TORQUE: The Performance

Right- so!

Yesterday was Bush Bounce, an event in association with IdeasTap, held at the Bush Theatre and curated by Sabrina Mahfouz. It brought together artists of different disciplines and offered us an opportunity to showcase our work in response to the stimuli of sight, society and sound. Sounds great, don't it? It was! The other artists' work was absolutely incredible - poetry, performance installations, music, monologues and Mars bars!

My response was a play about the relationship between a deaf man and a hearing woman and it came from a desire to see more sign language in theatre and in public consciousness. Why are sign translations of television programmes only on in the middle of the night? Why isn't British Sign Language offered as a language option in British schools?

So, with this play I wanted to ask the difficult question of whether a relationship between an 'able' person and a 'disabled' person is equal. How do we define what is 'disabled'? This is an incredibly challenging thing to approach, and I'm still struggling with it, but I feel it is important. Discrimination is something I can't make peace with, but it will exist until people stop thinking in terms of 'able' and 'disabled' - also race, religion, nationality, background - and start thinking in terms of the person; the human.

A month ago this was all theory, but last night a short exploration of these themes was performed. It has taken a month of hard work, arguments, laughter, worry, #BSLbanter and I'm pretty sure I've bruised a rib... but the performance went really well! We got some feedback from Madani Younis after the dress rehearsal and made some very last minute cuts. I was so proud of Kate and Dwane as they performed it seamlessly as though the scenes were never there. Clever sausages!

The audience gave us some great feedback - encouraging comments and useful criticisms - and said that they would like to see it developed into a full length production, which I am so pleased (and relieved) about!

It has been wonderful to have the support and critique of people who really know what they are talking about and I've learnt a lot. I set out to create something brutal and beautiful, and I feel as though we have made baby steps towards this.

In terms of the future, I'm going to keep working hard and hopefully one day you'll be able to come see TORQUE as a full-length play!

I'll keep you all updated...

TORQUE: The Last Rehearsal 2

Okay I know I said that the last post was the last post, but I can't resist.

I've just got home from tonight's rehearsal, in which we revisited every scene adding in more detail and clarity. And then we had a dress run! And I am so pleased with it! Dwane and Kate have found an excellent balance between fun and sentiment; it has come to life in ways I never envisaged, and the music cues are fabulous. Honestly, I'm going to be embarrassing myself singing along and throwing some shapes during the performance.

And I'm really excited about how the audience respond to the sign language. It has been something I've always been around, but it will be completely alien to some of the audience members, so we've had fun playing around with how much is clear. Some he purely signs, some he signs with a bit of voice with it, and a little he purely voices and I think we've struck a good balance. Just got to wait and see what they say, I guess!

Follow me, Bradley, Kate and Dwane on twitter for the inevitable performance day updates and #BSLbanter.

TORQUE: The Last Rehearsal

Oh crap, it's tomorrow.

I've never had to write and rehearse a play within a month before. Naturally this means certain compromises needed to be reached and the script isn't perfection, but I never expected it to be. I have seen this event as an opportunity to experiment with the idea of a play that is half in BSL because it has always seemed absurd to me that such a theatrical language isn't used more often in theatre. So I am anxious for tomorrow to see whether it works how I hope it will.

It's scary because it's out of my hands (excuse the pun). There's not really much I can do now, the play is written, and any changes I could make would be more damaging than good. And with the last rehearsal tonight, all I can do is trust that Bradley, Dwane and Kate do everything they can to tell this story.


Now, to rid myself of this nervous energy, I'm going to take the piss out of our esteemed director! After the amazing response to The Science of Farting, I thought I'd share with you a few more of Bradley's choice quotes.

"When you go outside- It's like eating chewing gum. You pop it in and it's like 'F***ing hell that's fresh'."

"You can't do that, I've just seen her boob bounce up and down."

"KISS HIM!!! You can laugh, just laugh on each other's lips."

"No! Don't roll her! Do a spinny thing."

Anyone who has been directed by me before will know the nonsense I come out with, so here's proof that I'm not the only one! 

As we are in rehearsals at the Bush all day tomorrow, there will be no performance day blog but FEAR NOT. I will let you know how it all goes with my final post on Thursday. Until then! 

TORQUE: The Beast

So when I said "Saturday we are having a mammoth rehearsal day", "mammoth" was an understatement.... Thirteen hours. And we only left then because it's Sunday and the last tube was leaving at half eleven. What a beast.

You will be pleased to know that we used those thirteen hours effectively. The morning was spent working on the remainder of the final scenes and get them up and running. We managed to get them on their feet, with a good bit of discussion as well, but by 2pm I was definitely ready for lunch.

I wasn't the only one having this thought; when lunchtime came we all rushed next door to the pub and ordered a roast! And when our food arrived, silence descended on the table as we marvelled at our bounty, particularly the Yorkshire Puddings that could quite easily be worn as a hat.

"Oh bother"

Back in the rehearsal room, and stuffed with food, we all got a bit silly. Bradley got stuck in the set like Pooh Bear, and none of us could hold it together through the fart scene. But we managed a stagger through, and a couple of run throughs. We had a  visitor in the room for the later part of the evening to give us fresh eyes and to see if everything makes sense and he raised some interesting points. Now we can see the piece as a whole, Bradley and I can tell the bits that need tweaking, and Dwane and Kate can feel where they're not quite sure of things and what character stuff they need to develop a bit more.

"Character stuff"...wow that was articulate. It's been a long day, okay!!

Keep up with the #bslbanter on twitter.

TORQUE: Rehearsal Photographs 2

Last night Mike emailed me the photographs he had taken on Monday. I was on the train when I got the email, so proceeded to spend my journey fighting against poor signal and an old phone to look at as many as I could. Eventually, I admitted defeat and - resentfully - learnt patience.

They were worth the wait.

Here are a couple of my favourites:

(All photos by Mike Delaney)

I love the mixture of candid with more posed feeling shots. Very pleased with them! What do you lot think?

More photos will be uploaded to twitter.

TORQUE: The Science of Farting

It's a play with a deaf character, of course there's going to be a fart joke! What do you take me for...

This led to some of the funniest discussions and directions I have ever heard, and it turns out Bradley knows a frightening amount about the science of farting...

It all started because I had asked whether Bradley had a sound effect for the fart, which he didn't as none sounded realistic enough. So, for the purposes of rehearsing, someone would make the noise when needed. The scene was set, we were serious and ready to go, and then Dwane made the most realistic fart noise I have ever heard in my life and we all fell apart. Especially when in response to one which particularly made us cackle, Dwane turned around and said "I don't think I can do that again. That one even surprised me."

With a lot of laughter, Bradley was then asking Dwane to offer him options, so Dwane was let rip making all different types of fart noises, whilst Bradley sat there with his head back and eyes closed saying things like "too tight", "too loose" and "too much like a trumpet".

It's Kate's character who actually does the fart, so we then had to pair the fart noises with 'fart acting', which is when Bradley started dropping his knowledge bombs. For example, you can't fart on a flat surface, you have to have a little lean to the side in order to relieve the pressure for it to escape. To demonstrate this Bradley's direction was "There is that moment of [he leans] 'oh there it is' and carry on."

Also, apparently you can't breathe and fart at the same time. I reckon that's one to test at home, kids.

TORQUE: The Countdown

SIX DAYS TO GO until the Bush Bounce performance!

It feels a little bit like going up the ramp of a log flume - excited, terrified, and repeatedly questioning why I have done this to myself. But it's too late to get off now!

There's still a lot to be done. Tonight we're getting the final few scenes on their feet, and working on the transitions. As I've said before, the play is split into two 'realities', one of which is set in a club, so Bradley has been busy editing music to go with those bits, and I have absolutely no idea what music he has chosen. I do know it will be music with a heavy bass, and we spent one evening playing songs on YouTube to each other so I'm sure he's picked songs I will be happy with!

On Saturday we have the RADAR Festival 2012 Meet and Greet party, which should be fun. Dreadful timing though, because on Sunday we have the mammoth of all rehearsal days. Seriously, our rehearsal is about eleven hours long, and I don't think I'm even exaggerating. But it is our last rehearsal before the tech and dress rehearsal the day of the performance.

Oich... There's that log flume feeling again.

TORQUE: Return of the Writer

Another rehearsal yesterday, and I was so pleased to be back. Having missed the last two rehearsals because of work and seeing a play with Nick Clegg (seriously, I did), I felt a little disconnected from it all. The idea, script and characters have been mine-all-mine for so long, and now they belong to three other people as well... It's just so sad thinking of rehearsals carrying on without me!

Writer's insecurities aside, it was lovely to be back to see how they're diddling. They're diddling good, if you were wondering. At the moment they're stringing everything together, trying to work out transitions and generally getting scenes on their feet. I'm looking forward to the next rehearsal, because the plan is to have all the scenes on their feet by then! Exciting stuff.

It was a funny one today. In one of the recent rewrites, I wanted to see how dirty talk would work in sign language, so I wrote a scene in which Man comes home drunk and horny to a less than impressed Woman. And then poor Dwane had to play it! Added to that, we had Michael Delaney, a very talented photographer, in rehearsals to take some photos. It was fortunate timing... weird humping should always be captured on camera.

Oo! Also! I think I might have tackled the ending! Tackled it to the ground until it cried mercy. As I wrote in a previous post, I've needed to tie up the Bush Bounce script a little short of the full story, so the ending has been bothering me. How do I finish something without it being the end? How do I still raise all the issues I want to raise whilst having to leave out certain scenes? I think I have found a simple solution, and if that doesn't work then I have an alternative or five. But I'm hoping it works. I spent a whole day working on it, which involved much cutting, rewriting, and eating toast in bed with my laptop and staring into the middle distance whilst talking to myself.

So for future reference, when I say I'm "writing", you can pretty much guarantee I'm in my pyjamas talking to myself.

The thing is, I've started talking to myself in public places as well, so when you see me in my pyjamas on the train we'll know that the madness has really taken its hold...

Tweet tweet

TORQUE: The Title

Titles are a bloody nightmare. An absolute bloody nightmare. You have to think of something that sums up the play and is catchy enough to make people interested in it. Nightmare.

Because I'm so bad at titles, I usually nick them from famous quotes or poems. Like... I wrote a play set in a Doctor's waiting room called The Opposite of Talking lifted from the quote "The opposite of talking isn't listening, the opposite of talking is waiting" (Ann Lebowitz). Or, a play I wrote that is mostly written, slightly performed and almost forgotten called Roses in December which is lifted from a poem about memory by Robert Burns. I once thought of a really good title - White Flags and Hand Grenades - but couldn't quite think of a good story to go with it. But it's in the back pocket just in case!

So I was quite pleased at how quickly and easily this came to be named TORQUE. Torque is a formula to measure the angle required to make something move. I discovered it when I was reading Wikipedia to learn about the history of the weighing scales, and torque was mentioned as a means of measuring the movement of the scales to calculate balance. As the question the play is asking is about equality, it seemed like a good option, and the fact it sounds like "talk" made it perfect!

TORQUE: Rehearsal Photographs

After such a lovely response to the photographs from Sunday's rehearsal, I thought I'd share a few more of the photographs so you can see a bit more of what we've been up to!

I couldn't make yesterday's rehearsal or this Thursday's rehearsal (sob) but it's good for the director and actors to get a bit of space from the writer... I suppose. They don't want me breathing down their necks like a dragon lady shouting "That wasn't the line!" at them. Even if I am wearing a Christmas jumper as I do it.

What's most exciting will be going to rehearsal next Monday and see what they've been doing this week. At risk of sounding twee, there is no better feeling than watching what you've written in your pyjamas come to life and, hopefully, affect people in some way.

And on that note, I'm going to get back to work on the script.

Follow us on twitter: here and here, and the Bush Theatre here.

TORQUE: The Celebration

Today is a very special day...

Today is Bradley's birthday! So everyone wish a big HAPPY BIRTHDAY to the old man.

Today is also the day we send off our Marketing and Production packs to the theatre. So, here is the poster for TORQUE at Bush Bounce, designed by James Thurman:

The overlapping letters background represents communication, the coloured hairline represents the club lights, and the people... the people. We played with loads of different arrangements and colours and all sorts, but this is the design that translated best onto print.

I tell you what, I am glad to have all the admin stuff done and sent off, because now I can put my full attention back onto the play, and remember what this is all for.

Keep up-to-date with the goings on of Unbound by following us on twitter!

TORQUE: The Third Rehearsal

On the advice of Sabrina (Mahfouz, Associate Artist of the Bush Theatre and mentor to the Bush Bouncers) I decided to take my big shiny camera to rehearsals last night to have some photos to send to producers and theatres once Bush Bounce is over. I've asked a photographer to come in for some rehearsals to take some good photos but I don't get to use my camera all that often so I thought I'd have a go!

We played some games with a pritt stick (resourceful!) with a bit of mind-bending 'throw-to-someone-but-say-the-name-of-the-person-on-their-left'. Kate and Dwane did some hilarious improvisations exploring how to communicate when all the rules of communications are removed, like trying to complete an objective but only being able to speak in opposites and positives, or only being able to speak in gibberish.

Dwane and Kate

The script is split into two 'realities' that interlink throughout, and so far Bradley has focused on the scenes that take place at a club/bar. I had some time to write yesterday and completed the club story, and we worked on putting them in with the scenes already worked out. At one point it got very complicated as Bradley and I - in keeping with the topic of course - hadn't understood one another, ending up in a circular argument until we realised that we didn't actually disagree on anything!

But, with the help of Dwane and Kate, it has all come together, and we spent the last hour of the rehearsal in the dark with music blaring to replicate a club environment. Twelve hours into rehearsals, it feels good to have the backbone of the play sorted.

Kate, Bradley and Dwane

TORQUE: The Cast

With two rehearsals under the belt, I think it might be time to share something with you...

The cast!

Kate Craggs                    Dwane Walcott

Kate is playing Woman and Dwane playing Man... obviously.

Although we've barely scraped the surface of the script and have mainly been doing communication exercises, I can already see the glimmer of characters emerging which is so exciting, and really inspiring. Although starting a rehearsal period without a finished script is terrifying, it also gives the leg room for the actors to have a say in their characters. I can't wait to see what more Kate and Dwane are going to bring.

TORQUE: The First Rehearsal

Placebo were wrong; it doesn't all break down at the first rehearsal. Thank Heavens.

First rehearsals are always quite scary. It's the first time the 'team' are together, and in our case it's also the first time the actors met and the first time the script has been read out loud - triply nerve-racking! You put time and your heart into a script, but there is still no guarantee that it will work.

Bradley led some games, a few exercises and then we had a read through. And another read through. And a read through/sign through. Watching the sign through was incredible. It gives it an entirely new dimension, which is what I was hoping for! The actors were knackered by the end - Bradley is a hard-working Director and expects the same from his actors - but I was so excited I giggled pretty much all the way through.

A lot came out in the exercises and discussions that I would like to explore more, like... although it is so simple, when mirroring is done properly it is quite extraordinary to watch. So today I'm re-writing in preparation for the second rehearsal tonight. So stop distracting me, I need to write!

Tomorrow, I'll come baring gifts...

http://www.bushtheatre.co.uk/production/bush_bounce_2_society_sight_and_sound/

TORQUE: The Crisis

You know that feeling of "Oh my god, what am I doing? I don't deserve this. I'm a big pile of poo"? I had that yesterday.

After spending Sunday working on the script, I realised it didn't work. What I had planned to be performed at Bush Bounce wasn't going to have the effect I wanted it to. By only showing the first 15 minutes it was all set-up and no pay-back, making it a whole lot of nothingness. Without the pay-back, there is no point to it. So, I had to find a way to give the audience something back.

I started brutally cutting it, which was actually quite liberating! I got it down to about 16 pages and emailed it to the director before rushing off to work. Once back from work and with a big tin of soup in my belly I called him only to hear that this version didn't work either. Because the story ends at such emotional heights, it was hard to justify this in so short a time so that the audience would think of it in regards to character, and not just action. In terms of reaction, it's the difference between "wtf?" and "omg!"... if that makes any sense.

So, we had to find a different ending. I felt a little frustrated because I didn't want to just make up a whole new ending. I've always found that writing is more a case of discovery than invention - there does seem to be that perfect story out there and it's a just a case of unearthing it. In this case, the characters are always going to end up where they end up, and so the thought of just tacking on another ending is ridiculous to me. After some discussion, we've reached a compromise that will hopefully do the trick.

The plan as it stands is to end the piece for Bush Bounce about three-quarters of the way through the story, still at a peak but one that isn't so high that we'd be over-stretching ourselves to reach it in 15 minutes, and we'll save the 'proper' ending for if we decide to develop into a full-length production. The three-quarter ending needs a bit of work to leave the audience with the feeling I want to, as obviously it isn't the intended ending. What I need to do is slightly tweak the message we're leaving; one of listening rather than inclusion. It's a challenge, but I'm not one to back down.

TORQUE: The Floor Plan

Heavens to Betsy has it been a busy couple of days!

On Friday night Bradley and I met with James, our poster designer, for a few drinks at the pub. James had some great thoughts, and some beautiful images already drawn up for us. We threw some ideas about, the boys had some boy-talk, James made dirty jokes, I ate some hummus, and I'm really happy with the design we've decided upon. I will upload the finished product here once we have it but, suffice to say, I'm excited.

And then yesterday we held auditions for the part of 'Woman' (I know, what an imaginative name...) which was very exciting. At one point during the six hours we were there, the building's caretaker turned up with a Henry Hoover and was effing and blinding in the corridor about the Saturday school spreading crisps crumbs everywhere, whilst our auditionees were trying to prepare in the next room... It was so absurd, we were beside ourselves laughing... the height of professionalism as always! I will put the cast list up here when it's finalised.

But today... today is a rare, WONDERFUL day where I don't have a shift at work, I don't have any meetings to attend, I have no need to leave the house and I can wear pyjamas ALL DAY. And by Jove will I. I'm spending today playing with the structure of the play, and working out what bits of the script will be performed at the the Bush, which bits will be for the development of the play as full-length, and which bits are just for me.

This involves a lot of printing, cutting and sticking, and then arranging and rearranging as takes my fancy.

Not all of that will be performed next month, as our slot at the Bush is only 15-20 minutes, but understanding the overall structure of the play helps me work out what those minutes will comprise of. And also, doing it like this is really fun. If I want to cut something, I literally cut it out. Old school stylee.

My printer has run out of black ink, so it's all in blue and green. I quite like that though - it matches the carpet.

Click me. Dare you.

TORQUE: Talk To The Hand

(Excuse the title, I can never resist a bad pun.)

It's astonishing how many phrases, parables and images all come back to our hands.

In many religions the right hand is considered to be sacred, or clean, and the left to be evil and dirty. Hands are also symbols of good, such as balance and praise. The things we consider to be precious we hold in both hands to keep safe.

I was recently directed to read this article. The implications are fascinating, but also it made me think about how everyone gesticulates when they talk. Without even thinking we emphasise, describe and imagine with our hands. It's such a natural instinct, it made me wonder whether it is the primary language... How did cavemen communicate before it was generally accepted that the sound "rock" meant 'rock'? I imagine they did it with their hands. And big sticks. 

There has always seemed to me to be something rawer, purer and emotionally charged in sign language that rarely exists in spoken communication. Try telling someone "I like socks" without words. You have to invest far more emotion - and effort - into what you are trying to communicate to them, than if you could just say it without thought.

The words we speak we throw away, but the words in our hands have remained precious and kept safe.

TORQUE: The Space

Today is a busy day, so this is a quick one.

I went in to London this morning to meet the producer at The Bush Theatre and have decided that my new dream living location in Shepherd's Bush. Suck it, Clapham.

I have signed some paperwork, asked some questions and chosen a location within the theatre for TORQUE to be performed. I love the idea of it being in the round, the audience surrounding the actors like a moat around an island, leaving the characters stranded together, so the location we've temporarily chosen is the centre of the library, on a slightly raised stage. It looks like it's going to be a really exciting event, full of instillations and incredible ideas. I can't wait to see what the other people involved are doing!

Check out what it's all about. I'm out.

TORQUE: The Sacrifice

I have been thinking today about sacrifice. When there is something you really want, how much are you willing to lose to get it?

There is a debate relating to deafness that I find incredibly interesting. If your child is born deaf, but they could hear if they had a simple operation like a cochlear implant, should they have the operation? (Obviously this is all incredibly simplified. Read a little more about it here.) From the hearing community’s perspective, there is only gain with an operation like this - music, voice, bird song, fire alarms and a million other sounds we don’t even register anymore. What is there to lose? But from the deaf community’s perspective, it’s a huge sacrifice. It’s a sacrifice of personal identity and a sense of community. What about privacy, and peace? Why should they change who they are?

Everybody changes when they’re in a relationship. We do it because we adapt to the other person, we compromise, we make room in our lives for them and we make decisions based on a foreseeable future with them. It happens naturally as the relationship grows more serious - it’s expected.

But on the other hand, it is a tricky thing to ask someone to change. Tell your girlfriend to get a boob job? Expect to lose her and one of your testicles.

But what if a particular change is needed in order to move forward with the relationship? I need you to get a different job. I need you to stop seeing your ex-boyfriend-now-best-friend. I need you to have that operation. Would you ask them to change, or would you change yourself?

Would you be willing to sacrifice who you are, your identity, to be with the person you love?

Bush Bounce 2: http://www.bushtheatre.co.uk/production/bush_bounce_2_society_sight_and_sound/

TORQUE: The Blurb

Today, I have been working on the script and the Marketing Pack for the theatre. 

One of the things the theatre has asked of me is a short blurb describing my work in less that 150 words. I love writing things like this... there's something really fun about working out the balance of giving enough, but not too much information, whilst also making it sound enticing and sexy. I also like asking questions of the audience. This one has been the trickiest I've had to write purely because the script is still in development. I don't want to provide a synopsis because sod's law is the story will change by the time it gets on stage, so I've written it with the basic concept in mind:

"There are hurdles in every relationship. Some can be soared over. Some cause you to trip and fall flat on your face. Some hurdles seem so intimidating that you decide it’s not worth even trying.

A man is deaf. A woman can hear. Is it possible to understand someone on a fundamental level, without being able to have a conversation? What secrets might you tell if you knew the other person couldn’t hear a word you were saying? TORQUE is a story about finding a connection beyond words.

Both spoken and in British Sign Language, TORQUE is a play in development looking at the skin-deep nature of communication in a technology-centric culture, inclusion, and how sometimes when faced with hurdles, you just have to take a running start and jump."

(Thank you to Rachel, who kindly gave up half her lunch break to help me put words to page!)

So what do you think? Would you read this and think: "Oo, that sounds interesting, I'd like to see that"? Feedback welcome, I still have time to make changes.

Update on the script: We are at 22 pages, which is a little too long as I need to keep it between 15-20 minutes in performance length. It's at the stage now where it could be rehearsed and performed and be a nice, hopefully interesting, piece of theatre. It's not what I want it to be yet, but I've still got research to do and (I'll say it once, I'll say it a thousand times) I can't wait to get in rehearsals so that the actors and director can bring something new to it.

But more on that tomorrow. Right now I have to sort out the washing, shower and get ready for the afternoon/evening shift at work. Grumble grumble.

Book tickets for Bush Bounce at: http://www.bushtheatre.co.uk/production/bush_bounce_2_society_sight_and_sound/

TORQUE

Last week I applied for a brief on IdeasTap called Bush Bounce, which wanted performance ideas (of any discipline) at any stage of development that responded to the words SIGHT, SOCIETY and SOUND. The prize was mentoring and development with The Bush Theatre and for the idea to be performed in the Bush Theatre as part of Bush Bounce 2 (RADAR Festival). A very exciting prospect!

I’d had an idea a few months ago that I wanted to develop, but wasn’t quite sure how it would work, if it would work, and life inevitably got in the way as I became busy with other things. However, it responded perfectly to the brief of Sight, Society and Sound. I wrote my bid, applied, and on Friday I found out I was one of six successful applicants! Honestly, I was so exited I did a little dance.

My idea, entitled TORQUE, revolves around a man and a woman; one character is deaf, and the other has never come in contact with sign language before. Is it possible to understand another person on a fundamental level, without being able to have a conversation? I’m interested in exploring the safety of communicating knowing the other person won’t understand. What secrets might you tell if you knew the other person couldn’t hear a word you were saying? Underlining this, however, I want to ask a difficult question: can a relationship between an able and a disabled person ever be equal?

Since Friday I have a director on board - Bradley Leech - who I have known for years and together we have started our production company: Unbound Productions. We also have an actor on board who signs and a designer working on a poster, so we have just the female part left to cast!

It's a terrifying prospect - take an idea from conception to performance in a month. Also, stage a play that is half in sign language for a predominately hearing audience. How much will they understand? How much do I want them to understand? It's a huge task ahead, but the subject matter means a lot to me. It will be my heart and soul on stage next month.

Tickets are free, but have to be booked, so if you'd like to attend - book now! http://www.bushtheatre.co.uk/production/bush_bounce_2_society_sight_and_sound/