Tragedy, truth and composition in process: talking dramaturgy with Graham Eatough –
An interview discussing some of the ideas behind How to Act and setting it in the context of Graham’s broader creative practice can be found here.
The motivation behind [the play] came from a few different bits of work and thinking that I was doing. Mainly my practice-as-research PhD at Lancaster University, which actually started out exploring the relation between theatre and visual art, looking at some of the shows I’ve done across those two disciplines. Very quickly that research started looking at different ideas of truth, and particularly the way certain visual art practice and thinking has conceptualised truth, and the way that theatre has a perceived problematic relationship to truth.from Talking dramaturgy (March 2018)
The How to Act Press Pack featuring reviews and features can be downloaded below.
A tale of everyday exploitation that becomes a microcosm for more insidious forms of appropriation.The Herald
…a gripping two- hander that questions perceptions of what is true. The play’s title refers not just to performance but to the ethics of the west’s relationship with other cultures and nations.lynn Gardner in the guardian: recommended show at the edinburgh festival 2017
Underneath it all, Eatough is adding his voice to the debate about colonialism. He brings Britain’s history in West Africa into the view in such a way as to understand that its imperialism is not just a thing of the past, while showing just why the white male gaze might not be the most constructive way of explaining that past. Theatre is far from dead.the stage