:00:14. > :00:18.This programme contains strong language.
:00:18. > :00:25.Tonight we are cutting a swathe through the Edinburgh Festival. The
:00:25. > :00:29.Mirror Mir has a ball with Cinderella. Tangled lives in Zadie
:00:29. > :00:34.Smith's latest novel, NW, that launched at the book festival.
:00:34. > :00:38.Through a glass darkly, Vanishing Point's menacing new drama explores
:00:38. > :00:45.internet porn. There is art everywhere. Symbolism at the
:00:45. > :00:53.National Gallery. The new sound of the One o'Clock Gun. Happenings at
:00:53. > :01:03.the surprise venue, Summerhall. All that and Dylan's new album,
:01:03. > :01:06.
:01:06. > :01:10.Tempesst. We will have live music from the
:01:10. > :01:15.fringe tribute of Christine Bovill to Edith Piaf. Joining me the
:01:15. > :01:19.doyenne of stage, Maureen Lipman, writer and critic, Paul Morley, and
:01:19. > :01:24.Sarah Crompton, arts editor of the Telegraph, who does a sports column
:01:24. > :01:30.for the paper on the side. The Mirror Mir from St Petersburg is
:01:30. > :01:35.the company that gave us Nureyev, and Pavlova back in the day. They
:01:35. > :01:41.are here with a staging of Cinderella. The current Artist-in-
:01:41. > :01:47.Residence with the American Ballet Theatre, Alexei Ratmansky. We
:01:47. > :01:52.filmed at their dress rehearsal. Cinderella has long been a staple
:01:53. > :01:55.of the ballet world. But it has taken ten years for Alexei
:01:55. > :02:05.Ratmansky's interpretation of this ration to riches story to reach
:02:05. > :02:07.
:02:07. > :02:13.audiences in Britain. For these performances, Prima ballerina takes
:02:13. > :02:16.the role. The renowned Valery Gergiev directs the score.
:02:16. > :02:22.director is an extraordinary conductor, he's known around the
:02:22. > :02:26.world. He does very nice music. He doesn't
:02:26. > :02:33.conduct so often with the ballet. Because it is a bit different. You
:02:33. > :02:43.have to go with the ballerina, with the soloist, or the ballet, and he
:02:43. > :02:50.plays more sim phonic. When he conducts it. You have to keep up
:02:50. > :02:55.with his tempos. The Ugly Sisters, and evil stepmother, are
:02:55. > :02:58.traditionally played as grotesques, but putting graceful ballerinas in
:02:58. > :03:02.the roles, Ratmansky has a different take on the villains.
:03:02. > :03:12.this special performance, the stepmother was made on a young
:03:12. > :03:21.
:03:21. > :03:26.She could be the wife of the Prince. The thing is, I think it is special
:03:26. > :03:31.for the Mirror Mir, they are more different in movement and classical,
:03:31. > :03:41.-- the Mir theatre, they are more different in movement and classical.
:03:41. > :03:58.
:03:58. > :04:02.It has a more dance style. A lot of A lot of people know this ballet,
:04:02. > :04:07.but Ratmansky's also quite a classical choreographer. But it
:04:07. > :04:10.seems to be quite different from what you would think of a classical
:04:10. > :04:20.ballet? It is very modern and updated and bare in the way it is
:04:20. > :04:23.
:04:23. > :04:26.set. The thing about Ratmansky is he's based in the classical steps.
:04:26. > :04:30.He's interested in different moments, quirky movement. He
:04:30. > :04:40.creates a classical ballet. Where nobody just dances, everybody has
:04:40. > :04:57.
:04:57. > :05:05.something to say. And He's wonderful, the whole
:05:05. > :05:10.characterisation of the stepmother as Mary Portis. The seasons done as
:05:10. > :05:14.punk, it is Ratmansky from ten years ago. He has said himself, he
:05:14. > :05:20.wasn't asked to do the staging of it, he said he would change it and
:05:20. > :05:24.is changing it as we speak? doing the same things we did ten
:05:24. > :05:28.years ago -- he did ten years ago he has to amend to be up to speed.
:05:28. > :05:34.It is hard to know the language going on. At times I swerved all
:05:34. > :05:38.over the place with it. At times I thought it was a weird Opening
:05:38. > :05:43.Ceremony for when Victoria Beckham goes to buy shoes. And then an
:05:43. > :05:48.inordinate amount of detail for a fairytale, and sticking on the
:05:48. > :05:56.clownness and the mime, break ago I way from the classical steps,
:05:56. > :06:01.verging on -- breaking away from classical steps. After a long
:06:01. > :06:10.evening, I missed some of the characters, 86 people on stage, it
:06:10. > :06:15.is energetic, once you breakthrough the formality, it is very moving.
:06:15. > :06:24.Long the way did you miss the sign posting? We know Cinderella goes to
:06:24. > :06:28.the ball in a pumpkin, there is no mice, no fireplace. The fairy
:06:28. > :06:33.godmother is bag lady, bent double. It is gorgeous, I had a wonderful
:06:33. > :06:38.time, if I didn't know the story of Cinderella. The wonderful thing is
:06:38. > :06:42.we were lucky, we heard Gergiev conducting, which makes the music
:06:42. > :06:52.glisten. The other thing that is wonderful about the production is
:06:52. > :06:53.
:06:53. > :07:00.how responsive it is to the music. It has a melancholy undertow. I
:07:01. > :07:05.loved the final pas de deux, it is touching happiness, notes grabbing
:07:05. > :07:09.it. When the Prince comes on and he's vain, and he's a bit full of
:07:09. > :07:15.himself. Then he's totally taken over by that wonderful girl. Isn't
:07:15. > :07:19.she, she's made of steam and breath and gossamer, just wonderful.
:07:19. > :07:25.What about the fact that Gergiev was there conducting. It gave the
:07:25. > :07:29.music a prominence that often, when I go to a bl let, I'm so stuck on
:07:29. > :07:32.the -- ballet, I'm so stuck on the ballet, I was listening for more
:07:32. > :07:36.the music? That was interesting, there was a power coming from a
:07:36. > :07:40.discreet place that you couldn't ignore, that is why, occasionally
:07:40. > :07:44.it felt like the music was the lead, and what was happening on stage was
:07:44. > :07:48.secondry it was discreet and humble, almost. I felt after the third or
:07:48. > :07:53.fourth interval he definitely had a lick of paint in his hair. There
:07:53. > :07:58.was a discreet performance going on down there. That was what was
:07:58. > :08:03.ultimately powerful beyond the kitschness of the performance. The
:08:03. > :08:09.orchestra was incredible. They suddenly went to Spain and they had
:08:09. > :08:13.those dancing boys as Aryan blonde boys, what was that to Cinderella.
:08:13. > :08:18.That is Professor trying to make a ballet sequence of variations,
:08:18. > :08:23.where he travels the world. The sort of thing you had in classical
:08:23. > :08:29.ballet. For all the choreographers who have tackled it, it is a
:08:29. > :08:38.problem, the story stops. If you were to place the Mirror Mir ballet
:08:38. > :08:42.now, what -- miornmiornmiorn ballet now, what would you say -- ballet
:08:42. > :08:52.company now what would you say? They reflect they are amazing, they
:08:52. > :08:52.
:08:52. > :08:56.have loads. Have you ever seen arms like that. Their physical presence
:08:56. > :09:00.was incredible, it is like they were bred in some laboratory for.
:09:00. > :09:04.That I'm talking about the men. There are two more performances of
:09:04. > :09:10.Cinderella tomorrow in Edinburgh. Life in London has an enduring
:09:10. > :09:15.appeal for novelists, earlier this year John Lanchester published
:09:15. > :09:21.Capital, which we discussed in March. Now Zadie Smith returns to
:09:22. > :09:27.the streets of her manor, where she was for White Teeth.
:09:27. > :09:32.NW is about a group of thirty- somethings, all trying to find
:09:32. > :09:37.their way in the capital. Zadie Smith's first novel, White Teeth
:09:37. > :09:43.was published in 2000, when she was 24. It won a number of major awards,
:09:43. > :09:48.she was hailed as a precocious literary talent. Set in the streets
:09:48. > :09:53.of Willesden, the book explored roots, religion in a multi cultural
:09:53. > :09:59.neighbourhood in London, and subsequently adapted for Channel 4.
:09:59. > :10:04.I'm from the Cricklewood kingdom, where we the witness of Jehova, are
:10:04. > :10:14.waiting for the Lord to come with his presence, bringing with them
:10:14. > :10:33.
:10:33. > :10:38.the three-fold Armageddon. Now she The novel follows four characters,
:10:38. > :10:48.now in their 30s, whose lives have taken very different paths since
:10:48. > :11:22.
:11:22. > :11:28.their upbringing on a council Zadie Smith explores form and
:11:28. > :11:32.chronology, and brings patwah that elect fies the dialogue. Is she
:11:32. > :11:42.looking at North West London from afar, or is she, once more, happy
:11:42. > :11:42.
:11:42. > :11:46.to be home. She makes you work hard on this
:11:46. > :11:50.story, did you feel you were working hard? Very hard. It says
:11:50. > :11:55.curl up with it, sail vour every sentence, turn around and re-read
:11:55. > :11:59.it. That is precisely what I had to do. I felt very alienated by the
:11:59. > :12:03.style. The writing is diamond brilliant, the dialogue, in fact,
:12:03. > :12:09.it is probably more of a film script than it is a novel. It is
:12:10. > :12:14.straight from the page to the screen. All the characters are very
:12:14. > :12:18.well delinyailted. Because it keeps -- delineated, just it keeps
:12:18. > :12:23.chopping and changing in characters, just when you get interested in
:12:23. > :12:27.someone you go on to another one. Because you get cuts and flashbacks,
:12:27. > :12:32.lots of dialogue, quotation marks and without dash, you don't know if
:12:32. > :12:37.they are speaking or not. Because that have it is jagged, it is very
:12:37. > :12:41.savage, this book. You meet Lea and Natalie, late on, reversing through
:12:41. > :12:44.their lives, you get all the codas to explain what is going on. We
:12:44. > :12:49.were talking about the dialogue, mixed in with the description and
:12:49. > :12:53.the pat what and everything else. She rewards -- patwah and
:12:53. > :12:57.everything else, she rewards you after a while of reading, you
:12:57. > :13:02.suddenly know what is going on? could enter the book at any stage,
:13:02. > :13:06.when you do finish it you really want to begin it again, you realise
:13:06. > :13:10.you can come in at any point. What I loved about it, where it made up
:13:10. > :13:16.for John Lanchester's Capital, it is an experimental book. The whole
:13:16. > :13:21.point of living and getting on in London, you have to have a
:13:21. > :13:25.experimental personality. A great London novel, it might not be "the"
:13:25. > :13:30.great one, but it is in the top ten. You never know where you are. Where
:13:30. > :13:35.she goes from one to 185, that is where it started to sink. These are
:13:35. > :13:38.the lists? It is random, it takes detours, it is like a walk around
:13:38. > :13:41.London. It is information about what is happening? It was a map
:13:41. > :13:45.about North West London t transcends it, it could be about
:13:45. > :13:51.anywhere, it is about getting on in a city. There are four main
:13:51. > :14:00.characters, Felix, Nathan, Lea and Natalie, and one called Keisha, she
:14:00. > :14:03.nails female friendship in a way. She's happiest concentrating on her
:14:03. > :14:08.two characters? I adored it, I couldn't put it down. I was
:14:08. > :14:13.absolutely engrossed in it. She's so brilliant, observationally, on
:14:14. > :14:17.what Poundland is like, and people eating outside. The women inhabit
:14:17. > :14:21.that world. She gets into their mind brilliantly. I thought she
:14:21. > :14:25.wrote about women and children better than anyone I can think of
:14:25. > :14:29.recently. How they navigate their lives in relation to her. She's
:14:29. > :14:33.very harsh on them sometimes. Zadie Smith, I have read, said she
:14:33. > :14:36.doesn't actually like Natalie, in the sense that Natalie is not a
:14:36. > :14:42.likeable person. It is a real accomplishment to get to you like
:14:42. > :14:46.Natalie, or get you into that book? You admire her in way, you can see
:14:46. > :14:51.where she's come from. She does occasionally patronise her
:14:51. > :14:56.characters. How do you mean about children, mothers and daughters she
:14:56. > :15:01.gets quite well with Natalie and, with Leah and her Irish mother, and
:15:01. > :15:05.the way Leah sends up her mother, but actually is very reliant on her.
:15:05. > :15:09.But children? I think where the relationship, the way that lowia
:15:09. > :15:11.decides she doesn't want children. -- Leah decides she doesn't want
:15:11. > :15:15.children. The assumption that everything is her moving towards a
:15:15. > :15:24.fulfilled life with children. She rejects that, her ambivalence about
:15:24. > :15:28.the definition of that, then as you come back later in it, Natalie has
:15:29. > :15:32.similar ambivalence but similar journey, that is not written about,
:15:32. > :15:39.women not wanting children. thought she was quite judgment
:15:39. > :15:49.mental, and also I found the characters, like the wonderful
:15:49. > :15:50.
:15:50. > :15:55.junkie, absolutely wonderful. the actress on the roof and Felix's
:15:55. > :16:01.lover? We haven't been able to talk about him, because he's a third
:16:01. > :16:04.character. I love how she manages to do a 25 years of the 21st
:16:04. > :16:07.century, and what happened to the different sensibility we have as
:16:07. > :16:11.things change. We don't want to give away what happens, you are
:16:11. > :16:17.right about Felix, he's a promising character, I felt cheated I didn't
:16:17. > :16:21.know him better? We are pulled up short. It is very jagged. But you
:16:21. > :16:26.do love him. He actually, in some ways, I have said the women
:16:26. > :16:33.characters are better drawn. He has got the great comic vignette, where
:16:33. > :16:39.he sells a car to another posh drugy, and that's brilliantly done.
:16:39. > :16:44.You are with him in the pub, with the used money in his hand. I loved
:16:44. > :16:52.it. It is impressionist. The way she talk about it, in the book,
:16:52. > :16:57.hearing a conversation outside Poundland in Kilburn, she as a
:16:57. > :17:01.great antenna for conversations, picking them up on our behalf.
:17:01. > :17:05.seems pretty extraordinary to me this is not on the Booker long
:17:05. > :17:10.list? It makes you think the novels must be brilliant if it is not
:17:10. > :17:14.considered. It has a wildness about it, that is not in the tonal
:17:14. > :17:18.blandness that is required. That is what I loved about it so much, it
:17:18. > :17:23.didn't have that control. It is wild. It makes you work hard.
:17:24. > :17:32.a proper novel. There is alienation, and this stream of consciousness,
:17:32. > :17:35.Joycey and Virginia Woolf thrown in. It has warmth, which is rare in a
:17:35. > :17:41.structural complicated novel. a great balance. Decide if it
:17:41. > :17:47.should be in the Booker long list. We interrupt the festival programme
:17:47. > :17:55.to bring you something special. There was excitement in the Review
:17:55. > :17:59.office when Bob Dylan's next album was delivered to the BBC. Would
:18:00. > :18:04.Tempest, his new self-produce the record hit us like a Hurricane.
:18:04. > :18:11.While much of Dylan's recent output has received warm reviews, a new
:18:11. > :18:20.release always creates a fever of specktation. Some pundits suggested,
:18:20. > :18:26.that Tempest was to be dill Dylan's swan song. Dylan has quashed these
:18:26. > :18:29.rumours saying he has no intention of laying down his guitar.
:18:29. > :18:34.Listen to that Duquesne Whistle blowing.
:18:34. > :18:37.Sue fused with dark themes, from a blow-by-blow account to the
:18:37. > :18:45.assassination of his friend, John Lennon, and love stories that end
:18:45. > :18:52.in death and destruction. The cast of musicians is familiar
:18:53. > :19:01.from Dylan's recent albums, and Tempest is self-produced under his
:19:01. > :19:07.occasional pseudonym, Jack Frost. Fans can catch a glimpse of the
:19:07. > :19:14.ageing Troubadour in the video of the new single Duquesne Whistle, a
:19:14. > :19:17.grand old ramp on railroad songs. # Listen to the Duquesne Whistle
:19:17. > :19:21.blowing # Blowing like she never blowed
:19:21. > :19:24.before # Blue light rigging
:19:24. > :19:29.# Red light blowing # Blowing like she's about to take
:19:29. > :19:34.the door Paul, you have been listening all
:19:34. > :19:40.day, we have all been listening all day. Did it catch you off guard?
:19:40. > :19:46.have been searching for praises, to sing -- phrases to sing its praises.
:19:46. > :19:52.I don't know if there is an original line, riff or phrase on it,
:19:52. > :19:55.it is unbelievably original. Because it is Bob Dylan's fifth
:19:55. > :19:59.album, it doesn't matter most things are nicked or stolen. It is
:19:59. > :20:04.extraordinary, it is a double album. I don't know if anyone knows what
:20:04. > :20:08.that means, if it was like the old days it would be Blonde on Blonde,
:20:08. > :20:12.I would put it up there with it, it is extraordinary. For a number of
:20:12. > :20:18.reasons, not least that because 20 years ago we thought he was on the
:20:18. > :20:24.way out. The fact he has come alive, about the idea that he might be
:20:24. > :20:28.dying, it is clearly not, it is his most confident album. His voice is
:20:28. > :20:33.spectacular, I have heard it speaking, his voice is glorious?
:20:33. > :20:39.is kind of controlled growl, really. It is wonderful sound. The band is
:20:39. > :20:49.amazing. The sound of it, it has got this madden ghee, and you can't
:20:49. > :20:52.
:20:52. > :20:58.believe he's 7 -- maddener ghee, you can't believe he's 71.
:20:58. > :21:02.voice is now, I thought it was Louis Armstrong, he loves the way
:21:02. > :21:12.he sounds now. That's what's happened to him. He has come round
:21:12. > :21:16.full circle, he's doing chaingang songs, sea shanties. It is so
:21:16. > :21:23.blokeish. He's loving the voice, he has the voice he has always wanted,
:21:23. > :21:30.fantastic, he's trying to get the by star sound now, Scott Lit, he
:21:30. > :21:33.has done REM albums, and the steel guitar is amazing. Dylan is a
:21:33. > :21:38.psycadelic historian, he's wonderful at raiding history and
:21:38. > :21:41.putting it together. He's telling us history of all sorts of things.
:21:41. > :21:44.It sounds ancient but incredibly contempry one of the most exciting
:21:44. > :21:47.things about it, here is the guy that almost started the very idea
:21:47. > :21:51.of what a long-playing record of, here at the end of what that
:21:51. > :21:54.history is, there he is again, telling us what this thing is, it
:21:55. > :22:00.is a work of art. It is a work of art and he's telling us for the
:22:00. > :22:07.35th time that it is a work of art. He's telling us stories again, of
:22:07. > :22:13.Titanic, in his way? Leonardo DiCaprio is in with the historical
:22:13. > :22:18.thing. It is so dirically rich. You have a -- lyrically rich, you have
:22:18. > :22:23.a Sutton Who line, you have this wonderful creativity with words.
:22:23. > :22:28.There are all these little samplings of little people that are
:22:28. > :22:35.made into ballads. It's like he waited and this is the moment he
:22:35. > :22:40.wants to talk about John Lennon. That comes after a huge pause,
:22:40. > :22:46.Titanic goes on for three years. verses. Then there is a long pause,
:22:46. > :22:52.then I thought that is going off, on came John Lennon, Godliness me.
:22:52. > :22:56.You sink the Titanic, and then there is more, the John Lennon is
:22:56. > :23:00.very beautiful and he's acknowledging the end of a life.
:23:00. > :23:06.There is a line about the last heart beat and what a moment that
:23:06. > :23:10.was. It is a bit like being trapped in a cellar somewhere with 15
:23:10. > :23:16.Irishmen. Listen, let's have another quick burst of Duquesne
:23:16. > :23:18.Whistle. # Listen to that Duquesne Whistle
:23:18. > :23:28.blowing # Blowing like she's blowing right
:23:28. > :23:35.
:23:35. > :23:40.Tempest will be relosed on the 10th of September -- released on the
:23:40. > :23:46.10th of September. Glasgow may be the breeding ground for Turner
:23:46. > :23:51.Prize winner, but in August the Edinburgh Art Festival is an
:23:51. > :23:54.explosion of installations and happenings. Now in its ninth year,
:23:54. > :24:00.the Edinburgh Art Festival collates a packed programme, with 51
:24:00. > :24:05.exhibitions in 30 venues across the city. Encompassing everything from
:24:05. > :24:10.Picasso to paintings by Harry Hill. The festival's flagship commission
:24:10. > :24:17.this year is a new sound work from Susan Philip, who won the Turner
:24:17. > :24:23.Prize in 2010. Timeline reflects the history of one of Edinburgh's
:24:23. > :24:27.most sonic landmark, the One o'Clock Gun. Timeline is a sound
:24:27. > :24:31.intervention that cuts through the city in a straight line from six
:24:31. > :24:35.different locations. I discovered this time gun map that showed you
:24:35. > :24:41.how long it took for the sound of the gun to travel across the city.
:24:41. > :24:46.That made me think about sound in a city wide scale.
:24:46. > :24:51.It is my own voice, where I'm singing three harmonising notes,
:24:51. > :24:57.from all of these six locations. The former veterinary college of
:24:58. > :25:05.the university of Edinburgh, has been reinvented as Summerhall, a
:25:05. > :25:08.venue for fringe performances and art. There are key couture pictures
:25:08. > :25:15.and headwear, photographed by rank kin.
:25:15. > :25:22.There is an exploration of the body politics in video. Belgian artist,
:25:22. > :25:27.Jean Pierre Muller, uses sculpture and sound in a street scape to tell
:25:27. > :25:37.the story of some of the 20th century's greatest producers and
:25:37. > :25:39.
:25:39. > :25:45.musicians. At the Scottish National Gallery Van Gogh to Kandinsky.
:25:45. > :25:50."Don't paint the thing you paint but the thing expected" proved
:25:50. > :25:56.inspiration. There was Monet, gauing again, and lesser known
:25:56. > :26:00.artists like Walter Crane and others. The show presents symbolist
:26:00. > :26:04.painting as a frame of mind, rather than a district style or artistic
:26:04. > :26:12.movement. This idea of a frame of mind. Do
:26:12. > :26:16.you think the exhibition hangs together as a prop gaigs. I think
:26:16. > :26:20.it -- proposition? I think it does, but I don't agree with it. There is
:26:20. > :26:24.a lot of paintings from people you don't see much. It is exciting. You
:26:24. > :26:29.go around having an argument in your head, if the idea of the
:26:29. > :26:35.symbolism is about the idea, and the mood, not the thing, is Monet
:26:35. > :26:39.is a symbolist, does he pay haystacks because he wants to paint
:26:39. > :26:44.mood or see what the light did. I'm inclined to think it is the latter.
:26:44. > :26:49.I liked how it made you argue with yourself on the way round. It has
:26:49. > :26:55.my favourite painting, the Van Gogh, reaper in the field. I thought it
:26:55. > :26:58.was a symbol of him imposing order on the world, he paints it from the
:26:58. > :27:00.asylum window. Then I thought maybe it is about death. You have this
:27:00. > :27:03.conversation. That is the proposition put forward in the
:27:03. > :27:08.exhibition? You have the conversation with yourself is, I
:27:08. > :27:15.found that utterly fascinating. have looking Asim bowlism as a
:27:16. > :27:20.cultural bulwark, with the Finnish artists - as symbolism as cultural
:27:20. > :27:23.bulwark, with the Finnish artists they were using it as a symbol of
:27:23. > :27:33.Finnish culture. That was a thread running through. The artist on the
:27:33. > :27:36.
:27:36. > :27:41.cover, that was extraordinary? were, when you come to the palace
:27:41. > :27:51.with the horse and the statue, and he's turning away, is that to do
:27:51. > :27:53.with the end of the Hamashoy, or is that just what he wanted to paint
:27:53. > :27:57.that day. The intensity, particularly the intensity that is
:27:57. > :28:03.just about catching that moment in the evening. Capturing that scene,
:28:03. > :28:13.not as a naturalist scene, but as what it made you feel inside?
:28:13. > :28:13.
:28:13. > :28:19.yes. Go on. You're too polite, Paul! It makes you follow a story
:28:19. > :28:22.it has decided to tell. Sometimes you yes or no for a break up of
:28:22. > :28:26.chronology, a break up of not following a certain thesis, it is
:28:26. > :28:30.too academic for the minds and mentality and the paintings in it.
:28:30. > :28:34.It is glorious, and fantastic stuff, I love the Scandinavian moments
:28:34. > :28:41.that throw up. They branded it to get you in. But it is some of the
:28:41. > :28:49.more obscure artist that is are more exciting? Van Gogh and
:28:49. > :28:54.Kandinskys, there is two Mondrians, and that response he had to Steiner,
:28:54. > :28:59.about atmosphere and colour, in terms of psychology. I sometimes
:28:59. > :29:04.wished there was more, a more abstract way of compieming some of
:29:04. > :29:08.this material, because it -- compiling some of the material,
:29:08. > :29:13.because it doesn't flow. Six or seven great rooms with fantastic
:29:13. > :29:17.paintings in, but the curating idea that it is carrying a narrative
:29:17. > :29:22.annoys you, you want a wildness that represents the spirit of some
:29:23. > :29:30.of those paintings. They give you some amazing paintings. And to see
:29:30. > :29:34.the Van Gogh is unbelievable, with music. There was the Kandinsky
:29:34. > :29:38.together saying the music and colour tonally was incredible.
:29:39. > :29:44.the end you could see paintings as a score, which is Majestic to see
:29:44. > :29:47.that moment happen. Let's talk about Susan Philips, the Turner
:29:47. > :29:53.Prize winner. It is what she regards as being her own voice on
:29:53. > :29:58.the One o'Clock Gun, a bit like the Duquesne Whistle! I would imagine.
:29:58. > :30:02.The sound that starts the Dylan album, it shows you how amazing a
:30:02. > :30:06.sound can be to start a moment in history. Not that I heard this one.
:30:06. > :30:10.You have to be incredible alert, it is a very quick sound. I thought
:30:10. > :30:14.one advantage was it made you look at things in Edinburgh I had never
:30:14. > :30:18.looked before, which is the ball falling on Nelson's monument. I
:30:18. > :30:23.thought it was, it is so fleeting almost it is not to be there.
:30:23. > :30:29.fast. But the sight of the three of us standing in a cemetery. Full of
:30:29. > :30:34.David Hum, he's grave, trying to hear it. I like t a lot of the work
:30:34. > :30:39.is about the dispersal of songs and sound into an inaudible hum. I
:30:39. > :30:45.thought it was meant to be that way. It is Majestic. That is very
:30:45. > :30:54.symbolistic. You saw Edinburgh unfold again, and the hidden
:30:54. > :30:59.corners you don't know until you are reminded. Another hidden corner
:30:59. > :31:04.is Summerhal, people talking about the festival becoming slicker and
:31:04. > :31:10.slicker, then the wildness and craziness of 500 rooms at Summerhal.
:31:10. > :31:12.I loved it, I'm so happy someone has taken an old building and made
:31:12. > :31:17.it relevant and interesting and community centre. Completely mad,
:31:17. > :31:24.the operating rooms are still there, there is bits of old animal on the
:31:24. > :31:27.wall. It is fantastic. Palm Hoggs, amazing couture, slightly bondage,
:31:27. > :31:32.is in a room where they were clearly hanging horses and
:31:32. > :31:36.dissecting them until a year ago? There is crazy energy about this
:31:36. > :31:45.programme tonight, and Summerhal a wonderful place. You go in and feel
:31:45. > :31:49.inspired by all the things. The fact it is dispersed, it is over
:31:49. > :31:54.two-and-a-half acres, you fall across things all the time. You are
:31:54. > :32:00.constantly turning corner noose rooms where you think you will --
:32:00. > :32:04.corners into rooms where you think you will come across the skal
:32:04. > :32:09.velvet Underground playing. It is great because the previous
:32:09. > :32:15.exhibition didn't have it. When you talk about the Velvet Underground,
:32:15. > :32:19.when you look what was happening? Some decrepit rooms and you stumble
:32:19. > :32:22.into them, they haven't been done you have at all, you have a
:32:22. > :32:31.brilliant artist and fantastic pieces that spring from room-to-
:32:31. > :32:39.room. You see Emin has come, Sturnham Barley, you loved that,
:32:39. > :32:44.you really find out for you -- yourself. You have the David
:32:44. > :32:49.Micolet room, the room is a installation of slowed down images
:32:49. > :32:54.he made of naked people, mainly against black, high-definition -
:32:54. > :32:58.moving, it goes to seven minutes. He has made a piece called Slow
:32:58. > :33:02.Dancing, that is also on. He's a brilliant artist, it is not just
:33:02. > :33:09.the trick of slowing down the motion, it is how he then arranges
:33:09. > :33:12.it. He makes a trip-tick of motion. It speaks across the screens. He's
:33:13. > :33:16.a really significant artist, and clever Summerhall, they
:33:16. > :33:22.commissioned him, he's not commissioned in this country. That
:33:22. > :33:28.is another tick, bringing in this work. You sit on bean bag, except I
:33:28. > :33:33.was too rivets to sit. And you watch these beautiful, beautiful
:33:33. > :33:40.bodies. You could do a programme on what you see in Summerhall, every
:33:40. > :33:44.city should have one. I read about Karen, she ice-skates naked with
:33:44. > :33:47.her cat it is said, I thought, that will be a laugh! Another role for
:33:47. > :33:54.you! Do not fear, because the exhibitions at Summerhall are open
:33:54. > :33:57.to the end of September. The Scottish National Gallery continues
:33:57. > :34:01.until the end of the October. The Edinburgh International Festival
:34:01. > :34:05.brings work from all around the world to the city stages, but gives
:34:05. > :34:12.a platform for work from Scotland. One of the premiers come from the
:34:12. > :34:15.theatre company, Vanishing Point, it may have the whimsical-sounding
:34:15. > :34:23.title, Wonderland, but it is for adult eyes only.
:34:23. > :34:27.Please, help me, I'm scared. I just want to go home. Wonderland was
:34:27. > :34:32.inspired, in part, by a documentary, about a young British woman's
:34:32. > :34:38.experience in the American porn industry. Working without a script,
:34:38. > :34:43.director Matthew Lenton began by exploring the reasons why people
:34:44. > :34:53.make and watch pornography. The air feels thicker. Your skin feels
:34:53. > :34:57.sticky. Something stinks. The play uses live projections, as well as
:34:57. > :35:07.an inner stage, encased in glass, to present a multilayered approach,
:35:07. > :35:17.to the moral questions raised by violent pornography. This is how
:35:17. > :35:17.
:35:17. > :35:23.you say hello, is it. No handshake. This is the way we do business.
:35:23. > :35:30.watch Alice, a young girl who gets given the name Heidi, and who may
:35:30. > :35:34.or may not be lost in the world of sado-masochistic skin flicks.
:35:34. > :35:37.really don't want to do it now. are beautiful, take off your
:35:37. > :35:44.fucking bra. We also see John, sometimes known as Michael, a
:35:44. > :35:49.family man, who slips out to watch extreme porn while his wife sleeps.
:35:49. > :35:52.Blown up on a large screen, the audience sees what John sees and
:35:52. > :35:57.more, blurring the boundaries between performance and reality,
:35:57. > :36:05.and asking us to confront the complicity of the voyeur. Is that
:36:05. > :36:11.what you want, Michael, you want me to be your little girl. And then
:36:11. > :36:16.what? In private, whatever you like. Wonderland takes its audience on a
:36:16. > :36:23.challenging adventure, but could this particular journey be a little
:36:23. > :36:28.too dark for some? Maureen, as both a director and a performer, this is
:36:28. > :36:33.such hugely ambitious work in terms of technically, and also an
:36:33. > :36:40.ambitious subject? Let me start by saying that the acting is superb,
:36:40. > :36:45.in my opinion. Particularly the leading lady, hums Hulse. The --
:36:45. > :36:51.Jenny Hulse. The staging is behind a sort of box, we look into it,
:36:51. > :36:57.again with the alienation, however, it was so hard-hitting and so well
:36:57. > :37:00.done, I thought, that I couldn't watch. Actually the subject of the
:37:00. > :37:03.pornography, and the way, at one point, we had something that looked
:37:03. > :37:07.like it was going to be very graphic, I didn't know where to
:37:07. > :37:14.look, it lost me there. But I have to say it was beautifully put
:37:14. > :37:19.together. I thought it was just hell. You know, far from to say, I
:37:20. > :37:24.thought it was a good idea with Alice being curious, about
:37:24. > :37:29.curiosity in the modern world and where it takes you. I thought they
:37:29. > :37:32.workshoped it and not got anywhere. Let's be clear about this. This was
:37:32. > :37:37.an unscripted piece. It was a devised piece. I felt they hadn't
:37:37. > :37:41.got far enough. What they ended up doing was simply putting images of
:37:41. > :37:46.exploitation on to the stage. I agree it was well act, I thought it
:37:46. > :37:50.did look wonderful. The lighting was fantastic. The way it looked
:37:50. > :37:54.for me was more problematic, it sucked all the humanity out of it.
:37:54. > :38:01.I felt it was exploitive, it was exactly the thing that it was
:38:01. > :38:06.supposedly giving us a critque of. The sound was a one note of what
:38:06. > :38:09.was on stage. No change of atmosphere? That is difficult, when
:38:09. > :38:13.you tackle this subject you have to do it. The other difficulty is
:38:13. > :38:17.tackling the Internet, which is a tricky thing to deliver. It is
:38:17. > :38:24.something about the venue, there was many things about arriving at
:38:24. > :38:28.it, it was old as an Alice in Wonderland, which it wasn't and a
:38:28. > :38:32.famous celebrity. I wonder if it was at one of the dirtier rooms at
:38:32. > :38:36.Summerhall it would have been better. A very important subject,
:38:36. > :38:43.but you come away thinking it was an Opening Ceremony for wanting to
:38:43. > :38:47.go home and have a damn good cry. He does say he wants to take you
:38:47. > :38:52.further than he knows you want to go. That is the part of it that is
:38:52. > :38:57.devised. The problem is devised theatre, they get a fantastic
:38:57. > :39:01.amount of rehearsal time, they get 18 weeks, ten months, the rest of
:39:01. > :39:04.us get three weeks and it is judged on the same standards. Do you think
:39:04. > :39:10.the work, then, if it is collaborative, do you think in the
:39:10. > :39:15.end it is a directed work, or is it the actors at play? You get great
:39:15. > :39:21.performances and you never get a play. And I felt that if they were
:39:21. > :39:24.going to do it, they should have used the rehearsal time to be
:39:24. > :39:30.intellectually rigorous, to explain something, instead of simply
:39:30. > :39:33.setting it before us, as a series of deeply unpleasant images. I
:39:33. > :39:36.don't see how that justifies putting on a play of this sort.
:39:36. > :39:42.needed to be immersed in it. It seemed to be one of the plays where
:39:42. > :39:46.we needed to be involved in it some how. I think that comes back to the
:39:46. > :39:50.staging. Behaves the Lyceum was a strange place to have -- by having
:39:50. > :39:53.the Lyceum, it was a strange place to have it. You can't be led
:39:53. > :39:56.everywhere though? They don't explain anything. For me the most
:39:56. > :40:01.interesting character is the husband, who supposedly is a normal
:40:01. > :40:06.man, and who is led into his deep e, darkest desires, but you don't know
:40:06. > :40:10.anything about him, not a thing. I thought, come on, tell me something.
:40:10. > :40:14.Did is matter if we didn't know whether the girl was his daughter.
:40:14. > :40:21.You feel you were luck turd about anything that was bleeding obvious.
:40:21. > :40:25.You nationwide -- you needed context about the subject.
:40:25. > :40:29.mystified why you were prepared to make the journey with NW and this
:40:29. > :40:36.one you find it difficult to accept a series of impressions, which is
:40:36. > :40:40.all it is. For me, NW has more a richness and warmth towards it t
:40:40. > :40:46.which this does not have. doesn't have warmth, because it is
:40:46. > :40:50.not a warm subject. In 85 sections it did, it covered so much ground,
:40:50. > :40:54.this didn't. It covers three pieces of ground. We have to agree to
:40:54. > :40:58.disagree. That is the best way on the review show. My thanks tonight
:40:58. > :41:02.to my guest. We will be back at the beginning of object. But we will
:41:02. > :41:09.leave you with one of the Edinburgh fringe's big e hits. Here is
:41:09. > :41:14.Christine Bovill with -- biggest hits, here is Christine Bovill with
:41:14. > :41:17.her Edith Piaf. Le ciel bleu sur nous peut seffondrer Et la terre
:41:17. > :41:20.peut bien secrouler Peu mimporte si tu maimes Je me fous du monde
:41:20. > :41:23.entier Tant qulamour inondra mes matins Tant que mon corps fremira
:41:23. > :41:33.sous tes mains Peu mimportent les problemes Mon amour puisque tu
:41:33. > :41:33.
:41:33. > :42:19.Apology for the loss of subtitles for 46 seconds
:42:19. > :42:21.#Jirais jusquau bout du monde #Je me ferais teindre en blonde Si tu
:42:21. > :42:31.me le demandais #Jirais decrocher la lune #Jirais voler la fortune
:42:31. > :42:49.
:42:49. > :42:56.# If one day we had to say goodbye # And our love
:42:56. > :42:59.# Should fade away and die # In my heart
:42:59. > :43:09.# You will remain Dear
:43:09. > :43:12.
:43:12. > :43:18.# And I'll sing a hymn to love # Those you love
:43:18. > :43:25.# Will live eternly # In the bloom
:43:25. > :43:30.# Where all is harmony # With my voice
:43:30. > :43:35.# Raised high # To heaven
:43:35. > :43:45.# Just for you # I'll sing
:43:45. > :43:48.