Q&A with Filipa Tomas

Posted by Katrina Bowen Tuesday 26 January 2016, 11:00
Crazy Glue
If you could use Crazy Glue to stick to one thing, what would it be?

Ahead of Crazy Glue this week, we've done a Q&A with Filipa Tomas!

If you could use Crazy Glue to stick to one thing, what would it be? 
Time! If only we could slow it down by making it a little gloopier. 

What was the initial idea you had when conceiving Crazy Glue, and did this change at all during the creative process? 
Crazy Glue was inspired by a three-page short story by Etgar Keret. We took the idea of a magic glue that seems to fix everything and found our own perspective on it during the two years it took develop the show. 

When devising the work what compositional techniques did you use and how did you rehearse?
When creating the show we set the goal of touring internationally. In order to do this we decided we needed a very simple set (three cubes), limited props (one single bottle of glue) and to communicate without using English. This resulted in a very physical show that uses mime, physical comedy, sound effects and our own made-up language. We rehearsed by improvising scenarios/scenes where we only communicated with sound effects, mime and gibberish. Then we would share these scenes with our director to ensure this unique language was clear and relatable.

Your tour is supported by the Arts Council and Creative Arts East, what has it been like working with them?
Arts Council England made our tour financially possible. Without their support we couldn't have taken the show on the road. Creative Arts East has also provided an essential helping hand in allowing us to engage with audiences in East Anglia.

Do you have a pre-show routine or any rituals?
We always do a dance call - there's a bit of choreography in the piece - prior to the show. We eat nuts and drink litres of water...

The piece has no verbal dialogue… how does it compare to conveying a storyline during a spoken piece? 
We find it requires added emphasis on clarity and specificity of intention. Because there are no words to underline the narrative, we have to make sure our intentions are clear. It's similar to the diction and enunciation that are required in a spoken piece, only instead of using our voices we are putting that clarity into our bodies.

Are physical prompts easier to remember than verbal lines?
Yes. The body remembers. Especially in this case, where the piece has been created by the actors. There were times when creating the show, however, where we would have a month or two in between developments and when we came back to the piece, instead of re-reading a script, we would need to review footage from our last performance to refresh our memories.


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Images (c) Alex Brenner