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day desire. This kind of absurdist attempt to cre
ate an end to all armed conflict is layered with Gorky’s desire to create a better and more equal existence for all people. Summerfolk is relatable to the way Ireland is now, with the nouveau riche striving to enjoy life to the fullest, whilst there is a huge imbalance, the wealthy getting wealthier. There’s still housing and systemic inequality. Gorky was an idealist a hundred years ago, and after all those wars, what has changed? More relevant than ever. Neo, could you talk to me a little about your role and performance? Neo Florence Gilson: My role in the show is one of a watchwoman, which I’m sharing with a colleague, IBeatriz. From the onset, we went and studied the day in the life of a security guard and cleaner, be it in an institutionalised setup like Direct Provision where I live, or even in a normal retail context. Engaging the text, I approach it in the sense of what power dynamics are involved, what are the threats and vulnerabilities, and how that affects a watchwoman’s role. And also ask questions about autonomy. We explore how a person might use his or her authority through body language. The interaction between the performer and the audience has been explored, and also between myself and IBeatriz , as colleagues, that pact that we have to protect one another. For me it’s all exploring, what would it be like, as a watchwoman, just for one day to have autonomy. And how have you found working with Outlandish? Neo: Working with Outlandish Theatre is a blessing in that it gives one an opportunity to explore the theme through writing a performance text, where we engage with Maud and Bernie. We also look at the aesthetic side, it offers an amazing opportunity to co-create. Maud: The watchwomen, in this piece, say very little. They’re very much observers. It’s very powerful because they’re outside of the society that they’re commenting on, and yet they have a role to play in the management of that space.We filmed a very strong performance last year where we performed Summerfolk redux. This is where we were aligning the role of watchwomen with Neo and her observations of living in direct provision in Ireland. Also how these places are managed. How you’re in an observing role, but not in an authentic power position to change anything. The development of that has been part of our negotiation of the role of the watchwomen.They have a certain degree of instrumentalisation of the space. They have impact but they don’t have power. It’s incredible that you’re still able to work around that kind of a challenge. Maud: It’s important, In terms of Neo’s participation. In a regular production timeline, the logistics may not allow us to work with Neo, but the way that we do it, we can have her as a person represented onstage. Can you talk to me about where production is at the moment, at the end of July? It’s a very live sculptural work. We have all these puzzle pieces, with people in different 43 locations, with different schedules, and different ways of working with us, which leaves us with a performance that comes together only on September 23rd when we are all together for the last stretch of rehearsals. Until that moment there are bits and pieces that will change and adapt. We are working with interdisciplinary artists, movement director JJ, sound artist Oli Ryan, lighting designer Pedro Pacheco, costume designer Liza Cox and dramaturg Nicholas Johnson co-creating an exciting, radical piece of experimental theatre. In a new collaboration with architect and wood sculptor Andrew Kirwan, this production will be staged in a custom designed and built set where the audience have an intimate experience. We are bringing the audience into a space where they can observe thought and action as a reflection of themselves, a mirroring pad without media distraction. We are bringing the audience into a space where they can observe thought and action as a reflection of themselves, a mirroring pad without media distraction. Are you guys planning on touring this performance? Maud: We would love to tour this work. Global Desires would be a possible production that we could tour, and one that could be recreated in a different context very easily, not only with the original cast but also with people that we might work locally with in different locations. It would be one of our ambitions to tour this. We need a touring grant that would be sufficient to support the alternative way of working. Are there any other projects you’re working on at the moment? Maud: We have a small documentary film, called 1978, which is going to be in Pallas Projects Studios on the 4th of September, about the Art Space in Dublin 8. And Neo, what about yourself? You’ve been published in The Stinging Fly, Storms Journal of Poetry, to name a few, is there anything you’d like to tell us about? Neo: I’d like to say how thankful I am to Maud and Bernie. It’s a great honour to participate because I come from an underrepresented community, living in direct provision, so Global Desires is very close to my heart. I got the chance to interrogate and explore my lived experience in a direct way. It has given me a wonderful opportunity, and the possibility to develop my practice, and my art. October 9th - October 13th 2024 Dublin Theatre Festival, Bay 1, The Digital Hub