After a sell-out pilot run in the spring of this year, Cut Tightrope Ltd are absolutely delighted that Cutting the Tightrope: The Divorce of Politics from Art will be bringing a longer run to the larger main house space at the Arcola theatre from 26 November – 7 December 2024
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| Photo by Ali Wright |
In a series of rapid political responses – with updated text and additional pieces to reflect the ever-changing landscape - prompted by the now seemingly quite regular of censoring of theatre focusing on Palestine, Cutting the Tightrope: The Divorce of Politics from Art brings together a number of award-winning playwrights – a hard-hitting array of voices – who collectively form an urgent response to the creeping repression of dissent in society and the arts.
The collection of vital and confronting short plays brings together UK-based writers from activists to comedians, Russian to Iraqi heritage, Jewish to Muslim background with a guttural reaction to the politics of today.
We were fortunate to discuss the piece with director Cressida Brown who explains more about the ideas and creative process.
What can you tell me about this project?
Cutting the Tightrope: The Divorce of Politics from Art” brings together 14 diverse, award-winning playwrights with a wide range of political perspectives, from activists to comedians, Russian to Iraqi heritage, and Jewish to Muslim backgrounds. Prompted by high profile cancellations of work relating to Palestine in the UK, these playwrights have responded with short plays each directly responding to the notion that artists should not be bringing politics to the stage.
What first inspired you to work on this project?
Having always believed in the power of stories to change lives, I was amazed by theatre's silence as an industry and profoundly disturbed by the cancelling of events linked to Palestine in high profile arts settings. By the time the Arts Council started to warn that 'political statements' made by individuals could cause 'reputational risk' and therefore 'breach funding agreements' I knew that I had to respond in some way - and that there were many more who felt the same.
How do you feel the current state of censorship is affecting theatre?
I have never encountered such timidity and silence, and the hypocrisy of the Arts Council saying that they support work in solidarity with Ukraine and then spelling out how they are ‘progressive except for Palestine’ is stunning. I feel like the mask has slipped.
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| Photo by Ali Wright |
What are your hopes going forward with how this will affect theatre?
The dream would be that theatres get over their fear and start programming more Palestinian work. There is a huge demand for this work, as our sell-out audience prove, and it makes no sense that a very simple social justice issue for the last 77 years is seen as controversial. The stories we tell shape the reality around us. We need to hear these suppressed stories. I also hope that the audience go away with a clearer understanding of how this is not just a Palestine issue but an issue that has revealed all our civil liberties are under threat. Awareness hopefully will bring change.
How vital is it to have a safe space to air different topics and subject matters in the arts?
Art allows us to imagine in different ways. Without it, voices of dissent are silenced. The cuts to the Arts in schools and the Arts industry are already curtailing our opportunities to exercise our imagination muscle. If theatres aren’t even willing to take risks, then there will really be no way to re-imagine the world we live in. And with the climate crisis, far right movements rising, and defence budgets soaring we absolutely need reimagining.
How have you found the artists with whom you have wanted to collaborate?
These are hands down the bravest most passionately and committed of artists I have worked with. From actors to playwrights, we have guttural response to the issues of today and see out art as part of our activism. There is a real climate of fear at the moment, and these artists are at the forefront of resistance.
Where did your arts career begin?
I trained as an actor at Central but whilst in my 3rd year I put on a site-specific play in a tower block that was about to be demolished. The play was written by Gbolahan Obisesan and based on the testimonies of people who had previously lived in the tower block. From that moment on I knew I wanted to be a director.
How do you reflect on your career up to this date?
I think my directing career has also been part of my political education. It has allowed me to come into contact with all sorts of different people beyond my bubble and see theatre as a vehicle to dismantling the systems that are imposed on us.
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| Photo by Ali Wright |
What keeps you inspired?
Courage in the face of fear. Anyhow, and anyone.
What do you hope an audience takes away from seeing one of the shows?
The bravery to stand up and be counted before it’s too late.
CUTTING THE TIGHTROPE: THE DIVORCE OF POLITICS FROM ART is on at the Arcola Theatre, London from 26th November - 7th December 2024
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