that's
00:20:12.809 --> 00:20:16.049
unfair that you don't have faith in me to be
00:20:16.049 --> 00:20:21.269
in control enough to manage something, something
00:20:21.269 --> 00:20:23.970
like that. But then I watched a play the other
00:20:23.970 --> 00:20:26.809
night with my friend and he had live candles
00:20:26.809 --> 00:20:29.470
on the set and he was doing all this movement
00:20:29.470 --> 00:20:32.650
stuff. And I was just, it took me out a bit to
00:20:32.650 --> 00:20:36.140
be like, you might. you might get to carry it
00:20:36.140 --> 00:20:38.700
away and knock one of these candles over and
00:20:38.700 --> 00:20:41.519
then your safety is in danger. But then it's
00:20:41.519 --> 00:20:44.140
the same thing that I just I'm not trusting him
00:20:44.140 --> 00:20:46.839
that he's got enough self -awareness to so it's
00:20:46.839 --> 00:20:48.900
tricky because but maybe you want the audience
00:20:48.900 --> 00:20:50.819
to feel that but not to take them completely
00:20:50.819 --> 00:20:53.519
out of it that they're just focused on the actual
00:20:53.519 --> 00:20:57.480
safety of the performer the whole time. But I
00:20:57.480 --> 00:21:01.160
find that an interesting thing when I watch it.
00:21:01.150 --> 00:21:03.769
but also what I want my audience, what I expect
00:21:03.769 --> 00:21:07.029
from my audiences. No, that's a really interesting
00:21:07.029 --> 00:21:10.569
take on it because, you know, yeah, you do wonder
00:21:10.569 --> 00:21:12.769
how much people are drawn into it to a point
00:21:12.769 --> 00:21:14.970
where they're going to be able to suspend that
00:21:14.970 --> 00:21:17.990
disbelief or break that sort of barrier of like
00:21:17.990 --> 00:21:19.529
completely focused on your character or more
00:21:19.529 --> 00:21:22.430
focused on you as a person, your safety. And
00:21:22.430 --> 00:21:24.069
maybe that's not what you meant when you asked
00:21:24.069 --> 00:21:31.000
what scares you. I took it quite literally that
00:21:31.000 --> 00:21:35.000
the dangers of. No no that's a really interesting
00:21:35.000 --> 00:21:37.980
perspective to have like it can be however you
00:21:37.980 --> 00:21:39.900
interpret it you know because like to some people
00:21:39.900 --> 00:21:42.180
that question to them is like you know where
00:21:42.180 --> 00:21:43.660
am I going to get funding where am I going to
00:21:43.660 --> 00:21:46.619
get this x y and z that sort of thing. But also
00:21:46.619 --> 00:21:50.660
it was at Ryder last year I had a friend who,
00:21:50.660 --> 00:21:52.880
she did a performance where she stuffed herself
00:21:52.880 --> 00:21:55.720
with food and everyone was really concerned.
00:21:55.980 --> 00:21:58.019
And people thought they should stop the show
00:21:58.019 --> 00:22:01.259
because they were like, she's self -harming.
00:22:01.579 --> 00:22:04.559
This is self -harming. But then when I talked
00:22:04.559 --> 00:22:09.660
to her about it, she was so offended that we
00:22:09.660 --> 00:22:13.160
didn't have faith in her, that she knew what
00:22:13.160 --> 00:22:15.740
she was doing. And it's the same with my hair
00:22:15.740 --> 00:22:18.369
cutting because I... don't do it on stage but
00:22:18.369 --> 00:22:22.289
it simulate or simulate looking for hairs that
00:22:22.289 --> 00:22:24.890
my friend said if you actually did cut your hair
00:22:24.890 --> 00:22:28.210
on stage then that would be self -harm and then
00:22:28.210 --> 00:22:33.130
we'd be watching you self -harm but I don't know
00:22:33.130 --> 00:22:39.289
I think that's just like a really nuanced thing
00:22:39.289 --> 00:22:42.670
yeah and a hard thing to tackle because you don't
00:22:42.670 --> 00:22:45.490
want your audience to be taken out of it so much
00:22:45.490 --> 00:22:49.599
that they're That they'll miss the point. You
00:22:49.599 --> 00:22:52.279
know what I mean? Yeah. Yeah, no, I completely
00:22:52.279 --> 00:22:55.079
get that You know taking it back to a little
00:22:55.079 --> 00:22:59.720
bit more of a positive thing instead of what's
00:22:59.720 --> 00:23:02.099
scary. A final thing that I like to ask people
00:23:02.099 --> 00:23:05.880
is You know you're up here. You're gonna be on
00:23:05.880 --> 00:23:08.000
every day obviously like we've gone I've gotten
00:23:08.000 --> 00:23:11.059
down, but you're on like 12 30 So you have time
00:23:11.059 --> 00:23:13.000
afterwards to sort of go about and see what else
00:23:13.000 --> 00:23:15.220
is out there Is there anything that's all particularly
00:23:15.220 --> 00:23:18.700
exciting you when it comes to this August? I
00:23:18.700 --> 00:23:21.819
think I booked or maybe I didn't book it but
00:23:21.819 --> 00:23:26.579
There's this Australian erotic clown who I've
00:23:26.579 --> 00:23:31.500
been a fan of for years and years And she does
00:23:31.500 --> 00:23:34.299
exactly the work that I was saying what excites
00:23:34.299 --> 00:23:38.059
me where she's nuts. She's like, absolutely nuts.
00:23:38.579 --> 00:23:41.099
But it's all rooted in this really vulnerable
00:23:41.099 --> 00:23:45.640
and truthful place. I just want to seek out works
00:23:45.640 --> 00:23:47.480
like that, but she's performing at the Fringe
00:23:47.480 --> 00:23:49.700
and I'm so excited to see her. Her name is Betty
00:23:49.700 --> 00:23:52.859
Grumble. Oh, nice. She's a cool one. Yeah, I'll
00:23:52.859 --> 00:23:57.680
have to come see the show. Yeah! Got to circle
00:23:57.680 --> 00:24:08.410
her back around to the plug. Yeah. Good. So that
00:24:08.410 --> 00:24:10.890
was Claudia Snire. The show is Spoilt Ends. It's
00:24:10.890 --> 00:24:13.769
on in the Pleasance Courtyard at 12 .30 every
00:24:13.769 --> 00:24:16.630
day. And I guess, you know, it's such a personal
00:24:16.630 --> 00:24:20.509
individual story, but this does sort of fit into
00:24:20.509 --> 00:24:23.150
the passing Rubenstein's year or some of these.
00:24:24.250 --> 00:24:26.769
Well, it's just, you know, there's a lot of artists
00:24:26.769 --> 00:24:29.349
this year who are telling very personal stories,
00:24:29.349 --> 00:24:34.769
but doing it as well in a way that is, um, self
00:24:34.769 --> 00:24:37.230
-consciously sort of entertaining. Again, there's
00:24:37.230 --> 00:24:41.589
that kind of sense of positivity or making something
00:24:41.589 --> 00:24:44.029
playful out of it that's, that's, that's there
00:24:44.029 --> 00:24:47.450
in the show too. 100%. And like I was saying
00:24:47.450 --> 00:24:49.430
before in the intro, she's had some pretty good
00:24:49.430 --> 00:24:51.930
success for it pretty quickly. And it's, it's
00:24:51.930 --> 00:24:53.430
fascinating, like I was saying about how, you
00:24:53.430 --> 00:24:55.869
know, being a first time sort of performer, bringing
00:24:55.869 --> 00:24:58.769
our first time to the fringe too, um, and it
00:24:58.769 --> 00:25:00.720
being official. So yeah. I'm very interested
00:25:00.720 --> 00:25:02.460
to see and hopefully it comes together really
00:25:02.460 --> 00:25:05.880
good, but I'm sure it has. So, uh, that will
00:25:05.880 --> 00:25:07.779
be, yeah. So 12 .30 every day at the Pleasance
00:25:07.779 --> 00:25:10.400
Courtyard below. Um, for those of you that are
00:25:10.400 --> 00:25:12.279
new here, there's loads more episodes with some
00:25:12.279 --> 00:25:15.440
really interesting, uh, artists and ideas just
00:25:15.440 --> 00:25:17.579
explored on the other episodes wherever you found
00:25:17.579 --> 00:25:20.279
this podcast. You can find out more about the
00:25:20.279 --> 00:25:23.099
project, labelcessions .com or any of our social
00:25:23.099 --> 00:25:26.440
handles. But for now we will... Leave you there.
00:00:11.280 --> 00:00:13.580
Hello and welcome to tomorrow's festivals, the
00:00:13.580 --> 00:00:16.940
content series exploring the signals from Edinburgh
00:00:16.940 --> 00:00:19.199
in August and looking for ways we can explore.
00:00:19.440 --> 00:00:22.100
the future of arts and culture and entertainment
00:00:22.100 --> 00:00:24.699
based on all that's going on in Edinburgh in
00:00:24.699 --> 00:00:27.579
August. I am Nick Sherrod, an MD of Label Sessions
00:00:27.579 --> 00:00:29.420
and also a slightly reluctant futurist, and I'm
00:00:29.420 --> 00:00:32.140
also joined by our content producer, Josh Nixon.
00:00:32.280 --> 00:00:35.240
Josh, hello. Hi. So this episode, we're talking
00:00:35.240 --> 00:00:39.020
about split ends, which is the interviews with
00:00:39.020 --> 00:00:42.759
Claudia Schneier. The show is on A Pleasant's
00:00:42.759 --> 00:00:47.939
Courtyard at 12 .30 every day in the below. So
00:00:47.939 --> 00:00:49.710
it's really interesting. conversation. This is
00:00:49.710 --> 00:00:53.289
also, I think, the first episode that has any
00:00:53.289 --> 00:00:55.049
puppetry involved in it. I think in the show,
00:00:55.130 --> 00:00:57.030
the first time we probably featured that on this
00:00:57.030 --> 00:01:00.109
content series. So tell me about how you found
00:01:00.109 --> 00:01:03.969
the whole interview, Josh. Yeah, yeah. So she's
00:01:03.969 --> 00:01:06.010
first time performer, and this is her first show
00:01:06.010 --> 00:01:08.530
ever, and not necessarily at the Fringe. So how
00:01:08.530 --> 00:01:10.650
she came to be at the Fringe was she had really
00:01:10.650 --> 00:01:13.489
good success at the Brighton Fringe. And people
00:01:13.489 --> 00:01:15.629
were saying to her just a couple of months ago
00:01:15.629 --> 00:01:17.129
that the show's great, you should take us to
00:01:17.129 --> 00:01:18.530
the Fringe and just managed to get a slot at
00:01:18.530 --> 00:01:21.530
Pleasance, quite last minute. And the show's
00:01:21.530 --> 00:01:23.629
about, it's another personal show and it's another
00:01:23.629 --> 00:01:26.290
really quite a brave show actually, because she's
00:01:26.290 --> 00:01:29.409
doing it entirely by herself. There's no sort
00:01:29.409 --> 00:01:31.269
of producers know anything else helping her out.
00:01:32.250 --> 00:01:35.209
And it's about her 10, her struggles with OCD
00:01:35.209 --> 00:01:37.689
and she was in a recent relationship at the time
00:01:37.689 --> 00:01:43.980
with a boyfriend who had... who was really hairy.
00:01:46.680 --> 00:01:49.480
So there's a character called Hairy Vacuum in
00:01:49.480 --> 00:01:51.739
the show that's sort of a personification that
00:01:51.739 --> 00:01:54.939
OCD and she had a real bad tendency to sort of
00:01:54.939 --> 00:01:57.200
cut her hair really short, hence the split ends.
00:01:58.280 --> 00:02:01.400
And so it's really interesting that, you know,
00:02:01.459 --> 00:02:02.719
that relationship wasn't even that long ago.
00:02:02.719 --> 00:02:05.040
It was like a year ago that she was saying and
00:02:05.040 --> 00:02:08.680
to already have turned that into a show and sort
00:02:08.680 --> 00:02:10.800
of reflect on that in a really personal way and
00:02:10.800 --> 00:02:13.340
then have that open for people to see is quite
00:02:13.340 --> 00:02:14.960
fascinating. I think it's quite hard for outsiders
00:02:14.960 --> 00:02:19.000
to get their head around the kind of relentless
00:02:19.000 --> 00:02:23.259
exercise, the relentlessness of running a show
00:02:23.259 --> 00:02:25.460
for three weeks out of the fringe, but doing
00:02:25.460 --> 00:02:27.240
that around a really personal story like that
00:02:27.240 --> 00:02:30.550
and it's quite recent is a really... really brave
00:02:30.550 --> 00:02:32.990
thing in the true sense of that. But let's let's
00:02:32.990 --> 00:02:35.569
head into the show. So let's head into the interview.
00:02:36.150 --> 00:02:38.430
So once again, just remind people it's 1230 Pleasance
00:02:38.430 --> 00:02:42.430
Courtyard below. Let's head in and we'll see
00:02:42.430 --> 00:02:51.310
it on the other side. So Claudia, thank you so
00:02:51.310 --> 00:02:53.250
much for talking to me. But I'd love to start
00:02:53.250 --> 00:02:55.330
off with just, you know, what audience can expect
00:02:55.330 --> 00:02:58.120
from your show Split Ends this year. I was telling
00:02:58.120 --> 00:03:01.560
you before that I did at Brighton Poole and some
00:03:01.560 --> 00:03:05.460
audience feedback was a skillful punch in the
00:03:05.460 --> 00:03:12.180
gut and my parents came from Australia to see
00:03:12.180 --> 00:03:14.340
it and it's autobiographical and they didn't
00:03:14.340 --> 00:03:17.860
know a lot of the stuff that I talked about.
00:03:18.199 --> 00:03:20.500
My mum said she felt like she got hit by a bus
00:03:20.500 --> 00:03:25.060
but in a really good way but I think audiences
00:03:25.060 --> 00:03:31.129
can expect like really organised chaos. Like,
00:03:31.189 --> 00:03:33.409
it's really chaotic but it's all very deliberate.
00:03:34.189 --> 00:03:36.949
And maybe, like, I like the skillful punch in
00:03:36.949 --> 00:03:39.469
the cup, but maybe that's not the best way at
00:03:39.469 --> 00:03:42.270
the time. Well, for people who aren't in the
00:03:42.270 --> 00:03:43.849
know, or maybe even a little bit under the rock,
00:03:44.009 --> 00:03:45.770
I'd love for you to talk through a little bit
00:03:45.770 --> 00:03:48.810
more about what Splitlands is. It's, so it's
00:03:48.810 --> 00:03:52.650
an autobiographical one -woman show, and it's
00:03:52.650 --> 00:03:56.120
about an experience I had last year. And basically
00:03:56.120 --> 00:04:00.719
it's, I have OCD tendency or I'm, she wouldn't
00:04:00.719 --> 00:04:03.819
give me a proper diagnosis, but compulsions to
00:04:03.819 --> 00:04:06.620
cut my split ends for the hair. And I've had
00:04:06.620 --> 00:04:10.379
that since I was 14. It's like an all consuming
00:04:10.379 --> 00:04:14.120
thing that feels so without, outside of my control.
00:04:14.500 --> 00:04:18.399
And then I started dating the hairiest man I've
00:04:18.399 --> 00:04:22.379
ever seen in my life. And he shed his body hair
00:04:22.379 --> 00:04:26.350
everywhere. And so like my compulsions moved
00:04:26.350 --> 00:04:30.290
from my own hair to collecting his hair but his
00:04:30.290 --> 00:04:33.689
hair would keep appearing and it would be months
00:04:33.689 --> 00:04:36.870
and I'd vacuum like everything and they'd keep
00:04:36.870 --> 00:04:39.910
appearing in the most random places like the
00:04:39.910 --> 00:04:42.189
kettle. I found one of his hairs in the kettle
00:04:42.189 --> 00:04:46.370
and I thought it was such a great metaphor for
00:04:46.370 --> 00:04:50.839
how For control and like how I'm trying to escape
00:04:50.839 --> 00:04:53.779
this relationship that I'm in and it feels outside
00:04:53.779 --> 00:04:59.959
of my control but I keep like I Moved apartments.
00:04:59.980 --> 00:05:03.879
I still found his hairs in the new apartment
00:05:03.879 --> 00:05:08.300
God field and maybe that wasn't true what I just
00:05:08.300 --> 00:05:13.959
said But I feel like it is I know I would have
00:05:13.959 --> 00:05:18.339
believed you honestly. Yeah, maybe it No, I think
00:05:18.339 --> 00:05:20.600
I did. It was in my bedsheets or something. I
00:05:20.600 --> 00:05:24.100
don't know. But yeah, I just thought hair was
00:05:24.100 --> 00:05:28.060
a great metaphor for control and things that
00:05:28.060 --> 00:05:32.600
are deeming or that people perceive outside of
00:05:32.600 --> 00:05:36.480
our control that are actually within it. And
00:05:36.480 --> 00:05:38.800
a big part of that story is how the sort of personification
00:05:38.800 --> 00:05:43.220
of the hairy vacuum came into play. Yeah. So,
00:05:43.540 --> 00:05:46.779
yeah, because I became obsessed with my vacuum.
00:05:46.939 --> 00:05:51.240
Like in love with my vacuum. Not really, but
00:05:51.240 --> 00:05:55.120
really. As I would, the satisfaction I would
00:05:55.120 --> 00:05:59.819
get from sucking up little hairs was everything.
00:06:00.540 --> 00:06:03.000
And like a sense of empowerment, but then it
00:06:03.000 --> 00:06:06.220
actually was quite a debilitating compulsion
00:06:06.220 --> 00:06:08.939
that developed. So, and then I also thought that
00:06:08.939 --> 00:06:12.060
the vacuum was a great metaphor for if I used
00:06:12.060 --> 00:06:16.139
the vacuum as A puppet of this partner who sucked
00:06:16.139 --> 00:06:18.079
the living... Are you allowed to swear here or
00:06:18.079 --> 00:06:20.319
no? Oh, by all means, fill your boots. The living
00:06:20.319 --> 00:06:28.300
heck! It's obviously intensely autobiographical,
00:06:28.319 --> 00:06:30.040
like you're saying, and it's a really difficult
00:06:30.040 --> 00:06:32.439
subject matter to tackle. It's obviously very,
00:06:32.439 --> 00:06:34.779
you know, intense and personal, like you say,
00:06:34.879 --> 00:06:36.699
a punch in the gut. But one of the things that
00:06:36.699 --> 00:06:38.779
I've found when I was like looking at the show
00:06:38.779 --> 00:06:41.040
and looking up interviews with you and... is
00:06:41.040 --> 00:06:43.399
that you seem to have a really good sort of irreverent
00:06:43.399 --> 00:06:46.620
sense of humor about it too. Like one of the
00:06:46.620 --> 00:06:49.259
quotes that I saw that I loved was, I'm glad
00:06:49.259 --> 00:06:51.160
you think it's bonkers because I am bonkers.
00:06:51.720 --> 00:06:55.639
Yeah. So how much of a, how important is it to
00:06:55.639 --> 00:06:58.519
you to sort of using humor as sort of like a
00:06:58.519 --> 00:07:00.620
coping mechanism in this in this instance or
00:07:00.620 --> 00:07:02.439
is it something that you think really adds to
00:07:02.439 --> 00:07:04.720
the show or just just the way that how you see
00:07:04.720 --> 00:07:07.699
things in general? Well I think it's like an
00:07:07.699 --> 00:07:12.129
objectively absurd and niche funny situation
00:07:12.129 --> 00:07:14.949
that I have had this hair obsession and then
00:07:14.949 --> 00:07:17.389
this happened unless I just made the links like
00:07:17.389 --> 00:07:19.149
the dramaturgical links and thought it would
00:07:19.149 --> 00:07:24.629
be great for a play but um uh but I've tried
00:07:24.629 --> 00:07:28.110
to use comedy as like points of levity in the
00:07:28.110 --> 00:07:32.350
piece but I think it's I don't think it's funny
00:07:32.350 --> 00:07:35.329
what happened but I think like I just think the
00:07:35.329 --> 00:07:38.829
metaphor was really like that God really has
00:07:38.829 --> 00:07:43.050
a sense of humor sometimes. I thought it was
00:07:43.050 --> 00:07:45.149
such a gift. That's a great way of putting it,
00:07:45.149 --> 00:07:48.189
honestly. And I know you were talking before
00:07:48.189 --> 00:07:50.870
about, you know, how you weren't originally going
00:07:50.870 --> 00:07:54.810
to come to the Fringe and the success from being
00:07:54.810 --> 00:07:56.310
at the Brighton Fringe and sort of taking the
00:07:56.310 --> 00:07:59.490
show to places has really brought you to Edinburgh.
00:08:00.110 --> 00:08:03.009
But a question that we always ask is, you know,
00:08:03.399 --> 00:08:06.040
White year, but obviously, you know what that
00:08:06.040 --> 00:08:07.879
is That's different for you because it's you've
00:08:07.879 --> 00:08:10.420
sort of came a little bit later to it But why
00:08:10.420 --> 00:08:13.379
is it now that you found that sort of power to
00:08:13.379 --> 00:08:17.060
tell you story? Well last year I was studying
00:08:17.060 --> 00:08:23.220
my masters at RADA and It was a lot of like self
00:08:23.220 --> 00:08:26.519
a lot of create a lot of work Yeah, and as I
00:08:26.519 --> 00:08:31.699
was experiencing this all my work happened All
00:08:31.699 --> 00:08:37.059
my writing was really visceral. I'd never really
00:08:37.059 --> 00:08:39.700
explored that voice before, but it was just so
00:08:39.700 --> 00:08:43.240
alive to me at the time that everything I performed
00:08:43.240 --> 00:08:49.440
was quite visceral. And then we did 10 -minute
00:08:49.440 --> 00:08:52.860
solo pieces where I explored a short version
00:08:52.860 --> 00:08:56.279
of this and loved it so much that I wanted to
00:08:56.279 --> 00:09:00.029
extend it to a... an hour long piece. And it
00:09:00.029 --> 00:09:01.929
was just, it was just, that's what I was going
00:09:01.929 --> 00:09:05.350
to do when I graduated, but I was going to write
00:09:05.350 --> 00:09:07.350
this. And it was like, if I performed it, great.
00:09:07.610 --> 00:09:12.330
If I, no, that's a lie. Sorry. My goal for this
00:09:12.330 --> 00:09:16.409
year was to perform it. But you said why I is
00:09:16.409 --> 00:09:18.490
now, can I talk about it? Is that what you asked?
00:09:19.850 --> 00:09:22.929
you know it's such a it's a personal detraumatizing
00:09:22.929 --> 00:09:25.370
thing and obviously you know like you said now
00:09:25.370 --> 00:09:28.269
you've crafted it through um you know doing masters
00:09:28.269 --> 00:09:33.190
but it seems like it's very it's very quick it's
00:09:33.190 --> 00:09:35.409
it's been very quick in terms of like the span
00:09:35.409 --> 00:09:37.110
of a year it feels like a bit of a whirlwind
00:09:37.110 --> 00:09:41.370
yeah and also i was riding it while i was still
00:09:41.370 --> 00:09:45.429
together with him oh my god i know and then he
00:09:45.429 --> 00:09:49.039
kept giving it was so bizarre He kept giving
00:09:49.039 --> 00:09:53.379
me more material. And then I was like, Oh my
00:09:53.379 --> 00:09:56.440
God, I'm destroyed. But then I went through my
00:09:56.440 --> 00:09:59.879
laptop to write stuff down that like quotes that
00:09:59.879 --> 00:10:03.899
he said and stuff. But I was, he knew I was right.
00:10:04.019 --> 00:10:05.700
And it was weird. We were still together while
00:10:05.700 --> 00:10:10.980
I was writing it. But then it ended in quite
00:10:10.980 --> 00:10:16.059
a great scene there. And then after that, he
00:10:16.360 --> 00:10:18.820
The whole thing is that I was just under his
00:10:18.820 --> 00:10:21.240
thumb the whole time. And if he could, if he
00:10:21.240 --> 00:10:24.019
came back, I'd say, yeah, let's go again, even
00:10:24.019 --> 00:10:27.059
though I knew it was bad and whatever. But the
00:10:27.059 --> 00:10:29.759
last time was in February that we saw each other
00:10:29.759 --> 00:10:35.019
and had a bad tiff. And then he never came back
00:10:35.019 --> 00:10:39.379
this time, which is not the message I want to
00:10:39.379 --> 00:10:41.360
say in my play because it was about him. I was
00:10:41.360 --> 00:10:44.240
empowered. I empowered myself to not go back.
00:10:45.289 --> 00:10:49.070
but I also think that there is that nuance of
00:10:49.070 --> 00:10:51.909
and I know I would never ever go back but it
00:10:51.909 --> 00:10:56.750
also helps that he didn't like it's more complicated
00:10:56.750 --> 00:11:00.789
than just I was able to just cut it off and you
00:11:00.789 --> 00:11:04.830
know it's important to to keep that truth in
00:11:04.830 --> 00:11:08.110
there right yeah because it's empowering in its
00:11:08.110 --> 00:11:09.730
own sense to know that someone else has gone
00:11:09.730 --> 00:11:13.740
through that And to know that it's never a clean
00:11:13.740 --> 00:11:15.759
break. It's not just something that can immediately
00:11:15.759 --> 00:11:20.919
just be dropped on. Yeah. And I've changed the
00:11:20.919 --> 00:11:23.940
version of parts of the show that, since Brighton,
00:11:24.620 --> 00:11:28.360
that explore more that the actual process of
00:11:28.360 --> 00:11:30.700
writing the show and rehearsing the show was
00:11:30.700 --> 00:11:35.399
really difficult. And I've put a lot of meta
00:11:35.399 --> 00:11:38.340
stuff about me rehearsing in the piece that I
00:11:38.340 --> 00:11:40.730
didn't have in Brighton. that I haven't tested
00:11:40.730 --> 00:11:43.730
it out on an audience but we'll see. Well that
00:11:43.730 --> 00:11:46.350
is a good lead -in to what I was going to ask
00:11:46.350 --> 00:11:49.970
you next so obviously you know this is a it's
00:11:49.970 --> 00:11:52.730
a first time you're a first time performer and
00:11:52.730 --> 00:11:55.730
it's a really you know brave thing to do such
00:11:55.730 --> 00:11:57.710
a personal piece is like a first time performance
00:11:57.710 --> 00:12:01.549
but how have you first time performer you mean
00:12:01.549 --> 00:12:06.460
at the Fringe? At the Fringe yeah yeah yeah I
00:12:06.460 --> 00:12:09.740
was in an interview and she said it was my stage
00:12:09.740 --> 00:12:13.500
debut and I was like, no, it's not. Someone didn't
00:12:13.500 --> 00:12:16.179
use Google. But it was like, yeah, first time
00:12:16.179 --> 00:12:18.679
performing at the Fringe and, you know, the Brighton
00:12:18.679 --> 00:12:22.139
Fringe is a huge thing, but, you know, Edinburgh
00:12:22.139 --> 00:12:26.539
is the one that everyone always hobbles on about.
00:12:26.799 --> 00:12:29.940
What are your expectations of coming to the Fringe
00:12:29.940 --> 00:12:31.679
and what kind of audiences? Like you were saying
00:12:31.679 --> 00:12:33.279
before about how you weren't expecting like an
00:12:33.279 --> 00:12:36.980
older generation to take to the show. How, what
00:12:36.980 --> 00:12:38.460
are you expecting from, you know, the bigger
00:12:38.460 --> 00:12:41.779
sort of space and more footfall? Very in over
00:12:41.779 --> 00:12:47.559
my head. Because I'm going like completely alone.
00:12:47.980 --> 00:12:52.740
The only team is me. And then I hired PR because
00:12:52.740 --> 00:12:57.379
people told me to. So that's it. But I like people,
00:12:57.600 --> 00:12:59.580
everyone was like, oh my God, it's going to be
00:12:59.580 --> 00:13:01.960
nuts. It's going to be absolute. So I actually,
00:13:02.080 --> 00:13:05.940
I, I've never, I have no idea. I think I'll be
00:13:05.940 --> 00:13:10.919
really overwhelmed, but I've also never performed
00:13:10.919 --> 00:13:14.519
this many days in a row. And when I got the slot,
00:13:14.519 --> 00:13:17.679
she said, do you want to have a break? And I
00:13:17.679 --> 00:13:28.919
said, no. And I was like, no, I don't. But it
00:13:28.919 --> 00:13:30.960
was also why I wanted to do Edinburgh because
00:13:30.960 --> 00:13:35.500
it was... I've heard mixed things about you're
00:13:35.500 --> 00:13:37.460
lucky if you get six people in the audience,
00:13:37.480 --> 00:13:39.899
but then other people are like, you'll sell out
00:13:39.899 --> 00:13:44.539
easy. Yeah. And so it's but I wanted to do something
00:13:44.539 --> 00:13:49.240
as big as Edinburgh to get people to see it because
00:13:49.240 --> 00:13:54.080
I think it's great. Yeah. And I mean, the the
00:13:54.080 --> 00:13:57.340
Pleasant's Courtyard is often like even on weekdays
00:13:57.340 --> 00:13:59.960
during the Fringe, there's always hustling, but
00:13:59.960 --> 00:14:02.539
like there's always so many people there. because
00:14:02.539 --> 00:14:04.840
I've gone to the Finch for a few years now and
00:14:04.840 --> 00:14:08.500
it's one of the most packed venues so I feel
00:14:08.500 --> 00:14:10.779
like there'll be a lot of like crossover in terms
00:14:10.779 --> 00:14:14.840
of like just people being like at loose ends
00:14:14.840 --> 00:14:17.399
and looking for like looking for someone unexpected
00:14:17.399 --> 00:14:23.019
you know and even more so weekends to be fair
00:14:23.019 --> 00:14:26.299
but yeah that that's really exciting and yeah
00:14:26.299 --> 00:14:28.120
you're right it's it's kind of rare to have a
00:14:28.120 --> 00:14:30.919
show where you don't have like a couple days
00:14:31.120 --> 00:14:37.620
of sort of downtime. Yeah, yeah because that
00:14:37.620 --> 00:14:40.559
I was I'm doing I am going by myself and I directed
00:14:40.559 --> 00:14:43.759
it and I did one of my friends told me she was
00:14:43.759 --> 00:14:46.980
like this is such an incredible opportunity not
00:14:46.980 --> 00:14:50.039
many times in your life will you be like the
00:14:50.039 --> 00:14:53.480
sole voice behind the entire creative process
00:14:53.480 --> 00:14:57.240
and because if this hopefully gets picked up
00:14:57.240 --> 00:14:59.919
or whatever you have a team that you wouldn't
00:14:59.610 --> 00:15:03.090
do it all by yourself, but how lucky to create
00:15:03.090 --> 00:15:06.929
something and be in charge of everything, every
00:15:06.929 --> 00:15:09.110
aspect of it, like the sound and everything.
00:15:09.570 --> 00:15:14.269
But you didn't ask about that. No, well, that's
00:15:14.269 --> 00:15:15.909
perfect. I'm glad you brought it up, actually,
00:15:16.049 --> 00:15:18.730
because, you know, you're right. Like you hear
00:15:18.730 --> 00:15:21.549
about so many one person shows and they've got
00:15:21.549 --> 00:15:24.570
like a team. behind them and it makes you wonder
00:15:24.570 --> 00:15:26.809
how much of that sort of one person show is diluted
00:15:26.809 --> 00:15:29.169
in that so having someone like yourself that's
00:15:29.169 --> 00:15:31.250
all hands on deck for everything as much as it
00:15:31.250 --> 00:15:34.669
can be overwhelming like you say it must be a
00:15:34.669 --> 00:15:38.190
really great you know experience to sort of handle
00:15:38.190 --> 00:15:43.289
certain aspects and and also for me i really
00:15:43.289 --> 00:15:47.730
wanted everything to come from my voice because
00:15:47.730 --> 00:15:52.509
it got so muddled and blurry for so long that
00:15:52.509 --> 00:15:56.750
I didn't know where it went, like it disappeared.
00:15:57.210 --> 00:16:01.610
And so then I just wanted to make a big effort
00:16:01.610 --> 00:16:04.590
to be like, even I'm doing the sound, even I'm
00:16:04.590 --> 00:16:10.110
doing the... So just no one... But not in a self
00:16:10.110 --> 00:16:12.529
-indulgent way. It was just very important that
00:16:12.529 --> 00:16:16.870
it wasn't stifled at this iteration of it. Do
00:16:16.870 --> 00:16:19.750
you know what I mean? Yeah, 100%. Because like,
00:16:19.750 --> 00:16:22.200
you know... Like you say, since this is your
00:16:22.200 --> 00:16:24.740
first time, you bring it yourself and this is
00:16:24.740 --> 00:16:26.820
your piece and then you have the opportunity
00:16:26.820 --> 00:16:29.299
to grow it in the future. So getting all the
00:16:29.299 --> 00:16:31.820
things on your terms now and getting it all nailed
00:16:31.820 --> 00:16:34.500
down in your voice now is a really important
00:16:34.500 --> 00:16:36.860
thing to sort of grow and take it to different
00:16:36.860 --> 00:16:40.759
places, perhaps. Yeah. It's been cool. I didn't
00:16:40.759 --> 00:16:43.779
know I could do all of this stuff. It's good
00:16:43.779 --> 00:16:45.879
that you can surprise yourself, you know? Yeah.
00:16:46.019 --> 00:16:49.120
Yeah. And that's something I always love to ask
00:16:49.120 --> 00:16:51.629
is, you know, there's a little hint there of
00:16:51.629 --> 00:16:54.370
like you know if you're gonna get picked up or
00:16:54.370 --> 00:16:57.909
but regardless of you know the reality of now
00:16:57.909 --> 00:17:00.690
what sort of aspirations do you have for this
00:17:00.690 --> 00:17:02.590
do you always see it to be a live performance
00:17:02.590 --> 00:17:05.369
or would you want to could you see it like moving
00:17:05.369 --> 00:17:07.130
into like a different sort of medium or would
00:17:07.130 --> 00:17:09.589
you want to tour the show and then maybe move
00:17:09.589 --> 00:17:13.269
on to something else um well there's a lot of
00:17:13.269 --> 00:17:22.880
video uh elements in it um because I speak to
00:17:22.880 --> 00:17:27.019
a filmed version of myself and like interact
00:17:27.019 --> 00:17:34.380
with her. And then I was like, oh, would it be
00:17:34.380 --> 00:17:39.599
interesting if I just filmed it all, or not all
00:17:39.599 --> 00:17:43.359
of it, but filmed, made a short, not, but I,
00:17:43.380 --> 00:17:46.539
cause I've been editing a lot and filming myself
00:17:46.539 --> 00:17:49.680
a lot that I thought and maybe it would be just
00:17:49.680 --> 00:17:53.880
for me, but how it could translate into a film
00:17:53.880 --> 00:17:57.460
medium, still doing meta stuff, still record,
00:17:57.940 --> 00:18:01.579
like doing a pastiche of performance and behind
00:18:01.579 --> 00:18:04.579
the scenes, but making it all performative, I
00:18:04.579 --> 00:18:06.140
don't know if that made sense, but I had the
00:18:06.140 --> 00:18:08.440
idea. No, no, like the idea of sort of breaking
00:18:08.440 --> 00:18:11.339
the 4 -4 a lot with it. Yeah, yeah, yeah. Yeah,
00:18:11.339 --> 00:18:14.920
I guess that's it. No, no, that's fun and it's
00:18:14.920 --> 00:18:18.170
really interesting to hear. And you know, With
00:18:18.170 --> 00:18:21.609
something so exciting is this I'd love to ask
00:18:21.609 --> 00:18:24.410
you like one thing that we love that a big part
00:18:24.410 --> 00:18:26.829
of the series is about is You know look into
00:18:26.829 --> 00:18:29.529
the wider scope of you know of live performance
00:18:29.529 --> 00:18:31.970
and even just like sort of you know mediums such
00:18:31.970 --> 00:18:35.970
as film And it's a bit of a wide one Like I say
00:18:35.970 --> 00:18:38.210
what is exciting you right now when it comes
00:18:38.210 --> 00:18:39.710
to live performance because you obviously know
00:18:39.710 --> 00:18:41.750
you recently graduated And this is like a first
00:18:41.750 --> 00:18:46.480
time Show you know or like first time bringing
00:18:46.480 --> 00:18:50.720
the show to a bigger audience and such? I love
00:18:50.720 --> 00:18:54.299
when and it's just I've specifically found it
00:18:54.299 --> 00:18:57.099
in one people shows but when they do something
00:18:57.099 --> 00:19:01.700
really bold and like really crazy but it is rooted
00:19:01.700 --> 00:19:07.880
in vulnerability so it's not like those shows
00:19:07.880 --> 00:19:12.759
blow my head away because it's like you you were
00:19:12.759 --> 00:19:16.670
able to surprise me and And it's still so engaging
00:19:16.670 --> 00:19:20.710
and so fun for me to watch, but it is really
00:19:20.710 --> 00:19:26.009
dark at the same time. But managed to make this
00:19:26.009 --> 00:19:31.289
such an enjoyable experience. Yeah, I really
00:19:31.289 --> 00:19:35.529
love. That's really exciting to me. Awesome.
00:19:36.029 --> 00:19:38.930
and then to flip it on its head and to go a little
00:19:38.930 --> 00:19:41.410
bit negative here for a second, what is it that's,
00:19:41.410 --> 00:19:43.410
you know, scaring you when it comes to the art
00:19:43.410 --> 00:19:45.589
form? Is there any sort of dangers that you find
00:19:45.589 --> 00:19:50.109
yourself in right now? I had a thought about
00:19:50.109 --> 00:19:54.250
this because I use a pair of scissors as a puppet
00:19:54.250 --> 00:19:57.349
and I like, I put it in my mouth and it gets
00:19:57.349 --> 00:20:00.269
quite close to my skin but I've rehearsed it
00:20:00.269 --> 00:20:04.309
so many times and I think I would call myself
00:20:04.309 --> 00:20:07.809
a professional. But when my friends watched it,
00:20:07.809 --> 00:20:09.329
they were like, I was really nervous you would
00:20:09.329 --> 00:20:12.809
cut yourself. And then I was like, maybe that's
00:20:12.809 --> 00:20:16.049
unfair that you don't have faith in me to be
00:20:16.049 --> 00:20:21.269
in control enough to manage something, something
00:20:21.269 --> 00:20:23.970
like that. But then I watched a play the other
00:20:23.970 --> 00:20:26.809
night with my friend and he had live candles
00:20:26.809 --> 00:20:29.470
on the set and he was doing all this movement
00:20:29.470 --> 00:20:32.650
stuff. And I was just, it took me out a bit to
00:20:32.650 --> 00:20:36.140
be like, you might. you might get to carry it
00:20:36.140 --> 00:20:38.700
away and knock one of these candles over and
00:20:38.700 --> 00:20:41.519
then your safety is in danger. But then it's
00:20:41.519 --> 00:20:44.140
the same thing that I just I'm not trusting him
00:20:44.140 --> 00:20:46.839
that he's got enough self -awareness to so it's
00:20:46.839 --> 00:20:48.900
tricky because but maybe you want the audience
00:20:48.900 --> 00:20:50.819
to feel that but not to take them completely
00:20:50.819 --> 00:20:53.519
out of it that they're just focused on the actual
00:20:53.519 --> 00:20:57.480
safety of the performer the whole time. But I
00:20:57.480 --> 00:21:01.160
find that an interesting thing when I watch it.
00:21:01.150 --> 00:21:03.769
but also what I want my audience, what I expect
00:21:03.769 --> 00:21:07.029
from my audiences. No, that's a really interesting
00:21:07.029 --> 00:21:10.569
take on it because, you know, yeah, you do wonder
00:21:10.569 --> 00:21:12.769
how much people are drawn into it to a point
00:21:12.769 --> 00:21:14.970
where they're going to be able to suspend that
00:21:14.970 --> 00:21:17.990
disbelief or break that sort of barrier of like
00:21:17.990 --> 00:21:19.529
completely focused on your character or more
00:21:19.529 --> 00:21:22.430
focused on you as a person, your safety. And
00:21:22.430 --> 00:21:24.069
maybe that's not what you meant when you asked
00:21:24.069 --> 00:21:31.000
what scares you. I took it quite literally that
00:21:31.000 --> 00:21:35.000
the dangers of. No no that's a really interesting
00:21:35.000 --> 00:21:37.980
perspective to have like it can be however you
00:21:37.980 --> 00:21:39.900
interpret it you know because like to some people
00:21:39.900 --> 00:21:42.180
that question to them is like you know where
00:21:42.180 --> 00:21:43.660
am I going to get funding where am I going to
00:21:43.660 --> 00:21:46.619
get this x y and z that sort of thing. But also
00:21:46.619 --> 00:21:50.660
it was at Ryder last year I had a friend who,
00:21:50.660 --> 00:21:52.880
she did a performance where she stuffed herself
00:21:52.880 --> 00:21:55.720
with food and everyone was really concerned.
00:21:55.980 --> 00:21:58.019
And people thought they should stop the show
00:21:58.019 --> 00:22:01.259
because they were like, she's self -harming.
00:22:01.579 --> 00:22:04.559
This is self -harming. But then when I talked
00:22:04.559 --> 00:22:09.660
to her about it, she was so offended that we
00:22:09.660 --> 00:22:13.160
didn't have faith in her, that she knew what
00:22:13.160 --> 00:22:15.740
she was doing. And it's the same with my hair
00:22:15.740 --> 00:22:18.369
cutting because I... don't do it on stage but
00:22:18.369 --> 00:22:22.289
it simulate or simulate looking for hairs that
00:22:22.289 --> 00:22:24.890
my friend said if you actually did cut your hair
00:22:24.890 --> 00:22:28.210
on stage then that would be self -harm and then
00:22:28.210 --> 00:22:33.130
we'd be watching you self -harm but I don't know
00:22:33.130 --> 00:22:39.289
I think that's just like a really nuanced thing
00:22:39.289 --> 00:22:42.670
yeah and a hard thing to tackle because you don't
00:22:42.670 --> 00:22:45.490
want your audience to be taken out of it so much
00:22:45.490 --> 00:22:49.599
that they're That they'll miss the point. You
00:22:49.599 --> 00:22:52.279
know what I mean? Yeah. Yeah, no, I completely
00:22:52.279 --> 00:22:55.079
get that You know taking it back to a little
00:22:55.079 --> 00:22:59.720
bit more of a positive thing instead of what's
00:22:59.720 --> 00:23:02.099
scary. A final thing that I like to ask people
00:23:02.099 --> 00:23:05.880
is You know you're up here. You're gonna be on
00:23:05.880 --> 00:23:08.000
every day obviously like we've gone I've gotten
00:23:08.000 --> 00:23:11.059
down, but you're on like 12 30 So you have time
00:23:11.059 --> 00:23:13.000
afterwards to sort of go about and see what else
00:23:13.000 --> 00:23:15.220
is out there Is there anything that's all particularly
00:23:15.220 --> 00:23:18.700
exciting you when it comes to this August? I
00:23:18.700 --> 00:23:21.819
think I booked or maybe I didn't book it but
00:23:21.819 --> 00:23:26.579
There's this Australian erotic clown who I've
00:23:26.579 --> 00:23:31.500
been a fan of for years and years And she does
00:23:31.500 --> 00:23:34.299
exactly the work that I was saying what excites
00:23:34.299 --> 00:23:38.059
me where she's nuts. She's like, absolutely nuts.
00:23:38.579 --> 00:23:41.099
But it's all rooted in this really vulnerable
00:23:41.099 --> 00:23:45.640
and truthful place. I just want to seek out works
00:23:45.640 --> 00:23:47.480
like that, but she's performing at the Fringe
00:23:47.480 --> 00:23:49.700
and I'm so excited to see her. Her name is Betty
00:23:49.700 --> 00:23:52.859
Grumble. Oh, nice. She's a cool one. Yeah, I'll
00:23:52.859 --> 00:23:57.680
have to come see the show. Yeah! Got to circle
00:23:57.680 --> 00:24:08.410
her back around to the plug. Yeah. Good. So that
00:24:08.410 --> 00:24:10.890
was Claudia Snire. The show is Spoilt Ends. It's
00:24:10.890 --> 00:24:13.769
on in the Pleasance Courtyard at 12 .30 every
00:24:13.769 --> 00:24:16.630
day. And I guess, you know, it's such a personal
00:24:16.630 --> 00:24:20.509
individual story, but this does sort of fit into
00:24:20.509 --> 00:24:23.150
the passing Rubenstein's year or some of these.
00:24:24.250 --> 00:24:26.769
Well, it's just, you know, there's a lot of artists
00:24:26.769 --> 00:24:29.349
this year who are telling very personal stories,
00:24:29.349 --> 00:24:34.769
but doing it as well in a way that is, um, self
00:24:34.769 --> 00:24:37.230
-consciously sort of entertaining. Again, there's
00:24:37.230 --> 00:24:41.589
that kind of sense of positivity or making something
00:24:41.589 --> 00:24:44.029
playful out of it that's, that's, that's there
00:24:44.029 --> 00:24:47.450
in the show too. 100%. And like I was saying
00:24:47.450 --> 00:24:49.430
before in the intro, she's had some pretty good
00:24:49.430 --> 00:24:51.930
success for it pretty quickly. And it's, it's
00:24:51.930 --> 00:24:53.430
fascinating, like I was saying about how, you
00:24:53.430 --> 00:24:55.869
know, being a first time sort of performer, bringing
00:24:55.869 --> 00:24:58.769
our first time to the fringe too, um, and it
00:24:58.769 --> 00:25:00.720
being official. So yeah. I'm very interested
00:25:00.720 --> 00:25:02.460
to see and hopefully it comes together really
00:25:02.460 --> 00:25:05.880
good, but I'm sure it has. So, uh, that will
00:25:05.880 --> 00:25:07.779
be, yeah. So 12 .30 every day at the Pleasance
00:25:07.779 --> 00:25:10.400
Courtyard below. Um, for those of you that are
00:25:10.400 --> 00:25:12.279
new here, there's loads more episodes with some
00:25:12.279 --> 00:25:15.440
really interesting, uh, artists and ideas just
00:25:15.440 --> 00:25:17.579
explored on the other episodes wherever you found
00:25:17.579 --> 00:25:20.279
this podcast. You can find out more about the
00:25:20.279 --> 00:25:23.099
project, labelcessions .com or any of our social
00:25:23.099 --> 00:25:26.440
handles. But for now we will... Leave you there.
