{"id":16448,"date":"2024-01-10T09:39:28","date_gmt":"2024-01-10T14:39:28","guid":{"rendered":"https:\/\/chra.bard.edu\/?p=16448"},"modified":"2024-01-10T15:41:30","modified_gmt":"2024-01-10T20:41:30","slug":"truscott-at-sydney-opera-house","status":"publish","type":"post","link":"https:\/\/blogs.bard.edu\/chra\/news\/truscott-at-sydney-opera-house\/","title":{"rendered":"CHRA’s Adrienne Truscott Shows Work at Sydney Opera House"},"content":{"rendered":"

CHRA\u2019s\u00a0Adrienne Truscott<\/a>\u00a0is showing and performing in\u00a0MASTERCLASS<\/i>\u00a0at the\u00a0Sydney Opera House\u00a0<\/a>January 12\u201316, 2024. A\u00a0collaboration between her and Dublin theatre-makers\u00a0Brokentalkers<\/a>,\u00a0MASTERCLASS<\/i>\u00a0is critically acclaimed, with\u00a0The Guardian<\/i><\/a>\u00a0describing it as \u201cscoring pertinent points about the abusiveness inherent in the genius cult\u201d, and\u00a0The List<\/i><\/a>\u00a0calling it \u201ca stunning dissection of patriarchy, privilege and performance in a forceful work about sanctified male writers.\u201d<\/p>\n

The piece is a satirical performance interrogating gender and power structures in today\u2019s world, with theatre as a metaphor. Using real life examples of unnamed divisive but celebrated playwrights,\u00a0<\/span>MASTERCLASS<\/i>\u00a0combines existing footage, publications, and interviews to let these very artists reveal uncomfortable truths about themselves, and by extension, about our culture. The performance begins with an interview with a \u2018master\u2019 playwright, subverting the trope the masterclass: the sycophantic relationship between \u2018interviewer\u2019 and \u2018artist\u2019; the casual self-mythologizing of and aligning with canonical \u2018greats\u2019 that have gone before.\u00a0<\/span>MASTERCLASS begins as a\u00a0<\/i>parody of the celebrated lineage of the great male artist, but there is something else at play, and something very serious at stake.<\/span><\/p>\n

Formally, the piece is playful and absurdist, using text, music, drag, and movement to challenge the audience at every turn. MASTERCLASS\u00a0<\/i>blends the fearless and savagely comedic feminist discourse for which Truscott is so well known with the subversive and formally slippery dramaturgy that is a hallmark of Brokentalkers\u2019 work.<\/p>\n

MASTERCLASS<\/i>\u00a0is just off a run at\u00a0<\/span>\u0130stanbul Tiyatro Festivali (\u0130KSV)<\/a>\u00a0and received a Fringe First award at the 2022\u00a0Edinburgh Fringe Festival. It\u00a0was co-produced by Dublin Fringe Festival, Project Arts Centre and Mermaid Arts Centre, supported by\u00a0The Arts Council of Ireland.<\/a><\/p>\n

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CHRA\u2019s\u00a0Adrienne Truscott\u00a0is showing and performing in\u00a0MASTERCLASS\u00a0at the\u00a0Sydney Opera House\u00a0January 12\u201316, 2024. A\u00a0collaboration between her and Dublin theatre-makers\u00a0Brokentalkers,\u00a0MASTERCLASS\u00a0is critically acclaimed, with\u00a0The Guardian\u00a0describing it as \u201cscoring pertinent points about the abusiveness inherent […]<\/p>\n","protected":false},"author":1673,"featured_media":16451,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","_links_to":"","_links_to_target":""},"categories":[82],"tags":[],"class_list":["post-16448","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news"],"acf":[],"jetpack_featured_media_url":"https:\/\/blogs.bard.edu\/chra\/files\/2024\/01\/SM_1246_0071_PhotoBySteMurray-scaled.jpg","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/blogs.bard.edu\/chra\/wp-json\/wp\/v2\/posts\/16448","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blogs.bard.edu\/chra\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blogs.bard.edu\/chra\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blogs.bard.edu\/chra\/wp-json\/wp\/v2\/users\/1673"}],"replies":[{"embeddable":true,"href":"https:\/\/blogs.bard.edu\/chra\/wp-json\/wp\/v2\/comments?post=16448"}],"version-history":[{"count":9,"href":"https:\/\/blogs.bard.edu\/chra\/wp-json\/wp\/v2\/posts\/16448\/revisions"}],"predecessor-version":[{"id":16460,"href":"https:\/\/blogs.bard.edu\/chra\/wp-json\/wp\/v2\/posts\/16448\/revisions\/16460"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/blogs.bard.edu\/chra\/wp-json\/wp\/v2\/media\/16451"}],"wp:attachment":[{"href":"https:\/\/blogs.bard.edu\/chra\/wp-json\/wp\/v2\/media?parent=16448"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blogs.bard.edu\/chra\/wp-json\/wp\/v2\/categories?post=16448"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blogs.bard.edu\/chra\/wp-json\/wp\/v2\/tags?post=16448"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}