Daniel York Loh – författare

Between 2020 and 2022, theatre had to adapt and, in doing so, challenged ideas of what was possible – and what was even 'theatre'.Due to the global pandemic, an exceptional and wide range of works were made for, or adapted to, brand new conditions and limitations. While these works are defined by interpandemic conditions in the Anthropocene, they serve as portals to thinking about theatre-making in the future.Gathered in this collection are pieces adapted or made for podcast theatre, a livestream illusionist interactive performance, an audience-uploaded hybrid performance, one-on-one online interaction, lip-synch opera-theatre, climate crisis activist manifesto film/theatre, spoken word and gaming installation art and multi-location broadcast plays, providing an accessible introduction to 'Transmedia' theatre.Transmedia theatre has been a boundary-breaking and rich area of performance since the 1990s, but the (by necessity) explosion of works that were created during the early years of the pandemic signalled a new, exciting and accessible method by which theatre-makers could share their work and also challenge their own practices.While these specific works are markers of a specific time in performance history, they also point ways forward, not only in terms of form and function, but in how educators, students and fellow practitioners could conceive of re-staging these works in person and/or on digital platforms.For a generation that has grown up online, whose vocabularies of expression are as much digitally native as they are IRL, transmedia theatre, and the realm too of VR and AR story and audience design which it borders, holds a firm place in busting open the realm of the possible.

Between 2020 and 2022, theatre had to adapt and, in doing so, challenged ideas of what was possible – and what was even 'theatre'.Due to the global pandemic, an exceptional and wide range of works were made for, or adapted to, brand new conditions and limitations. While these works are defined by interpandemic conditions in the Anthropocene, they serve as portals to thinking about theatre-making in the future.Gathered in this collection are pieces adapted or made for podcast theatre, a livestream illusionist interactive performance, an audience-uploaded hybrid performance, one-on-one online interaction, lip-synch opera-theatre, climate crisis activist manifesto film/theatre, spoken word and gaming installation art and multi-location broadcast plays, providing an accessible introduction to 'Transmedia' theatre.Transmedia theatre has been a boundary-breaking and rich area of performance since the 1990s, but the (by necessity) explosion of works that were created during the early years of the pandemic signalled a new, exciting and accessible method by which theatre-makers could share their work and also challenge their own practices.While these specific works are markers of a specific time in performance history, they also point ways forward, not only in terms of form and function, but in how educators, students and fellow practitioners could conceive of re-staging these works in person and/or on digital platforms.For a generation that has grown up online, whose vocabularies of expression are as much digitally native as they are IRL, transmedia theatre, and the realm too of VR and AR story and audience design which it borders, holds a firm place in busting open the realm of the possible.

Between 2020 and 2022, theatre had to adapt and, in doing so, challenged ideas of what was possible – and what was even ''theatre''. Due to the global pandemic, an exceptional and wide range of works were made for, or adapted to, brand new conditions and limitations. While these works are defined by interpandemic conditions in the Anthropocene, they serve as portals to thinking about theatre-making in the future. Gathered in this collection are pieces adapted or made for podcast theatre, a livestream illusionist interactive performance, an audience-uploaded hybrid performance, one-on-one online interaction, lip-synch opera-theatre, climate crisis activist manifesto film/theatre, spoken word and gaming installation art and multi-location broadcast plays, providing an accessible introduction to ''Transmedia'' theatre. Transmedia theatre has been a boundary-breaking and rich area of performance since the 1990s, but the (by necessity) explosion of works that were created during the early years of the pandemic signalled a new, exciting and accessible method by which theatre-makers could share their work and also challenge their own practices. While these specific works are markers of a specific time in performance history, they also point ways forward, not only in terms of form and function, but in how educators, students and fellow practitioners could conceive of re-staging these works in person and/or on digital platforms. For a generation that has grown up online, whose vocabularies of expression are as much digitally native as they are IRL, transmedia theatre, and the realm too of VR and AR story and audience design which it borders, holds a firm place in busting open the realm of the possible.

Between 2020 and 2022, theatre had to adapt and, in doing so, challenged ideas of what was possible – and what was even ''theatre''. Due to the global pandemic, an exceptional and wide range of works were made for, or adapted to, brand new conditions and limitations. While these works are defined by interpandemic conditions in the Anthropocene, they serve as portals to thinking about theatre-making in the future. Gathered in this collection are pieces adapted or made for podcast theatre, a livestream illusionist interactive performance, an audience-uploaded hybrid performance, one-on-one online interaction, lip-synch opera-theatre, climate crisis activist manifesto film/theatre, spoken word and gaming installation art and multi-location broadcast plays, providing an accessible introduction to ''Transmedia'' theatre. Transmedia theatre has been a boundary-breaking and rich area of performance since the 1990s, but the (by necessity) explosion of works that were created during the early years of the pandemic signalled a new, exciting and accessible method by which theatre-makers could share their work and also challenge their own practices. While these specific works are markers of a specific time in performance history, they also point ways forward, not only in terms of form and function, but in how educators, students and fellow practitioners could conceive of re-staging these works in person and/or on digital platforms. For a generation that has grown up online, whose vocabularies of expression are as much digitally native as they are IRL, transmedia theatre, and the realm too of VR and AR story and audience design which it borders, holds a firm place in busting open the realm of the possible.

… I’m not even properly Chinese I’m only half and half so that makes me feel all wrong and I just want to blend out and fit in and not stand out and with you I stand outWeStand OutThere’s no safety in numbersSorryThe ‘British Chinese’. So often regarded as a ‘model minority’. Quiet, high-achieving, polite, invisible…But when someone who is ‘British Chinese’ spends their life taking drugs, getting thrown out of school, claiming benefits, being chased in stolen cars, getting locked up, then rehabilitating onto the stage, where do they fit in? Oh, and they’re not quite ‘Chinese’ enough anyway. Semi-autobiographical, free-form and explosive, Daniel York Loh’s psychedelic gig-theatrical punk pop rap rock riff The Dao of Unrepresentative British Chinese Experience (Butterfly Dream) asks what path to choose, which identity politics to embrace or whether it’s just easier to follow the ‘Dao’ of ancient Chinese philosopher Zhuangzi and dream you’re a butterfly. Or, be a butterfly dreaming of being ‘Chinese’….This edition was published to coincide with the world premiere Kakilang production at London's Soho Theatre in June 2024.

… I''m not even properly Chinese I''m only half and half so that makes me feel all wrong and I just want to blend out and fit in and not stand out and with you I stand outWeStand OutThere''s no safety in numbersSorryThe ''British Chinese''. So often regarded as a ''model minority''. Quiet, high-achieving, polite, invisible…But when someone who is ''British Chinese'' spends their life taking drugs, getting thrown out of school, claiming benefits, being chased in stolen cars, getting locked up, then rehabilitating onto the stage, where do they fit in? Oh, and they''re not quite ''Chinese'' enough anyway. Semi-autobiographical, free-form and explosive, Daniel York Loh''s psychedelic gig-theatrical punk pop rap rock riff The Dao of Unrepresentative British Chinese Experience (Butterfly Dream) asks what path to choose, which identity politics to embrace or whether it''s just easier to follow the ''Dao'' of ancient Chinese philosopher Zhuangzi and dream you''re a butterfly. Or, be a butterfly dreaming of being ''Chinese''….This edition was published to coincide with the world premiere Kakilang production at London''s Soho Theatre in June 2024.

… I''m not even properly Chinese I''m only half and half so that makes me feel all wrong and I just want to blend out and fit in and not stand out and with you I stand outWeStand OutThere''s no safety in numbersSorryThe ''British Chinese''. So often regarded as a ''model minority''. Quiet, high-achieving, polite, invisible…But when someone who is ''British Chinese'' spends their life taking drugs, getting thrown out of school, claiming benefits, being chased in stolen cars, getting locked up, then rehabilitating onto the stage, where do they fit in? Oh, and they''re not quite ''Chinese'' enough anyway. Semi-autobiographical, free-form and explosive, Daniel York Loh''s psychedelic gig-theatrical punk pop rap rock riff The Dao of Unrepresentative British Chinese Experience (Butterfly Dream) asks what path to choose, which identity politics to embrace or whether it''s just easier to follow the ''Dao'' of ancient Chinese philosopher Zhuangzi and dream you''re a butterfly. Or, be a butterfly dreaming of being ''Chinese''….This edition was published to coincide with the world premiere Kakilang production at London''s Soho Theatre in June 2024.

'Powered by a subtle, ominous tension. I loved this book’ LEE CHILD‘Paradise never felt so sinister’ RUTH WARELies can be buried... Secrets always come to the surfaceAmarante is paradise... An uninhabited, unspoilt island somewhere in the Indian Ocean. Only those who know it exists can find it.  But paradise comes with a price... Virginie and Jake sail to Amarante for their honeymoon, but they are not alone. They have to adjust to life on the island with five strangers.  And not everyone will live to tell the tale… Dark secrets surface and their dream abruptly turns into a nightmare. Removed from society, they find out what they’re truly capable of.‘An incredible debut’ B A PARIS‘Suspenseful, evocative and beautifully written, I devoured it’ L V MATTHEWS‘That most exciting psychological thriller in which the darkest dangers lurk in a suspicious mind and a guilty heart’ A J FINN‘Gripping and pacy... A perfect summer read’ IMRAN MAHMOOD‘A debut thriller that unfolds with the inexorable force of a nightmare, and an object lesson in why some paradises should stay lost’ JOHN CONNOLLY'Deep Water had me gripped. I loved the subtle, sinister sense of tension that built through the book, and the fascinating cast of characters Emma Bamford brought together on idyllic Amarante. Such an accomplished debut' BETH O'LEARY'It had me completely hooked! I could literally feel the sand between my toes and taste the salt in the air. An amazing and evocative atmosphere of paradise that quickly turns sinister! A must summer read for all crime fans' VICKI BRADLEY

FROM THE BESTSELLING AUTHOR OF LAST ORDERS AND MOTHERING SUNDAY, and reissued for the first time in Scribner, a brilliant collection of essays, as well as brand new material, that will delight and intrigue readers. In Making an Elephant, Graham Swift brings together a richly varied selection of essays, portraits, poetry, and reflections on his life in writing. Full of insights into his passions and motivations, and wise about the friends, family, and other writers who have mattered to him over the years, this is a revealing and intimate collection. Kazuo Ishiguro advises on how to choose a guitar, Salman Rushdie arrives for Christmas under guard, and Ted Hughes shares the secrets of a Devon river. There are private moments, too, with long-dead writers, as well as musings on history and memory that readers of Swift’s novels will recognize and love.Praise for Mothering Sunday: 'Bathed in light; and even when tragedy strikes, it blazes irresistibly… Swift’s small fiction feels like a masterpiece’ Guardian  ‘Alive with sensuousness and sensuality … wonderfully accomplished, it is an achievement’ Sunday Times ‘From start to finish Swift’s is a novel of stylish brilliance and quiet narrative verve. The archly modulated, precise prose (a hybrid of Henry Green and Kazuo Ishiguro) is a glory to read. Now 66, Swift is a writer at the very top of his game’ Evening Standard ‘Mothering Sunday is a powerful, philosophical and exquisitely observed novel about the lives we lead, and the parallel lives – the parallel stories – we can never know … It may just be Swift’s best novel yet’ Observer

'The foreign devils will be entranced by our performance and line our path back to Shandong with gold and cherry blossoms…'1917. Shandong Province, Northern China. Times are tough in Horse Shoe Village. Old Six and Second Moon struggle to earn enough to feed their young child. Big Dog struggles to overcome opium addiction and for Eunuch Lin, the fall of the Imperial Dynasty couldn’t have come at a worse time. Could a fierce war far away in Europe present an opportunity to put both themselves and their struggling nation on its feet?Forgotten is inspired by the little-known story of the 140,000 Chinese Labour Corps who left everything and travelled halfway around the world to work for Britain and the Allies behind the front lines during World War One.

''The foreign devils will be entranced by our performance and line our path back to Shandong with gold and cherry blossoms…''1917. Shandong Province, Northern China. Times are tough in Horse Shoe Village. Old Six and Second Moon struggle to earn enough to feed their young child. Big Dog struggles to overcome opium addiction and for Eunuch Lin, the fall of the Imperial Dynasty couldn''t have come at a worse time. Could a fierce war far away in Europe present an opportunity to put both themselves and their struggling nation on its feet?Forgotten is inspired by the little-known story of the 140,000 Chinese Labour Corps who left everything and travelled halfway around the world to work for Britain and the Allies behind the front lines during World War One.