In Pictures: Brighton Festival 2016
The 50th Brighton Festival is almost over, so we're taking a look back at the pictures from some of the shows and events we've loved the most.
Picking out these images put a grin on our faces, and we hope it makes you smile too!
Why not have a look through some more photos from this year's festival and re-live something special?
Photo credits: Victor Frankowski, Adam Weatherley, John Hunter
Interview: Dr Blighty projection mapping expert Paul Wigfield
We shine a light on the technology behind the Dr Blighty projections with Paul Wigfield, director of QED, the company behind the projection mapping that's enabled the beautiful and poignant transformation of the Royal Pavilion this Brighton Festival.
How did you get involved in the project and what is your role?
I've been discussing this with the Festival over the past two years as it seemed a fitting way to mark its 50th anniversary. Our role was to produce and deliver the entire project.
It’s quite an ask - what did you think of the brief?
Our brief was to produce something spectacular for the Festival, but really it was the building itself that defined the brief, challenging us to tell the story of its role as a WW1 Indian military hospital.
What are the challenges of projecting onto a building of that scale?
The building is big, but by no means overwhelming - it's the immense amount of intricate detail that's the biggest challenge.
We therefore decided to cover every feature from every possible angle in order to project both onto and behind all the columns, as well as onto the onions and other architectural features. This enabled the content creators Novak to design uninterrupted continuous material that flows across all surfaces.
It's hard enough to project onto a large building from so many different angles, but even harder to create a digital canvas for something so heavily featured that still enables a story to be told and which can be appreciated by a large audience from all viewing angles.
It is a truly pioneering projection mapping project of the most intricate detail and quality, and we've had to deploy 500,000 lumens of projection power to enable it to happen before nightfall.
What does video mapping actually entail? Can you take us through the process in layman’s terms?
It's a lengthy and detailed process, however the concept and workflow is relatively simple. We first laser scanned the Pavilion and the surrounding environment and built a 3D model from the data. We then created a UV map of the building for the creatives to use as a content template. The UV map is essentially a flattened out 2D template that divides the building into the specific sections. It's like a jigsaw puzzle where all the individual pieces are sent to each projector and reassembled when projected back onto the building to create a completely seamless image.
Here we are sending 22 individual synchronised HD outputs from the media server in order to achieve coverage required. We knew it would require a large number of feeds but we didn't know quite how many until we pre-visualised the building with test content.
How did you feel when you saw it realised?
Absolutely amazing. I managed to resist the temptation to see it before the opening night as I wanted to fully experience and enjoy it from the perspective of a member of the audience. It's the culmination of many months of hard work and of many years waiting for the opportunity to arise.
We simply had to do justice to the Royal Pavilion, to honour the WW1 commemorations and to celebrate 50 years of the Brighton Festival, so we put all our resources and skills behind it.
Find out more about all the Dr Blighty events.
Dr Blighty is a Nutkhut production co-commissioned by 14-18 NOW: WW1 Centenary Art Commissions, Brighton Festival, and Royal Pavilion & Museums, Brighton & Hove. Supported by the National Lottery through the Heritage Lottery Fund and Arts Council England, QED, and by the Department for Culture, Media and Sport.
In Pictures: Week 2
The second week of Brighton Festival 2016 saw two performances from our Guest Director Laurie Anderson: the spellbinding Song Conversation, where she performed with fellow musician-composers Nik Bärtsch and Eivind Aarset, and Slideshow, a sometimes humorous, sometimes poignant journey touching on projects, memories and adventures from her past.
On top of this, there were blockbuster performances from Duke Garwood and Haçienda Classical, Children's Laureate Chris Riddell answering questions and illustrating the answers live, the sonically spiritual Lou Reed Drones, and much more besides.
Find out what's going on in the third and final week of Brighton Festival 2016.
Photo credits Adam Weatherley, Vic Frankowski
Discover what's going on in Dr Blighty week
In the last week of Brighton Festival the Pavilion Gardens will be filled with a dreamlike environment of immersive installations, ambient soundscapes and theatrical interludes examining the legacy of the Indian soldiers who were wounded in WW1 and treated in Brighton.
In Dr Blighty, performing arts company Nutkhut commemorates the 2300 Indian soldiers who were treated at the Royal Pavilion Estate, particularly focusing on the letters they wrote home.
The title of the show is significant - Blighty, taken from the Urdu, ‘vilayat’ (specifically Europe or Britain) and ‘vilayati’ (Britain, English, Home), spread widely during World War 1. The term became an accepted reference to England, but also had a deep signficance for the south Asian soldiers.
Many of the soldiers believed the rumour that their King-Emperor George V had given up his own palace for them to be treated in, although in reality the royals had sold the Pavilion long before WW1.
Those soldiers who were illiterate conveyed their messages and letters to scribes at the hospital, who censored criticism of the war in Europe.
From Tue 24 - Sat 28 May (2pm – 10pm), Pavilion Gardens will host a variety of audio and visual experiences and acted performances reflecting on these histories.
This will include a stunning visual projection onto the front of the Pavilion itself at nighttime, telling the story of Dr Blighty.
This map shows the locations and some of the timings of events.
Nutkhut have worked with Brighton locals to create some of the soundscapes that you'll be able to experience as you wander around the gardens. You can get a glimpse into this process in the video below:
Come along to one of the drop in diya making sessions at Brighton Dome Café-bar throughout the Festival and make your very own decorated clay pot for the final installation of Dr Blighty.
You can watch this video from Nutkhut on how to make a diya.
On Sun 29 May (4pm) in a special event thousands of diyas will be laid down to memorialize the soldiers' stay in the city.
A blue plaque will also be unveiled honouring Subedar Mir Dast, who was awarded the Victoria Cross by King George V, organised by Davinder Dhillon, from the Chattri Group.
Dr Blighty: The Concerts
In a special concert incorporating readings from letters and diaries of Indian servicemen, the Philharmonia will play alongside Indian violinist Kala Ramnath, Sat 28 May (7.30pm).
They will perform some of the best loved English music of the Edwardian era by Vaughan Williams and Butterworth as well as Kala Ramnath's The Seasons of India.
You can listen to Kala Ramnath performing with the London Symphony Orchestra string section to get a taste of this incredible meeting of East and West.
Afterwards (Sat 28 May, 10.15pm), slide guitar virtuoso Debashish Bhattacharya will perform a traditional raga concert alongside tabla player Gurdain Rayatt. Bhattacharya is one of the greats of world music and recently won a Songlines Music Awards 2016 winner (Asia & South Pacific) - this late night concert is not to be missed.
Book now for Philharmonia Orchestra and Debashish Bhattacharya
Philharmonia Orchestra ticket holders enjoy £5 off the ticket price for the Debashish Bhattacharya concert when booked together over the phone or in person.
Dr Blighty is a production by Nutkhut and is part of 14-18 NOW, the UK's arts programme for the First World War Centenary. It is further co-commissioned by Brighton Festival and Royal Pavilion & Museums, Brighton & Hove. It is supported by the National Lottery through the Heritage Lottery Fund and Arts Council England, QED, and by the Department for Culture, Media and Sport.
Year 4 pupils imagine Brighton life in 2066 in exhibition celebrating 50 years of Brighton Festival
A solar-powered litter picking robot and a free hotel for homeless people, were among the creations made by Patcham Junior School’s Year 4s when tasked with imagining how Brighton might look in 2066, for Brighton Festival exhibition Futuregazers
A wide range of colourful and playful creations were made by on hundred 8 and 9 year-olds to celebrate Brighton Festival’s fiftieth year. Futuregazers is a free exhibition at Onca Gallery from 7-29 May.
The young artists have made bold responses to some big questions including homelessness, fossil fuel dependency and waste. This child-led celebration of the power of imagination will invite audiences of all ages to interact with it playfully and to add their own ideas to the exhibition. There will be free workshops for children families every weekend in May, and Radio FutureGazers FM will be broadcasting daily from the gallery.
Innovations include: ‘The Cleaner Upper: This solar powered litter-picking robot picks up rubbish, puts it in its big tummy and turns it into useful stuff’ and ‘The Free Hotel: We see a lot of homeless people around. We want a happy Earth - we want everyone to have happy and safe homes. So we’ve got a rooftop garden for fresh food and vegetables.’
ONCA co-director Persephone Pearl says, ‘It takes imagination, skill and even courage to dream about and describe the future at a time when the news is often dominated by negative stories. We are dazzled by Year 4’s optimistic, bold visions for Brighton: imaginariums, shark sanctuaries, solar buildings, waste -powered hotels. And of course, hoverboards.’
FutureGazers | ONCA Gallery
Sat 7 - Sun 29 May 2016
Free Admission. Gallery Opening Times: Wednesday – Friday 12-7pm / Saturday & Sunday 11-6pm
ONCA Gallery, 14 St. George’s Place, Brighton BN1 4GB.
May 8th 2-4pm: Thinking-Bubble Hats - What inventions would help to make the future even more exciting? Come and design an invention for the future that will make life easier, fuller, or just funnier! Materials provided. For children aged 5-12. With artist Clare Connelly.
May 15th 2-4pm: Write a Future Diary - Inspired by the Mass Observation Project. It’s May 15th, 2066. What are you doing today? For all ages and abilities.
May 22nd 2-4pm: Magical Wishing Wands - What do you most wish for the future? Safer rainforests and tigers, more libraries and art galleries, or an end to pollution? Come and design a magic wish-wand with an image on it of your wishes for the future. Materials provided. For children aged 5-12. With artist Clare Connelly.
May 29th: Voicemails from the Future - It’s 2066. Who will you call? What do you need to tell them? Using our futuristic FutureBooth, the power of your imagination and any phone at all, add your voicemail from the future to our growing collection. For all ages and abilities but recommended for 12-16s as part of B.Fest.
Festival Hot Seat... Portraits in Motion
Volker Gerling spent over a decade touring Germany by foot, capturing the people that he met in his distinctive flipbook portraits. We caught up with him to find out about the development of his craft and his extraordinary show Portraits in Motion
Can you tell us what your show is about?
In the summer of 2002 I took an old wooden kitchen tray and made it into a simple hawker’s tray. It had room for six photographic flipbooks, which showed portraits of my friends, and I hung a sign on it saying “Please visit my traveling exhibition”.
I walked through Berlin, showing people my flipbook ‘movies’. I screwed an empty honey jar underneath the hawker’s tray so that visitors could pay a symbolic entrance fee.
For nearly a year I showed people my flipbook movies in Berlin. Then, I decided to become a journeyman – I wanted to find out how people all over the country would react to my flipbooks.
And I wanted to make some new flipbooks.
I was afraid that I would miss something if I travelled too quickly, so I decided to walk. In the summer of 2003 I walked from Berlin to Basel – a walk of 1,200 kilometres – and it was a great experience. So I decided to do it again.
Since then I have walked nearly every summer and in total I have walked some 3,500 kilometres, nearly all in Germany. On all of these walks my only source of money came from showing my flipbooks. Portraits in Motion is based on my long summer walks and the people I met on them.
Volker with his tray of flipbooks
How and where will it be staged?
I leaf through the flipbooks under a video camera that projects them onto a large screen, and I tell the stories about the people that are portrayed. The show is a reflection on the passing of time and what it means when people meet each other.
Why should someone come and see your show?
To see my protagonists come to life on screen in a way that you’ve probably never experienced before.
Where did the idea and inspiration come from?
My inspiration comes from my fascination for human beings, faces, portrait photography, walking and storytelling.
Why do you think it’s an important story to tell?
Because every story that is told from the heart is important.
What sort of person is going to love this show?
Everybody who is able to see great things emerge from small things.
What’s going to surprise people about this show?
Nothing will prepare you for the intimacy of the flip books. There's something magical about these miniature glimpses into human souls.
This year marks 50 years of Brighton Festival. What does it mean for you to be part of the festival in this milestone year?
It feels like a big honour for me to be part of the festival this year.
Book now for Portraits in Motion
Brighton Festival celebrates the city's memories with new oral history app
'Jimi Hendrix signed my tambourine and I had to run for my life...'
A free interactive oral history app unfolding the ordinary personal stories of young love, loss and rebellion in the 1940s, 50s and 60s is launching during May as part of Brighton Festival 2016.
The Giddy app, from Brighton arts collective The Nimbus Group and funded with support from the Heritage Lottery Fund, takes users on an alternative walking tour of the city, punctuated by GPS triggered personal histories straight from the mouths of the people who lived them.
From a chance meeting with Jimi Hendrix in the back of a beaten up MG and tales of daytime runaways who never got caught, to stories about sneaking into strip bars and dancing til dawn with the Teddy boys, Giddy offers a view of life in the postwar years that is conspicuously absent from the history books.
All of the content – the stories, photographs, app design – has been gathered and created by teenaged pupils of Brighton’s Longhill School, with the support of a team of archive specialists, oral history interviewers and photographers.
‘Every generation of young people thinks they are the first to experience the intense highs, lows and giddy adventures of the teenage years,’ says Carina Westling of The Nimbus Group.
‘We wanted to use digital technology to create something that celebrates the stuff of life that unites us as humans, reveals our individuality but also highlights universal themes associated with youth that span the generations,’ she says.
‘Oral history offers a perspective of the past that stands outside the received wisdom of the history books. Our intention for Giddy is to bring history to life in such a way that the young (or not so young) people who hear these stories will never look at older people in quite the same way again.’
Giddy is available for iOS and Android smartphones from May, sign up for a notification of the app’s release at www.giddybrighton.com.
An accompanying online archive and exhibition featuring portraits and archive images gathered during the making of the app will launch at University of Brighton's on 7 May 2016, which will be open to the public till the end of the Festival on 29 May.
Brighton Festival 2016 branding: Fifty years on the edge
What’s black and white and read all over? The 50th Brighton Festival brochure…
Working to create our striking monochrome 50th identity has been a lot of fun. Here’s what designers Johnson Banks said about their inspiration and direction,
‘This year Brighton Festival asked us to create a special identity to celebrate their fiftieth year. It really was a gift for us, that their current F logo could become the initial letter for 'FIFTY' in a one-off logotype.
The festival has always celebrated the experimental, unusual and cutting edge in the arts, wanting to disrupt the quotidian. So the 'FIFTY' marque began from there - avoiding the traditional, and sitting on the edge, literally and figuratively. The vertical type, chevrons and diagonal cut letters add to the dislocated effect. This year's line 'Fifty years on the edge' developed from the same starting point.
Laurie Anderson, the Guest Director for 2016, herself an experimental performance artist, is a perfect fit with the festival ethos for their golden year.’
The design process in progress:
Spotlight: Brighton: Symphony of a City
Discover more from Lizzie Thynne and Ed Hughes, as they discuss Brighton: Symphony of a City
One of the Brighton Festival events people still talk about is the screening of Battleship Potemkin (2005) with Ed Hughes’s new score in the Hove Engineerium. When Ed and Brighton based filmmaker Lizzie Thynne proposed a Brighton homage to Walther Ruttmann’s 1927 silent classic Berlin: Symphony of a Great City, we grabbed the opportunity to celebrate Brighton in all its festive, bohemian, campaigning, fun-filled glory.
See more Spotlight films, where we cast a spotlight on some of our special commissions and co-commissions in our milestone 50th Brighton Festival.
Video by Catalina Balan with Neil Whitehead
Key commission revealed as 50th Brighton Festival takes shape
The Complete Deaths – performed by physical comedy company Spymonkey and directed by Tim Crouch – is the first show revealed as part of the 50th Brighton Festival programme.
A Brighton Festival commission, the world premiere is a partnership between two Brighton-based artistic powerhouses to re-enact every onstage death from the works of William Shakespeare in a sublimely funny tribute to mark the 400th anniversary of the Bard’s death.
There are 74 onstage deaths in the works of William Shakespeare - 75 if you count the black ill-favoured fly killed in Titus Andronicus. They range from the Roman suicides in Julius Caesar to the death fall of Prince Arthur in King John; from the carnage at the end of Hamlet to snakes in a basket in Antony & Cleopatra; from Pyramus and Thisbe to young Macduff. There are countless stabbings, plenty of severed heads, some poisonings, two mobbings and a smothering. Enorbarbus just sits in a ditch and dies from grief. And then there’s the pie that Titus serves the Queen of the Goths.
Spymonkey will perform them all - sometimes lingeringly, sometimes messily, sometimes movingly, sometimes musically, always hysterically. The four ‘seriously, outrageously, cleverly funny clowns' (Time Magazine) will scale the peaks of sublime poetry, and plumb the depths of darkest depravity. It may even be the death of them.
The Complete Deaths is directed by Tim Crouch (I, Malvolio, An Oak Tree, Adler & Gibb), designed by Spymonkey regular Lucy Bradridge and presented by Spymonkey in co-production with Brighton Festival and Royal & Derngate.
Spymonkey is the UK's leading physical comedy company, based in Brighton and comprising a core creative ensemble of five lead artists: artistic directors Toby Park, Petra Massey and Aitor Basauri, and associate artists Stephan Kreiss and designer Lucy Bradridge. They’ve been making sublimely hilarious and deeply ridiculous theatre since 1998. Recent Brighton Festival appearances include Oedipussy (2012) and Cooped (2006)
Tim Crouch is a multi-award winning playwright and performer living in Brighton. His work has played in theatres and at festivals around the world. His four award-winning solo Shakespeare plays I, Caliban. I, Peaseblossom, I, Banquo and I, Malvolio were commissioned by Brighton Festival.
Established in 1967, Brighton Festival is a three week celebration of music, theatre, dance, visual art, film, literature and debate and family events has become one of the city's most enduring symbols of inventiveness and celebration over the past half century. Renowned for its pioneering spirit and experimental reputation, Brighton Festival’s inaugural programme controversially included the first ever exhibition of Concrete Poetry in the UK, alongside performances by Laurence Olivier, Anthony Hopkins and Yehudi Menuhin.
Now one of Europe’s leading arts festivals, Brighton Festival is known for its ambitious and daring programme that aims to make the most of the city’s distinctive cultural atmosphere, drawing some of the most innovative artists and companies and adventurous audiences from the UK and around the world.
The 50th Brighton Festival takes place from 7-29 May 2016.
The Complete Deaths by Spymonkey & Tim Crouch
Commissioned by Brighton Festival.
Wed 11 - Sat 14 May, 7.30pm, Sat 14 & Sun 15 May, 2.30pm
Theatre Royal Brighton
There are 74 onstage deaths in the works of William Shakespeare (75 if you count the black ill-favoured fly killed in Titus Andronicus). From the Roman suicides in Julius Caesar to the death fall of Prince Arthur in King John; from the carnage at the end of Hamlet to snakes in a basket in Antony & Cleopatra. And then there’s the pie that Titus serves his guests. Spymonkey will perform them all – sometimes lingeringly, sometimes messily, sometimes movingly, always hysterically. These ‘seriously, outrageously, cleverly funny clowns’ (Time Magazine) will scale the peaks of sublime poetry, and plumb the depths of darkest depravity. It may even be the death of them. Directed by Tim Crouch (I, Malvolio, An Oak Tree, Adler & Gibb), The Complete Deaths is a solemn, sombre and sublimely funny tribute to the 400th anniversary of Shakespeare’s death.
For further enquiries, please contact:
Emma Robertson, Head of Press and PR – firstname.lastname@example.org I 01273 260803
Chris Challis, Senior Press Officer – email@example.com | 01273 260838
Ticket Office - 01273 709709 | www.brightonfestival.org
NOTES TO EDITORS:
About Brighton Festival –
• Brighton Festival is an annual mixed arts festival which takes place across three weeks in the city each May, with an average audience reach of 150,000
• Brighton Festival attracts inspiring and internationally significant Guest Directors who bring cohesion to the artistic programme with British sculptor Anish Kapoor as inaugural curator in 2009 followed by the Godfather of modern music Brian Eno in 2010, the Burmese Democracy leader Aung San Suu Kyi in 2011, actress and Human Rights campaigner Vanessa Redgrave in 2012, poet, author and former Children’s Laureate Michael Rosen in 2013, choreographer, composer, musician and performer Hofesh Shechter in 2014 and award-winning author Ali Smith in 2015..
• Brighton Festival is an innovative commissioning and producing arts festival, offering an ambitious programme that makes the most of the city’s distinctive atmosphere.
• Brighton Festival is England’s most established mixed arts Festival and a major milestone in the international cultural calendar
• Brighton Festival includes visual art, theatre, music, dance, books and debates, family friendly events and outdoor performances throughout the city including site-specific and unusual locations.
• Brighton Dome & Brighton Festival produces the annual Brighton Festival and also manages the three venues of Brighton Dome year round. It aims to champion the power of the arts, to enrich and change lives and inspire and enable artists to be their most creative.
• The first Brighton Festival in 1967 controversially included the first ever exhibition of Concrete Poetry in the UK, alongside performances by Laurence Olivier, Anthony Hopkins and Yehudi Menuhin
• Brighton Dome & Brighton Festival manages a year round programme of arts at Brighton Dome – a three space, Grade 1 listed building made up of the Concert Hall, Corn Exchange and Studio Theatre - and produces the annual Brighton Festival in May.
• It aims to champion the power of the arts, to enrich and change lives, and to inspire and enable artists to be their most creative.
• Brighton Dome & Brighton Festival are a registered arts charity
• Brighton Dome & Brighton Festival are working with the Royal Pavilion & Museums on a joint masterplan to realize a future vision for the Royal Pavilion Estate. For updates and news please visit www.brightondome.org or contact