<?xml version="1.0" encoding="UTF-8"?>
<rss version="2.0"
	xmlns:content="http://purl.org/rss/1.0/modules/content/"
	xmlns:wfw="http://wellformedweb.org/CommentAPI/"
	xmlns:dc="http://purl.org/dc/elements/1.1/"
	xmlns:atom="http://www.w3.org/2005/Atom"
	xmlns:sy="http://purl.org/rss/1.0/modules/syndication/"
	xmlns:slash="http://purl.org/rss/1.0/modules/slash/"
	>

<channel>
	<title>Hannah Nicklin &#187; Royal Court</title>
	<atom:link href="http://www.hannahnicklin.com/tag/royal-court/feed/" rel="self" type="application/rss+xml" />
	<link>http://www.hannahnicklin.com</link>
	<description>Theatre artist, blogger, academic, tech-enthusiast. Eco-anarcha-socialist-cyber-feminist.</description>
	<lastBuildDate>Sat, 21 Jan 2012 22:25:22 +0000</lastBuildDate>
	<language>en</language>
	<sy:updatePeriod>hourly</sy:updatePeriod>
	<sy:updateFrequency>1</sy:updateFrequency>
	<generator>http://wordpress.org/?v=3.0</generator>
<image>
<link>http://www.hannahnicklin.com</link>
<url>http://www.hannahnicklin.com/wp-content/mbp-favicon/favicon.ico</url>
<title>Hannah Nicklin</title>
</image>
		<item>
		<title>Last One</title>
		<link>http://www.hannahnicklin.com/2008/12/last-one/</link>
		<comments>http://www.hannahnicklin.com/2008/12/last-one/#comments</comments>
		<pubDate>Tue, 16 Dec 2008 12:16:00 +0000</pubDate>
		<dc:creator>Hannah Nicklin</dc:creator>
				<category><![CDATA[Update]]></category>
		<category><![CDATA[Playwriting]]></category>
		<category><![CDATA[Royal Court]]></category>

		<guid isPermaLink="false">http://www.hannahnicklin.com/?p=53</guid>
		<description><![CDATA[So- that&#8217;s it! Finished&#8230; very weird. First drafts to hand in to the Royal Court on the 15th, some other writing stuff looking nice and promising (though not holding my breath!) and I can finally maybe not be quite so poor without all of the travelling – oh and the time! 2 days a week [...]]]></description>
			<content:encoded><![CDATA[<p><span style="font-size:100%;"><span><span style="font-size:100%;"><span><span style="font-size:100%;"><span><span style="font-size:100%;"><span><span style="font-size:100%;"><span><span style="font-size:100%;"><span style="font-size:100%;"></p>
<p style="text-align: justify;"><span><span style="font-size:100%;"><span><span style="font-size:100%;"><span><span style="font-size:100%;"><span><span style="font-size:100%;"><a href="http://2.bp.blogspot.com/_fqj10f_bXsQ/SUf_X3kJ_MI/AAAAAAAAAN4/MgosIOipExI/s1600-h/IMG_4248.JPG" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img id="BLOGGER_PHOTO_ID_5280469873632869570" style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 257px; height: 343px;" src="http://2.bp.blogspot.com/_fqj10f_bXsQ/SUf_X3kJ_MI/AAAAAAAAAN4/MgosIOipExI/s400/IMG_4248.JPG" border="0" alt="" /></a></span></span></span></span></span></span></span></span></p>
<p></span></span></span></span></span></span></span></span></span></span></span></p>
<p></span></p>
<p>So- that&#8217;s it! Finished&#8230; very weird. First drafts to hand in to the Royal Court on the 15<sup>th</sup>, some other writing stuff looking nice and promising (though not holding my breath!) and I can finally maybe not be <em>quite </em>so poor without all of the travelling – oh and the time! 2 days a week back to do stuff with. I have a lot of stuff bubbling away in my brain at the moment- particularly a radio idea which I may start work on after the 15<sup>th</sup> of Jan- and then see if I can get in contact with the producer I know at the BBC to talk it over&#8230; so all in all I&#8217;m feeling nice and positive. Just about. It fluctuates so much -and is bound to take a dip when I get into redrafting – though having said that- this redraft should be a lot less stressful than <em>Being Someone Else</em> – I can see the problems, and it&#8217;s a simpler idea, so hopefully it should feel good- honing it into a more demonstrative form! But, yes, the Royal Court YWP has been a brilliant experience- to make contact with the London &#8216;scene&#8217; – to meet some nice fellow writers, make some friends, have a good reason to write and to keep my brain ticking over! The last session was finished with a really interesting conversation about if and how theatre can change people/the world. Really interesting- just skimmed the surface on it, but so interesting! I love discussing that kind of thing (though I probably came across as a bit odd).</p>
<p>And now it&#8217;s Christmas! Yay! Love Christmas, looking forward to giving myself a week off, giving out cool presents, and not having to worry about where the food and heat is coming from! Oh and the <em>countryside </em>– miss it so much! Need to go on some nice long walks, maybe even a trip to the Yorkshire coast. Love it! So yes, this may be the last regular blog entry as I leave for home on Saturday the 20<sup>th</sup>, so thank you for reading along with me on this small blog journey, and onto the next I say!</p>
<p>Merry Christmas and a very happy New Year.</p>
]]></content:encoded>
			<wfw:commentRss>http://www.hannahnicklin.com/2008/12/last-one/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Closing Time</title>
		<link>http://www.hannahnicklin.com/2008/12/closing-time/</link>
		<comments>http://www.hannahnicklin.com/2008/12/closing-time/#comments</comments>
		<pubDate>Tue, 02 Dec 2008 05:36:00 +0000</pubDate>
		<dc:creator>Hannah Nicklin</dc:creator>
				<category><![CDATA[Update]]></category>
		<category><![CDATA[Playwriting]]></category>
		<category><![CDATA[Royal Court]]></category>

		<guid isPermaLink="false">http://www.hannahnicklin.com/?p=50</guid>
		<description><![CDATA[Hello There! So, I am now oficially post rough-draft-1. Finished about an hour long version of the play late Sunday night/early Monday morning, printed off, and duly took it to the Court with me on Monday. So yes&#8230; obviously massive things wrong with it and most of it doesn&#8217;t make sense, but not bad for [...]]]></description>
			<content:encoded><![CDATA[<p align="center">
<p>Hello There! So, I am now oficially post rough-draft-1. Finished about an hour long version of the play late Sunday night/early Monday morning, printed off, and duly took it to the Court with me on Monday. So yes&#8230; obviously massive things wrong with it and most of it doesn&#8217;t make sense, but not bad for 2-4 very painful days work!</p>
<p>My main concerns&#8230;</p>
<ul>
<li>Structure-      the piece struggled out of one structure (very short scenes) into another,      chunkier one halfway through, all of which are structures that I&#8217;m new      (and thus not sure about how sucessful I can make them) to as before now      I’ve always written closed time/space pieces</li>
</ul>
<ul>
<li>Characterisatlon.      It feels like only Ona has any. I think that Dominic’s journey isn’t      clear, and that he and Ona are both currently vying for protagonist- to a      degree that serves a purpose and illustrates a journey in itself, and to      another, it&#8217;s just confusing, argh!</li>
</ul>
<ul>
<li>Content.      Obviously the play is completely different to how i imagined it, this is      what happens when you write something- it twists and turns under your gaze      as the characters grow and start to make their own decisions (sounds      hippy-ish but it really does work like that) Although I think that is to      be expected, it now feels like Maria is now tacked on, though I’m not sure      how to involve her more. It was going to be a story about women trapped by      male expectations but now it&#8217;s a story about the damage done by commodifying      humanity. Also, I still feel passionately about the aims of Sci—Fi      theatre, but sometimes the play seemed to just want to be about      trafficking-not extrapolated into a single—child future&#8230; in which case      it&#8217;s a very different, much grittier, and much more responsible, research      heavy piece, none of which I’m afraid of- but it would be good to be able      to decide a direction.</li>
</ul>
<ul>
<li>Dramatic      Action. I felt like there was very little, and too often found myself      forcing my characters to speak to fill the page, naturally a product of an      intensive first draft, but need to work on heightening dramatic action,      and avoiding it being a solely stylistic/genre piece</li>
</ul>
<ul>
<li>Form-      The piece feels like a one act-er stretched too thin, (from previous      experience of this script template, I&#8217;d say it was 60-70mins at the      minute) does it need more story, or more characterisation? Or does it just      need to be a one act play&#8230;?</li>
</ul>
<p>So Yes! Bit scary, but good to have soemthing. We took 3 copies of the script into the Court, and exchanged with two others and the course leaders &#8211; in groups of 3 we produce a reader&#8217;s report of our pieces and discuss them next week- and Leo and Natalie get their feedback as soon as they can.</p>
<p>We also did something really interesting asa whole group- basically each person read out the first 2 pages of their script, and then everyone else wrote down frist reactions/questions etc on a little piece of paper anonymously, they were then shuffled, and handed over to the writer &#8211; Leo read out a first draft of his too. So we each left the session with 14 or so pieces of instant reaction to the first moments of our play- which was definitely very helpful! In general my feedback was that the piece was intriguing and full of detail, very vivid in terms of place (can also mean too many stage directions), the one which was clearly the course leader&#8217;s said it had a great sense of dramatic action and build of tension and that the &#8220;dialogue feels authentic and dangerously compelling&#8221; which is cool! though obviously some negative points, the most interesting of which was from one of the other class members- who suggested that I be careful the piece doesn&#8217;t make Georg a &#8216;big-bad-<em>Lithuanian</em>-wolf&#8217;, and that I could be construed as racist. This person also thought it was <em>set</em> in Lithuania (they said that the UK has brothels too, so in itself maybe I need to be clear that it is the UK in the first few pages) but still a good point- I am concerned about Georg being a stereotype, but I hadn&#8217;t thought about the implications of his being foreign, he just was- so perhaps something to be aware of? I have been concerned about him being a stereotypical pimp, but then it could be argued that part of being a pimp is playing to stereotype? And how do you be a nice pimp? interesting stuff, and having never knowingly met one myself, might be worth some kind of research (how do I do that?)&#8230; food for thought.</p>
<p>So, only two more weeks of London &#8211; this feedback session, and then a session on redrafting- then a month to redraft to a solid first draft level and we hand it in ont he 15th of January! Phew!</p>
<p>Oh I also went to the National Portrait Gallery &#8211; very cool, saw an awesome portrait of Emmeline Pankhurst which took my by surprise, and quite an astonishing picture following the passing of anti-slavery legislation where black people sit amongst politicians and peers in the 19th century houses of parliment. Stunning, really makes me want to pick up my paintbrush again- it&#8217;s been a while, I really want to work with oils but I can&#8217;t afford the paints/brushes/linseed and whitespirit that is required&#8230; ho hum!</p>
<p>I also need to earn some money, I&#8217;m just too poor. Especially now, around Christmas time&#8230; being poor isn&#8217;t nice :-(</p>
]]></content:encoded>
			<wfw:commentRss>http://www.hannahnicklin.com/2008/12/closing-time/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Draft 1 Blues</title>
		<link>http://www.hannahnicklin.com/2008/11/draft-one-blues/</link>
		<comments>http://www.hannahnicklin.com/2008/11/draft-one-blues/#comments</comments>
		<pubDate>Sun, 23 Nov 2008 16:16:00 +0000</pubDate>
		<dc:creator>Hannah Nicklin</dc:creator>
				<category><![CDATA[Update]]></category>
		<category><![CDATA[Playwriting]]></category>
		<category><![CDATA[Royal Court]]></category>

		<guid isPermaLink="false">http://www.hannahnicklin.com/?p=49</guid>
		<description><![CDATA[Sometimes I don&#8217;t half wonder if just sacking it all off and doing a PHD wouldn&#8217;t be a hell of a lot easier. But that&#8217;s just the draft 1 blues talking- I don&#8217;t know enough of my play to be comfortable with it, and I haven&#8217;t got the confidence and experience to know for certain [...]]]></description>
			<content:encoded><![CDATA[<p>Sometimes I don&#8217;t half wonder if just sacking it all off and doing a PHD wouldn&#8217;t be a hell of a lot easier. But that&#8217;s just the draft 1 blues talking- I don&#8217;t know enough of my play to be comfortable with it, and I haven&#8217;t got the confidence and experience to know for certain that I&#8217;m traveling in enough of the right direction to find it. I seem to have started writing a love story. So far nothing else has come into it. I know there&#8217;s lots of stuff simmering away, and it&#8217;s really good that I&#8217;m approaching it character and feelings first, but it&#8217;s hard to feel like it&#8217;s going to come together into saying something new, I feel like I&#8217;m like trying to give a boulder a transfusion, if you&#8217;ll let me take the metaphor to an extreme. Ona has become much more bolshie than I remember, well not remember, imagined, in my head, there&#8217;s a stoicism in her which would make you wonder why she didn&#8217;t just run away, but I think they keep her drugged a lot. And not every woman that gets trafficked can be a defeated mouse, people react in different ways don&#8217;t they? I think a lot of why I feel particularly weird with this draft is that before I&#8217;ve been very plot heavy to begin with, and this time, the characters are just talking, getting to know each other, and in a way that makes me feel vulnerable, as a writer certainly, and as a general control freak doubly so! I should really get back to it, think I&#8217;ll do some on the train tomorrow because that means no internet, and no internet means no hours of endless distractions. In the meantime, do check out the following wonderful things that I have found during hours of procrastination:</p>
<ol>
<li><a href="http://current.com/topics/88813968/target_women/new/0.htm">Sarah Haskins.</a> She&#8217;s amazing. <a href="http://current.com/items/88941392/target_women_yogurt_edition.htm">Yoghurt</a>, <a href="http://current.com/items/89525713/target_women_cars.htm">Cars</a>, and <a href="http://current.com/items/89225444/target_women_chick_flicks.htm">Chick Flicks</a> particularily worth a look, but      heck, they&#8217;re only 3 mins long each, and all hilarious.</li>
<li><a href="http://www.bbc.co.uk/iplayer/search/?q=outnumbered">Outnumbered </a>- back for a second series, and      just as brilliantly understated and true as ever, loving yet acerbic      semi-devised script, and just the right amount of precosiousness make this      worth looking out for</li>
<li><a href="http://icanhascheezburger.com/">Icanhascheezburger</a> cheers me up, every time</li>
<li><a href="http://www.it-rx.com/insults/swearing/lithuanian.htm">Swearing in Lithuanian</a> &#8211; this was      technically research, and so I didn&#8217;t even feel that bad! my favourite? <em>Kad      tau ezhys kelnese ishdygtu</em> &#8211; &#8216;let the hedgehog appear in your pants&#8217;.</li>
<li><a href="http://www.talkingbirds.co.uk/">Trevor      Goose and His Dark Night of Lights </a>- which I&#8217;m going to see in      Warwick in a couple of weeks <em>&#8220;Is it a gig? Is it a panto? Is it a      misjudged Danish cabaret? Well, it&#8217;s all three, as local heroes Talking      Birds bring to Warwick Arts Centre a Christmas Show for those who want      their festive entertainment skewed and a little bit heartbreaking.&#8221;</em> Well looking forward to it.</li>
</ol>
<p>So yes&#8230; back to writing I guess, I just struck upon the idea of using seasons, as well as Ona&#8217;s varying baby-bump, to let you know where you are in the story&#8230; might talk more about the struggles of temporal structure another time, but for now,</p>
<p>Adieu.</p>
]]></content:encoded>
			<wfw:commentRss>http://www.hannahnicklin.com/2008/11/draft-one-blues/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>London VII</title>
		<link>http://www.hannahnicklin.com/2008/11/london-vii/</link>
		<comments>http://www.hannahnicklin.com/2008/11/london-vii/#comments</comments>
		<pubDate>Tue, 18 Nov 2008 07:44:00 +0000</pubDate>
		<dc:creator>Hannah Nicklin</dc:creator>
				<category><![CDATA[Update]]></category>
		<category><![CDATA[Playwriting]]></category>
		<category><![CDATA[Royal Court]]></category>

		<guid isPermaLink="false">http://www.hannahnicklin.com/?p=48</guid>
		<description><![CDATA[Back from London again, another interesting session – and a trip to the Science Museum (which was awesome, loads to see! Might go back next week). I&#8217;m just going to do a short round up of what we did here, plus some other character work I&#8217;ve been doing, because it&#8217;s getting closer to this weekend [...]]]></description>
			<content:encoded><![CDATA[<p><span> </span></p>
<p style="text-align: justify;"><span style="font-size: 12pt; font-family: &quot;Times New Roman&quot;,&quot;serif&quot;;">Back from London again, another interesting session – and a trip to the Science Museum (which was awesome, loads to see! Might go back next week). I&#8217;m just going to do a short round up of what we did here, plus some other character work I&#8217;ve been doing, because it&#8217;s getting closer to this weekend now, and more planning is needed! So we did two halves to the session this week- the first half was written, and the second was less so. First exercise was drawing! We were asked to draw the first scene; I struggled for a second or two, trying to decide what I wanted the first scene to be, because I&#8217;d only just decided to open up the closed space form into at least 2 more places – the brothel, and a hill. I settled on the first scene being in a room in the brothel for now (where Dominic first meets Ona – see the end of this post for new character info!) and drew away- then we were asked to draw characters, including the contents of their pockets, their clothes, where they&#8217;re from etc., new/old&#8230; see pictures for some of the work. Then we wrote the first 10 lines of dialogue, and then rewrote, trying to garner different reactions from an audience- we had to shock, tickle, educate, bore, excite, intrigue and hypnotise&#8230; all very interesting- thinking about impressions of characters and spaces, creating a whole, solid world, and also thinking about how you have a direct effect on an audience- not just a piece of paper, or a story.</span><span style="font-family:Courier New;"> </span></p>
<div style="text-align: center;">
<div style="text-align: center;"><span></p>
<p style="text-align: justify;"><span><span><span><span><span><span><a href="http://i143.photobucket.com/albums/r130/hannah_nicklin/IMG_7806.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"> <img style="cursor: pointer; width: 257px; height: 190px;" src="http://i143.photobucket.com/albums/r130/hannah_nicklin/IMG_7806.jpg" border="0" alt="" /> </a></span></span></span></span></span></span><span><span><span><span><a href="http://i143.photobucket.com/albums/r130/hannah_nicklin/IMG_7803.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img style="cursor: pointer; width: 256px; height: 191px;" src="http://i143.photobucket.com/albums/r130/hannah_nicklin/IMG_7803.jpg" border="0" alt="" /></a></span></span></span></span></p>
<p></span></div>
<p style="text-align: justify;">Second half was a little bit hippy, but interesting nonetheless- we all lay down, closed our eyes, and Leo talked us through watching our play, really interesting, and good also that you weren&#8217;t allowed to break out and write things down, watched it a few times and I discovered some key moments, big parts in characters, felt like Dominic was emerging as a lead character- even though he was only a week old- interesting but not necessary a bad thing- as when I thought of his part in the story I definitely felt like it was coming together- so yes, really interesting.</p>
<p style="text-align: justify;">For homework some more interesting stuff – bringing in a small bit of writing from this play (not a problem as I&#8217;m writing it this weekend!) watching a film that in some way is influencing your thinking or has something to do with the piece, and burning a soundtrack to it! Having fun, just wish the train journey back wasn&#8217;t so long&#8230; read on for new character stuff.</p>
<p style="text-align: justify;"><strong><span style="text-decoration: underline;">Characters.</span></strong></p>
<p style="text-align: justify;"><strong>Maria<br />
</strong></p>
<p style="text-align: justify;">29, but looks older, f, upper middle class, white. University educated- but has only worked as a secretary &#8211; she met her husband at the paper company where he is a director. Maria was her husband&#8217;s third wife, he left his first wife because she couldn&#8217;t have children, and he left his second because she gave birth to a girl. Maria&#8217;s private doctor discovered a rare heart disorder in her unborn child just before its birth, so far he has been housed in a special room and because of the privilege of their healthcare, very few people are allowed to see him, Maria has discouraged her husband from seeing him until he &#8216;recovers&#8217;. Maria intends to swap her terminally ill child for a &#8216;black market&#8217; baby. She loves her handsome, well kept husband more than anything. Georg was put in contact with her for an extra fee when the doctor informed her of the abnormality and she broke down. The doctor assured her the ill child would be well cared for until he died.</p>
<p style="text-align: justify;"><strong>Ona<br />
</strong></p>
<p style="text-align: justify;">26, but looks younger, f, working class, Lithuanian. Ona was tricked into the sex trade- her father sold her, though she thought she was going to the UK to study at a university there. She was raped and beaten for weeks by those transporting her in order to make her submissive to her eventual owner, Georg. Ona is strong mentally, though quite slight, and although submissive is prone to attempts at escape, and &#8216;trouble making&#8217;. She has been told that she can leave after she has paid her travel costs, she pays her way by selling at least 5 babies. Ona has given away 2 so far, she suffered from post natal infection and depression after the first, and in a fever tried to kill herself. Ona still intends to study. She intends to become a politician or a journalist- to make people aware of the trade – to stop it. She has been talking to a journalist posing as client. She has fallen in love with him.</p>
<p style="text-align: justify;"><strong>Georg<br />
</strong></p>
<p style="text-align: justify;">31, m, very good English but hint of Eastern European. New money, flashy, good looking, stubbly, and broad. Georg is a pimp and a trafficker, he came into the business as a client, but spoke to a pimp about it and took interest, he saw much potential in his home-land as an &#8216;un-tapped resource&#8217; and began trafficking from Lithuania. He was one of the first pimps to see the opportunity for a baby trade, and has bribed many doctors in on the business. He has many premises which pose as farms. He grew up in small town Lithuania, but inherited his father&#8217;s land and made life miserable for his tenants until his urge to make more money, and to go west got the better of him.</p>
<p style="text-align: justify;"><strong>Dominic<br />
</strong></p>
<p style="text-align: justify;">Dominic is a journalist for a well known liberal broadsheet, he is planning to break a massive news story about the corruption at the heart of the baby black market. He has been posing as a client of Georg&#8217;s brothels- becoming a regular- in attempt to discover what he believes to be the other half of Georg&#8217;s business. Dominic has, however, fallen in love with Ona. He fell in love with her when he first saw her, and is willing to risk his whole operation in order to get her out.</p>
<p style="text-align: justify;"><strong><span style="text-decoration: underline;">Plot.</span></strong></p>
<p style="text-align: justify;">During the meeting to sell Ona&#8217;s 3<sup>rd</sup> child, Dominic plans to create a diversion at the baby farm in order to &#8216;rescue&#8217; Ona. However Maria stops her leaving, and Dominic gets caught.</p>
<p style="text-align: justify;">
</div>
<p><span> </span></p>
]]></content:encoded>
			<wfw:commentRss>http://www.hannahnicklin.com/2008/11/london-vii/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>The Universe of the Play</title>
		<link>http://www.hannahnicklin.com/2008/11/the-universe-of-the-play/</link>
		<comments>http://www.hannahnicklin.com/2008/11/the-universe-of-the-play/#comments</comments>
		<pubDate>Sun, 16 Nov 2008 17:41:00 +0000</pubDate>
		<dc:creator>Hannah Nicklin</dc:creator>
				<category><![CDATA[Update]]></category>
		<category><![CDATA[Playwriting]]></category>
		<category><![CDATA[Royal Court]]></category>

		<guid isPermaLink="false">http://www.hannahnicklin.com/?p=47</guid>
		<description><![CDATA[Eismas/Traffic The universe of the play. Setting – a dilapidated house the midlands (Leicestershire?) a suburb. Also, a hill, surrounded by flooding, and a brothel. Date – early autumn 2043 So as I said last week – key to the effect of examining now (though whilst still maintaining attachment) through Science Fiction theatre- is sustaining [...]]]></description>
			<content:encoded><![CDATA[<p align="center"><strong><span style="text-decoration: underline;">Eismas/Traffic</span></strong></p>
<p align="center"><strong><span style="text-decoration: underline;">The universe of the play.</span></strong></p>
<p>Setting – a dilapidated house the midlands (Leicestershire?) a suburb. Also, a hill, surrounded by flooding, and a brothel.</p>
<p>Date – early autumn 2043</p>
<p style="text-align: justify;">So as I said last week – key to the effect of examining now (though whilst still maintaining attachment) through Science Fiction theatre- is sustaining belief- and as well as well founded characters, this means <em>universe</em> – the play&#8217;s entire socio-politcal history needs to be totally solid, and although it may not appear at any point specifically- it is, in essence, the foundation of the world that your trying to get an audience to buy into- thus it needs to be structurally sound. Sorry for all the building metaphors- my brains a bit mushy after all this socio-political thinking&#8230; anyway, this is what I have been working on as my next 35 years of history- bringing us up to the date of my new piece- 2043. The following stuff isn&#8217;t written incredibly eloquently as its more notes for my purpose than anything else, but I thought it might be interesting for you to take a look at my imagining of the world. Everything here is © me by the way (not sure if I would get to sue the world if it actually happened though). So yes, comments on plausibility would be very welcome!</p>
<p><strong>Political context<br />
</strong></p>
<p>Following a very close election in 2010, a Tory government got in with an almost unserviceable majority, the labour party dissolved into disarray and infighting, and the Tory government leant further to the right in the ensuing years. Following their defeat, many new labour supporters left the party, or defected to the Lib Dems, leaving an older, more socialist, and crucially, much more out of touch Labour party to remain. Three terms of a narrow Tory Majority followed, with Labour and the Lib Dems fighting for the &#8216;second party&#8217; spot, rather than attempting to rival the Tories. During this time the Tories slowly and subtly undermined the NHS; under the guise of &#8216;more choice&#8217; NHS customers are encouraged to go private for more expensive treatments with government &#8216;F1rst Aid&#8217; – a system which subsidises private healthcare costs and insurance. At the same time immigration is tightened- but no provision for the training of home-grown medical professionals is made. The standard of NHS care falls dramatically, antenatal services, and GP care suffers the most, followed closely by home-care and disability services, which disintegrates into a confusing system of private companies. The North of England and Scotland suffers an obesity epidemic, and smokers, those with a BMI of over 28, and other addicts (alcohol, drugs) are refused NHS treatment. Labour managed to re-unite and claw back a small majority in the 2022 on the basis of reinstating the NHS, and make small reforms. However the biggest change they implement is to throw their lot in with the EU – and in doing so secure valuable loans from Germany, and much needed power from France.</p>
<p>On the 22<sup>nd</sup> of July 2015, after increasing terrorist threats, and a small attacks across Europe, a large scale, multi-location terrorist bombing of Europe and Russia, Paris, London, Dublin, Rome, Berlin, Amsterdam, hits within minutes of each other. Evidence leads much of Europe to accuse Russia of funding Islamic Extremists and the relationship between the UK and Russia breaks down. Following the disaster (and due, in part, to America&#8217;s falling status in the world), the UK finally finds solace in Europe, and the EU member states come together to work on a united anti-terrorist, security strategy. This unprecedented close-working marks a coming together of Europe that moves the EU&#8217;s focus from trade irrelevancies, to a more global-governance led role. The EU begins to treat the member-states&#8217; prime ministers as a kind of cabinet.</p>
<p>At the same time, growing financial difficulty, low yields in home-grown crops because of increasingly unpredictable weather and three years of devastating flooding across the world 2026-2029, has caused global food shortages. The UK government attends EU talks that consider rationing, widespread famine across Africa goes unaided, and the EU calls to power an emergency meeting of the EU leader-states.</p>
<p>In the UK the flooding and widespread animal disease in 2026-2029 (dubbed the Black Summers) causes the Labour government become unpopular, and the Tories win a general election campaign in 2030 based on the idea that Labour is rolling over to EU leaders, and the UK is losing its place as a world leader. However, because the UK now relies so heavily on German loans and French Power, the UK cannot conceivably leave the EU, instead, in the 2031 emergency meeting to discuss food, healthcare, and housing shortages, Britain takes a leading, and some said, purposefully divisive role in talks. The UK demands that living standards, food, power usage etc, be preserved and suggests a revolutionary, yet attractive solution – a single child policy. The EU states eventually decide to implement a one child policy, uniformly across the member states. Though Greece, Bulgaria, and Slovenia leave the EU in protest of it.</p>
<p>This joint decision cements the EU as a collection of united states, and from this point on, trade, movement, and health provision between member states begins to move towards being considered one and the same.</p>
<p><strong>The one child policy</strong></p>
<p>As it is the women that have the children, it is proposed that a woman, rather than a couple, is limited to one child, to prevent people from being promiscuous or &#8216;sharing&#8217; families. The single female head of state present (the prime minister of Iceland – now a member of the EU following financial aid decisions made in the 2007-12 financial turmoil) tries to block this but her logic is lost on the other head of states). It also seems logical that a child, more precious in these circumstances, should be able to be provided for to an excellent standard – in terms of education- health, food and welfare- thus the idea of a permit, is reached at. One child per permit-awarded woman. Sterilisation following that child is considered mandatory, and later amendments to the policy included rulings that Infertile couples would not be allowed to undergo fertility treatment, and if a child died, parents are no to be allowed to have another.</p>
<p><strong>Social effect of one child policy<br />
</strong></p>
<p>Despite mass protests to the one child policy (citing article 16 of the universal declaration of human rights as being in violation of it) vast campaigning on the lines of sustaining current living standards, the damage done to children who cannot be properly provided for, and a generous system of tax cuts, a (very leading) national referendum passes the decision.</p>
<p>Following this success the Tory government redistributes the money ploughed back into the NHS by the old Labour government as mandatory birth control is put in place. The permits begin to be distributed and are at first voluntary- acquiring a permit and only having one child is rewarded by tax breaks and substantial money off education and healthcare, likewise, families that have more than one child after January 2032 receive no benefit or tax cuts, or even students loans. By 2038, the NHS is almost unrecognisable, its main focus is birth control, likewise the small service charge (similar to that of an ID card or Passport) on a C1-permit has risen to reflect &#8216;rising shortages in basic welfare provision&#8217; and, it was argued in the last election, to prove, in basic outlay, that a family can provide for said child to an &#8216;adequate degree&#8217; a C1-permit now costs upwards of €20,000, which (it is argued) is all paid back in terms of free health care, education and nutritional benefits.</p>
<p>However, as often happens, many aspects of the real effects of the policy aren&#8217;t realised until they happen – the focus on caring the utmost for the children that are had, and the free reign of birth control and inability to afford permits separates the working and middle classes more than ever before. A working class life is largely without children, and consists of raunch culture, tabloids, careless sex, drink, and poor nutritional habits, as well as a huge demand for prostitutes which increases trafficking (primarily from Eastern Europe) to an un-policable level. Manual labour is much in demand in a new world of home-grown food stocks but UK residents not keen to work the land. It becomes much more common for working class men and women to join the armed forces, or to become homeless, ill, or severely depressed. Race becomes less of an issue as religion becomes more of one, though many ethnic minorities are much more likely to be working class. A middle class life takes one route for men, and one of two for women. With a return to traditional foodstuffs, and thus lifestyle and spending/saving, the &#8216;man of the house&#8217; and &#8216;the housewife&#8217; makes a resurgence- it is important to be seen to care perfectly for valuable children. Middle class women who do not choose to have children are generally looked down on as &#8216;not natural&#8217; – and their difficult ascendancy into the workplace and academia since the turn of the 20<sup>th</sup> century begins to be more and more undermined. Likewise, the single child policy has a devastating effect on relationships, the placing of the permit on the head (or womb) of women means that men will go through several wives in order to secure an heir (male usually desirable). Likewise, financial pressure on men to be the best earners- and therefore the best potential fathers causes widespread depression, middle-class alcoholism and break down. Out of the desperation of couples desperate for a child, or women, desperate to keep a husband, a black market in babies emerges – hand in hand with the new surge in prostitutions. &#8216;Baby farm&#8217; operations begin to emerge in the largely deserted East of England (Lincolnshire, parts of Yorkshire and Cambridgeshire) – some women trafficked into the sex trade in cities are kept off birth control until pregnant- when they are not accepted by punters they are retired to baby farms (in large operations, or just another house in smaller ones). Here they wait to give birth, whilst the pimp secures a buyer. If a child is born with a disability, an illness or abnormality, a girl, or a desperate mother wants to fake a pregnancy (perfectly possible amongst the new, privatised healthcare system) they can secure a replacement child at a cost.</p>
<p><strong>Economic context<br />
</strong></p>
<p>During the global economic crisis 2007-2012 due to the impact of 80s deregulation, bad debt, and bad bets on the part of brokers, the world market near-collapsed. Countries hit 1000% inflation, there were runs on banks, hundreds of thousands of people world-wide lost jobs and homes, and western countries had to borrow a great deal to shore up financial systems built on previously shoddy foundations. The US particularly took out trillions of dollars worth of loans, primarily from the People&#8217;s Republic of China. The new hope invested in the country&#8217;s first black president quickly dissipated as it became clear he was not a panacea to the nation&#8217;s ills- his unprecedented and earnest calls for a change in habits of spending, and a return to more traditional savings principals fell on deaf ears and he could only watch as the national wasted itself away. Meanwhile Russia hiked its threats to build nuclear bases threatening to US positions, and renewed debating of the position of Georgia and South Ossetia, this time allying itself with China. China had hitherto not sought to influence much outside its own interests, but as its power and unassailable economy, built on the broken backs of its nation, began to outgrow simple prosperity, China began to take an interest in effect world events in order to secure more sway over others. During the second South Ossetia conflict in 2013 the US was on the front line of peace keeping troops, or intended to be, however China called in some important debts, and marked, for the first time, the US&#8217;s capitulation to a superior world power. Throughout the Decades the US began to fade as jobless, homeless and sick people at home demanded more attention. And natural disaster after another affected crops, and lost people their homes. The Democrats held onto power for two terms, but then were ousted by a Republican campaign driven entirely by the extreme religious-right – a return to &#8216;traditional values&#8217; was put as a solution to the US&#8217;s economic woe, as it was inferred that the troubles of the past decade was a kind of punishment. Once in power the Republicans put in a highly questionable tax system that left state services hideously underfunded and relaxed taxes on the rich, they put most of their time into revoking a great deal of equal rights legislation under the guise of &#8216;tradition values&#8217; and the country sank into quasi Christian-fundamentalist squalor, with a super rich and a struggling super-poor majority, manual labour kept food supplies up and the great, new, working class were kept in place by the fear of the church. Many Americans left in this time, and were welcomed in Australia, New Zealand, and for a while, Europe. Despite a greater prevalence of religious extremes and attacks, the UK, especially following alliances with secularised countries such as France, retains its secularity, and faith, in any area of public life becomes frowned upon.</p>
<p>Russia and China thus rose as substantial economies, Russia with oil, gas, land for power stations, and China with produce, a work force. The solidifying of this partnership was instrumental in also solidifying the EU member states into one, and soon, the EURO was the accepted currency throughout the whole of Europe, relationships tied by previous heavy loans existing between EU countries, shoring the economy from within. In 2017 The EU changed tax policy so that countries were encouraged to source almost all of their produce from within the EU and dietary and living standards changed as a result of this- as more regional and traditional foodstuffs made a comeback- for example Rabbit and Mutton became popular meats because of their eating grass and not labour and fuel intensive grain. By 2023 each country was required to have a Ministry of Food from which food trade was dealt with directly, and eventually, often without direct monetary involvement, as the EU strove to become self sufficient, as well as a rival economic power to the Russo-China (later joined by India) alliance.</p>
<p><strong>Environmental context</strong></p>
<p>The three year floods and devastating livestock disease epidemics of the Black Summers have been the most obvious environmental impact of the past 35 years. During the floods, large swathes of the east cost, Cambridge, Peterborough, and parts of London were submerged for months. The Labour government (during a brief move of the houses of parliament to Birmingham) struggled to reclaim the land with insufficient resources, and when the Tory government of 2022 come to power, one of their main policies was &#8216;prioritisation&#8217;. What this amounted to was abandoning a large amount of the north-eastern coast and inland flood plains, concentrating on reclaiming and re-enforcing the &#8216;key economic and cultural/industrial sectors&#8217; of the more southerly areas hit. Though waters receded, much of the land is no longer used for agriculture, and very few people still live there, favouring much larger cities, or the new agricultural heartlands of Wales and the South West.</p>
<p>UK weather has become much milder and wetter during the long April-September summer with plunging temperatures and snow in winters from October to March.</p>
<p>Power provision for the UK largely comes from France&#8217;s nuclear facilities the UK closes its last coal-fired power station in 2037. Some few nuclear power stations are owned by the UK government, but most (located in Scotland) are owned and run by France.</p>
<p>Many, many people die from flood and famine across Africa, and without aid from countries no longer rich enough to help others and rising temperatures and great bushfires, vast swathes of the continent become deserted.</p>
<p><strong>Technological context<br />
</strong></p>
<p>Great advances have been made in computing power and connectivity, wifi is available to all, free, and everywhere. Mobile phone signal is blanket cover and companies are EU-wide. Screens and mobile device technology are vastly more powerful and lighter, and advertising has become more significant –and often involves moving image. A revolution in battery nano-technology (batteries made of organic matter than reproduces) in 2032 has made landline phones defunct and portable technology much more flexible. Transport is largely electrical, though poorer people who cannot afford new electric cars but need transport continue to pay through the nose for petrol. Porn and online communities have played a large part in quelling the unfulfilled needs of the lower classes.</p>
]]></content:encoded>
			<wfw:commentRss>http://www.hannahnicklin.com/2008/11/the-universe-of-the-play/feed/</wfw:commentRss>
		<slash:comments>5</slash:comments>
		</item>
		<item>
		<title>There and Back Again</title>
		<link>http://www.hannahnicklin.com/2008/11/there-and-back-again/</link>
		<comments>http://www.hannahnicklin.com/2008/11/there-and-back-again/#comments</comments>
		<pubDate>Mon, 10 Nov 2008 17:16:00 +0000</pubDate>
		<dc:creator>Hannah Nicklin</dc:creator>
				<category><![CDATA[Update]]></category>
		<category><![CDATA[Playwriting]]></category>
		<category><![CDATA[Royal Court]]></category>

		<guid isPermaLink="false">http://www.hannahnicklin.com/?p=45</guid>
		<description><![CDATA[Back by popular request (well, actually just Lucy and my Dad, but that&#8217;s one more request since last year, so woo!) I am blogging nice and promptly following my 6th week of 11 working on a piece with the Royal Court Young Writers Program. Though be warned, it&#8217;s too late to expect accurate punctuation, my [...]]]></description>
			<content:encoded><![CDATA[<p style="text-align: justify;"><a href="http://4.bp.blogspot.com/_fqj10f_bXsQ/SRjQ-33OTcI/AAAAAAAAAMg/W4NiHPQEFFg/s1600-h/06.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img id="BLOGGER_PHOTO_ID_5267189542775836098" style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 320px; height: 211px;" src="http://4.bp.blogspot.com/_fqj10f_bXsQ/SRjQ-33OTcI/AAAAAAAAAMg/W4NiHPQEFFg/s320/06.jpg" border="0" alt="" /></a><span></p>
<p></span></p>
<div style="text-align: justify;">
<p>Back by popular request (well, actually just <a href="http://lucyannwade.blogspot.com/">Lucy</a> and my Dad, but that&#8217;s one more request since last year, so woo!) I am blogging nice and promptly following my 6th week of 11 working on a piece with the Royal Court Young Writers Program. Though be warned, it&#8217;s too late to expect accurate punctuation, my two wonderful spelling/grammar/punctuation/style books that I got for my birthday are, as yet, woefully neglected.</p>
<p>Today at the Court was a tutorial week, felt a bit weird going to London for only half an hour, to talk about an idea that&#8217;s quite solid anyway, and have a smattering of advice that I&#8217;m already mostly aware of, but it was rewarding in the fact that <a href="http://www.doollee.com/PlaywrightsB/butler-leo.html">Leo</a> and the new literary assistant Natalie (can&#8217;t remember second name, she&#8217;s a director too) were really excited about the potential of the piece. I don&#8217;t really want to give too much away about it yet. I know next to no one read the blog so it&#8217;s not the nicking of the idea I&#8217;m worried about- It&#8217;s just so&#8230; current that it, it feels a little unlucky to talk about it – jinxing and all that. Despite being a hyper-rationalist, and empiricist in terms of outlook and beliefs, and (sorry all) thinking religions are a lot about what&#8217;s wrong with the world, and the good they bring not <em>really</em> about goodness, but about fear- I still have little habits or superstitions- as I&#8217;m sure all do. Magpies is one, I can&#8217;t help but say &#8216;one for sorrow&#8217; (I&#8217;m even feeling funny to type it) in my head whenever I see one (so many in the West Midlands!) and after then I <em>need</em> to see another in order to say &#8216;two for joy&#8217;, which ultimately ends up in my &#8216;saving&#8217; ones to match with others in a weird record-keeping system in my head. Yep. Want another? Well I wish on stars (though don&#8217;t you dare even consider that I might tell you a wish, lest it might not come true) not that unusual? I preface each wish with <em>star light star bright the first star I see tonight, I wish I may I wish I might have this wish I wish tonight </em>AND THEN address the wish with my full name and address, just in case they don&#8217;t know where to find me. My mum once kindly described this as a mind that liked to be continually active. Otherwise known as more than a little bit of crazy&#8230; any way. To go into too much detail about the new play feels a little too soon for many reasons, both rational and irrational.</p>
<p>However, now I&#8217;ve built this up so much I feel that I should furnish you with at least a little info:</p>
<p>1) it&#8217;s set in the future – 30-40 years</p>
<p>2) it is set amid a global food crisis, years of washed out crops, and dwindling resources, along with disease almost outstripping modern medicine, and healthcare costs spiralling all of which have resulted in the EU bringing in a one child policy- you purchase a permit (this meaning you are rich enough to afford a decent and healthy lifestyle for your child)- and only one permit is allowed, per woman, per life time.</p>
<p>3) the piece looks at the fate of one woman trafficked to the UK, not just for the sex industry, but for the newly sprung black market trade in babies, and a second, whose terminally ill newborn is threatening her marriage – her husband wants a male heir, and has left two previous wives in order to procure one. The play brings these two together.</p>
<p>In discussing this with Leo and Natalie- both seemed really excited and interested in the potential of the piece. And they both hinted in their advice at what I feel is key to writing this kind of Sci-Fi theatre, maintaining that all important suspension of disbelief . In order to do this I must be totally and 100% certain of the rules of my universe- I need to know every political and sociological and environmental event that has occurred between now and then that has created this world, and everything in it. And also, I need to go abot gently engaging the audience, so that an automatic recoil &#8216;this isn&#8217;t about or relevant to me&#8217; doesn&#8217;t occur. This may be through using naturalistic language and setting, a recognisable <em>Format</em> (such as the dinner party – <a href="http://www.amazon.co.uk/Top-Girls-Methuen-Student-Editions/dp/0413644707"><em>Top Girls</em></a> an excellent example) but above all, it always, always has to be through the characters- because above all we have our humanity, our shared destiny in common. And in fact an idea of a shared present and a shared future is vital to <a href="http://www.hannahnicklin.co.uk/Plays-Theatrical-Aesthetic.html">my idea</a> of using Sci-Fi in theatre. Although much Sci-Fi &#8220;presents aspects of a reader&#8217;s empirical reality made strange through a new perspective [...] This recasting of the familiar has a &#8216;cognitive&#8217; purpose, that is, the recognition of reality it evokes from the reader is a gain in rational understanding of the social conditions of existence&#8221; (Csicsery-Ronay Jr 2003, 118) The setting of current troubling aspects about our unsustainable lives in an extrapolated future would allow a deeper and more detailed examination of the possible damage we could do ourselves, as well as distancing the issue far enough that it might be looked upon with an eye on the wider socio-political implications. I also think this perhaps too clinical outside eye is tempered by emotion- because more your suspension of disbelief is pushed- the more you have invested in a piece emotionally, and the more you, as one in many (an audience) has contributed to a whole – rounding off the edges of the socio-political commentry nicely.</p>
<p>(Ideally&#8230;)</p>
<p>The first rough draft is due on the 1<sup>st</sup> of December, I have set aside the weekend of the 22<sup>nd</sup>/23<sup>rd</sup> for the big write, and the weekend previous (this one coming in fact) to do some hardcore character/world exploration.</p>
<p>So yes, I think that&#8217;s mostly all that&#8217;s on my mind RE writing atm, except for my worrying lack of money, which is on my mind all the time anyway. I really, really need to make some money out of writing within the next 10 months or so, otherwise student debts demand that I get myself a full time job. I can&#8217;t pretend the pay wouldn&#8217;t be very welcome- but I&#8217;m not very good at proper jobs, I mean I work hard, but to be quite honest, I&#8217;m just not a 9-5 kind of person, no matter how awesome the job, and the fact that I do work hard, I still feel empty. I&#8217;m a 12-8pm worker, who is very selfishly on really interested in doing things that really drive and interest&#8230; and writing is really the only thing I&#8217;ve found so far I think that fits that. (oh me, oh my, why don&#8217;t I go off and have a little cry) But I&#8217;m sure there are plenty of writer-to-be blogs out there bemoaning how difficult it is, fact is, I shut up, work hard, and with a bit of luck, get there. So yes. That&#8217;s all the emo you&#8217;ll be getting out of me tonight.</p>
<p>Right. Up the apples and pears to Bedfordshire&#8230; (snuggling up with Lord of the Rings courtesy of <a href="http://morpheanramble.blogspot.com/">Morph</a> this week). Much love to all and sundry.</p>
<p>(Mini Bibliography:)</p>
<p>Csicsery-Ronay Jr, Istvan. &#8220;Marxist Theory and Science Fiction.&#8221; In <em>T<a href="http://www.amazon.co.uk/Cambridge-Companion-Science-Companions-Literature/dp/0521016576/ref=sr_1_1?ie=UTF8&amp;s=books&amp;qid=1226363885&amp;sr=8-1">he Cambridge Companion to Science Fiction</a></em>, by Edward James and Farah Mendlesohn. Cambridge: Cambridge University Press, 2003.</p>
<p>Image- chose this because of the idea of time travel and silly childish superstitions &#8211; it&#8217;s a really old photo of my and my little brother, in Lincoln I guess.</p>
<p><span style="font-size:85%;"></p>
<p></span></div>
]]></content:encoded>
			<wfw:commentRss>http://www.hannahnicklin.com/2008/11/there-and-back-again/feed/</wfw:commentRss>
		<slash:comments>4</slash:comments>
		</item>
		<item>
		<title>London, Still</title>
		<link>http://www.hannahnicklin.com/2008/11/london-still/</link>
		<comments>http://www.hannahnicklin.com/2008/11/london-still/#comments</comments>
		<pubDate>Tue, 04 Nov 2008 07:04:00 +0000</pubDate>
		<dc:creator>Hannah Nicklin</dc:creator>
				<category><![CDATA[Update]]></category>
		<category><![CDATA[Playwriting]]></category>
		<category><![CDATA[Royal Court]]></category>

		<guid isPermaLink="false">http://www.hannahnicklin.com/?p=44</guid>
		<description><![CDATA[Another day, another savagely late post. Apologies to the very few people who read this blog! I am very hard up for time, again. I was away all last week, and am mostly catching up. Next week for the RC we have individual 1/2 hour tutorials to discuss potential ideas for our new play, so [...]]]></description>
			<content:encoded><![CDATA[<p style="text-align: justify;">Another day, another savagely late post. Apologies to the very few people who read this blog! I am very hard up for time, again. I was away all last week, and am mostly catching up.</p>
<p>Next week for the RC we have individual 1/2 hour tutorials to discuss potential ideas for our new play, so I need to sort out my ideas in my head (I have a couple of srtongish- impressions which I am considering combining if possible). I went the the V&amp;A museum yesterday with my spare London-time &#8211; it was good, but I think after a while my brains topped taking in the beautiful objects.</p>
<p>In other news, I am bloody fed up of having wet feet, so I am selling a piece of spare PC stuff in order to buy a pair of boots.</p>
<p>I read all of the previously mentioned plays (see below), as well as Caryl Churchill&#8217;s <em>Drunk Enough to say I Love You </em>(which puts the Bush/Blair relationship as a stilted relationship between two gay lovers) and found them all very different but each very valuable in terms of different styles of writing theatre (as I&#8217;m sure was intended). I think I found Woyczeck the most stylistically interesting, but (as usual) struggled with most of the female characters, or messages about women in all the plays (except those in <em>A Raisin in the Sun</em>) -it&#8217;s not to say that bad, mean, unthinking, singularily sexualised women don&#8217;t exist, but they <em>are</em> others too&#8230; A thought for another day perhaps. When you write for an under-represented group, you are almost always &#8216;representing&#8217; not just &#8216;portraying&#8217;, doubly so in <em>A Raisin in the Sun &#8211; </em>another reason why that play is so astonishing. Do read it. I wish I could see it, I think it would have quite a transformative feeling/effect.</p>
<p>Anyway, must get on. Need to formulate ideas for my new play, tentaively titled <em>Eismas/Mine.</em></p>
<p>tataa.</p>
]]></content:encoded>
			<wfw:commentRss>http://www.hannahnicklin.com/2008/11/london-still/feed/</wfw:commentRss>
		<slash:comments>2</slash:comments>
		</item>
		<item>
		<title>London III</title>
		<link>http://www.hannahnicklin.com/2008/10/london-iii/</link>
		<comments>http://www.hannahnicklin.com/2008/10/london-iii/#comments</comments>
		<pubDate>Wed, 22 Oct 2008 15:45:00 +0000</pubDate>
		<dc:creator>Hannah Nicklin</dc:creator>
				<category><![CDATA[Update]]></category>
		<category><![CDATA[Playwriting]]></category>
		<category><![CDATA[Royal Court]]></category>

		<guid isPermaLink="false">http://www.hannahnicklin.com/?p=43</guid>
		<description><![CDATA[Hello, hello, I&#8217;m a bit late posting this week, life, as it does, has been beginning to get in the way, less and less time to squeeze things in, so obviously, the immediately productive things, like scene writing and play reading, come first, blog writing, and apparently, sentence structure, latterly so. The third trip down [...]]]></description>
			<content:encoded><![CDATA[<div style="text-align: center;"><a href="http://1.bp.blogspot.com/_fqj10f_bXsQ/SP-uSkGtHBI/AAAAAAAAAJs/SvPpSwXGeu4/s1600-h/IMAGE_051.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img id="BLOGGER_PHOTO_ID_5260114523744705554" style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://1.bp.blogspot.com/_fqj10f_bXsQ/SP-uSkGtHBI/AAAAAAAAAJs/SvPpSwXGeu4/s400/IMAGE_051.jpg" border="0" alt="" /></a><span style="font-family:Courier New;"> </span></div>
<div style="text-align: justify;">
<p>Hello, hello, I&#8217;m a bit late posting this week, life, as it does, has been beginning to get in the way, less and less time to squeeze things in, so obviously, the immediately productive things, like scene writing and play reading, come first, blog writing, and apparently, sentence structure, latterly so. The third trip down to London this time, and the second half of the Natural History Museum (see the picture &#8211; ironically enough, very relevant to later, you&#8217;ll see!), before schlepping through the rain to the RC. I would be tempted to write a much shorter entry had the session been run of the mill, but it actually offered a really useful and refreshing systematic approach to playwriting. Not to say that the rest isn&#8217;t extremely useful, it&#8217;s just having taken part in quite a few workshops with TWP and the MPhil, it was excellent to hear a wholly new approach. The worst thing is I can&#8217;t for the life of me remember the name or the exact position of the woman who led the session! Suffice to say she&#8217;s high up in the literary dept. (she may have been the head of it). Anyway, what was so refreshing about what was in essence, a structural seminar, was that instead of admitting grudgingly that &#8216;yes the 3 act structure is mainly for films, though there is currency in it, and although Aristotle was a very very long time ago and writing in a different world, he makes a lot of sense, if you look at it objectively&#8217; she pretty much threw that out the window straight away, and then crucially, she offered <em>an alternative</em>. The Storm Play. She suggested that the best, greatest , and earth shattering plays are Storm plays, plays that admit life to be chaotic, indivisible, and as unpredictable as the weather. Following on from Brook&#8217;s assertion that &#8216;theatre is life concentrated&#8217; (I&#8217;m probably paraphrasing) she suggested that we think in organic terms, about plays as living systems, as unpredictable and volatile as the weather/the global economy/the political arena etc. There are 4 key definitions of a living system:</p>
<ol>
<li>They      exist on the edge of chaos – they are ever changing (and never in the      &#8216;equilibrium&#8217; that the life-manuals so desire (equilibrium=death!))</li>
<li>They      are dynamic and never stay still – there is high and low pressure, energy      moves out and in. (think entrances/exists/catalysts/characters)</li>
<li>They      move constantly between order and disorder – moments of change provoke      evolution. <em>Disorder is the place where change happens. </em>(and follows      on from the previous point)</li>
<li>They      respond to disturbances by rearranging their patterns- the system is      pushed to a point where either it must change or die (both of these are      possible outcomes). In Chekhov&#8217;s <em>The Seagull</em>, the suicide is caused      by the character&#8217;s inability to adapt.</li>
</ol>
<p>Thus the idea of (not entirely discarding the 3 act structure, but changing the structural emphasis to) the &#8216;storm&#8217; in a play, was posed as a manner of thinking about playwriting. To consider your job as constructing a living system, to acknowledge that you cannot direct that system, only put pressure on it and disturb it in order that you discover the edges, and find your way to the eye of the storm (heart of your play). You can also consider this on a smaller scale- in dialogue- dialogue can be seen quite easily as a living system – good dialogue is under pressure (else why speak?), it is dynamic, it moves between order and disorder and rearranges itself according to the characters&#8217; intentions- we talk in order to change people &#8211; which is (apparently I have no source for this and it&#8217;s too late to look) an evolutionary imperative.</p>
<p>It was a very interesting a quite releasing approach to playwriting, I have to say that I have always felt incredibly bogged down by thought on act structure- forcing plays into boxes, obviously plays <em>need </em>structure- I&#8217;m not going all hippy about this, but the session sort of articulated and made ok, something I have always felt I was failing slightly at- strict structure. An organic approach, seems much more sensible, and at this stage in my writing, very useful.</p>
<p>There is more to talk about in terms of the scene that I&#8217;ve been actioning/redrafting, and the 5 plays which I have now read (see previous post for titles), but it really is time for bed, work tomorrow, followed by another weekend away, I&#8217;m not back until next Tuesday, and am (again) fast losing the ability to grammarise. So yes, I shall leave you. I think I may not have done the RC lady justice (not least in not remembering her name) and assure you that it was very definitely not hippyish- just more like new science is to old science, if that makes sense.</p>
<p>Good wishes to all.</p>
<p><span></p>
<p></span></div>
]]></content:encoded>
			<wfw:commentRss>http://www.hannahnicklin.com/2008/10/london-iii/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>London II</title>
		<link>http://www.hannahnicklin.com/2008/10/london-ii/</link>
		<comments>http://www.hannahnicklin.com/2008/10/london-ii/#comments</comments>
		<pubDate>Tue, 14 Oct 2008 11:25:00 +0000</pubDate>
		<dc:creator>Hannah Nicklin</dc:creator>
				<category><![CDATA[Update]]></category>
		<category><![CDATA[Playwriting]]></category>
		<category><![CDATA[Royal Court]]></category>

		<guid isPermaLink="false">http://www.hannahnicklin.com/?p=42</guid>
		<description><![CDATA[So, my second visit to London, and I had a much better time of it. This time I went to the Natural History Museum, and thoroughly enjoyed myself! I enjoyed it much more than the Tate Modern&#8230; not sure what that says about me! But yes, walked around the dinosaur bit- and the animal/human biology [...]]]></description>
			<content:encoded><![CDATA[<p><a href="http://4.bp.blogspot.com/_fqj10f_bXsQ/SPTk2L0VHZI/AAAAAAAAAJk/bfoaYKoUkgg/s1600-h/IMG_6718.JPG" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img id="BLOGGER_PHOTO_ID_5257078284584557970" style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 258px; height: 146px;" src="http://4.bp.blogspot.com/_fqj10f_bXsQ/SPTk2L0VHZI/AAAAAAAAAJk/bfoaYKoUkgg/s400/IMG_6718.JPG" border="0" alt="" /></a><span style="font-family:Courier New;"> </span></p>
<div style="text-align: justify;"><span></p>
<p></span>So, my second visit to London, and I had a much better time of it. This time I went to the <a href="http://www.nhm.ac.uk/">Natural History Museum</a>, and thoroughly enjoyed myself! I enjoyed it much more than the <a href="http://www.tate.org.uk/modern/">Tate Modern</a>&#8230; not sure what that says about me! But yes, walked around the dinosaur bit- and the animal/human biology wing, and before I knew it, it was time to go! Only did about a ¼ of it, so I think I may go back next week, South Kensington also has the <a href="http://www.vam.ac.uk/">V&amp;A</a> and <a href="http://www.sciencemuseum.org.uk/">Science Museums</a>- enough to keep me happy for a good few weeks I reckon, and then perhaps spend a day in one of the parks, and <a href="http://www.npg.org.uk/live/index.asp">the national portrait gallery</a>. Also, the food in London- how good? So many different types and awesome smells, makes me wish I wasn&#8217;t so poor I had to take my own pack up!</p>
<p>So it got around to 7pm again, and I made my way to the RC for session numero deux. We began by discussing <a href="http://www.royalcourttheatre.com/whatson01.asp"><em>Now or Later</em></a> by <a href="http://www.christophershinn.com/">Christopher Shinn</a> (which we had been given to read the previous week). Overall It&#8217;s a really interesting piece, sort of an American state-of-the-nation play. Be warned, if you intend on reading it/going to see it for yourself, (and I would recommend it) the rest of this paragraph contains spoilers. The piece follows the son of the soon-to-be president elect of the USA (John) on the eve of his father&#8217;s electoral victory (John Snr.). It is almost certain that his father (a democrat) will take the presidency, and this is not the issue- rather the rather sticky situation of pictures of John Jnr. appearing at an Ivy League college party dressed up as Mohammed. There also emerges a video of him simulating fellatio on &#8216;Pastor Bob&#8217; – a Christian far right fundamentalist loony. Think Harry dressing up as a Nazi had he been 3<sup>rd</sup> in line to the throne on VE day. However this is not a stupid prank, John Jnr had recently been embroiled in some complicated freedom of speech issues on campus- anti-Muslim cartons had been put up and Muslim groups on campus had used this to challenge the university&#8217;s freedom of speech policy- demanding punishment, calling the pictures an incitement to hatred/violence. John wrote a piece in the student magazine defending the freedom of speech policy which was the construed into an attack on the Muslim groups. A female liberal fellow student who also happens to be holding a &#8216;naked party&#8217; attacks John Jnr in a lecture regarding this, he and a friend (on the spur of the moment) decide to go to the party as Mohammed and Pastor Bob to make clear the irony of the student completely defending the Muslim group&#8217;s right to quash freedom of speech- whilst also holding a party that a Muslim state would render illegal. The whole piece centres on whether or not John will make a statement apologising for his actions.</p>
<p>The play makes some interesting and uncomfortable points about the clash between public and private worlds, about the &#8216;narrative&#8217;-driven nature of modern politics, the difficult nature of left wing politics with regards to Islam, all played out within the gulf between a father and his son. Several very good points were made in the RC group discussion – for example the choice to close the piece down into a single space/time frame, to allow the complex issues to breathe, and also, the choice not to have a Muslim voice in the piece, which I think made it much clearer the confusion and misconceptions, and also doesn&#8217;t pretend to even begin to understand the other viewpoint. It <em>is</em> an uncomfortable read, phrases such as &#8216;these people&#8217; and &#8216;more sophisticated than them&#8217; made me cringe, but also made me think &#8216;yes I believe in the right to believe what you want, but a religion, any religion that disagrees with that, I must also disagree with- any kind of evangelist sect/religion&#8217; I also have very deeply held beliefs about the freedoms of women, and although my dissertation research revealed that Islam is not historically sexist, and indeed stresses complete equality in monetary, personal and business spheres, it has (like many other religions) been subsumed by patriarchy, from which we get FGM, dowry, female-property laws, ridiculous rape laws et al. But the fact of the matter is that literal Islam &#8211; as it is read by many, fundamentally subjugates women, gay people, and other freedoms and human rights. The play emphasised the difficulty of this liberal debate by placing someone (gay, incidentally) seeing a situation in black and white, set against a debate of many, many shades of grey. I think that the play was overall very economical and well crafted, though perhaps suffered for the great weight of ideas and difficult argument (even 3 hours long I don&#8217;t think the piece would ever feel long enough), and the final decision a little disingenuous, it was a very interesting, and pertinent piece. I might ask my semi-Muslim, and strictly Muslim friends to read it though, would be interested in a reaction from their point of view.</p>
<p>Following the discussion of this piece, we moved on to working on the pieces written following last week&#8217;s session. In small groups we read out, and gave feedback on the short scenes – my scene was set atop a hill in Lincolnshire- two people are meeting there- A has asked B to come, she wants him to finally tell her it&#8217;s over- their relationship having finished, but him generally saying not forever. A loves B still. Although B has a family, and their not being together for 8 years, B won&#8217;t say it&#8217;s over, because there&#8217;s still something there. A is also losing her home – Lincolnshire has been given over to widespread flooding and is being completely evacuated. They are meeting on a hill on which they began and ended their relationship. As usual my first draft was far too cryptic, one guy got what A wanted, and not the flooding thing, and the other guy the other. This didn&#8217;t surprise me, but was still useful to know. We then did some work on filling out character backgrounds, and on the dreaded transitive verbs- &#8216;actioning&#8217; words. IE the idea that a line of dialogue is only useful and dramatic- that is, active- if it has an underlying action; &#8216;I persuade you&#8217;, &#8216;I evade you&#8217;, &#8216;I tempt you&#8217; etc. Always good for filtering out all of the pretty sentences which don&#8217;t actually move a piece on, though I do feel a tad tiring when applied in detail. Anyway, idea is to use those exercises in order to redraft the scene for two weeks time. We also have to read some or all of the following plays:</p>
<ul>
<li><em>Woyzeck</em></li>
<li><em>Spring Awakening</em></li>
<li><em>A Raisin in the Sun</em></li>
<li><em>King Lear</em></li>
<li><em>Krapp&#8217;s Last Tape</em></li>
</ul>
<p>Which should be good, I&#8217;ve already read Lear (though don&#8217;t have a copy) and have the complete Beckett, but I&#8217;ve bought the first four anyway, because the more plays you read the better really, especially when you can&#8217;t afford to see them!</p>
<p>So yes, that was Monday. In other news I had a fun birthday weekend with a meal out and some Jazz/Funk, but am extremely tired following London/Weekend out/not sleeping well last night because of a cold. Feels a bit odd to be going to work on my Birthday (tomorrow), turning officially mid-twenties (24) and generally not seeing anyone on my actual birthday, but ho-hum, such is getting older yes? Bah!</p>
<p>Thanks for reading.</p>
<p><span> </span><span></p>
<p></span></div>
]]></content:encoded>
			<wfw:commentRss>http://www.hannahnicklin.com/2008/10/london-ii/feed/</wfw:commentRss>
		<slash:comments>2</slash:comments>
		</item>
		<item>
		<title>London, innit</title>
		<link>http://www.hannahnicklin.com/2008/10/london-innit/</link>
		<comments>http://www.hannahnicklin.com/2008/10/london-innit/#comments</comments>
		<pubDate>Tue, 07 Oct 2008 08:10:00 +0000</pubDate>
		<dc:creator>Hannah Nicklin</dc:creator>
				<category><![CDATA[Uncategorized]]></category>
		<category><![CDATA[Update]]></category>
		<category><![CDATA[Playwriting]]></category>
		<category><![CDATA[Royal Court]]></category>

		<guid isPermaLink="false">http://www.hannahnicklin.com/?p=41</guid>
		<description><![CDATA[London innit. So, yes, I thought I&#8217;d save my next blog entry for after my first foray into the world of London and the Royal Court, so here I am! Fresh from the big smoke (or whatever). This was actually my very first time in London on my own, I&#8217;ve been a couple of times [...]]]></description>
			<content:encoded><![CDATA[<p><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_fqj10f_bXsQ/SOt8JVkCYhI/AAAAAAAAAJU/Mqhuj9Aw_ec/s1600-h/rct_logo_07.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://1.bp.blogspot.com/_fqj10f_bXsQ/SOt8JVkCYhI/AAAAAAAAAJU/Mqhuj9Aw_ec/s400/rct_logo_07.jpg" alt="" id="BLOGGER_PHOTO_ID_5254429890106778130" border="0" /></a><span xmlns=""  style="font-size:100%;">
<p style="text-align: center;"><span style="font-family:Courier New;"><strong>London innit.</strong><br /></span></p>
<p style="text-align: justify;"><span style="font-family:Courier New;">So, yes, I thought I&#8217;d save my next blog entry for after my first foray into the world of London and the <a href="http://www.royalcourttheatre.com/">Royal Court</a>, so here I am! Fresh from the big smoke (or whatever). This was actually my very first time in London on my own, I&#8217;ve been a </span><span style="font-family:Courier New;">couple of times before, for a week theatre trip in sixth form, and trips on coaches to a museum or two, but never actually had to navigate the tube and stuff on my own! I spent the afternoon trying to find the <a href="http://www.tate.org.uk/modern/">Tate Modern</a>, and then realising that I actually don&#8217;t really like much modern art beyond Picasso (I don&#8217;t deny its worth, just not a fan). Then it got to about 6, and so I made my perilous journey to Sloane Square. Very pleased that the Royal Court is literally <em>just next to</em> the tube station a</span><span style="font-family:Courier New;"><span class="blsp-spelling-error" id="SPELLING_ERROR_0"><span class="blsp-spelling-error" id="SPELLING_ERROR_0">nd</span></span> no map reading in the dimming light and rain was necessary. So I waited, met people, and was ushered backstage to begin things. We got a free play script, and a few handouts, did a getting-to know you warm-up, some exercises about &#8216;home&#8217; (people, places, memories, things etc.) which I think were to do with &#8216;finding your voice&#8217; &#8211; like where you originate from your voice does too. We were then set a writing exercise to do with &#8216;home&#8217; for the next week. That was it- all very pleasant, lots of very nice people, and quite exciting really. The rest of this post now diverts slightly, but do read on&#8230;<br /></span><br /><span style="font-family:Courier New;">The warm up was a good one; &#8216;White Socks&#8217;. If you don&#8217;t know it , here&#8217;s how it goes: you have a circle of chairs with one less than there are people, and one person in the middle. The person in the middle says &#8216;anyone wearing white socks&#8217; then anyone of whom that statement is true has to change seats, a</span><span style="font-family:Courier New;"><span class="blsp-spelling-error" id="SPELLING_ERROR_1"><span class="blsp-spelling-error" id="SPELLING_ERROR_1">nd</span></span> the person in the middle tries to sit down too, another person is thus left standing, and must make another statement, etc. etc. The game was altered slightly to emphasise the idea that all plays pose questions, and we were encouraged to ask quite difficult and &#8216;political&#8217; questions. Very revealing, not least in the kind of people who are selected by the RC! Out of the 14 of us, no one was religious, more than half had voted Labour at some point, no one had voted conservative, 25% or so couldn&#8217;t count a black person among their close personal friends (myself incl</span><span style="font-family:Courier New;"><span class="blsp-spelling-error" id="SPELLING_ERROR_2"><span class="blsp-spelling-error" id="SPELLING_ERROR_2">uded</span></span>, coming from a county almost 98% white I hope this doesn&#8217;t reflect too badly, though inevitably it does! having said that, there were no black people in any of my uni courses or clubs, or where I work&#8230; worrying?). </span><span style="font-family:Courier New;">However, slightly worryingly, and glaringly obvious before the &#8216;white socks game&#8217; was that out of the group of 14, only two (including myself) were of the female persuasion, and all white. I do know the Court has a specific programme for Black/Ethnic Minority young writers, but the small number of girls was definitely a surprise. Both the <a href="http://www.drama.bham.ac.uk/pg/mphilplaywriting.shtml"><span class="blsp-spelling-error" id="SPELLING_ERROR_3"><span class="blsp-spelling-error" id="SPELLING_ERROR_3">Mphil</span></span> </a>and the <a href="http://www.nottinghamplayhouse.co.uk/index.cfm/page/content.index.cfm/cid/172/navid/48/parentid/2">Theatre Writing Partnership</a> work I&#8217;ve been involved in has been quite balanced in terms of gender, so I don&#8217;t know if this is an anomaly, or specific to the Royal Court, but if one is to believe <a href="http://www.guardian.co.uk/stage/theatreblog/2008/sep/09/broadwaysglassceiling">received <span class="blsp-spelling-error" id="SPELLING_ERROR_4"><span class="blsp-spelling-error" id="SPELLING_ERROR_4">wis</span></span></a></span><span style="font-family:Courier New;"><a href="http://www.guardian.co.uk/stage/theatreblog/2008/sep/09/broadwaysglassceiling"><span class="blsp-spelling-error" id="SPELLING_ERROR_5"><span class="blsp-spelling-error" id="SPELLING_ERROR_5">dom</span></span></a>, the RC numbers are much more representative of the industry than my previous experiences&#8230; Plus, I have often been accused of writing very &#8216;male&#8217; plays (a thesis long debate if I ever heard one) and, after advice given by several female writers, I send my work off under the gender-neutral H. K. <span class="blsp-spelling-error" id="SPELLING_ERROR_6"><span class="blsp-spelling-error" id="SPELLING_ERROR_6">Nicklin</span></span>&#8230; I&#8217;m not going to draw any conclusions from such a small amount of experience, but food for thought, yes? When I got up and into the circle </span><span><span xmlns=""  style="font-size:100%;"><span style="font-family:Courier New;">posed the statement &#8216;anyone who is proud to call themselves feminist&#8217; and all the girls and a couple of guys got up, encouraging that at least some</span><span style="font-family:Courier New;"> guys did, but that left <span class="blsp-spelling-error" id="SPELLING_ERROR_7"><span class="blsp-spelling-error" id="SPELLING_ERROR_7">at least</span></span> 8-10 still sitting down. </span></span></span></p>
<p style="text-align: justify;"><span><span xmlns=""  style="font-size:100%;"><span><span xmlns=""  style="font-size:100%;"><span><span xmlns=""  style="font-size:100%;"><span><span xmlns=""  style="font-size:100%;"><span><span xmlns=""  style="font-size:100%;"><span><span xmlns=""  style="font-size:100%;"><span><span xmlns=""  style="font-size:100%;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://1.bp.blogspot.com/_fqj10f_bXsQ/SOt8O8M4yLI/AAAAAAAAAJc/WuDJkS1htSM/s1600-h/bill_bailey_l.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://1.bp.blogspot.com/_fqj10f_bXsQ/SOt8O8M4yLI/AAAAAAAAAJc/WuDJkS1htSM/s400/bill_bailey_l.jpg" alt="" id="BLOGGER_PHOTO_ID_5254429986378008754" border="0" /></a></span></span></span></span></span></span></span></span></span></span></span></span></span></span></p>
<p></span><span xmlns=""  style="font-size:100%;">
<p style="text-align: justify;"><span style="font-family:Courier New;"> I wish, wish, wish, &#8216;Feminist&#8217; wasn&#8217;t such a dirty word. It&#8217;s about justice. It&#8217;s about equality. It&#8217;s a human rights issue. Women a<em>re not equal</em>. The UN recently published a damning report about the treatment of women in the UK;</p>
<p><em>&#8220;British women are under-represented in Parliament, paid less than men at work and increasingly being sent to prison for committing minor offences, a report on sex discrimination has found. The report, which was published by an influential committee of the United Nations, paints a damning picture of daily life for women living in the UK who continue to fight for a fairer deal in society. </em><br /></span></p>
<p style="text-align: justify;"><span style="font-family:Courier New;"><em>Calling on Britain to do more to improve the standing of women, the committee argues for &#8220;benchmarks and concrete timetables&#8221; to increase the number of women in political and public life and to use &#8220;special measures&#8221; to promote women to positions of leadership. Only one in five members of the House of Commons and the House of Lords is a woman.</em><br /></span></p>
<p style="text-align: justify;"><span style="font-family:Courier New;"><em>The <span class="blsp-spelling-error" id="SPELLING_ERROR_12"><span class="blsp-spelling-error" id="SPELLING_ERROR_12">UN&#8217;s</span></span> Convention on the Elimination of All Forms of Discrimination against Women is also critical of what it describes as &#8220;gender segregation&#8221; in the workplace. In its report it says that its members are concerned about the &#8220;persistence of occupational segregation between women and men in the labour market and the continuing pay gap, one of the highest in Europe&#8221;.</em><br /></span></p>
<p style="text-align: justify;"><span style="font-family:Courier New;"><em>The average hourly earnings of full-time female employees amount to approximately 83 per cent of men&#8217;s earnings, according to the findings. In its report, the UN also highlights the need for greater measures to tackle violence against women and the practice of forced marriages.&#8221;</em><br /><em>(Taken from a report in <a href="http://www.independent.co.uk/news/uk/home-news/un-says-sexual-discrimination-is-rife-in-britain-915800.html">The <span class="blsp-spelling-error" id="SPELLING_ERROR_13"><span class="blsp-spelling-error" id="SPELLING_ERROR_13">Independant</span></span></a></em> By Robert <span class="blsp-spelling-error" id="SPELLING_ERROR_14"><span class="blsp-spelling-error" id="SPELLING_ERROR_14">Verkaik</span></span>, Law Editor<em>, on Tuesday, 2 September 2008)</em><br /></span></p>
<p style="text-align: justify;"><span style="font-family:Courier New;">I feel completely at a loss that even people very close to me , my close friends, my boyfriends, just don&#8217;t get it, they would never stand for a racist joke, or an anti-Semitic one, or a homophobic one, but put a sexist joke in front of them and they wouldn&#8217;t say a thing. This is dangerous territory – one of the big put downs of feminism and feminists is a &#8216;lack of a sense of humour&#8217; and if you ask me it&#8217;s one of the most dangerous, because if you can pass your prejudices off as humour, then you can very easily dismiss people who disagree as &#8216;not getting it&#8217;. Humour often walks the line between acceptable and unacceptable, but I believe some things <em>should</em> be too hot to touch –at least until the damage and hurt done begins to heal.</span></p>
<p></span>
<p style="text-align: justify;"><span style="font-family:Courier New;"><span style="font-weight: bold;">When my 13.05 Virgin train from Wolverhampton to London <span class="blsp-spelling-error" id="SPELLING_ERROR_8"><span class="blsp-spelling-error" id="SPELLING_ERROR_8">Euston</span></span> was pulling in, the announcer-guy came over the <span class="blsp-spelling-error" id="SPELLING_ERROR_9"><span class="blsp-spelling-error" id="SPELLING_ERROR_9">tannoy</span></span>, and made the usual &#8216;we are arriving in London&#8217; announcement. He then finished this speech with a quote &#8220;Barbara <span class="blsp-spelling-error" id="SPELLING_ERROR_10"><span class="blsp-spelling-error" id="SPELLING_ERROR_10">Cartland</span></span> said that &#8220;Unless she is ill, a woman should get up and cook her husband&#8217;s breakfast before he goes to work in the morning&#8221;. She said it – not me!&#8221;</span><br /></span></p>
<p style="text-align: justify;"><span style="font-family:Courier New;">The men in the carriage laughed, or looked smug, the women reflected what I think I looked like- a combination of shock and humiliation. This was humiliating. In a public space. I have no method of public redress. I can write a letter of complaint, but nothing that will likely produce more than a slap-on-the-wrist, and some more sexist jokes about me and &#8216;my type&#8217;.<br /></span></p>
<p style="text-align: justify;"><span style="font-family:Courier New;">If you found a racist quote by a black person would you read it out over a train <span class="blsp-spelling-error" id="SPELLING_ERROR_11"><span class="blsp-spelling-error" id="SPELLING_ERROR_11">tannoy</span></span>? No. Am I over-reacting? I don&#8217;t know, I know how it made me feel, that may be just me, but I count right?</span></p>
<p><span style="font-family:Courier New;"></span><span xmlns=""  style="font-size:100%;">
<p style="text-align: justify;"><span style="font-family:Courier New;">In the script for the well known &#8216;<a href="http://www.bbc.co.uk/lifeonmars/">Life on Mars</a>&#8216; the character Gene Hunt&#8217;s attitudes we substantially censored: &#8220;Mr <span class="blsp-spelling-error" id="SPELLING_ERROR_15"><span class="blsp-spelling-error" id="SPELLING_ERROR_15">Pharoah</span></span> [co-creator of Life on Mars] described it as a slightly &#8220;bizarre conclusion&#8221; that the sexist and homophobic elements of the character were found to be acceptable while only racism was &#8220;a step too far&#8221;.&#8221; (source = <a href="http://www.guardian.co.uk/media/organgrinder/2007/aug/25/lifeonmarscharactergenehu">The Guardian </a>&#8216;Organ Grinder&#8217; blog by <a href="http://www.guardian.co.uk/profile/marksweney">Mark <span class="blsp-spelling-error" id="SPELLING_ERROR_16"><span class="blsp-spelling-error" id="SPELLING_ERROR_16">Sweney</span></span></a> Saturday August 25 2007). The co-creator suggests that &#8220;this may have been because &#8220;two wars had been won&#8221; &#8211; meaning homophobia and sexism are at a point in UK culture that they can be featured, albeit carefully, in TV drama &#8211; but that racism is still a taboo subject.&#8221;.<br /></span></p>
<p style="text-align: justify;"><span style="font-family:Courier New;">However, I find this difficult, I think both <span class="blsp-spelling-error" id="SPELLING_ERROR_17"><span class="blsp-spelling-corrected" id="SPELLING_ERROR_17">sexism</span></span> and homophobia are just as much a problem than racism. Racism, is  widely held up to be &#8216;wrong&#8217;, people get that, where as homophobia is quietly still very prevalent, and sexism ingrained in a supreme form of cultural hegemony; &#8216;the battle is done&#8217; people tell you,&#8217;we are equal now&#8217;. And certainly, many victories have been had; reproductive rights, the vote, education rights, the right to be a member of parliament or a judge, however many, many more battles are ahead of us, just as shoring up the battlements of old successes. <span style="font-weight: bold;">The key to the problem is that legislation only has the power to affect the public face of discrimination </span>– the biggest problems that now face feminists (loosely speaking, not taking into account all <span class="blsp-spelling-error" id="SPELLING_ERROR_18"><span class="blsp-spelling-error" id="SPELLING_ERROR_18">feminisms</span></span>) all stem from the prejudices that are still rife in the &#8216;private&#8217; arena. A pitiful rape conviction rate that has dropped from more than <span style="font-weight: bold;">33% in 1977 to only 5.3% now</span> (<a href="http://www.fawcettsociety.org.uk/index.asp?PageID=30">source</a>) is down to the appalling attitudes of most people to the culpability of women, and the &#8216;animal&#8217; nature of men. It&#8217;s very nice to be able to have a job after being married, and to be an MP (albeit only 18% of <span class="blsp-spelling-error" id="SPELLING_ERROR_19"><span class="blsp-spelling-error" id="SPELLING_ERROR_19">MPs</span></span>), but this is simply untenable as long as women continue to be portrayed as less &#8216;strong&#8217; constitutionally than men, and as <span style="font-weight: bold;">v</span><span style="font-weight: bold;"><span class="blsp-spelling-error" id="SPELLING_ERROR_20"><span class="blsp-spelling-corrected" id="SPELLING_ERROR_20">olatile</span></span> baby bombs, liable to start &#8216;ticking&#8217; at any minute</span>. Likewise the <span class="blsp-spelling-error" id="SPELLING_ERROR_21"><span class="blsp-spelling-error" id="SPELLING_ERROR_21">sexualisation</span></span> of young girls, and fewer women being interested in sciences and maths is entirely down to the role models society provides them with, the toys and magazines they are given, and the continue objectification of women in the media. Even if, despite being given less attention in schools (<a href="http://www.guardian.co.uk/education/2007/apr/10/schools.uk">source</a>), girls are now out-performing boys, it prompts <a href="http://www.davidwilletts.org.uk/">David <span class="blsp-spelling-error" id="SPELLING_ERROR_22"><span class="blsp-spelling-error" id="SPELLING_ERROR_22">Willets</span></span></a> (shadow education man) at the latest Conservative party conference, to complain that men are being &#8216;prevented from being the breadwinners&#8217; by &#8216;Bridget Joneses&#8217; – university educated women who are destroying the &#8216;modern family&#8217; (paraphrasing). Kira <span class="blsp-spelling-error" id="SPELLING_ERROR_23"><span class="blsp-spelling-error" id="SPELLING_ERROR_23">Cochrane</span></span> in the Guardian has it right when she responds that:<br /></span></p>
<p style="text-align: justify;"><span style="font-family:Courier New;">&#8220;The interesting thing about <span class="blsp-spelling-error" id="SPELLING_ERROR_24"><span class="blsp-spelling-error" id="SPELLING_ERROR_24">Willetts</span></span>&#8216; speech is this notion that men are being prevented from &#8220;bringing home the bacon&#8221;. In fact, women still earn 17% less for full-time work than men, and, of all groups, mothers face the most discrimination in the workplace. If there&#8217;s a crisis in the modern family &#8211; and I&#8217;m not convinced that there is &#8211; women&#8217;s academic excellence isn&#8217;t to blame any more than Bridget Jones is. The true problem is that equality is still a long way off.&#8221; (<a href="http://www.guardian.co.uk/lifeandstyle/2008/sep/30/women.family">Source</a>)<br /></span></p>
<p style="text-align: justify;"><span style="font-family:Courier New;">Although many more women go out to work, the majority of chores are still done by women. And just when is the &#8216;modern family&#8217; going to get a genuinely modern revision beyond the current 1950s (which in turn harked back to the &#8216;angel of the house&#8217; Victorian ideal) values, which didn&#8217;t work in either time (see the two feminist movements that accompanied both!). When is the word &#8216;family&#8217; going be used to accept a family that takes in step brothers and step parents, extended family, and all the other myriad of changes that are considered &#8216;abnormal&#8217; or &#8216;bad&#8217;?  (another thesis long debate I feel)<br /></span></p>
<p style="text-align: justify;"><span style="font-family:Courier New;">Do people know these things? Do people, men and women, know that these things are true? I believe that <span class="blsp-spelling-error" id="SPELLING_ERROR_25">people</span> are essentially decent. I cannot believe that people would say that feminism is &#8216;done with&#8217; if they knew these things.</span></p>
<p style="text-align: justify;"><span style="font-family:Courier New;">Changing the ongoing disgusting injustices against women is no longer solely the responsibility of women, men&#8217;s attitudes and lives need to change also.</span></p>
<p style="text-align: justify;"><span xmlns=""  style="font-size:100%;">
<p style="text-align: justify;"><span xmlns=""  style="font-size:100%;"><span style="font-family:Courier New;">It is <span class="blsp-spelling-corrected" id="SPELLING_ERROR_26">imperative</span> that both women and men be able to unashamedly say &#8216;yes I believe in human rights, I am a feminist&#8217;.</span></span></p>
<p> </span></p>
<p style="text-align: justify;"><span style="font-family:Courier New;">It&#8217;s best put by <a href="http://www.myspace.com/anidifranco"><span class="blsp-spelling-error" id="SPELLING_ERROR_27"><span class="blsp-spelling-error" id="SPELLING_ERROR_25">Ani</span></span> <span class="blsp-spelling-error" id="SPELLING_ERROR_28"><span class="blsp-spelling-error" id="SPELLING_ERROR_26">DiFranco</span></span></a> (If you&#8217;ve never heard an album, do so, amazing stuff.)</p>
<p><span style="font-style: italic;">Shocked to tears by each new vision</span><br /><span style="font-style: italic;">Of all that my ancestors have done</span></p>
<p><span style="font-style: italic;">Like, say, the women who gave their lives</span><br /><span style="font-style: italic;">So that I could have one</span></p>
<p><span style="font-style: italic;">People, we are standing at ground zero</span><br /><span style="font-style: italic;">Of the feminist revolution</span><br /><span style="font-style: italic;">Yeah, it was an inside job</span><br /><span style="font-style: italic;">Stoic and sly</span><br /><span style="font-style: italic;">One we&#8217;re supposed to forget</span><br /><span style="font-style: italic;">And downplay and deny</span><br /><span style="font-style: italic;">But I think the time is nothing</span><br /><span style="font-style: italic;">If not nigh</span><br /><span style="font-style: italic;">To let the truth out</span><br /><span style="font-style: italic;">Coolest f-word ever deserves a fucking shout!</span><br /><span style="font-style: italic;">I mean</span><br /><span style="font-style: italic;">Why can&#8217;t all decent men and women</span><br /><span style="font-style: italic;">Call themselves feminists?</span><br /><span style="font-style: italic;">Out of respect</span><br /><span style="font-style: italic;">For those who fought for this</span><br /><span style="font-style: italic;">I mean, look around</span><br /><span style="font-style: italic;">We have this</span><br /></span></p>
<p style="text-align: justify;"><span style="font-family:Courier New;">(</span><span xmlns=""  style="font-size:100%;"><span style="font-family:Courier New;"><a href="http://www.myspace.com/anidifranco"><span class="blsp-spelling-error" id="SPELLING_ERROR_29"><span class="blsp-spelling-error" id="SPELLING_ERROR_27">Ani</span></span> <span class="blsp-spelling-error" id="SPELLING_ERROR_30"><span class="blsp-spelling-error" id="SPELLING_ERROR_28">DiFranco</span></span></a></span></span><span style="font-family:Courier New;">- Grand Canyon)<br /></span></p>
<p style="text-align: justify;"><span xmlns=""  style="font-size:100%;">
<p style="text-align: justify;"><span xmlns=""  style="font-size:100%;"><span xmlns=""  style="font-size:100%;"><span style="font-family:Courier New;">So what am I saying? That so called &#8216;post feminist&#8217; comedy of the ilk of men driving trains, and <span class="blsp-spelling-error" id="SPELLING_ERROR_31"><span class="blsp-spelling-corrected" id="SPELLING_ERROR_29">comedians</span></span> like Jimmy Carr is dangerous, I don&#8217;t believe enough people see the sexism in society, see the enough of the &#8216;irony&#8217; (if it does exist) for it to be <span class="blsp-spelling-error" id="SPELLING_ERROR_32">ok</span> <span style="font-style: italic;">right now</span>. There are, of course kinds of humour that surpass the danger, subversion that is clear in intention- comedy by people like Sarah <span class="blsp-spelling-error" id="SPELLING_ERROR_33">Silverman</span> and Jo Brand. However the <span class="blsp-spelling-error" id="SPELLING_ERROR_34">traditional</span> &#8216;sexist joke&#8217; (just as the traditional &#8216;racist joke&#8217;) dug up from a time long past still smacks mainly of injustice, and of the attitudes of those times, and it hurts.</span></span></span></p>
<p>  </span><span style="font-family:Courier New;"><br /></span></p>
<p></span></p>
]]></content:encoded>
			<wfw:commentRss>http://www.hannahnicklin.com/2008/10/london-innit/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
	</channel>
</rss>

