A Hundred Words for Snow (NHB Modern Plays)

Product Information

A Hundred Words for Snow is about being an explorer in a melting world. It’s a coming of age story. With polar bears. The show has been developed with the support of the Peggy Ramsey Foundation and was a winner of the Heretic Voices Monologue Competition. Despite this, and the painfully creaky chair in the front row (please sort that one OSO Arts Centre!), A Hundred Words for Snow proves once again what a spectacular piece of playwriting it is, with In Her Element, and in particular Nicole Cuthbert, doing it justice. It was a breath of fresh, Arctic air. TH: It’s terrifying! I was expecting it to be a profound experience but I wasn’t at all prepared for how it felt. The landscape is like nothing I’d ever seen before, it exists on a scale of size and time that’s so inhuman. The set design by Christianna Mason is ingenious, creating a landscape which reflects the explorer spirit and is downright beautiful. Every time something was pulled from a little cubby or out of a chest, my heart jumped like a child on an Easter egg hunt. The Danger Within: “Asesinato y adolescencia” / “Assassination and Adolescence” Opens the Español’s Season at Madrid’s Matadero 28th October 2023

A Hundred Words for Snow review, The Vaults, London, 2018 A Hundred Words for Snow review, The Vaults, London, 2018

The show has been developed with the support of the Peggy Ramsey Foundation and Arts Council England. Edward Sapir's and Benjamin Whorf's hypothesis of linguistic relativity holds that the language we speak both affects and reflects our view of the world. This idea is also reflected in the concept behind general semantics. In a popular 1940 article on the subject, Whorf referred to Eskimo languages having several words for snow:Classifications of snow– Methods for describing snowfall events and the resulting snow crystals; also discusses words for snow in other languages

A Hundred Words For Snow” At The Trafalgar Tatty Hennessy’s “A Hundred Words For Snow” At The Trafalgar

Lighting Designer Lucy Adams’ use of dark blue aids the show in its moments of silence and reflection, and Sound Designers Mark Sutcliffe and Annie May Fletcher give direction to the play without it being overbearing, creating a shifting soundscape fit for an adventure.Connoisseurs of the road-trip plot will be used to the fact that these often take the form of a Comedy or a Drama but the thing I particularly liked about A Hundred Words For Snow is that there were equal elements of both. And often not constrained to separate sections of the story. Rather, the production managed to re-create what we see so often in life; the funny side to a bad event. The trip Rory takes has its pitfalls and many of them have both little moments of sadness and little moments of humour/happiness. It was a very pleasant experience to see that reflected so realistically. The essential morphological question is why a language would say, for example, "lake", "river", and "brook" instead of something like "waterplace", "waterfast", and "waterslow". English has many snow-related words, [15] but Boas's intent may have been to connect differences in culture with differences in language.

A Hundred Words for Snow Tickets - Plays Tickets | London A Hundred Words for Snow Tickets - Plays Tickets | London

An often used turn of phrase is that it will ‘make you laugh, make you cry’, and very few ever do.This is no exception. You may manage not to cry, you may even find some of the puns to be unfunny, but A Hundred Words For Snow hits an emotional level that is impressive in its intensity and its range. For a charming, disarming, engaging production that is familiar and edgy simultaneously, I would certainly recommend it. Fortescue, Michael D.; Jacobson, Steven; Kaplan, Lawrence, eds. (2010). "PE qaniɣ 'falling snow' ". Comparative Eskimo Dictionary: With Aleut Cognates (2nded.). Alaska Native Language Center, University of Alaska Fairbanks. p.310. ISBN 978-1-555-00-109-4. It would be remiss of me not to gush a little about Hennessy’s writing. There is no single unnecessary word; everything feels firmly in its place. Rory is a beautifully executed character. Having been a teenage girl, I identified with everything she expressed – the concerns, the fears, doubts and difficulties, the humour and sarcasm – all of which were real and deeply felt. Hennessy has created a smart, poignant play, in which there is no lost moment. TH: It’s already been translated into Greek and performed in Athens, which was so thrilling. It’s a play very close to my heart so of course I’d love for it to have a long life. And a few actors have got in touch with me saying they’ve used it as their audition piece for drama schools which I’m always so excited and touched by. Who knows what’s next!

People who live in an environment in which snow or different kinds of grass, for example, play an important role are more aware of the different characteristics and appearances of different kinds of snow or grass and describe them in more detail than people in other environments. It is however not meaningful to say that people who see snow or grass as often but use another language have less words to describe it if they add the same kind of descriptive information as separate words instead of as "glued-on" ( agglutinated) additions to a similar number of words. In other words, English speakers living in Alaska, for example, have no trouble describing as many different kinds of snow as Inuit speakers. Robson, David (2012). Are there really 50 Eskimo words for snow?, New Scientist no. 2896, 72–73. [5] a b Krupnik, Igor; Müller-Wille, Ludger (2010), Krupnik, Igor; Aporta, Claudio; Gearheard, Shari; Laidler, Gita J. (eds.), "Franz Boas and Inuktitut Terminology for Ice and Snow: From the Emergence of the Field to the "Great Eskimo Vocabulary Hoax" ", SIKU: Knowing Our Ice, Dordrecht: Springer Netherlands, pp.377–400, doi: 10.1007/978-90-481-8587-0_16, ISBN 978-90-481-8586-3 , retrieved 2023-01-16

A Hundred Words for Snow, By Tatty Hennessy - Nick Hern Books

Words are the stars of this show, carefully selected and crafted to create a play with real beauty, depth and heart. On the other hand, some anthropologists have argued that Boas, who lived among Baffin islanders and learnt their language, did in fact take account of the polysynthetic nature of Inuit language and included "only words representing meaningful distinctions" in his account. [3] Igor Krupnik, an anthropologist at the Smithsonian Arctic Studies Center in Washington, supports Boas's work but notes that Boas was careful to include only words representing meaningful distinctions. Krupnik and others charted the vocabulary of about 10 Inuit and Yupik dialects and concluded that they indeed have many more words for snow than English does. Central Siberian Yupik has 40 terms. Inuit dialect spoken in Canada's Nunavik region has at least 53, including matsaaruti, for wet snow that can be used to ice a sleigh's runners, and pukak, for crystalline powder snow that looks like salt. Within these dialects, the vocabulary associated with sea ice is even richer. In the Inupiaq dialect of Wales, Alaska, Krupnik documented 70 terms for ice including: utuqaq, ice that lasts year after year; siguliaksraq, a patchwork layer of crystals that form as the sea begins to freeze; and auniq, ice that is filled with holes. Similarly, the Sami people, who live in the northern tips of Scandinavia and Russia, use at least 180 words related to snow and ice, according to Ole Henrik Magga, a linguist in Norway. (Unlike Inuit dialects, Sami ones are not polysynthetic, making it easier to distinguish words.) [9] Languages in the Inuit and Yupik language groups add suffixes to words to express the same concepts expressed in English and many other languages by means of compound words, phrases, and even entire sentences. One can create a practically unlimited number of new words in the Eskimoan languages on any topic, not just snow, and these same concepts can be expressed in other languages using combinations of words. In general and especially in this case, it is not necessarily meaningful to compare the number of words between languages that create words in different ways due to different grammatical structures. [4] [8] [note 2] It’s a bugbear of mine that so often there is an easily foreseeable ending to a plot and while I think it is pretty obvious how A Hundred Words For Snow is destined to end, I would make the point that in my opinion, the ending is good enough and individual enough that its foresee-ability should not put you off. TH: Every play is political. I don’t think about using the play to make points – its about telling a story, and the story explores several areas and I hope encourages an audience to reflect on things – on how we now engage, and how we have historically engaged, with our planet and with each other, and if there’s a way we could be doing this better.Director Lucy Jane Atkinson has given a heavy topic a sense of lightness. Even on a small stage, we can feel the production breathe and take up space far beyond the confines of the performance space. Well, not literally. Literally he was a Geography teacher. But inside, she knows, he was Bear Grylls. Brought to us by playwright Tatty Hennessy, A Hundred Words For Snow is a one-woman play performed by recent Oxford School of Drama graduate Gemma Barnett. While, understandably, it doesn’t actually contain one hundred different words for snow, it does offer the audience a charming, well-produced emotive piece that manages to be lighthearted while also dealing with a number of significant life-changing issues. And often pulling few punches while doing so. Find more monologues and duologues like this, with popular film and TV scenes such as Analyze This.