Ancient-Shrines-and-Half-Truths-600x318

Edinburgh Fringe Festival: Ancient Shrines and Half Truths by Binge Culture (Interactive Whimsy)

13 August 2017. The rise of technology as an artistic material in performance has facilitated a new sort of kaleidoscopic theatre in which each individual audience member, via an interactive format similar to a video game, has a different and unique shake of the show. Ancient Shrines and Half Truths by New Zealand performance art collective Binge Culture is quite a lovable example of this kind of show, with a deliciously twisted vision.

It uses a smart phone and headphones to gives each audience member a Choose Your Own Adventure-style solo journey, creating a sweet and interesting intimacy between you and the voice coming through the headphones, your own personal local guide, who wants to show you around a new place. This relationship, however, is not at all predictable, and it was the moments when this relationship delivers psychological electric shocks that revealed interesting depths underneath the show’s otherwise easy whimsy.

The show turns The Meadows near Summerhall into an interactive, outdoor theatre, and throws wild, unpredictable fairy dust over the mundane and material fixtures it finds there. A statue, a bench, a lamp-post, a bare patch of grass are transformed through the voice’s spiky and whimsical artistic perspective, as it led me towards mysterious beings and trees who wanted to sell me their leaves.

The show contemplates the ideas of home and belonging and explores the different states of being you experience relative to your knowledge of the place you are in, as either a traveller, a tourist, or a local. Its insights into the invisible social inequalities involved sometimes stung a little, but in a good way – a way that pierced some unconscious complacency in me – and it was extremely fun, to boot.

The one slightly disjointed aspect of the show, in my opinion, was that the voice in the headphones is supposed to be a local guide to the place around us, Edinburgh, but it was a New Zealand artist’s voice with a New Zealand accent. The voice assured me that she had been living in Edinburgh for five years and was now a local.

This element distracted me, and kept bumping my mind up and out of the theatrical tapestry being spun around me. And, knowing that the show is an import from New Zealand, this one element gave the impression that the show was simply lifted entire from New Zealand and shoe-horned into a different country’s local setting. I can see that the show’s overarching theme is the movement of people around the globe, the relationship you feel to the spaces around you, and the process by which you create or discover a sense of belonging to them. In that sense, the accent of your guide shouldn’t matter.

But to me, it did – like a transposition in a piece of music, all its harmonies changed slightly. However, it is a testament to the overall quality of the show and its artists that despite this, its texture was still rich, sparkly, deep, intricate, and the show captured and delighted me, anyway.

Leave a Reply

Your email address will not be published. Required fields are marked *

You may use these HTML tags and attributes: <a href="" title=""> <abbr title=""> <acronym title=""> <b> <blockquote cite=""> <cite> <code> <del datetime=""> <em> <i> <q cite=""> <strike> <strong>