Writing about Personal Experiences of Humanitarianism
Róisín Read, Tony Redmond, and Gareth Owen
seriously the stories humanitarians tell about themselves and their work. This interview hopes to build on and contribute to this research by talking to two humanitarians who have published memoirs: Professor Tony Redmond OBE and Gareth Owen OBE. Tony Redmond’s book Frontline: Saving Lives in War, Disaster and Disease was published in 2021 by HarperNorth and Gareth Owen’s book When the Music’s Over: Intervention, Aid and Somalia will be published in June 2022 by Repeater Books. They were interviewed by Róisín Read.
Róisín Read (RR): Could you briefly introduce
Stone on Stone
Between 2010 and 2014 we interviewed Oliver Stone on a number
of occasions, either personally or in correspondence by email. He
was always ready to engage with us, quite literally. Stone thrives on
the cut-and-thrust of debate about his films, about himself and perceptions of him that have adorned media outlets around the world
throughout his career –and, of course, about the state of America.
What follows are transcripts from some of those interviews, without redaction. Stone is always at his most fascinating when a question leads
of the studio crew on the rest. Everyone got to do each job. It was a great system, but it was labour intensive, needing three members of staff to run it. This is impractical for most organisations now, but I have run the exercises less intensively, but still successfully, on other courses. If a group is well organised, it’s possible to play variations on the exercises up to three times in a four-hour session. If the group is split into three sections, each can work on the studio floor, in the gallery and as researchers, guests or interviewer, but there has to some
JoAnne Akalaitis is a US theatre director and founder of the influential avant-garde theatre company Mabou Mines. In this interview, I talk to her about her two widely praised productions of Genet’s work, The Balcony with the American Repertory Theatre in Cambridge, Massachusetts in 1985–86, and The Screens at the Tyrone Guthrie Theatre, Minneapolis in 1989–90.
CARL LAVERY: The first question I want to ask you is how did you get into Genet?
JOANNE AKALAITIS: I happened to catch a production of The Maids , and it just amazed me. I thought it was
This interview is a companion piece to my conversation with Ultz. In it, I talk to the DJ, musician and writer Excalibah who co-directed The Blacks Remixed and played the role of Archibald, the MC.
CARL LAVERY : I know you best as a DJ and hip-hop artist. How did you get involved in this project?
EXCALIBAH : I’m on the Board of Directors at the Theatre Royal Stratford East and have been since I was 18. I also did a lot of youth theatre there. One of my first shows was Da Boyz , which I helped to conceive and compose with Ultz. Ultz wanted to do a
Llu’s Pasqual is one of Europe’s foremost theatre and opera directors. He is best known for his dazzling collaborations with the designer Fabià Puigserver, with whom he reinvented classic Spanish and European plays for contemporary audiences in Catalonia and elsewhere from the mid-1970s onwards. This interview deals with Pasqual’s productions of The Balcony in 1980 and 1981 before going on to explore where Genet’s contemporary significance resides.
CARL LAVERY : How did you become interested in Genet’s work?
LLUÍS PASQUAL : I was drawn to Genet for
In October and November 2007, a hip-hop version of The Blacks ( The Blacks Remixed ) was performed at the Theatre Royal Stratford East in East London. The play was commercially and critically acclaimed and was one of the most exciting productions of Genet’s work to have taken place in recent years. In this interview, I talk to the director Ultz about the production, before going on to reflect, more generally, on his experiences of staging Genet.
CARL LAVERY : Did the Genet estate have any objections to you remixing The Blacks ?
ULTZ : There was a
An interview with John McGahern
Stanley van der Ziel
I met John McGahern for a formal interview in the Gresham Hotel
on O’Connell Street, Dublin, on 12 October 2004. What follows is
an edited transcript of that conversation. The interview pre-dates the
publication of Memoir (2005) and Creatures of the Earth (2006), as well
as the instigation of a collected edition of his occasional non-fictional
prose (eventually published as Love of the World: Essays in 2009). For
this reason, the transcript refers throughout to ‘the memoir’ instead
Interviewing can be a vampiric act especially when it involves leeching from its subject
the fluidic exchange which exists between life and art. The vampire novelist Anne Rice had
agreed to let me interview her at Waterstones Bookshop in Bristol, England, on 26 January
1993 about the fourth book in her Vampire Chronicles, The Tale of the Body
Thief (1992). In the interview she describes the novel as dealing with the
differences between art and life and mortality and immortality. Specifically, the story
examines the paradox of choosing to be Undead for the sake of life, and the way in which
art opens up a locus for a redemption that is outside of life. In my view, the text is as
much about the process of interviewing as about authorship. A more obvious example is
Rice‘s well-known novel Interview with the Vampire (1976) in which the
hapless interviewer eventually enters into the very narrative he is recording by becoming
another Ricean revenant.