Speed dating stoke newington
Speed dating stoke newington - team fortress 2 validating steam cache files
Original Dating run speed dating events at areas across London.Below is a list of forthcoming London speed dating events.
There is a man dressed as a lion playing the keyboards, and two chaps in festive jumpers competitively dunking biscuits in tea, while a sequinned emcee tries to get a room of awkward arty types to rap along as they nervously sip polystyrene cups of ale.No one appears to have the slightest clue what is going on; still there is the palpable (and entirely accurate) sense that this might not actually turn out to be the weirdest thing we see all evening.is something of a burgeoning institution, in the heady world of interactive, small-scale performance art at the very least.Stoke Newington International Airport plays host to the latest Winter Series, where behind curtains and at tables, via webcams and on treadmills, we encounter all manner of artists trying to rock our world with one-on-one performance before their time is up.Played to the beat of the emcee’s horn and whistle, the night is relentless.One minute I’m pitching a film about paedophilia to Deborah Pearson, the next I’m carving the face of Jesus onto a potato, and how I ended up in the back of a transit van perched on Santa’s knee and scoffing mince pies is still a mystery.
Perhaps it is a sign of our times that the pursuit of personal success drives a number of the encounters including Theatre State‘s motivational talk and Soren Evinson’s cynical competitiveness (don’t underestimate how hard it is to be this satirical in under four minutes).
Elsewhere, human connections are manufactured and manipulated by artists including Katy Baird and Cluster Bomb to throw the intimacy between performer and audience into new focus.
There is always a risk in this sort of theatre for the audience to over-analyse their role within it, and to perform what they think is expected of them rather than allow themselves to experience a true gut response.
Some of the best pieces subtly define the audience’s role from the outset, permitting them to instantly engage within the performance and get more out of it, rather than spending the first two minutes staring wildly into the eyes of the performer trying to work out what the hell is happening.
Yet with only four minutes to play with, even in the less defined encounters there is never really enough time to think about what you’re saying until it comes tumbling out of your mouth in all its inane glory.
Rather disconcertingly, but with hindsight perhaps not entirely unpredictably, playfully blurs the lines between theatre and reality.