Monday, May 5, 2025
Blog Page 1277

Swimmers about to dive in to Cuppers

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After a truly successful summer for Oxford University Swimming Club, during which five members of OUSC and one member of OUMPA took part in the biennial Varsity Channel Swim, braving nine hours of the icy, jellyfish-infested depths of the Channel, the swimmers are back with a splash with what many are hailing as the sporting event of the year — Swimming Cuppers 2014.

A novice-only event (Blues swimmers are only allowed to swim in relays), Cuppers is open to competitors of all abilities — honestly, it wouldn’t be Cuppers without the annual display of a perfected doggy paddling ability. My advice for success: go for quantity over quality; participation is key, with every student placing earning at least one point for their college.

Events include the men’s and women’s 100m Individual Medley (a combination of all four strokes), 50m races in Butterfly, Backstroke, Breaststroke and Freestyle, and finally the Freestyle and Medley relays.

No doubt reigning champions Magdalen will be hoping to defend the prestigious title, after facing tough competition from Queen’s and New last year — they clinched the title by just six points. Other teams to look out for in- clude the somewhat dubious ‘St Matthew’s College’ who placed a respectable sixth last year. So if you’re interested be sure to contact your college or just turn up (with a swimming costume) at 5pm this Saturday (25th October).

Cuppers is just the start of a busy season for OUSC. The following week, Oxford will par- take in their annual ‘Friendly Gala’ at Iffley Road, competing against Warwick, Nottingham, Southampton and London. Later on in the month, the swimmers will be heading up to Sheffield to compete at BUCS Short Course Championships, and then a select team will be in action in Norwich, facing the Tabs for the first time this season, amongst various other universities in Division One of Southern Regional Qualifying Round of BUCS Team Championships.

With a strong crop of new freshers, OUSC are hoping to retain the Varsity trophy for the fourth year running, and improve upon their impressive 7th nationally placed position at BUCS Team Championships. 

Table toppling start to term for Oxford History Society

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The History Society has been left legless this week as valuable table legs were stolen from an antique table in the Merton MCR on Friday 17 October. The legs were only returned on Wednesday following a university-wide appeal, and an amnesty offered for their return.

On Friday, the History Society hosted its opening event of the academic year, marketed as a ‘free-flowing’ cocktail soirée.

A pre-event message from the History Society read, “Come on down to Merton MCR at 8.30pm tonight for our termly cocktails. Entry is only £1 for members, £4 for non-members for unlimited cocktails. Also, don’t miss out on the chance to buy lifetime for the discounted price of £12.”

Such incentives at first seemed to have paid off, with the event being packed. Some disgruntled freshers were even turned away due to the popularity of the event. The evening began smoothly, with the History Society managing to get plenty of legs through the door. One student present told Cherwell, “It was strictly standing room only, though the event was hardly rowdy.” Only subsequently was it discovered that an antique table had been severely damaged.

History Society members were alarmed when the following afternoon they received an email informing them that “during the course of the evening, a table was broken and the legs have disappeared.” The email stressed, “It is essential we retrieve the missing table legs,” asking members to contact either Emily Ellis or Tom McPherson, the two co-presidents of the Society, if they knew anything about the whereabouts of the legs. The email also promised not to hold anyone “responsible for the damage”.

By late afternoon on Sunday, little progress had been made. Another email was sent to the Society’s mailing list, this time filled with bold type. The presidents announced the legs of the table were still missing and stressed, “it is extremely important that we find them.” The email also revealed the Society was liable for the cost of the damage if the legs could not be found, and would have to “pay extensive financial costs.”

Although the person responsible for the breaking of the valuable antique table had by this stage come forward, it took several days for the legs to be returned. Repeated searches of the room took place, and they were nowhere to be found on the Merton MCR premises. In a statement, the two student co-presidents explained, “We can only conclude that someone else either threw them away or took them when they left the event.”

The email continued, “If you have any information about the table legs, even if they were thrown away, we would be very grateful to know what happened to them.”

Emily Ellis, meanwhile, was keen to dispel the idea that the event was out of control. She told Cherwell, “The History Society would like to say that while there were problems with overcrowding and we had to turn many people away, the event was certainly not rowdy. During the course of the evening a small table was overly leaned on and accidentally broken.

“At a later point in the evening the two table legs that had broken off the table disappeared. The History Society does not hold anyone who attended the event responsible but would greatly appreciate any information on the whereabouts of the table legs as we are still looking for them.”

The History Society can now, however, rest easy — on Wednesday afternoon, co-president Thomas McPherson informed Cherwell that “the table legs have now been found, so there’s no need to issue an appeal for their return”.

Merton College and the Merton MCR could not be reached for comment. For the History Society, it was quite literally a leg-breaking start to the academic year.

In Conversation with the IDF

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When in Israel, it’s difficult not to notice the overwhelming presence of the Israeli Defence Force. They are everywhere: sleeping next to their guns on trains and buses, manning checkpoints, lying on the beach, wandering around tourist attractions. The IDF doesn’t disclose the exact size of its army, but as of 2004 the International Institute for Strategic Studies (IISS) in London has estimated that there are about 125,000 ground soldiers.

The IDF is considered one of the best equipped and best trained armies in the world right now: these 125,000 form part of a force that has sparked international debate around the Israel/Palestine conflict, and the very existence of the country they protect. But this isn’t what I wanted to talk about with the IDF soldiers I interviewed during my time in Israel.

Rather, I wanted to discuss what everyday life was like for these soldiers. Perhaps the first interesting thing to note is that out of 125,000 soldiers, the IISS estimates that only 40,000 are career soldiers and the remaining 85,000 are conscripts. The further 600,000 reserve soldiers are thought to be largely conscripted. Since being created by Israeli Defence Minister David
Ben-Gurion in an order given on May 1948, the IDF has been a conscript
army. Differing to most military organisations internationally, the IDF
conscripts pretty much everyone.

It is the only army in the world that expects mandatory service from women, and regularly places them in direct combat situations. Unless they are not eligible – very unlikely considering the range of stations and roles – men and women are drafted at the age of 18. Men are conscripted to serve for 2 years, and women for 21 months.When this is completed, each soldier is assigned toa reserve unit should they be needed in the future; reservists who have served in combat are not discharged until they are 45.

These are not just facts and figures: these are real, living, breathing people. Interviewing IDF soldiers, I did not talk to a single one for whom the army was their career path. There were soldiers who wanted to go into finance,
study economics, set up charities, run businesses, but none who showed any ambition to to fight for a living.

Whilst talking to a discharged soldier one night, I walked with him through the city of Old Jaffa, an area of Tel Aviv, which is the second biggest city in Israel after Jerusalem. It is beautiful: historical, but still living and vibrant. Conducting my interview, I noticed something strange. Just across from us, there was a crowd of soldiers. They didn’t appear to be doing anything. As we watched, they peeled off in ones and twos from their group and came back with ice creams and fizzy drinks.

Gradually, they were joined by more and more, until there was a whole little unit standing under the coloured lights of the Yafo, eating sweets and drinking pop. Looking at the soldier beside me, I saw he was laughing. He pointed to the group’s uniform and said, “They’re sailors… without a boat!” I stared at him. So what were they doing here? There is no naval base anywhere near the Yafo. It is the one place in Israel where there are barely any soldiers. 

My interviewee was still giggling. Observing the sailors, I couldn’t help but
feel like they didn’t have any more of an idea of what they were doing in the Yafo than I did. The soldier beside me explained. “They’re on a field trip; the army does field trips.” What? Like the Boy Scouts? “They’re having a tour — want to join?” He was laughing at my incredulous expression. I mean, they’re an army. And they were in uniform, having an evening tour of the Yafo with ice-cream. This shows that most of the IDF’s soldiers are kids. They eat ice cream, they go on field trips. They just so happen to be carrying M4s at the same time.

The soldier I was interviewing that night was actually from New York. He was one of many lone soldiers who do time in the IDF, and then return to their home country. Drafted at 18 and just discharged, he is 20. Asked whether he believed in Zionism, he replied, “Well yes, I have to.” Israeli soldiers had the same attitude. Zionism is more assumed than it is believed.

The soldiers’ stories of combat training include living in the desert for months without running water, being made to drink two litres of it before exercise so they vomit, and going on raids to arrest Palestinians.

The reality is that if you give an 18 year old kid an M4 and teach them how to aim, and if you take them away from their family and out of education for two years, they are going to have to believe in what they are doing it for.
They have no choice — how do they otherwise reconcile the idea they may have to shoot that M4 at a human being? So, what this produces is a generation of people who have fought for the Israeli state, a country itself founded on Zionist belief. It also leads to a heavily militarised country, where soldiers are just a part of everyday life as they constantly go from post to post. As one Israeli infantryman put it, “Everyone here is a soldier.” In a country surrounded by conflict zones, there is a logical argument for conscription. But with the Israel/Palestine conflict’s only hope of resolution being diplomacy, it cannot help to encourage this kind of fundamental belief in the Jewish state.

Israel has become a country where war is normal, where fi ghting is a rite of passage, and I wish I had a solution. A start, though, would be expanding the use of the professional side of the IDF: if you want to find terrorists, send trained soldiers to specifically target them, lessening civilian casualties. Don’t man an airstrike post with 18 year olds who have just left home. Teach Israeli soldiers Arabic so they can talk to the Palestinians they deal with; emphasise the operation as a defence of national security rather than as a furthering of Zionism. It is hard to deny that Israel will be militarised for a long time to come, but, when you see the IDF in the news, remember that most of
them are kids.

They are kids who practice army-crawling on the beach, who eat ice cream on duty, and who believe in the cause of the IDF because they feel that they have to.

Oxford’s jockeys fall at the last against impressive Tabs

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For Oxford’s rugby Blues there has always been Twickenham — and for the Universi- ty’s finest horse-riders, last weekend there was, for the first time ever, Newmarket. True, the result did not go quite as planned — but the fact this event got off the ground, and in such spectacular fashion, is a victory for all involved.

The race took place as part of the Dubai Future Champions Day, a premier event on the racing calendar, which drew in over 12,000 spectators and offers £1.3m prize money — although regrettably not a penny finds its way into the hands of the Oxbridge competitors.

The varsity race being the last of the day’s events — the climax, obviously — Oxford’s jockeys had plenty of time to enjoy the day. They were joined, naturally, by their own fans, with supporters flying in from as far afield as Mos- cow for the event. The jockeys even managed to make some new friends, with one individual putting her Arabic skills to good use in convincing the right-hand-man of a ‘Sheikh Mohammed’ to extend a personal invitation to the races in Dubai.

Oxford’s jockeys had walked the course with their coach John Reid, a racing legend who has ridden over 2500 winners. Little could be more valuable, than his last-minute tactical tips.

There was even time to face the press, with captain Lizzy Hamilton interviewed by Channel 4. If our jockeys didn’t win, then, at least they got the next best thing: TV celebrity status.

The stage was set for a spectacle, and that is precisely what the race offered. The jockeys set off at lightning pace. Oxford emerged in front, with Hamilton and Lindesay-Bethune leading the charge. Only at the very final furlong did two Cambridge jockeys, mounted on the two best-rated horses, fight back and overtake the Oxford duo. Ultimately, the Oxford team lost by 45 points to 56. Nevertheless, all five Oxford participants rode brilliantly, despite having lower- rated horses – spectators, having seen a day full of top-class racing, admitted they could barely distinguish the student amateurs from their professional counterparts.

After a long process gruelling and scintillating in equal measure, it’s now time for the team to take a well-earned rest. Come Trinity, however, they’ll be looking for a new team to carry this new varsity event into what will no doubt be a glorious future. 

Debate: Should OUSU support free education?

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YES

James Elliott

The current model of higher education funding has demonstrably failed. Privatisation, fees, cuts and debt over the last four years have all resulted in a 17% drop in the number of undergraduates, the closure of arts and humanities courses, and a collapse in the number of mature and part-time students attending university.

What’s more, this isn’t a financially sustainable system. An estimate of
the portion of student loans that will never be repaid has risen to 45%; this
statistic explains £2.5bn black hole in the universities budget. Clearly, the
system has to change, but on who’s terms? Will it be those of students,
workers, academics and society? Or will it be those of private finance? 

There are two distinct visions of higher education that we must choose between. The first is the vision of the Coalition, and their wealthy backers such as Pearson, a private education company, who are seeking to roll back the public provision of education.

They envision an American-style education system. In the USA a higher proportion of university funds are spent on marketing than on teaching, and working-class, black and disabled students in particular are locked out of higher education. 

The current system is bad enough to resemble that. Tuition fees are ‘a bonanza for the 1%’, as a Professor of Geography here in Oxford, Danny Dorling, referred to them. The fees system allows the wealthy to pay their £27,000 up front, while working-class students pay far more because of interest on their debt. 

The second vision is that of the NUS: Education that is free, well-funded, universally accessible and with high living grants and loans to end student poverty. This is to be paid for by getting the government to clamp down on tax avoidance, rather than taxing the poorest in society, which is in fact what fees themselves are. Money for quality teaching, welfare provision, enough cash to live off and expensive access schemes to help the
poorest.

Everything that students need at university, which they are currently being deprived of, can be paid for by closing in on the £120bn that is avoided in tax each year.

My chief opponents in this debate seem to be the ex-OUCA President,
Jack Matthews, and the Vice-President of OUSU, James Blythe. James
made the objection in OUSU Council last week that, “free education will
never happen”, forgetting that Germany abolished fees just a month
ago, and even cash-strapped Greece provides higher education for free.

Just what are the objections to takingmoney that is avoided in tax andthen ploughing it back into education?

I can’t see any, unless you’re a tax avoider ripping off the public. The essential question remains: What is education for? Or in this case, what are universities for? Education, for me, is a tool of human emancipation. It’s a social good, and a human right. It’s not a commodity to be sold, or a service to be run for profit.If our education system continues down its current path, then profit wins, but students, workers and communities lose.

We need to embrace that holistic view for what education should be like, then mobilise and campaign to win that system. Students, when they fight collectively, have won huge gains in Germany, Chile, Quebec and elsewhere in the last few years.

It’s time this country’s students followed this example. Let’s drop the toxic notion that education and politics are things that happen to us, and let’s retake the agency in this situation, and set out to win the free, public
education system that we know is best for all.

 

NO

James Blythe

In common rooms all over Oxford this week, students will be voting
on how to mandate their representatives at OUSU Council on the issue of making OUSU education funding policy ‘free education’. Free education seems like a noble and important principle. I wish I could support it — but I can’t.

It’s my job, as your Vice-President (Access & Academic Affairs), alongside
the other officers of OUSU, to represent the students of Oxford to the University, and in particular to lobby for a continuation of the generous
and sector-leading package of bursaries that are targeted at the students
in most need of support.

Those bursaries are having a real and crucial impact. They target support
at the students who really need it, and they are thought about carefully
on an annual basis, looking at the actual evidence of what works.
The bursary package is key in making sure that access to Oxford is not hindered by £9k fees.

Not only do I believe that it is vital that I am taken seriously in negotiations
about something as important as bursaries, but also that if I am not, that will have direct and immediate impact on my ability to fight for improvements
to that package. Tying OUSU to fighting for free higher education,
is a policy that is, in my view, utterly unfeasible in the financial situation in which the UK currently finds itself and for the foreseeable future would leave student representatives unable to fight for real spending and tangible changes that could make an actual difference to students.

I am all for taking important principled stances and I will join James Elliott
on any picket line he can find for us in anger at the chronic underinvestment
in higher education by theUK government. It is appalling andn staggering that we spend below the OECD average on higher education. In fact, I believe that is a picket line at which the Vice-Chancellor, who recently condemned the low spending on higher education by the UK government in his beginning of year
Oration, could join James and me.

I’m not in favour of taking positions just because the Vice-Chancellor
agrees — far from it. When he called for £16k undergraduate fees,
I worked, as the then Brasenose JCR President, with OUSU and other JCR
Presidents and we wrote a letter condemning it as well as bringing
motions in JCRs and OUSU Council. My record is clear — when necessary,
I will stand up to the University and challenge them.

I do, though, believe that we have to pick our battles and pick winnable
ones. It’s also a fact that if we can work with the University and bring
them with us, we will achieve change for students much more easily.

The way forward for the student movement is to embrace realistic goals in order to be taken seriously at the policy-making table both nationally and here in Oxford. I would be proud of a student union and a movement that fought for an increase in public spending, a commitment to no further increase in tuition fees, and real improvements in the visa policy for international students – again something the Vice-Chancellor has called for.

All of these things are achievable – if we focus on free education, a battle
the student movement, if we’re honest, lost 16 years ago, we will, in my
view, look fiscally reckless and unaware of the political reality.

More importantly, we’ll compromise our ability to achieve genuine
change for students. When voting in common rooms this weekend and
when the issue is brought to OUSU Council, take a stand for pragmatism and for principle: vote down the objective of free education.

 

Preview: Our Country’s Good

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Even without costumes, a stage, or the entire cast, Timberlake Wertenbaker’s tale of Eighteenth Century convicts staging a play in an Australian penal colony comes to life. The rehearsal space of Wadham’s “theatre” has more vibes of a school gym than a place of performance, but for a few minutes it becomes a space owned entirely by the actors. I’m sitting in on a scene near the end of the play, when rising tensions come to a head between Officer Ralph and convict Wisehammer in their fight over Mary Brenham.

It becomes evident almost instantly how sympathetic each actor is towards their character. Dom Pollard, playing Ralph, vocalised what was already evident, “the lines are not just lines, but an overriding subtext”.

The actors have clearly not just memorised the words, but allowed them to filter into their consciousness to form a character that can live outside the pages of a play script. Each run-through of the scene uses a different approach to the characters, and it is invigorating to see theatre’s versatility of play being used to its fullest extent. Furthermore, it is refreshing to see actors who thoroughly understand their characters as people and not just textual constructs.

Playfulness aside, a conversation with director Fay Lomas on why she chose the text reveals a deeper poignancy and cultural relevance. Despite being written thirty years ago, for her the text reflects cultural and social issues that are present in our own society.

“For both the characters in the play and prisoners in our own prison system, art and literature are important means of expression. If such materials are taken away, as is being questioned in our own society now, people become devoid of any creative outlet and means of expression. They become more isolated than they already are.”

It also becomes clear how ambitious, and how successfully so, Lomas’ production is. For her, the largest challenge is the sheer amount of action in the play. Actors are not only playing characters, but characters playing other characters on a stage where “people are sets; sets are people”.

Everything becomes either a prop or an actor. Set plans reveal how the unusually laid out blocks on the stage become a representational hierarchy of the colony’s social divisions, held together by decorative ropes, and show their unified isolation at the edge of the British Empire. The audience themselves are laid in a huddled fashion around the corner, in a sense temporarily becoming the speechless other members of the colony, gazing at the spectacle of convicts in dirty clothing and finely attired guards.

Although I only saw a snippet of the play, I can’t wait to go back to the Keble O’Reilly to see more. From the conversations that I had, I gained a sense of deep investment and involvement in the project of both cast and crew, nurturing the text into a living, breathing colony on stage that thrives off the attention of an audience. Don’t let this creative child starve — go and see it.

We desperately need an open dialogue on acne

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For the past 12 years I’ve avoided talking about one of the most obvious things about me. Something that is literally —well, almost — written on my face. My name is Evie, and I have acne.

I decided to break the silence after I read multiple articles on how acne frequently leads to depression, and that this is “often independent of severity”. Despite living with acne, I’d never considered that my low mood over a breakout was something natural, I’d just thought it was how I dealt with it. In fact, acne has a significant, negative psychosocial effect, and we don’t talk about it because pointing out our flaws is the very last thing we want to do.

Very few people realise what acne means. In all the media I’ve ever been subjected to, there has never been a protagonist with acne. If there is a character with acne at all, it’s an unsympathetic one, who is either submissive, mean, or both. There are no films about an acne-ridden girl who finds that she doesn’t need to be self-conscious but just has to ‘let herself shine’. All other ‘negative’ images are given support; whether you’re overweight, short, tall, nerdy, or even all-out Ugly Betty, there is a role model for you readily available. Because of this, people without acne often throw around the word “spotty” as a synonym for “young”, in a way no other negative attribute ever is.

There is no reason ever to be “proud to have acne” — but that doesn’t mean that a disease which affects 70-87% of teenagers and frequently
continues into adulthood shouldn’t be talked about, especially amongst a student population that fits neatly into the affected age group. It’s not glamorous — we don’t get to be ‘curvy’, or cute, or intelligent, or strong. Acne is not ‘endearing’.

This isn’t a polemic, however. I’m mostly just trying to let you that it isn’t
trivial – and you’re not weak or weird for letting it get to you. It might sound stupid, but in the same way, as a four year old, I wanted to be blonde and blue-eyed because Cinderella wasn’t Mediterranean, I spent my teenage years believing that anything that’s wrong with you can be overcome – unless you have acne. If a group of girls decided to adopt me into their social group and give me a make-over, it would never be perfect — because I had acne. If I found out I was the heiress to a small country and needed an image revamp, it wouldn’t work- because I had acne. The sudden, unexpected romance with the most popular guy in schoo would never happen — because no matter how
great my body, or my hair, or my style was, I still had acne.

My experience was that I woke up an hour earlier than I needed to, in order to make sure I had time to deal with my face. I wouldn’t go out with friends when they invited me, unless I knew well in advance. I’d convince
my mum I was sick so I didn’t have to go to school on bad days. These are all reflected in experiences others have told me as well. In my case, I even developed the beginnings of an eating disorder simply because, if I couldn’t have the perfect face, I’d be damned if I didn’t have the perfect
body.Thankfully, I managed to escape that downward spiral early on. I’m sure there are many who didn’t.

This happens every day in the lives of people all around us, yet it is never talked about. We sufferers live fairly normal lives, often being told we “don’t have acne” — if it’s light — or that “it doesn’t matter” by significant others,
but the dysmorphia and the insider knowledge persists. This is because the problem is ignored to such an extent that it’s not allowed to be a problem. We are constantly outraged by Photoshopped models, who go from skinny to skin-and-bones, but the fact that Miley Cyrus was bullied for her skin during her ‘flawless’ Hannah Montana years is rarely mentioned.

Chris Pike, OUSU VP for Welfare and Equal Opportunities has said, “It’s important to remember never to feel ashamed about seeking help if acne, or anything else, is making you feel depressed, isolated or uncomfortable. You absolutely have the right to support; whether that’s in terms of counselling
(contact the Counselling Service); advice (from OUSU’s Student Advice Service); medical support (from your college GP); or just someone to
talk to (such as Nightline, your peer supporters, Oxfordshire Mind, or anyone else). There is no ‘wrong reason’ to seek support.”

What I hope to have achieved from this article is to give to others
what I gained from the pieces I read – a feeling that this daily annoyance isn’t just mine. That I’m not overreacting. That I’m not – forgive the trite turn of phrase – alone. It scarily confirmed that people are actually staring at my
face and judging me but it also reminded me that at the end of the day, it’s not “acne-depression”.

Acne is a factor, which, like anything else, can lead to depression. Instead of letting it reach that stage, we should just change the first element.

Review: Othello

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★★★★★
Five Stars

Venice and Cyprus are collapsed into the space of a grimy pub in the north of England. The men wear tracksuits and wield rounders bats, and the women have sweatpants, scraped back hair and lower back tattoos. International conflict is now gang violence, and the pub’s pool table is a focal point from start to violent end.

The modernisation of this Othello, though ingenious and extensive, is far from being its only innovative feature. As you’d expect from a Frantic Assembly production, the physical theatre and dance are stunning. They give a brutal beauty to the fights and skirmishes, and convey an erotically charged tenderness upon the chemistry between the play’s central couple, Othello and Desdemona. The emphasis on physicality also makes the intrusive presence in the relationship of “honest Iago” a palpable and tangible one, that runs through the play as deeply as the twists and turns of his schemes and plots.

This physicality comes at a cost which for some will be inexcusable: the play is cut extensively, and not just cut, but intercut, with the beautifully choreographed chaos of the physical vignettes, and with relentlessly pounding electronic music. Rather than laying the charge of bardic butchery at this production’s door, instead note that as well as the big, famous quotations still occuring when we’d expect them to, they have a renewed vigour and impact. The words that remain hit us harder precisely because the play’s text has been stripped back to the bare bones of its dialogue.

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Likewise the show is open to accusations of having debased the love of Othello and Desdemona, their relationship introduced not as a glamorous elopement, but rather as a quickie in the ladies’ loos. I see the show as having embraced wholeheartedly its concept in a way many productions would be wary of doing. It challenges its audience’s prejudices concerning the characters it presents and whether such individuals are fit to speak the words of Shakespeare.

Desdemona, in this production, belongs to a strata of society commonly associated with sexual impropriety and promiscuousness regardless of their actual behaviour. Audience members who hold these prejudices must, with Othello, must come to terms with the stark fact of Desdemona’s fidelity, in the face of what her appearance, womanhood, and innocent friendliness, had led them to suspect, or to believe.

The decision to place Shakespeare’s work in this setting so firmly and with such dedication may be seen by some as a confrontational gesture, but it foregrounds a conflict in theatre between naturalism and elitism that needs to be examined. A desire to keep the words of Shakespeare in the mouths of the powerful reflects an elitist bias in our theatres, and to pretend that people who are poor in wealth are somehow also deficient in emotional intensity, whether of love or of jealousy.

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The set is realistic, but deceptively so, as the walls can shift and warp, swaying woozily with Cassio’s drunkenness, and closing in on Othello and Desdemona for the play’s climactic scenes. The extensive use of the pub creates a feeling of claustrophobia that adds a tension to the tragedy that is often found lacking in other productions. Othello is always so near to discovering Iago’s plots, and yet somehow, horrifyingly, Iago always eludes him. The brief time scale of the play acquires new intensity and believability when the characters are confined to one location, in such close proximity with one another.

This Othello doesn’t replicate verbatim the text with which we are familiar; it does something far more impressive. It captures the vital and visceral core of Shakespeare’s play, and transforms it into a compelling, and compellingly modern, spectacle. Even if you’re normally sceptical about contemporary adaptations of classics, go and see this play. It might just change your mind.

Review: Teenage Mutant Ninja Turtles

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★☆☆☆☆
One Star

I am old enough to have hazy recollections of watching — on VHS cassette — the old cartoon episodes of Teenage Mutant Hero Turtles (as it was then called), and playing an equivalently named computer game on the original NES console. Neither experience recalls particu­larly warm memories, but they were enjoyable enough ways of procrastinating at the time. The Turtles franchise has since then been through several film iterations. The one I remember from the early ‘90s consisted of actors in rath­er camp-looking costume suits, which, for all their artistic foibles, had a certain charm. This review is of 2014’s effort.

Teenage Mutant Ninja Turtles (2014) is an at­tempt to reboot, à la Batman Begins, an oth­erwise tired franchise. As with Nolan’s effort to make serious the camp crusader, this film attempts to make darker, more serious and edgier our heroes in a half-shell. In the direc­tor’s chair is Jonathan Liebesman, of whom I must confess to never having heard of before. IMDb tells me that his previous outing was at the helm of Wrath of the Titans, which, I am assured, was insufferably awful. Before that he churned out Battle: Los Angeles, which, I can assure you, was insufferably awful. Sadly, Turtles adds to his growing canon of undistin­guished output.

The plot? April O’Neil (played by Megan Fox, with zero panache) is a hungry young journal­ist, tired of producing puff-pieces, hungering for her big break in churnalism. Then along comes the dream story she’s always wanted — four six-foot-tall vigilantes combating crime on the streets of the city. April has the exclu­sive.

The only caveat she faces is that these vigilantes are all giant mutated turtles, that “speak English” (April’s words) and their ring leader is a worryingly wise giant talking rat (Splinter). Unsurprising­ly, April’s editor (Whoopi Goldberg — who knew she was still acting?) disobligingly refuses to broad­cast the discovery, and April begins a personal quest for proof of her claims. Before long, she and said turtles be­come embroiled in a vast terrorist conspiracy (with a plot un­nerv­ingly similar to that of Batman Begins) led by a martial arts expert in a titanium suit (Shred­der!). Can they save the day?

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One can understand how drivel like this gets made. There is a pre-existing franchise, which guarantees access to a ready-made fan base, however threadbare. There is already a plot and well-defined set of characters, so writers have to do little more than adapt an existing mythology to a screenplay. It is easy to storyboard, and producers can exercise a high level of control over the final prod­uct (historically the preserve of a director). Chances are that box office returns will be healthy.

But as artistic output, or even light entertainment fodder, Turtles is simply dread­ful. The heroes themselves are completely devoid of charm or humour. The ‘banter’ be­tween them is cringe-worthy, distinguished by its pre-eminent quality of farce. Less than twenty minutes into the running time, the film resorts to flatulence jokes. The computer generated imagery is unusually bad, so one cannot even suspend disbelief (as if the plot premise were not challenge enough). Splinter looks particularly absurd.

Can I say anything positive? The camera is held steady. The stunts are reasonably compe­tently handled. The plot, though lacklustre, is easy enough to follow. In mitigation to Me­gan Fox, she appears to have spent most time on set exchanging dialogue with imaginary creatures, later inserted through CGI in post-production, so she had little to ‘act’ against. I have considered whether I am simply judg­ing Turtles by the wrong standard, and should instead speculate on whether a child would enjoy it. Perhaps so, but I am not aware of children ma­triculating at Oxford or, gener­ally, reading Cherwell. Unless you seek an exercise in nostalgia, or need to entertain a tasteless child for a couple of hours, avoid this film at all costs.

Review: The Tate Modern Displays

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On the second floor of the Tate Modern can be found a collection of displays called Poetry and Dream. It’s a broad sweep of Twentieth Century visual art and how it interacts with Surrealism, with exhibits utilizing chance, free association, and entirely inscrutable symbolism.

Upon entering Room I, with works by Jannis Kounellis and Giorgio de Chirico, one is immediately struck by a sense of alienation. The Uncertainty of the Poet by de Chirico offers nothing more than it presents: a limbless and headless statue, a train in the distance, an empty courtyard, and in the harsh sunlight a bunch of bananas. Looking on, I couldn’t help but wonder what the psychological associations of bananas were, and whether I was supposed to be feeling them.

The Poetry and Dream display mostly sticks to this trend, making me doubt the actual capacity for a rendering of the artist’s most obscure associations to convey any mutual understanding to the onlooker. It seems almost up to chance whether or not it should spark any interesting response. Sure enough, artists such as Max Ernst explored the extent to which their works could be both random and affect an audience, however it remains mostly alien.

The greatest enjoyment I got was when a scene was both perplexing and technically proficient; Salvador Dali’s works were simultaneously complex and confusing, yet coherent. This coherence, however, is not found throughout the exhibition — though my desire to find it may be simply bourgeois. Instead, I found it difficult to continually interact with rooms full of barely contained forms; it became frankly exhausting.

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Hidden in all the surrealism, however, is the small but fascinating display of the works of Alexander Brodsky and Ilya Utkin. These are a set of impossible architectural designs, huge in scale and hovering between utopian social projects and satirical dystopian black and white monstrosities.

This is the most interesting room on the whole floor, filled with ominously sentient designs on which the Russian artists collaborated from 1980-90. They are vast in scope and ambition, although not intended for actualization; they still form a measure of criticism of life in a Soviet metropolis.

Unfortunately, the Brodsky and Utkin room is finite, so I am left to leave through the somewhat disappointing collection of Poetry and Dream. Brodsky and Utkin manage to make their works eminently possible to engage with, quite unlike the art in the rest of the show.

However, before leaving the Tate, it’s worth stopping by Henry Wessel’s photography display. In the weird, soft light of San Francisco, Wessel has captured moments in the lives of strangers from the 1970s onwards. The effect is much like when you find yourself staring at someone on a train.

From these incomplete details of people’s lives, an entirely hypothetical narrative is effortlessly pulled from the viewer. It’s an engrossing display, and a much more graspable exhibition than that which dominates the Tate Modern’s second floor.

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All three displays deal with incompleteness, whether in the lack of context of the surreal, photography, or impossible architecture. The individual works of the Poetry and Dream exhibition are excellent, but when unified they make viewing the display a disjointed, uneasy performance of self-doubt. Brodsky and Utkin and Wessel, however, manage to make their subjects compelling despite the impossibility of interacting with them, and entirely worth a visit.