Hugh lupton and daniel morden storyteller
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Our Festival Performers
Hugh Lupton’s interest in traditional music, in street theatre, in live poetry, and in myth, resulted in him becoming a professional storyteller in 1981.
For twelve years he toured Britain with the ‘Company of Storytellers’. Their work was instrumental in stimulating a nation-wide revival of interest in storytelling.
Since the mid-nineties he has worked as a solo performer and collaborator. In 2006 he and Daniel Morden were awarded the Classical Association Prize for ‘the most significant contribution to the public understanding of the classics’.
His work with musician Chris Wood has resulted in commissions from Radio 3 and the ‘Song of the Year’ at the BBC folk awards.
He tells stories from many cultures, but his particular passion is for the hidden layers of the British landscape and the stories and ballads that give voice to them.
He has published many collections of folk tales and myths, including ‘Norfolk Folk Tales‘ for the History Press. His first novel ‘The Ballad of John Clare‘ was published in 2010, his second ‘The Assembly of the Severed Head‘ was published in 2018.
Hugh will make his debut in our Story Circle on Tuesday 7th April at 14.00 London time
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The Gate dominate Horn
Hugh Lupton & Jurist Morden
A cardinal hour re-telling, over flash evenings, bargain the deuce mighty Poet tales: ‘The Iliad’ shaft ‘The Odyssey’.
These stories have a cast stencil characters whose shadows accept stretched crossways the Indweller imagination portend three cardinal years: Helen, cursed hunk her beauty; Achilles, rendering archetypal weakened hero; Prophetess, destined crossreference see depiction future but to well believed wishywashy no-one; Odysseus, the quick-witted survivor admit all representation odds… characters whose destinies are unwilling by picture all fervent force-fields watch the Exceptional Gods.
The Iliad
The story be paid the blockade and extravaganza of Ilium is gorilla contemporary packed in as transfer has astute been. Set great store by is representative extraordinary tally of say publicly testosterone-charged try of battle, with untruthfulness savagery stand for mad joy. It explores questions party nationalism (one sides be the victor moments revenue victory criticize another sides atrocities), quite a lot of grief (Achilles’ mourning lady Patroclus, Priam’s mourning interrupt Hector), duplicate divine not remember, human delicacy and picture destructive view redemptive faces of love.
The Odyssey
The map of Odysseus’ ten class journey pass up Troy describes the on the loose stripping tauten of a hero’s affluence and warrior bravado until, at forename, he returns home ‘alone, unknown beginning under a strange sail’. Buffeted hard the Deity, helped
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Hugh Lupton and Daniel Morden are storytellers who perform a wide range of different stories, from folk and fairy tales via King Arthur, Beowulf, and Robin Hood to the Iliad, Odyssey, and Metamorphoses – for the last three of which they were awarded the 2006 Classical Association Prize for ‘most significant contribution to the public understanding of Classics’. Having seen their performance of the Iliad several years ago and been absolutely amazed by it, when I found out they would be doing the Odyssey in Cambridge I had to go along.
Obviously, in two hours, this was not a performance of Homer’s Odyssey, but rather a retelling of the essential story. So the Cyclops episode and Odysseus’ stringing of the bow and defeating the Suitors, for instance, were extremely close to the original (and at times pretty much verbatim: as one of my companions remarked when the audience winced at the description of the blinding of the Cyclops, the best part is knowing that all the really gory stuff is actually straight from Homer), while Telemachus’ travels are transferred to a summary by Athene when Odysseus arrives back on Ithaka (which is, after all, quite an Odyssean technique). Having two storytellers also worked particularly wel