I had been meaning to take in this installation for some time, and today, after an afternoon at the Museum of London, turned out to be the perfect opportunity. I began with reading the lengthy introduction Song Dong provides to the piece, outlining a significant amount of detail on the inspiration, notably his mother's life. Growing up in post-war China under communist rule, she was raised in a time of extreme frugality to ensure survival. As her life grew and changed, the need for this intense frugality waned, however her need to save - anything and everything - remained. The way Dong describes it, it is as if the objects began to fill voids and harbour memories she was unwilling to let go of.
At a glance, this could just look like a pile of stuff, which really could be from anyone's house. But upon a slow, careful inspection, each item has been kept and cared for in a very specific manner; plastic bags folded in neat triangles, squares of fabric scraps wrapped with string or ribbon, books piled neatly. And Dong's arrangement within the gallery takes the viewer from the impersonal to the personal, moving from bowls and pots, to boxes and toys, and finally to clothes and shoes. It is remarkable the things that make you realize how far away from home you are; whilst looking at the installation, it occurred to me that many of the objects are similar to those my mother has kept around the house. Unlike Dong, I often encourage my mother to get rid of things she is keeping for sentimental reasons that are no longer of use. This installation and its memory-infested objects hit home, and caused me to re-consider this perspective.
I strongly recommend checking this out. It is free, and runs to 12 June, 2012 in the Barbican Curve Gallery.
Link Here: http://www.barbican.org.uk/artgallery/event-detail.asp?ID=12878
Wednesday, 11 April 2012
Monday, 9 April 2012
Cliche?
Reading Sophie Nield's piece in the Guardian Theatre Blog (http://www.guardian.co.uk/stage/theatreblog/2012/apr/03/curtain-calls-clapped-out-convention) got me thinking about discussions surrounding our work on Jean Genet. Our group, having created what we felt was an hour of work that subverted expectation and challenged the audience to take Genet seriously as a writer who still has something to tell us, proposed not having a curtain call. Our tutor, Andrew Visnevski, responded favourably to the piece we created, and challenged us further; not having a curtain call has become the expectation when one sees edgy, challenging theatre. So the audience, coming to see an MA response to Jean Genet would most certainly expect no curtain call. . . so our hour's worth of subversion would be undermined by this choice. Instead, he suggested that we come out behind the audience, and applaud them along with the empty stage; in a way, this honouring the ghost of Genet whom we had conjured in the previous 10 weeks and who had inspired our work.
So this is how we proceeded. Certainly the effect was startling to the audience; we waited for them to begin applauding, then appeared behind them, also applauding. It took a moment for each person to catch on, the increase in volume from 14 extra sets of hands clapping, the distinct lack of bodies on stage receiving the thanks.
In a way, this choice did what Nield and many comments on the blog have suggested; it forced a truthful appreciation of the work separate from the appreciation of the individuals creating the work. It is certainly something to consider.
So this is how we proceeded. Certainly the effect was startling to the audience; we waited for them to begin applauding, then appeared behind them, also applauding. It took a moment for each person to catch on, the increase in volume from 14 extra sets of hands clapping, the distinct lack of bodies on stage receiving the thanks.
In a way, this choice did what Nield and many comments on the blog have suggested; it forced a truthful appreciation of the work separate from the appreciation of the individuals creating the work. It is certainly something to consider.
Thursday, 5 April 2012
Reflections in Latin - Ludus Danielis @ King's College London
I spoke briefly about this project in the fall, but in the swarm of work that has occurred since December, haven't spoken much since. This project, based in a long-term relationship RADA has had with King's College London, is an opportunity for MA Text & Performance students to direct a production populated by MA Latin students at King's. Outside of the play selection, the date, the location, and the necessity not to cut any of the latin text, the directors are given free reign on how to proceed.
Our play was Ludus Danielis - the story of Daniel - the c.1140 Beauvais play, in Medieval Latin and French. The location: the beautiful King's College Chapel inside the Strand Campus. So far, so good. Three of us from the MA T&P volunteered, and agreed to work together to co-direct the piece. This worked remarkably well, as each of us had the chance to jump in on areas where we were most interested or expert, allowing the overall production to have a very lively feel; a major accomplishment with an 800 year old play in a language very few speak or understand.
Our decision was to approach the story as a fairy tale of sorts; The student actors began as their "normal" selves, coming in as if they, too, were going to see the production. From here, we had 2 magical stagehand/ushers and a musician who weaved them into a magical land, wherein they took on the characters of the Beauvais play, and the play began. With limited cast, we opted to use puppets to populate chorus parts such as nobles or satraps, which traditionally would have been performed by larger choruses. This worked extremely well, adding a slight comic element to the piece. Now, adding comedy to a 12th century liturgical drama might seem odd, however our dramaturgical research uncovered evidence that these plays would have been fun and not purely serious; the role of early liturgical dramatic pieces was to engage the parish in the bible stories in a way that would be fun and exciting, particularly given that few would have understood Latin - much like our present-day audience. Another feature we added was music; a leitmotif was created for each character, which played as they began or ended an important speech or moment. This was in reference to the musical nature of these plays (many would have been fully or partially sung) and also to help the audience follow along with the story.
Overall, the production was a success. Our performers had a fabulous time, and reports from audience members was that the production was highly enjoyable. I look forward to this sort of unusual challenge again.
Photos: Ludus Danielis, directed by Kendra Jones, Cristina Cugliandro and Maria Kivinen
Design by Liv Wright
Our play was Ludus Danielis - the story of Daniel - the c.1140 Beauvais play, in Medieval Latin and French. The location: the beautiful King's College Chapel inside the Strand Campus. So far, so good. Three of us from the MA T&P volunteered, and agreed to work together to co-direct the piece. This worked remarkably well, as each of us had the chance to jump in on areas where we were most interested or expert, allowing the overall production to have a very lively feel; a major accomplishment with an 800 year old play in a language very few speak or understand.
Our decision was to approach the story as a fairy tale of sorts; The student actors began as their "normal" selves, coming in as if they, too, were going to see the production. From here, we had 2 magical stagehand/ushers and a musician who weaved them into a magical land, wherein they took on the characters of the Beauvais play, and the play began. With limited cast, we opted to use puppets to populate chorus parts such as nobles or satraps, which traditionally would have been performed by larger choruses. This worked extremely well, adding a slight comic element to the piece. Now, adding comedy to a 12th century liturgical drama might seem odd, however our dramaturgical research uncovered evidence that these plays would have been fun and not purely serious; the role of early liturgical dramatic pieces was to engage the parish in the bible stories in a way that would be fun and exciting, particularly given that few would have understood Latin - much like our present-day audience. Another feature we added was music; a leitmotif was created for each character, which played as they began or ended an important speech or moment. This was in reference to the musical nature of these plays (many would have been fully or partially sung) and also to help the audience follow along with the story.
Overall, the production was a success. Our performers had a fabulous time, and reports from audience members was that the production was highly enjoyable. I look forward to this sort of unusual challenge again.
Photos: Ludus Danielis, directed by Kendra Jones, Cristina Cugliandro and Maria Kivinen
Design by Liv Wright
Perhaps I am odd
Still mentally reeling from the aftermath of 10 weeks intensely studying Jean Genet's work. I think it is the mark of a truly great writer that the further you get from the work, the more it seems to pop up in you, resonating across various areas of your life. One thing that is really interesting to me is the fascination many of my colleagues have had with Genet's own disregard for his writing, particularly his plays. He himself refers to them as "clumsy attempts", which many have voiced is frustrating, or difficult to encounter.
Perhaps I am odd. Somehow, in the midst of a world of people with limited talent taking themselves entirely too seriously, and even those with immense talent forcing a specific understanding of their work on others (The Beckett Police, anyone??) I find it refreshing to come across a writer who has had such immense influence, and yet disregards his own work in this way. It is important to note that he doesn't call out his work or tear it down, he simply acknowledges, with what I would argue is some modesty, that all we ever do is try. We never know all of the answers in our own work, or in how others will interpret it, and I find it rather inspiring that a man of such greatness can allow his work to be viewed with such simplicity. Certainly a lesson everyone can take from Genet, whether you like his work or not.
Perhaps I am odd. Somehow, in the midst of a world of people with limited talent taking themselves entirely too seriously, and even those with immense talent forcing a specific understanding of their work on others (The Beckett Police, anyone??) I find it refreshing to come across a writer who has had such immense influence, and yet disregards his own work in this way. It is important to note that he doesn't call out his work or tear it down, he simply acknowledges, with what I would argue is some modesty, that all we ever do is try. We never know all of the answers in our own work, or in how others will interpret it, and I find it rather inspiring that a man of such greatness can allow his work to be viewed with such simplicity. Certainly a lesson everyone can take from Genet, whether you like his work or not.
Wednesday, 28 March 2012
Review - Christopher Wheeldon's Alice's Adventures in Wonderland - Royal Opera Ballet
There are certain companies you grow up in awe of. For the most part, this awe fades as you get older, learn more about your craft, and see more work. The Royal Ballet, home-base of two of my favourite dancers in history (Rudolph Nureyev and Margot Fonteyn) was one of those companies I was in awe of, and finally this week I had the chance to see them live. The awe has not faded in the least. This production, a re-mount of their 2011 world premiere, was every bit of brilliant dancing, amazing costumes and clever set design that I had grown up expecting to see at the Royal Opera Ballet.
The choreography, unlike many new full-length ballets, uses a significant amount of classical ballet language, with the majority of female roles en pointe. This was refreshing, as we have come to see a lot of character-shoe or bare-footed ballerinas after the contemporary dance waves of the 70s and 80s. Wheeldon spins a beautiful story, hearkening back to the original Lewis Carrol book, one spinning through confusion, illogical associations, and silliness. Some specific choices stood out; Alice's free-spirited and youthful movement carried through the piece, while the Queen of Hearts is shaped as a prima-ballerina past per prime, in full egotistical glory. The most genius stroke, however, was to make the Mad Hatter a tap dancer; Wheeldon's choreography allows the Mad Hatter's tapping to underscore the emotion in each moment, his steps mirroring the ballet ones, but adding sounds throughout, all of which was beautifully executed.
Overall, an amazing night-of-a-lifetime.
The choreography, unlike many new full-length ballets, uses a significant amount of classical ballet language, with the majority of female roles en pointe. This was refreshing, as we have come to see a lot of character-shoe or bare-footed ballerinas after the contemporary dance waves of the 70s and 80s. Wheeldon spins a beautiful story, hearkening back to the original Lewis Carrol book, one spinning through confusion, illogical associations, and silliness. Some specific choices stood out; Alice's free-spirited and youthful movement carried through the piece, while the Queen of Hearts is shaped as a prima-ballerina past per prime, in full egotistical glory. The most genius stroke, however, was to make the Mad Hatter a tap dancer; Wheeldon's choreography allows the Mad Hatter's tapping to underscore the emotion in each moment, his steps mirroring the ballet ones, but adding sounds throughout, all of which was beautifully executed.
Overall, an amazing night-of-a-lifetime.
Sunday, 25 March 2012
Review - The Master and Margarita - Complicite @ Barbican
Another company whose work I have admired for some time, and one which I had the immense pleasure of participating in a weekend lab with over the past two days (look for the blog on that too!). This piece, based on the Bulgakov pre-WW2 novel, was visually stunning, taking the audience through a mad and twisted fairy tale land of devils and talking cats, all with the assistance of 16 committed performers, minimal furniture, and amazing lighting design. True to their form, Complicite work from minimal props and sets, and will use physical theatre defamiliarization techniques to use these props to make all sorts of locations, objects, and feelings. In the hands of these capable performers, chairs become olive trees, weapons, stairs, you name it. The sheer imagination of the piece had me on edge, and completely wanting to invent work like this of my own.
That said, I did have some concern over the vocal work on the show; at times actors were not understandable (notably, the lead "The Master" was unintelligible from the upper stalls) while others' voices were strained and overworked. As well, I did find myself wondering how the show would be possible without the multi-million dollar lighting rig and amazing sound and lighting design they had. Obviously this is just my poor theatre student sensibility coming out, but there is something to be said; there were moments where I felt without the lighting or sound the energy of the piece would have been mute.
On the whole, I have immense respect for Complicite's work, and was fully inspired by the piece, despite a couple small queries or misgivings.
That said, I did have some concern over the vocal work on the show; at times actors were not understandable (notably, the lead "The Master" was unintelligible from the upper stalls) while others' voices were strained and overworked. As well, I did find myself wondering how the show would be possible without the multi-million dollar lighting rig and amazing sound and lighting design they had. Obviously this is just my poor theatre student sensibility coming out, but there is something to be said; there were moments where I felt without the lighting or sound the energy of the piece would have been mute.
On the whole, I have immense respect for Complicite's work, and was fully inspired by the piece, despite a couple small queries or misgivings.
Review - Can We Talk About This? DV8 Physical Theatre @ Royal National Theatre
I have had a massive company-crush on DV8 for well over a year, since a friend first shared a clip of this show in its Australian incarnation. As a result, I went into this show with huge expectations and the desire to be tested intellectually and visually. The set as we first see it is a large, open space prepared for intricate physical movement with parquet floors. There is a wall close to the downstage side with mirrors on it, and doors lining the sides of the room on stage. Pulling no punches, creator Lloyd Newson begins by cracking in on the audience, largely visible in the mirror on stage, about moral superiority to the Taliban. This direct address sets the tone for the ensuing 120 minutes of questioning our stance (or lack thereof) when it comes to Western cultures interacting with other cultures, most specifically muslims. The show challenges us to look at our own beliefs, and to question why we have come to a place of moral relativism, where acts we view as completely heinous are okay for others, because of their "culture".
At its root is a deep belief in the univerality of human existence; that there are certain basic rights that all people deserve to have access to, and that for someone to remove those rights in the name of religion or culture is not acceptable. The intellectual debate is fiery, and is underscored by intense physical choreography which echoes in space and movement the essence of what a character is saying or doing, to great effect. When a politician is dancing around an issue, the actor is literally fancy-footing around the stage. When a woman is preaching from her high horse, she speaks the entire monologue from atop another actor, who moves her around as if he was her chair.
Oddly, despite the desecriptions I have stated above, it does not feel like it gives us an answer...rather it asks A LOT of questions and at least in my case, sparked some serious discussion about how we should handle these things and what is acceptable.
Overall, the effect was visually stunning, underscoring intense intellectual debate, and left me thinking. Isn't that what we want theatre to do?
At its root is a deep belief in the univerality of human existence; that there are certain basic rights that all people deserve to have access to, and that for someone to remove those rights in the name of religion or culture is not acceptable. The intellectual debate is fiery, and is underscored by intense physical choreography which echoes in space and movement the essence of what a character is saying or doing, to great effect. When a politician is dancing around an issue, the actor is literally fancy-footing around the stage. When a woman is preaching from her high horse, she speaks the entire monologue from atop another actor, who moves her around as if he was her chair.
Oddly, despite the desecriptions I have stated above, it does not feel like it gives us an answer...rather it asks A LOT of questions and at least in my case, sparked some serious discussion about how we should handle these things and what is acceptable.
Overall, the effect was visually stunning, underscoring intense intellectual debate, and left me thinking. Isn't that what we want theatre to do?
Sunday, 18 March 2012
Downfall - Death of the Vancouver Playhouse
For those outside the Canadian theatre bubble, this might require some explanation. March 9th, the Vancouver Playhouse, a regional Canadian theatre established in 1962, announced it would be closing. Plagued with debt, the company felt they were unable to overcome this and the board voted to shut things down. As one might imagine, this has caused outcry from the theatre community across Canada; anger at arts cuts from the current Conservative government that span back years, mountains of hypotheses on the cause of this downfall , and petitions circulating to try to save the company, soliciting donations. I do not disagree with a single one of these.
That said, I feel that the thing that is going unsaid (or at least not loudly enough) is that many professional regional companies in Canada are not creating work that gives people a reason to go. In an age where Hollywood and Television do what they do so well, and suck people in to paying upwards of $13 for a movie theatre ticket to see the latest blockbuster, theatre interest has waned, particularly among the aging middle-class bourgeois Canadian public. Now what has the Canadian Mainstream's response to this been, in the face of large commercial successes like those seen by DanCap and Mirvish in Toronto (the Canuck equivalent of the West End or Broadway)? It has been to try continually to produce the mega-budget, big-star blockbuster, but on the stage. This has meant season after season full of adaptations from films, or staging of plays that have been made to films, for maximum opportunity for success. Rather than engaging with what makes theatre essential, as well as what makes it fundamentally different from a moviegoing experience, theatre in Canada has attempted to be "just like the big kids".
I would like this to be a call to arms for my fellow young theatremakers in Canada; With our generation, lets fix things, not by going with formulae and safe but mediocre successes, but by really challenging why on earth we make this stuff in the first place. Lets make interesting and new work that challenges the audience and makes them want more. What stories must be told in the theatre? What makes our medium, one that has existed for 2000 years different and necessary? And why should people come see our work?
When we can begin to attempt to answer these questions in our work, we'll have begun to do something truly worthwhile. I know it is in there.
That said, I feel that the thing that is going unsaid (or at least not loudly enough) is that many professional regional companies in Canada are not creating work that gives people a reason to go. In an age where Hollywood and Television do what they do so well, and suck people in to paying upwards of $13 for a movie theatre ticket to see the latest blockbuster, theatre interest has waned, particularly among the aging middle-class bourgeois Canadian public. Now what has the Canadian Mainstream's response to this been, in the face of large commercial successes like those seen by DanCap and Mirvish in Toronto (the Canuck equivalent of the West End or Broadway)? It has been to try continually to produce the mega-budget, big-star blockbuster, but on the stage. This has meant season after season full of adaptations from films, or staging of plays that have been made to films, for maximum opportunity for success. Rather than engaging with what makes theatre essential, as well as what makes it fundamentally different from a moviegoing experience, theatre in Canada has attempted to be "just like the big kids".
I would like this to be a call to arms for my fellow young theatremakers in Canada; With our generation, lets fix things, not by going with formulae and safe but mediocre successes, but by really challenging why on earth we make this stuff in the first place. Lets make interesting and new work that challenges the audience and makes them want more. What stories must be told in the theatre? What makes our medium, one that has existed for 2000 years different and necessary? And why should people come see our work?
When we can begin to attempt to answer these questions in our work, we'll have begun to do something truly worthwhile. I know it is in there.
Thursday, 15 March 2012
Trying
Well, the day is here! The play I dared write will have a scene performed at RADA this evening, in the lovely hands of a talented director and 2 talented performers. What a surreal experience, not only having my characters brought to life, but having my text interpreted by a director, seeing how she makes my words come alive.
I was just sitting in a rehearsal, listening to their final work before our workshop presentation, and it was like an out of body experience; I know I wrote these words, and yet performed, it sounds like words that came from someone else.
I look forward to tonight's performance! I will be recording it and will post it up for viewing enjoyment.
I was just sitting in a rehearsal, listening to their final work before our workshop presentation, and it was like an out of body experience; I know I wrote these words, and yet performed, it sounds like words that came from someone else.
I look forward to tonight's performance! I will be recording it and will post it up for viewing enjoyment.
Thursday, 8 March 2012
More Questions
I just had my preliminary meeting with my tutor, Andrew Visnevski, in preparation for my dissertation work commencing in May. All I can say is that I had a lot of questions leading to this meeting, and now have even more, and even fewer answers and less focus. That said, I am extremely excited to have this project beginning, and cannot wait to see where it will take me intellectually, artistically, and personally.
Now to make a plan of attack, keep reading like a crazy person, and find some actor-collaborators.
Now to make a plan of attack, keep reading like a crazy person, and find some actor-collaborators.
Wednesday, 7 March 2012
Celebrating Women
It is International Womens' week, which means that there are a plethora of readings, exhibitions, meetings, and the like celebrating the work of women and how far we have come in the last century or so. Simultaneously, there are daily barrages of female image on television, film, advertising, music, quickly regressing this progress in the search for the 'girl' with the best legs, or who makes the most desirable (read: attractive) mate. Club culture is no exception; it is a place where women continue to be valued for the brevity of their skirt and the height of their heels, and go-go dancers have made a resurgence in their underwear-worn-as-outerwear attire. So it seemed to me these worlds collided when I received a facebook invite to an event titled "International Women's Week" at a weekly club night in a Canadian city which will remain unnamed. This night boasted "Free cover for the ladies" and a single "girl-dj special guest" among the male-filled lineup of five. In addition, the night boasted go-go dancers.
Now, take away the event title, and this is pretty standard club-fare; boys' club where the girl sometimes gets to come play, but for the most part is relegated to a status in a skimpy skirt and fur boots atop a speaker. But this event really took things to a new level by labelling itself for International Womens' Week, whilst continuing to offer these demeaning evidences. These people have missed the point to a degree beyond any rational explanation. Is our generation truly that out of touch that it feels something like this might actually empower women and challenge gender roles?
I sincerely hope things like this are isolated. I also sincerely hope that no self-respecting woman shows up.
Now, take away the event title, and this is pretty standard club-fare; boys' club where the girl sometimes gets to come play, but for the most part is relegated to a status in a skimpy skirt and fur boots atop a speaker. But this event really took things to a new level by labelling itself for International Womens' Week, whilst continuing to offer these demeaning evidences. These people have missed the point to a degree beyond any rational explanation. Is our generation truly that out of touch that it feels something like this might actually empower women and challenge gender roles?
I sincerely hope things like this are isolated. I also sincerely hope that no self-respecting woman shows up.
Thursday, 1 March 2012
Pushing Boundaries
I have mentioned in previous blogs that I am grappling with ideas of responsibility to the audience, how we position the audience as performer-creators, and what the limits might be of what we can demand from our audience. Last night's scene study class allowed another opportunity for me to give this consideration, as we were joined by Dominic Johnson, performance artist and lecturer at Queen Mary, University of London. [http://www.dominicjohnson.co.uk/Dominic_Johnson/Introduction.html]
It is very simple to see performance art, particularly that which contains self-mutilation of some kind as facile or sensationalist. I think this is selling it short, as there is something very engaging to be taken from these pieces, whether we feel we agree with them or not. Dominic's work is highly detailed, engaging very specifically with questions and challenges posed by theatre intellectuals, and in creating a language of images does not allow the viewer to sit back. His work engages specifically with questions of our comfort; why do we accept some things and not others, why is boxing okay, but piercing on stage crossing a line? In many ways, Dominic's talk with us raised more questions than it answered, however what I can say definitively is that is has pushed me into a further examination of where my limits are. I think (and this is rather tentative) that what causes me to step back is the potential for chaos, of unexpected danger. Contrary to social mores, I tend to accept performance art which is planned, rehearsed, safe in its execution and reject boxing for its chaotic and limitless nature. But then what of the things that lie in between? Physical theatre or dance, for example, are willing, consentual abuses of the body, which although practiced could go horribly wrong. Why is this still okay to me?
And in doing all of this, where does this position the audience? What is the difference between an audience who has purchased a ticket specifically to see a performance artist in a theatre space, and a clubber who sees a performance artist, perhaps unexpectedly? What considerations must the creator have, or is this difference, this subversion of expectation precisely the point?
It seems that I accept the aestheticization of pain. Time for more thinking.
It is very simple to see performance art, particularly that which contains self-mutilation of some kind as facile or sensationalist. I think this is selling it short, as there is something very engaging to be taken from these pieces, whether we feel we agree with them or not. Dominic's work is highly detailed, engaging very specifically with questions and challenges posed by theatre intellectuals, and in creating a language of images does not allow the viewer to sit back. His work engages specifically with questions of our comfort; why do we accept some things and not others, why is boxing okay, but piercing on stage crossing a line? In many ways, Dominic's talk with us raised more questions than it answered, however what I can say definitively is that is has pushed me into a further examination of where my limits are. I think (and this is rather tentative) that what causes me to step back is the potential for chaos, of unexpected danger. Contrary to social mores, I tend to accept performance art which is planned, rehearsed, safe in its execution and reject boxing for its chaotic and limitless nature. But then what of the things that lie in between? Physical theatre or dance, for example, are willing, consentual abuses of the body, which although practiced could go horribly wrong. Why is this still okay to me?
And in doing all of this, where does this position the audience? What is the difference between an audience who has purchased a ticket specifically to see a performance artist in a theatre space, and a clubber who sees a performance artist, perhaps unexpectedly? What considerations must the creator have, or is this difference, this subversion of expectation precisely the point?
It seems that I accept the aestheticization of pain. Time for more thinking.
Thursday, 23 February 2012
Meditations on Identity
Last night's scene study class was a further extension of our discussion of tragedy as an identity-creation machine, this time focused on the creation of a National identity. Using Yeats' work at the turn of the 20th century as a starting point, we looked at the ways in which theatre and theatrical events (national ceremony, ritual, sport) can help to shape the identity of a nation and provide the values on which that nation define itself. This reciprocal, circular relationship is a confusing one, for arguably if done well, the image in the art reflects the image of the nation while simultaneiously propagating it.
I often find these discussions particularly engaging in their focus on post-colonial nations and their struggle to create an identity after the absence of the oppressor. This is fascinating to me, coming from Canada, as a result of our unique situation. Canada has only been a nation since 1867, and has primarily been a nation of immigrants. The very fact that our first peoples were shipped off, forced into assimilation, is only in recent years with the residential schools inquiries and commissions beginning to come into light as an issue for artistic contention. But for the rest of us, for the immigrant Canadians, the sense of identity has always had a necessary duality. We are at once Canadian, and our family's country of origin - Irish, Ukrainian, Polish, German, what have you. Even myself, a third and fourth generation Canadian, identify as a Ukrainian-Canadian. We identify strongly with the histories of our families, while also engaging with the future of our nation; that nation which was shaped by luminaries such as Pearson and Trudeau. My generation, the young thinkers and artists of today, are the first to have grown up in a Canada which had this view of our nation for the entirety of our lives, and this bodes well for the creation of an increasing amount of theatre that truly has a Canadian voice.
I found it interesting that in a brief discussion of the "global" citizen, versus the Nationalist citizen, our tutor raised Robert Lepage's theatre as an example of Global theatrical values - of duality. In fact, this is a distinctly Canadian identity, in the case of Lepage a French-Canadian identity, but one that echoes for all Canadians' sense of duality. Fascinating that the identity of a nation formed by thinkers like Pearson et al would be picked up as a global identity; I suspect he would be proud. I know I am. I just hope we can live up to it.
I often find these discussions particularly engaging in their focus on post-colonial nations and their struggle to create an identity after the absence of the oppressor. This is fascinating to me, coming from Canada, as a result of our unique situation. Canada has only been a nation since 1867, and has primarily been a nation of immigrants. The very fact that our first peoples were shipped off, forced into assimilation, is only in recent years with the residential schools inquiries and commissions beginning to come into light as an issue for artistic contention. But for the rest of us, for the immigrant Canadians, the sense of identity has always had a necessary duality. We are at once Canadian, and our family's country of origin - Irish, Ukrainian, Polish, German, what have you. Even myself, a third and fourth generation Canadian, identify as a Ukrainian-Canadian. We identify strongly with the histories of our families, while also engaging with the future of our nation; that nation which was shaped by luminaries such as Pearson and Trudeau. My generation, the young thinkers and artists of today, are the first to have grown up in a Canada which had this view of our nation for the entirety of our lives, and this bodes well for the creation of an increasing amount of theatre that truly has a Canadian voice.
I found it interesting that in a brief discussion of the "global" citizen, versus the Nationalist citizen, our tutor raised Robert Lepage's theatre as an example of Global theatrical values - of duality. In fact, this is a distinctly Canadian identity, in the case of Lepage a French-Canadian identity, but one that echoes for all Canadians' sense of duality. Fascinating that the identity of a nation formed by thinkers like Pearson et al would be picked up as a global identity; I suspect he would be proud. I know I am. I just hope we can live up to it.
Wednesday, 15 February 2012
Review - Juno and the Paycock - Royal National Theatre
I have two perspectives of this production. The first, from my seat in the front row was extremely engaged; this is how I viewed act 1. From the first row, the set towered in all of its deconstructed beauty. The ceiling, a good 8 feet higher than would be necessary, gave the impression that this was a formerly grand room, in which this family had squatted and built shanty-rooms in which to live. The actors inner-lives radiated, and I was acutely aware of their struggle despite the comic overtones the director emphasized. For the second act, we opted to move to some empty rows in the back of the main floor of the theatre. . . and I believe lost something in the move. The second act, which contains the downfall of the family, appeared framed, distant, held back in the proscenium. Where in the first act, I was very aware of the director's hand in pulling out comedy before we turned to the tragedy, in the second act my awareness of the director's hand was as puppetmaster, moving the actors about the space for seemingly no reason at all.
Now to consider this as a tragedy. I believe that Juno is set up to be our tragic hero; she works to keep her family afloat, is offered what seems like an opportunity and rather than act cautiously, she spends, allows niceties, and ultimately is responsible for her family's further fall; her daughter's demise, the loss of their home and any respect they maintained. Certainly, if we are to measure tragedy in Aristotelian terms, I felt pity for this woman and her family...but I cannot say that I felt fear at the same time. Is this a way to present tragedy now? I am not so sure; this appeared to work within the already agreed upon tragic "rules", and in presenting a moment in history, did not necessarily speak to me about an act which is tragic. There needs to be an element of avoidability for katharsis to emerge, and for the characters to be likable. While I liked the actors, I can't say I liked the characters, so while I pitied their fall, I did not fear it for myself.
This said...the daughter Mary was a character whom was recognizable for the audience, and for whom the closest thing to pity and fear may have been acknowledged. This was a young woman who showed ambition and desire to better herself, and through poor (and avoidable) judgement, set herself back in a position worse than where she began life.
Now to consider this as a tragedy. I believe that Juno is set up to be our tragic hero; she works to keep her family afloat, is offered what seems like an opportunity and rather than act cautiously, she spends, allows niceties, and ultimately is responsible for her family's further fall; her daughter's demise, the loss of their home and any respect they maintained. Certainly, if we are to measure tragedy in Aristotelian terms, I felt pity for this woman and her family...but I cannot say that I felt fear at the same time. Is this a way to present tragedy now? I am not so sure; this appeared to work within the already agreed upon tragic "rules", and in presenting a moment in history, did not necessarily speak to me about an act which is tragic. There needs to be an element of avoidability for katharsis to emerge, and for the characters to be likable. While I liked the actors, I can't say I liked the characters, so while I pitied their fall, I did not fear it for myself.
This said...the daughter Mary was a character whom was recognizable for the audience, and for whom the closest thing to pity and fear may have been acknowledged. This was a young woman who showed ambition and desire to better herself, and through poor (and avoidable) judgement, set herself back in a position worse than where she began life.
Sunday, 12 February 2012
I want to go to France
I have been reading quite heavily about French politics and art, particularly in the time between the wars, and after world war 2. This is solidifying my desire to visit France. I have wanted to go since I was a small child, but the desire waned slightly in my older years, after visiting amazing German cities such as Berlin, and falling in love with London. Maybe it is time for another new love.
Some 20th century French poems that are speaking to me in reference to Genet's work:
French surrealist Robert Desnos (1900-1945) - I've dreamed such dreams of you
I've dreamed such dreams of you that you're losing
your reality.
Do I still have time to reach your vital body, to kiss
into life that voice I love so much?
I've dreamed such dreams of you that my arms,
across my chest, might not yield to your body's shape.
Faced with the real presence of what's haunted and
guided me all these days and years, doubtless I'd become
a shadow.
Fine balance of feelings!
I've dreamed such dreams of you that the time for
waking must have come and gone. I'm asleep on my feet,
exposed to every image of life and love, and you, the only
thing which counts forme now, any lips, any forehead
will be easier for me to touch than your forehead, your
lips.
I've dreamed such dreams of you, I've walked so
much, talked so much, lain so much with your shadow,
that perhaps now all I can be is a ghost among ghosts, a
hundred times more shadow than the moving shadow
cast and lightly cast again across your life measured by
the sun.
Swiss-born French poet Philippe Jaccottet (1925-) - Serenity
The shadow within the light
like light blue smoke
Belgian-born poet Jean Daive (1941-) I rise from the depths
I rise from the depths of my resemblance
at the very edge of enigma
evening after evening
I have vanished I vanish
blinded resemblance
falls back into cold's fabric
____________________
All taken from:
Sorrell, Martin. Modern French Poetry. London: Forest Books, 1992. P. 63, 105, 227.
Some 20th century French poems that are speaking to me in reference to Genet's work:
French surrealist Robert Desnos (1900-1945) - I've dreamed such dreams of you
I've dreamed such dreams of you that you're losing
your reality.
Do I still have time to reach your vital body, to kiss
into life that voice I love so much?
I've dreamed such dreams of you that my arms,
across my chest, might not yield to your body's shape.
Faced with the real presence of what's haunted and
guided me all these days and years, doubtless I'd become
a shadow.
Fine balance of feelings!
I've dreamed such dreams of you that the time for
waking must have come and gone. I'm asleep on my feet,
exposed to every image of life and love, and you, the only
thing which counts forme now, any lips, any forehead
will be easier for me to touch than your forehead, your
lips.
I've dreamed such dreams of you, I've walked so
much, talked so much, lain so much with your shadow,
that perhaps now all I can be is a ghost among ghosts, a
hundred times more shadow than the moving shadow
cast and lightly cast again across your life measured by
the sun.
Swiss-born French poet Philippe Jaccottet (1925-) - Serenity
The shadow within the light
like light blue smoke
Belgian-born poet Jean Daive (1941-) I rise from the depths
I rise from the depths of my resemblance
at the very edge of enigma
evening after evening
I have vanished I vanish
blinded resemblance
falls back into cold's fabric
____________________
All taken from:
Sorrell, Martin. Modern French Poetry. London: Forest Books, 1992. P. 63, 105, 227.
Saturday, 11 February 2012
Review - The Maids by Jean Genet @ RADA
It almost feels unfair for me to review this, given my intense investigation of Genet these days, but alas, here it is.
We begin with a very traditional setup of Genet's world; a closet with dresses suggesting a time, but of no specific time. Tasteful furniture that would not be out of place today but suggests a certain antiquity. Maids in traditional uniform. And the game begins. The problem, for me, was that the game at once gave the impression that the players did not know where it was at, and at the same time were acutely aware that the game was on. The magic of Genet's play comes in its ability to trick the audience (and the players!) into conviction about the way the world must be, so that when the balloon pops and the game is interrupted there is a moment of utter confusion as to what has just taken place.
The production, as a whole, came across as safe. The Maids should have a seedy underbelly which slowly creeps out from beneath the text as a dangerous and risky game; this came across as a safe role play, for which everyone knew the end, and no real danger was present. I believe that some of this safety was the result of the translation. This was a version by Martin Crimp, which is undeniably English in its translation. With this came a minimalization of the dirt that Genet gives us in the language; we lost the beautifully grotesque image of "drowning in the depths of your stink, in the mists of your swamps" - the visceral quality of the langauge was lost, a factor I hypothesize contributed to the sense of safety in the production. Hearing phrases such as "arouse" in place of "seduce" dialed back the overt and dangerous sexuality in the text.
The performances were adequate, but I would argue unmatched. The sense of similarity between the three characters was lost, replaced by an individuality which detracts from Genet's power.
We begin with a very traditional setup of Genet's world; a closet with dresses suggesting a time, but of no specific time. Tasteful furniture that would not be out of place today but suggests a certain antiquity. Maids in traditional uniform. And the game begins. The problem, for me, was that the game at once gave the impression that the players did not know where it was at, and at the same time were acutely aware that the game was on. The magic of Genet's play comes in its ability to trick the audience (and the players!) into conviction about the way the world must be, so that when the balloon pops and the game is interrupted there is a moment of utter confusion as to what has just taken place.
The production, as a whole, came across as safe. The Maids should have a seedy underbelly which slowly creeps out from beneath the text as a dangerous and risky game; this came across as a safe role play, for which everyone knew the end, and no real danger was present. I believe that some of this safety was the result of the translation. This was a version by Martin Crimp, which is undeniably English in its translation. With this came a minimalization of the dirt that Genet gives us in the language; we lost the beautifully grotesque image of "drowning in the depths of your stink, in the mists of your swamps" - the visceral quality of the langauge was lost, a factor I hypothesize contributed to the sense of safety in the production. Hearing phrases such as "arouse" in place of "seduce" dialed back the overt and dangerous sexuality in the text.
The performances were adequate, but I would argue unmatched. The sense of similarity between the three characters was lost, replaced by an individuality which detracts from Genet's power.
Wednesday, 8 February 2012
New Perspectives
Spent a long and meandering day today, moving from one project to the next. Began with a voice tutorial with Adrienne Smook, an MA Voice student at Central who is offering small group and private tutorials for voice work with us. We first did a 45 minute group warmup, focused primarily on breathing - connecting breath with thought and the impulse to speak. One exercise I quite liked was a visualization of a specific place, where noises were used to identify things. This really served to help connect intention with breath and therefore voice. Another exercise I think I will use in workshops and classes is throwing a ball around the space, connecting breath, then a specific vocalization with the movement of the ball....aiming to curb the impulse to stop the breath and movement, allowing for smooth and continuous flow.
We also had a smaller private session with Adrienne, working on some more specific deep breathing and breath connection exercises. These really resonated with what I have been doing individually, connecting movement to voice - in this case, relaxation to voice relaxation, but using gravity in fetal or child's pose.
After this, went over to the Old Vic Tunnels for a dance dramaturgy workshop with Maryann Hushlak, dramaturg on Without Words. In some ways, this simply echoed our classes from last term with Paul Sirett about the role of the dramaturg. What I did find useful was the exercises and discussion on finding a language of creation. Maryann emphasized the importance of listening to how the creator talks about the projet, the kinds of words or phrases they use - this helps create a shared terminology of description for the process, and also enables creation of more practical materials like grant proposals. She also talked a lot about her process, particularly in the performance phase - analyzing the performance as well as the audience's reception. This is something I want to work into my workshop presentation in the dissertation - I am wondering if a Q&A would be useful to help understand the impact of the versions we see....and then help me draw some conclusions about identity and ghosts.
Finally, off to Birkbeck for Scene Study. A lot of talk of Hegel and Antigone today, so very apropo for my thoughts (not just now...always, really). I'm formulating my approach to the manifesto assignment, and think that I want to flesh out an anarchist tragedy of sorts...why do we need to define tragedy? Why do we spend so much time worrying about this? Now just to figure out how the form can merge...
We also had a smaller private session with Adrienne, working on some more specific deep breathing and breath connection exercises. These really resonated with what I have been doing individually, connecting movement to voice - in this case, relaxation to voice relaxation, but using gravity in fetal or child's pose.
After this, went over to the Old Vic Tunnels for a dance dramaturgy workshop with Maryann Hushlak, dramaturg on Without Words. In some ways, this simply echoed our classes from last term with Paul Sirett about the role of the dramaturg. What I did find useful was the exercises and discussion on finding a language of creation. Maryann emphasized the importance of listening to how the creator talks about the projet, the kinds of words or phrases they use - this helps create a shared terminology of description for the process, and also enables creation of more practical materials like grant proposals. She also talked a lot about her process, particularly in the performance phase - analyzing the performance as well as the audience's reception. This is something I want to work into my workshop presentation in the dissertation - I am wondering if a Q&A would be useful to help understand the impact of the versions we see....and then help me draw some conclusions about identity and ghosts.
Finally, off to Birkbeck for Scene Study. A lot of talk of Hegel and Antigone today, so very apropo for my thoughts (not just now...always, really). I'm formulating my approach to the manifesto assignment, and think that I want to flesh out an anarchist tragedy of sorts...why do we need to define tragedy? Why do we spend so much time worrying about this? Now just to figure out how the form can merge...
Tuesday, 7 February 2012
merge
I am starting to find such wonderful overlap in the themes we are discussing across all classes, and in what I'm looking at for my dissertation. It might just be Genet seeping into my very existence, but I am acutely aware of layers and what people want you to see versus what you do see, both in themselves, in their work, what they present to the world. Where is that core of truth? Do we want to know?
I have also been reading Violence and the Sacred by Rene Girard, an examination of the roots of tragedy in sacrifice, in violence and ritual, and how sexuality is linked to all of these. This is linking with Genet in many many places, and leading me to exciting thoughts for my installation project for the end of term. What is our ritual that is shared, since we as a people no longer share religion? How do we practice this ritual?
Beginning to think about our end of term presentations in response to Genet as well, and what themes we would like to look at. I'm reading up on Paris and politics in Genet's time for inspiration, and also some poetry from his contemporaries. Visually I am inspired by Picasso, Cocteau, and De Francia. Still searching, watching, apsorbing everything I can.
Encountered a ballet, Poppy, by Graeme Murphy with Sydney Dance Company, premiered in 1978. This is inspired by the work and lives of Cocteau and Genet. Warning - beautiful. But also, contains some nudity (I need to be a responsible adult sometimes at least).
I have also been reading Violence and the Sacred by Rene Girard, an examination of the roots of tragedy in sacrifice, in violence and ritual, and how sexuality is linked to all of these. This is linking with Genet in many many places, and leading me to exciting thoughts for my installation project for the end of term. What is our ritual that is shared, since we as a people no longer share religion? How do we practice this ritual?
Beginning to think about our end of term presentations in response to Genet as well, and what themes we would like to look at. I'm reading up on Paris and politics in Genet's time for inspiration, and also some poetry from his contemporaries. Visually I am inspired by Picasso, Cocteau, and De Francia. Still searching, watching, apsorbing everything I can.
Encountered a ballet, Poppy, by Graeme Murphy with Sydney Dance Company, premiered in 1978. This is inspired by the work and lives of Cocteau and Genet. Warning - beautiful. But also, contains some nudity (I need to be a responsible adult sometimes at least).
Friday, 3 February 2012
Go
Read an amazing article by Anne Bogart today, which was very timely for some of my recent hurdles. We are struggling through mountains of written and devised work in our RADA classes right now; devising a LABAN based piece from The Lady In the Moon, an Elizabethan court play, and more recently devising a response to Genet's Our Lady Of The Flowers for Scene Study.
As we work through these tasks, all in differing groups, the same things seem to recur. We end up spending a lot of time sitting, talking about what something can look like, and this can go on for hours if we were to let it. But if we just get up and DO something, even if we don't know what that is, the results are far more fruitful. We need to get out of our heads, because as we do our bodies take over, and the results are breathtaking.
As we work through these tasks, all in differing groups, the same things seem to recur. We end up spending a lot of time sitting, talking about what something can look like, and this can go on for hours if we were to let it. But if we just get up and DO something, even if we don't know what that is, the results are far more fruitful. We need to get out of our heads, because as we do our bodies take over, and the results are breathtaking.
Wednesday, 1 February 2012
One hurdle
My dissertation proposal has been approved!! Sparing you the boring academic bibliography bit, here it is in a nutshell. You can look forward to many obsessive posts on this subject in the future.
Introduction
The aim of this dissertation is to use a performance-based approach to understand questions of identity for the performer when approaching historical texts. Marvin Carlson argues in The Haunted Stage that audiences bring with them the history of a performance, so are never simply watching the performance in front of them; instead, they are seeing the current performer, all previous performers, and their ideal version of the character. This supposition is problematic artistically, as it creates a barrier of communication; added filters through which the artistic message of a piece needs to permeate. Using Sartre's ideas of Being and Perception in Being and Nothingness as a starting point (to be is to be perceived), I will examine perception of a performer and perception of a character as they are mediated through re-writes of the same story in different contexts. The filters of audience context and re-imagined characters interplay to impact engagement with the work; I endeavor to explore how these filters function in performance, and what can be done from a creative perspective to counteract them or make use of them. I have selected Antigone as my base text as she is a familiar character in Western mythology, and through history, particularly in the 20th and 21st centuries, has been re-written numerous times, each instance changing the character of Antigone to serve the time. My goal is to develop, through workshopped performance, key findings on approaches that will aid the director in using these filters in a positive creative manner when creating work.
Key Research Questions
What being is perceived when audiences see a performance?
What impact do changes in text and context have on audience perception?
How can the practitioner utilize these in production?
Method
Working with 1 male performer and 1 female performer, I will workshop:
Original Antigone - Masked Male performer
Transitional Antigone - Becoming Female
Dionysian Antigone - Music & Opera
Politicized Antigone - 20th Century in Germany (Brecht)
Feminized Antigone - 20th Century in France (Anouilh)
Rebellious Antigone - 20th Century Ireland (Paulin)
Post-Colonial Antigone* - 20th Century Africa & South America (Osofisan, Gambaro, Sanchez)
Who do you see? Antigone's Identity
* Session 7 is subject to change: currently I am struggling to locate a copy of these plays. If I am unable to locate these texts, an alternate will be proposed for this session.
The 8 workshop subjects will serve to create material from which a work in progress performance will be devised. Each workshop will focus on exploring the questions of identity for the performer, using the source texts as a guide, and a physical theatre aesthetic. Within each session we will investigate the layers of performer identity; actor-self, character-self, character-perceived.
Introduction
The aim of this dissertation is to use a performance-based approach to understand questions of identity for the performer when approaching historical texts. Marvin Carlson argues in The Haunted Stage that audiences bring with them the history of a performance, so are never simply watching the performance in front of them; instead, they are seeing the current performer, all previous performers, and their ideal version of the character. This supposition is problematic artistically, as it creates a barrier of communication; added filters through which the artistic message of a piece needs to permeate. Using Sartre's ideas of Being and Perception in Being and Nothingness as a starting point (to be is to be perceived), I will examine perception of a performer and perception of a character as they are mediated through re-writes of the same story in different contexts. The filters of audience context and re-imagined characters interplay to impact engagement with the work; I endeavor to explore how these filters function in performance, and what can be done from a creative perspective to counteract them or make use of them. I have selected Antigone as my base text as she is a familiar character in Western mythology, and through history, particularly in the 20th and 21st centuries, has been re-written numerous times, each instance changing the character of Antigone to serve the time. My goal is to develop, through workshopped performance, key findings on approaches that will aid the director in using these filters in a positive creative manner when creating work.
Key Research Questions
What being is perceived when audiences see a performance?
What impact do changes in text and context have on audience perception?
How can the practitioner utilize these in production?
Method
Working with 1 male performer and 1 female performer, I will workshop:
Original Antigone - Masked Male performer
Transitional Antigone - Becoming Female
Dionysian Antigone - Music & Opera
Politicized Antigone - 20th Century in Germany (Brecht)
Feminized Antigone - 20th Century in France (Anouilh)
Rebellious Antigone - 20th Century Ireland (Paulin)
Post-Colonial Antigone* - 20th Century Africa & South America (Osofisan, Gambaro, Sanchez)
Who do you see? Antigone's Identity
* Session 7 is subject to change: currently I am struggling to locate a copy of these plays. If I am unable to locate these texts, an alternate will be proposed for this session.
The 8 workshop subjects will serve to create material from which a work in progress performance will be devised. Each workshop will focus on exploring the questions of identity for the performer, using the source texts as a guide, and a physical theatre aesthetic. Within each session we will investigate the layers of performer identity; actor-self, character-self, character-perceived.
Inspiration
A video of Lindsay Kemp's Flowers, inspired by Jean Genet's Notre Dame Des Fleurs, which I am reading right now.
Words can't even begin to describe what this does. Kemp manages to embody the extreme beauty and grotesqueness of Genet's words, the perfect balance of the two.
She dies beautifully.
Words can't even begin to describe what this does. Kemp manages to embody the extreme beauty and grotesqueness of Genet's words, the perfect balance of the two.
She dies beautifully.
Tuesday, 31 January 2012
Image/Reflection
I have a terrible habit of selling myself short - either by not stepping forward when I know I am best for a task, or by letting myself settle for something less that my best work. Usually this happens when I worry I am being overwhelmed, or that I am being overwhelming....most commonly a twisted combination of the two. I did just that at the end of last term, and am now feeling the effects of it. At the time, I told myself it was good enough. But is good enough okay? Not for me it isn't. I am more than a little disasppointed in myself for this, as I feel I poured a lot of energy and thought into something without really thinking through the focus and the goal of it. I have, however, learned from it. It will not be happening again.
Anyway...enough self-musing. My scene from The Balcony went up today, with decent success. My 3 actors did a great job of bringing to life the layers I was hoping to see, with the short rehearsal time. The feedback was positive, that my choices made sense, and I was able to bring out something interesting about the parallels and rivalry between Carmen and Irma. So that is good. I didn't really get a chance to talk about what inspired me, all of the research I had done in Prisoner of Love, and the Gene Plunka "Rites of Passage of Jean Genet", not to mention the DeFrancia painting that inspired a lot of the connections in the movement. I did get to bring up the ideas I latched to from Genet's "Pour Jouer Le Balcon" which was good.
I have a mountain of films to watch, and a novel to read, and a book...and 2 scenes to write. Goodness me. Blogging might be slow for a couple days.
Anyway...enough self-musing. My scene from The Balcony went up today, with decent success. My 3 actors did a great job of bringing to life the layers I was hoping to see, with the short rehearsal time. The feedback was positive, that my choices made sense, and I was able to bring out something interesting about the parallels and rivalry between Carmen and Irma. So that is good. I didn't really get a chance to talk about what inspired me, all of the research I had done in Prisoner of Love, and the Gene Plunka "Rites of Passage of Jean Genet", not to mention the DeFrancia painting that inspired a lot of the connections in the movement. I did get to bring up the ideas I latched to from Genet's "Pour Jouer Le Balcon" which was good.
I have a mountain of films to watch, and a novel to read, and a book...and 2 scenes to write. Goodness me. Blogging might be slow for a couple days.
Monday, 30 January 2012
Layers
I went by the National Portrait Gallery yesterday, while out for Chinese New Year celebrations in Trafalgar Square; we thought we'd have a warm up and take in some paintings. One of my favourite periods of English history is the Tudor (and thereabouts) largely because I have studied it in some detail. Meandering through the second floor, we encountered busts of Queen Victoria, large paintings of period families, etc, and then came upon the room of Tudors. It was really startling to be confronted with the actual paintings that make up the images that have become so familiar in books and other media. One that really stood out was the painting of King Henry VIII - it is toward the end of his life. We see the layers of identity; the clothing and jewels of kingship, the regal, lush fabrics and gold necklaces. This is what he wants us to see, what he presents to the world. Next, we see his skin; only the face, fleshy from rich diet, another symbol of his wealth and power, and by extension that of his nation. But when we look at the eyes, we see something else. This unknown painter has succeeded in capturing a clarity, a vulnerability in his eyes, which seems to imply a falsity of the preceeding layers. Having read my history, I know of the paranoia from which Henry suffered - worries about contracting The Plague, not having an heir, losing his kingdom. . . each of these seem to glimmer behind the facade of the exterior.
Of course, looking back, knowing what happened (or at least what has been recorded) we can see this. But I wonder what was perceived at the time? Could his subjects see the vulnerability? Clearly the painter was able to pierce through the exterior and see this, so that we can have it today.
Of course, looking back, knowing what happened (or at least what has been recorded) we can see this. But I wonder what was perceived at the time? Could his subjects see the vulnerability? Clearly the painter was able to pierce through the exterior and see this, so that we can have it today.
Saturday, 28 January 2012
shapeshifting
I am directing for our Scene Study class on Tuesday, and have worked with 3 actors to prepare a scene from the balcony. I really wanted to bring out the changeable nature of each character's "self" in the scene, and selected a scene that gave some very juicy opportunities for this. Genet's plays always centre around a game of some kind, of taking on roles of dominance or submission in varying manifestations, and The Balcony is no different; the premise of the play is a house of illusions, where men can go have their fantasies played out. The scene I selected was not one showing us the fantasies, but instead one that might on the surface appear normal; Irma, Carmen, and Arthur, all of whom work at The Grand Balcony, are in a room discussing the workings of the business. But this scene too has its games and roles played; it is a power game, a struggle to assert leadership, ownership. We worked on the layers of roles going on - where is the character "real", where do they want others to think they are being "real", where are they taking on a role for someone else's benefit.
The other aspect I wanted to highlight came from Genet's notes to directors of the balcony - that there should be a rivalry between Irma and Carmen, that it should be questionable who really runs the brothel. Using some physical theatre techniques, I have the two actresses taking on one another's gestures and positioning, giving the implication that either of them could really be in charge. The illusion, the reflection, going back and forth as if they are mirrors facing one another; no matter how deep you get, it always seems to go deeper.
Our LABAN work fed into this as well; my group are working on physicalizing the qualities of the planets Mercury and Mars. Mars is a bit more straightforward - war, power, strength, etc. Mercury on the other hand seems to have a changeability about it; the idea of quicksilver has really struck us as an integral part of understanding Mercury. We've developed a staging of a piece of The Lady In The Moon that I think helps communicate this changeability and the impact it has on those around us.
The other aspect I wanted to highlight came from Genet's notes to directors of the balcony - that there should be a rivalry between Irma and Carmen, that it should be questionable who really runs the brothel. Using some physical theatre techniques, I have the two actresses taking on one another's gestures and positioning, giving the implication that either of them could really be in charge. The illusion, the reflection, going back and forth as if they are mirrors facing one another; no matter how deep you get, it always seems to go deeper.
Our LABAN work fed into this as well; my group are working on physicalizing the qualities of the planets Mercury and Mars. Mars is a bit more straightforward - war, power, strength, etc. Mercury on the other hand seems to have a changeability about it; the idea of quicksilver has really struck us as an integral part of understanding Mercury. We've developed a staging of a piece of The Lady In The Moon that I think helps communicate this changeability and the impact it has on those around us.
Thursday, 26 January 2012
Review - The Sea Plays by Eugene O'Neill @ Old Vic Tunnels
Saw this in previews earlier this week, but have been slow to blog about it. Part of the reason, I think, is that O'Neill is one of those playwrights who just sits funny with me. No matter the quality of a production, I often just can't get past him. With the exception of Long Day's Journey and Moon for the Misbegotten, his texts always feel one-dimensional, and that they really have not aged well.
This production, in the AMAZING Old Vic Tunnels (a series of arches underneath Waterloo Station, converted into a snappy little theatrical venue) didn't add to or detract from my O'Neill apathy. It started out really well, with an image as we came in of the men working in the bowels of the ship (not too shabby to look at, either!). The design in the theatre space really used the arches well, the industrial feel of the space lent itself to an association with the at-sea locale; the use of the raw brick walls with work lights, cement floor, and little overhead light contributed to the overall feel of the production.
But the production lacked (and I don't necessarily criticise anyone but O'Neill for this) a certain relevance. The period dramas of the first two pieces, set on a transport ship during the WW1, verges on the absurd, when we have characters dying for the better part of 25 minutes. The second of the on-ship plays fared a little better, building anticipation over the contents of a box one sailor is hiding, but fizzles in its resolution. And the third of the plays, with location now moved to a dodgy east London pub, was a cacaphony of stereotypes, played out to their extreme. The performances were varied, with some very strong interpretations, and some weaker, including some bobbling accent work to be expected in a preview. As well, some scenes (particularly in the first play) could use tightening, again to be expected at preview.
But on the whole, I found myself questioning the choice of material most. Why does this matter to us now? What does it tell us about humanity and experience? I am still trying to find an answer.
This production, in the AMAZING Old Vic Tunnels (a series of arches underneath Waterloo Station, converted into a snappy little theatrical venue) didn't add to or detract from my O'Neill apathy. It started out really well, with an image as we came in of the men working in the bowels of the ship (not too shabby to look at, either!). The design in the theatre space really used the arches well, the industrial feel of the space lent itself to an association with the at-sea locale; the use of the raw brick walls with work lights, cement floor, and little overhead light contributed to the overall feel of the production.
But the production lacked (and I don't necessarily criticise anyone but O'Neill for this) a certain relevance. The period dramas of the first two pieces, set on a transport ship during the WW1, verges on the absurd, when we have characters dying for the better part of 25 minutes. The second of the on-ship plays fared a little better, building anticipation over the contents of a box one sailor is hiding, but fizzles in its resolution. And the third of the plays, with location now moved to a dodgy east London pub, was a cacaphony of stereotypes, played out to their extreme. The performances were varied, with some very strong interpretations, and some weaker, including some bobbling accent work to be expected in a preview. As well, some scenes (particularly in the first play) could use tightening, again to be expected at preview.
But on the whole, I found myself questioning the choice of material most. Why does this matter to us now? What does it tell us about humanity and experience? I am still trying to find an answer.
Frank
So I have written a bit about this scary playwriting adventure. Under the tutelage of the fabulous Lin Coglin we are learning a character-based approach to writing, and various exercises to help ellicit good (read: Interesting) writing. I have found this process to be rather challenging, but quite rewarding in its evolution. Challenging, because it turns out that I am writing a play that I never would have guessed would come out of me; I'm not much of a one for realism, contemporary family drama, etc. I tend to attach to plays of ideas, of movement. . . not those in which the central character is an 80 year old man. But, then there was Frank. Our starting point for the process was to select an image that interested us, and get to know the character in this image. I selected a rather silly photo of a man and woman, in bed with sunglasses on, and met Frank. And I became rather attached.
I'm really wrestling with my inner-critic monkey, which keeps jumping up and down reminding me I am not a playwright. That little monkey did a number this week when I tried to write a scene outside those Lin had assigned us. But this week I'll be having a word with the monkey, and making some progress. Because although I might not be a playwright, Frank is there, and wants his story to be discovered. I guess I'll have to help!
I'm really wrestling with my inner-critic monkey, which keeps jumping up and down reminding me I am not a playwright. That little monkey did a number this week when I tried to write a scene outside those Lin had assigned us. But this week I'll be having a word with the monkey, and making some progress. Because although I might not be a playwright, Frank is there, and wants his story to be discovered. I guess I'll have to help!
Wednesday, 25 January 2012
Where is the Truth?
Spent more time on Genet this weekend and early this week, performing in another scene from The Blacks for classmates, and analyzing scenes put together from The Blacks and The Balcony. The layers present in Genet's work are fascinating - every time you think you have gotten through to a new plateau, it cracks to reveal something further underneath, begging to be uncovered. In his plays, it seems there is a constant layering of lies; the characters are bottomless pits of identities, each new one to serve the purpose of their current situation. For directors this poses the challenge of helping your actors understanding what each identity is, where the shifts are, so that from the audience these cracks can be seen. The nuance between each must be subtle yet noticeable. Andrew suggested that perhaps some of Genet's "Truth" lies not in his plays, but perhaps in his novels. Or maybe it doesn't - in Prisoner of Love, which seems to sit in a middle-ground between fiction and documentary, just as the reader begins to feel they know his position on a subject, he'll pull that mat out from underneath you. No comfort, nothing is reliable, constantly undermining expectation. I wonder if this is his truth...the truth of the unreliability of the world, of expectation, of categorization.
Elsewhere, reading Edward Braun's "The Director And the Stage" as supplemental, given that I'm not in Sue's directing group for approaches. What I found really interesting was the sense of overlap this book gave; it is really easy to think that Stanislavsky did his thing, then Meyerhold, then Brecht, etc...but in fact there were little pockets of development happening everywhere, simultaneously, with achievements cropping up all over the place. What is also interesting is the afterword, the reminder that although they appear monumental now, at the time the events, the riots, the scandals, were relatively uneventful for the community as a whole, and it wasn't until viewed from the distance of the future that we can see the sigificance and assign value.
Some passages I found particularly useful....
On Jarry and the Surrealists (P58) - "Perceiving the universe and society as irrational and contradictory, they felt impelled to create works that were correspondingly irrational and contradictory in their forms, that stood the accepted conventions of theatre on their heads - and to achieve this they sought to exercise the closest possible control over the play in production, lest the theatre be tempted to impose its habitual symmetry on their calcuated disorder."
On Stanislavsky (P76) - "He seldon considers the peroduction as a total synthesis with a unified objective. What is more, he takes little account of the psychology of the audience, assuming that if the individual performancecs are truthful the spectator will necessarily respond to their truthfulness through a process of empathy"
On Meyerhold (P126) - "It was precisely because the spectator was shown so little that he saw so much, superimposing his own imagined or remembered experiences on the events enacted before him. In this way the dialogue and characters assumed a significance and a profundity which overcame their intrinsic banality."
On Artaud (P188) - "Artaud based his entire approach to the production [of The Cenci] on the principle of engulfing the audience with a massive accumulation of effects, so that its response would be sensual and involuntary rather than detached and intellectual."
On Grotowski and the production of Apocalypsis (P197) - "But when the lights came on and the room was discovered empty, it did not necessarily mean that he had gone - or even that he had been. The room had simply been returned to the state it was in when the first pectator entered. So what had been witnessed? A group of ordinary people, in everyday clothes. Roles were assigned, amidst mirth, and assumed, rejected, fought against. But each role, once assumed, posessed that person who was trapped within it, drained by the excesses with which he fulfilled or denied it."
Elsewhere, reading Edward Braun's "The Director And the Stage" as supplemental, given that I'm not in Sue's directing group for approaches. What I found really interesting was the sense of overlap this book gave; it is really easy to think that Stanislavsky did his thing, then Meyerhold, then Brecht, etc...but in fact there were little pockets of development happening everywhere, simultaneously, with achievements cropping up all over the place. What is also interesting is the afterword, the reminder that although they appear monumental now, at the time the events, the riots, the scandals, were relatively uneventful for the community as a whole, and it wasn't until viewed from the distance of the future that we can see the sigificance and assign value.
Some passages I found particularly useful....
On Jarry and the Surrealists (P58) - "Perceiving the universe and society as irrational and contradictory, they felt impelled to create works that were correspondingly irrational and contradictory in their forms, that stood the accepted conventions of theatre on their heads - and to achieve this they sought to exercise the closest possible control over the play in production, lest the theatre be tempted to impose its habitual symmetry on their calcuated disorder."
On Stanislavsky (P76) - "He seldon considers the peroduction as a total synthesis with a unified objective. What is more, he takes little account of the psychology of the audience, assuming that if the individual performancecs are truthful the spectator will necessarily respond to their truthfulness through a process of empathy"
On Meyerhold (P126) - "It was precisely because the spectator was shown so little that he saw so much, superimposing his own imagined or remembered experiences on the events enacted before him. In this way the dialogue and characters assumed a significance and a profundity which overcame their intrinsic banality."
On Artaud (P188) - "Artaud based his entire approach to the production [of The Cenci] on the principle of engulfing the audience with a massive accumulation of effects, so that its response would be sensual and involuntary rather than detached and intellectual."
On Grotowski and the production of Apocalypsis (P197) - "But when the lights came on and the room was discovered empty, it did not necessarily mean that he had gone - or even that he had been. The room had simply been returned to the state it was in when the first pectator entered. So what had been witnessed? A group of ordinary people, in everyday clothes. Roles were assigned, amidst mirth, and assumed, rejected, fought against. But each role, once assumed, posessed that person who was trapped within it, drained by the excesses with which he fulfilled or denied it."
Sunday, 22 January 2012
Whoops
Apparently didn't blog at all for the latter half of last week. It included continuations in Playwriting and Laban approaches classes, which have been great.
Also did some initial rehearsals and voiceover recordings for this week's scene study, another scene from Genet's The Blacks. In this, we learned that apparently I can do a Nigerian accent. Still can't do German, though!
Outside all this, I've been reading Genet's book 'Prisoner of Love' which was (I believe) his last publication. It reflects on his encounters with Palestinian rebels and the oh-so-confusing politics of Northern Africa in the 1970s (Heck, even now). What I am really finding fascinating is his ability to draw historical parralels to the French Revolution, The Black Panthers, The Nazi regime, and yet nothing seems put on. The beautifully poetic lens he applies to the people and space of the conflict is wonderful; at once it makes you feel completely aligned with the individuals, and yet completely separated from them. Some enjoyable moments for me...
"The fame of heroes owes little to the extent of their conquests and all to the success of the tributes paid to them. . . all the images of wars have been created after the battles themselves thanks to looting or the energy of artists, and left standing thanks to oversight on the part of rain or rebellion. But what survives is the evidence, rarely accurate but always stirring, vouchsafed to the future by the victors." - (p7-8)
"Everything happens in the dark. At the point of death, however insubstantial those words and however unimportant the event itself, the condemned man still wants to determine for himself the meaning of his life, lived in a darkness he tried not to lighten but to make more black." (p54)
"What was to become of you after the storms of fire and steel? What were you to do? Burn, shriek, turn into a brand, blacken, turn to ashes, let yourself be slowly covered first with dust and then with earth, seeds, moss, leaving behind nothing but your jawbone and teeth, and finally becoming a little funeral mound with flowers growing on it and nothing inside." (p102)
"When someone leaned out of the window of a departing train it used to be the custom, apparently, for his friends to run alongside waving their handkerchiefs. But the custom has probably died out, just as the piece of cloth has been replaced by a neat square of paper. You used to know the train would take good care of the traveller, and you expected him to send you a postcard. If someone set out on a journey on foot, his friends would wait until he or even his shadow disappeared. But even in his absence he was still with them, and if they heard he'd died or was in danger or trouble, they felt for him." (p240)
"When a man invents an image that he wants to propagate, that he may even want to substitute for himself, he starts by experimenting, making mistakes, sketching out freaks and other non-viable monsters that he has to tear up unless they disintegrate of their own accord. But the operative image is the one that's left after the person dies or withdraws from the world, as in the case of Socrates, Christ, Saladin, Saint-Just and so on. They succeeded in projecting an image around themselves and into the future. It doesn't matter whether or not the image corresponds to what they were really like: they managed to wrest a powerful image from that reality." (p302)
Photo: Portrait of Jean Genet by Anthony Weir
Also did some initial rehearsals and voiceover recordings for this week's scene study, another scene from Genet's The Blacks. In this, we learned that apparently I can do a Nigerian accent. Still can't do German, though!
Outside all this, I've been reading Genet's book 'Prisoner of Love' which was (I believe) his last publication. It reflects on his encounters with Palestinian rebels and the oh-so-confusing politics of Northern Africa in the 1970s (Heck, even now). What I am really finding fascinating is his ability to draw historical parralels to the French Revolution, The Black Panthers, The Nazi regime, and yet nothing seems put on. The beautifully poetic lens he applies to the people and space of the conflict is wonderful; at once it makes you feel completely aligned with the individuals, and yet completely separated from them. Some enjoyable moments for me...
"The fame of heroes owes little to the extent of their conquests and all to the success of the tributes paid to them. . . all the images of wars have been created after the battles themselves thanks to looting or the energy of artists, and left standing thanks to oversight on the part of rain or rebellion. But what survives is the evidence, rarely accurate but always stirring, vouchsafed to the future by the victors." - (p7-8)
"Everything happens in the dark. At the point of death, however insubstantial those words and however unimportant the event itself, the condemned man still wants to determine for himself the meaning of his life, lived in a darkness he tried not to lighten but to make more black." (p54)
"What was to become of you after the storms of fire and steel? What were you to do? Burn, shriek, turn into a brand, blacken, turn to ashes, let yourself be slowly covered first with dust and then with earth, seeds, moss, leaving behind nothing but your jawbone and teeth, and finally becoming a little funeral mound with flowers growing on it and nothing inside." (p102)
"When someone leaned out of the window of a departing train it used to be the custom, apparently, for his friends to run alongside waving their handkerchiefs. But the custom has probably died out, just as the piece of cloth has been replaced by a neat square of paper. You used to know the train would take good care of the traveller, and you expected him to send you a postcard. If someone set out on a journey on foot, his friends would wait until he or even his shadow disappeared. But even in his absence he was still with them, and if they heard he'd died or was in danger or trouble, they felt for him." (p240)
"When a man invents an image that he wants to propagate, that he may even want to substitute for himself, he starts by experimenting, making mistakes, sketching out freaks and other non-viable monsters that he has to tear up unless they disintegrate of their own accord. But the operative image is the one that's left after the person dies or withdraws from the world, as in the case of Socrates, Christ, Saladin, Saint-Just and so on. They succeeded in projecting an image around themselves and into the future. It doesn't matter whether or not the image corresponds to what they were really like: they managed to wrest a powerful image from that reality." (p302)
Photo: Portrait of Jean Genet by Anthony Weir
Wednesday, 18 January 2012
context
Today's Scene Study class raised some interesting questions surrounding identity and art. . . specifically to do with what identities we (as artists) create, challenge or reinforce through presentation of plays. In particular, this was raised in relation to staging old plays, the baggage of literary and performance history that comes along with them. The main focus on the discussion was Othello, looking at a 1960s version with Laurence Olivier in black face, while another was with South African actors in Johannesberg in the 1980s. Looking at some critical texts on the idea of gender or race in performance, we discussed the implications of staging decisions, and the results these can have for informing stereotype.
This raised a few things for me. . .
- part of me wants to say that art is for art's sake, so what the hell are we worrying about this other stuff for.
- The rational part of me replies, knowing that there is always responsibility of the artist in representing anything, and particularly in representing something that has gained certain significance for a community or group.
So then how do we merge these? I think that the main focus needs to be artistic integrity, but that merged with this needs to be a conscious acknowledgement of what the stage images are doing to the audience, and how they will be received. Audiences at different times and places will bring context that must be acknowledged in the production. A failure to do this is a failure as an artist. Our main role is to interact with and respond to the world as we see it; this can take many forms, but must necessarily account for audience response.
This raised a few things for me. . .
- part of me wants to say that art is for art's sake, so what the hell are we worrying about this other stuff for.
- The rational part of me replies, knowing that there is always responsibility of the artist in representing anything, and particularly in representing something that has gained certain significance for a community or group.
So then how do we merge these? I think that the main focus needs to be artistic integrity, but that merged with this needs to be a conscious acknowledgement of what the stage images are doing to the audience, and how they will be received. Audiences at different times and places will bring context that must be acknowledged in the production. A failure to do this is a failure as an artist. Our main role is to interact with and respond to the world as we see it; this can take many forms, but must necessarily account for audience response.
Tuesday, 17 January 2012
focus
While last term the focus with Tom was on really clearly presenting the text (as in the words), our focus with Andrew this term is more on the ideas, the themes, the sense that comes out of the play, and how to get that on its feet. Working with Genet, particularly in an English rational theatre tradition, there are certain problems when presented with a text that is so clearly visceral. The words are important, but just as important are the physical acts, the representation.
Today our scene presentations were interesting; with selected scenes from The Blacks and The Balcony, what emerged was a very clear sense of the difficulty of this work. One thing that stood out regardless of directorial choices was the ability to clearly understand the spoken words. There were scenes in which I felt that the director had paid too much attention to staging and emotions, and not enough to simply understanding the text, and understanding the modulations genet provides in his script. This is something that I want to try to balance when I approach directing a scene.
I am really interested in how to do this now; the idea of presenting an aboriginal "the blacks" in Canada really fascinates me. There would obviously need to be some adjustments to appropriate the text, but the ideas, the fear and violence the blacks feel in the play seems a strong parallel to what I have seen in Canada. Something to continue to consider.
Today our scene presentations were interesting; with selected scenes from The Blacks and The Balcony, what emerged was a very clear sense of the difficulty of this work. One thing that stood out regardless of directorial choices was the ability to clearly understand the spoken words. There were scenes in which I felt that the director had paid too much attention to staging and emotions, and not enough to simply understanding the text, and understanding the modulations genet provides in his script. This is something that I want to try to balance when I approach directing a scene.
I am really interested in how to do this now; the idea of presenting an aboriginal "the blacks" in Canada really fascinates me. There would obviously need to be some adjustments to appropriate the text, but the ideas, the fear and violence the blacks feel in the play seems a strong parallel to what I have seen in Canada. Something to continue to consider.
Sunday, 15 January 2012
scattered
Friday's movement class was great. We spent time re-visiting some LABAN concepts, and then began to look at the play we will be using as inspiration for our end of term creation. It is an Elizabethan court play about Pandora...no, not the Pandora with the box, a different one who Nature creates and pisses off the 7 planets (of the time). The play is hilarious, and I can't wait to create something out of this.
On the subject of movement, I was sitting on the DLR Saturday afternoon, and caught myself watching a pop can rolling about, back and forth, completely aimlesslly, for around 10 mins. The train would stop, it would roll one direction, then it would begin again and roll another. Never in straight lines, always random, and changing direction if it hit the chairs or someone's foot.
Spent some time at the Tate Britain Saturday as well, and came across this fabulous paintin (pictured below) by Peter DeFrancia called "Bombing of Sakiet". It made me think of Genet's The Balcony almost immediately. It is sort of what I imagine the world outside the brothel to look like.
Anyway. . . happy sunday!
On the subject of movement, I was sitting on the DLR Saturday afternoon, and caught myself watching a pop can rolling about, back and forth, completely aimlesslly, for around 10 mins. The train would stop, it would roll one direction, then it would begin again and roll another. Never in straight lines, always random, and changing direction if it hit the chairs or someone's foot.
Spent some time at the Tate Britain Saturday as well, and came across this fabulous paintin (pictured below) by Peter DeFrancia called "Bombing of Sakiet". It made me think of Genet's The Balcony almost immediately. It is sort of what I imagine the world outside the brothel to look like.
Anyway. . . happy sunday!
Thursday, 12 January 2012
Dared to Try
I've mentioned in an earlier blog that despite my misgivings, I am doing one of my sections of this term in Playwriting. This is at once exhilirating and terrifying. Today was our first class, and I will admit feeling sheepish, as the only one in the course who doesn't even slightly see herself as a writer. I can devise (sort of), and I can offer insight, but outside the sphere of choreography, I don't think I can write. The class progressed nicely, easing me into the idea. Our tutor, playwright Lin Coglan, let us know that her goal is to give us the tools of creation; the backbone of technique to help when the creative forces are slow to come, fizzle out, or seem to disappear.
We began with an exercise to look at starting with a character; simple ways in that could help us with a starting point, from which we can get into large picture narratives. Overall I found the process really interesting. It is funny the odd and seemingly incoherent thoughts that come to mind, and then suddenly they pull together as you might never have expected. I am looking very forward to the next class!
I also failed to chat about Scene Study last night, which spent time looking at Artaud, then re-visiting ideas of violence and suffering on stage. I need to do a re-read of Artaud's Theatre and its Double, as our task for the term will be to create a manifesto for the theatre (you know...no big deal, right??). Oh goodness.
We began with an exercise to look at starting with a character; simple ways in that could help us with a starting point, from which we can get into large picture narratives. Overall I found the process really interesting. It is funny the odd and seemingly incoherent thoughts that come to mind, and then suddenly they pull together as you might never have expected. I am looking very forward to the next class!
I also failed to chat about Scene Study last night, which spent time looking at Artaud, then re-visiting ideas of violence and suffering on stage. I need to do a re-read of Artaud's Theatre and its Double, as our task for the term will be to create a manifesto for the theatre (you know...no big deal, right??). Oh goodness.
Tuesday, 10 January 2012
Back to it...
Our first day back in the Spring term. Yes, I know it is only just winter, but apparently here in the UK Winter is simply that brief period in December when there are christmas lights on every available surface. Where January in my estimation typically includes horrific winds, large wool coats, and hibernating indoors, January here is around +10, humid, and, apparently, called Spring. Alas, I digress. . .
To speak metaphorically, last term felt like I was walking on one of those sheets they stretch across a pool; uneasy, but familiar territory, with a burst of energy to get through to the end. This term, in its beginning, already feels like a tornado, whirling about with so much information and so many ideas....begging to be put to good use and calmed down. We spent our first class on Genet discussing the man, our first impressions of his plays, and some general themes that come out of them. We also spent considerable time watching and then discussing a BBC interview with the man from the early 1980s, not long before his death in 1986. What we saw in this footage was an artist at his twilight; still glimmering with incisive intelligence and a gripping personality, but struggling against the interviewer, desperately to ensure he is not defined. I believe it was Camus who articulated the existentialist tenet most clearly, when he said of objectivity that "to define me, means I am dead". Watching Genet twist the questions, avoid responding to the directness of the interviewer on certain subjects, and approach the subject of his life with such a coy and playful nature was at once fascinating and confounding.
To speak metaphorically, last term felt like I was walking on one of those sheets they stretch across a pool; uneasy, but familiar territory, with a burst of energy to get through to the end. This term, in its beginning, already feels like a tornado, whirling about with so much information and so many ideas....begging to be put to good use and calmed down. We spent our first class on Genet discussing the man, our first impressions of his plays, and some general themes that come out of them. We also spent considerable time watching and then discussing a BBC interview with the man from the early 1980s, not long before his death in 1986. What we saw in this footage was an artist at his twilight; still glimmering with incisive intelligence and a gripping personality, but struggling against the interviewer, desperately to ensure he is not defined. I believe it was Camus who articulated the existentialist tenet most clearly, when he said of objectivity that "to define me, means I am dead". Watching Genet twist the questions, avoid responding to the directness of the interviewer on certain subjects, and approach the subject of his life with such a coy and playful nature was at once fascinating and confounding.
Wednesday, 4 January 2012
David Hume - Of Tragedy
Was reading this dissertation by David Hume (originally published in 1757) for some essay preparation. Hume's overall position is rather Aristotelian, which makes sense for his time; he sees tragedy as an imitation of an action which evokes pity and fear. But Hume adds to the conversation on this subject, by investigating how this pity and fear is evoked. His main question is to do with why tragedy has an impact on us, and in investigating this he engages with previous thinkers on the subject. His conclusion is that eloquence is the key; the way the poet (playwright) presents the text, particularly the violent or damaging incidents which cause passion in the reader or audience (pity & fear, if you want to be Aristotelian) and is the cause of the passions elicited. Further to this point, he notes that there is (as many before him have posited) a pleasure derived from this, emphasizing that eloquence is the key to this pleasure. If the violence is not presented in a beautiful way, harmonized within itself as a work of art, we will only have experienced the passions of pity and fear, and pleasure is not possible. He argues that this, then, is not art...it cannot be distinguished from any daily occurrence of violence in the world.
Although I'm not much of an Aristotelian purist, I have to agree with Hume's assertion about eloquence. When we think of the pieces that really move us; Othello, Hamlet, The Duchess of Malfi, and more recently Beckett, Kane, Bond...what causes them to work, cause our passion to be aroused, and most importantly, to make us think, is eloquence. The beauty of presentation of these horrific acts.
Something to keep in mind for presenting violence in theatre.
Although I'm not much of an Aristotelian purist, I have to agree with Hume's assertion about eloquence. When we think of the pieces that really move us; Othello, Hamlet, The Duchess of Malfi, and more recently Beckett, Kane, Bond...what causes them to work, cause our passion to be aroused, and most importantly, to make us think, is eloquence. The beauty of presentation of these horrific acts.
Something to keep in mind for presenting violence in theatre.
Monday, 2 January 2012
2500th view!
Apparently I have hit 2500 views on my blog since its inception. Yippee! Apparently someone reads this. Or at least looks at it, and realizes it is comprised of the moderately lucid musings of an theatre-obsessed maniac.
In any case, thanks all for reading. More jolly fun to come in a few days' time when the Spring term begins. Look forward to Genet, LABAN, and Playwriting mania.
In any case, thanks all for reading. More jolly fun to come in a few days' time when the Spring term begins. Look forward to Genet, LABAN, and Playwriting mania.
Wednesday, 28 December 2011
Genet is Clever
It is often said that male writers can't write for women, or can't write for women well. There are many reasons why this sort of statement is false, but rather than go on a tirade about gender, intelligence, and truths of the human condition, I will simply present a section of text by the brilliant Jean Genet in The Screens. This is right at the beginning of Scene 12.
_______________________________________
KADIDJA: Without women what would you be? A spot of sperm on your father's pants that three flies would have drunk up.
THE DIGNITARY: Go away Kadidja. This isn't the day.
KADIDJA: It is! They accuse us and threaten us, and you want us to be prudent. And docile. And humble. And submissive. And ladylike. And honey-tongued. And sweet as pie. And silk veil. And fine cigarette. And nice kiss and soft-spoken. And gentle dust on their red pumps!
THE DIGNITARY: Kadidja, it's a matter of general security. Go away.
________________________________________
If this exchange doesn't clearly illustrate the long fought battle for escape from patriarchal power, i don't know what does.
and also...his beautiful and raw description of art functioning for society in scene 17 brings to mind volumes of conversation.
________________________________________
THE ACADEMICIAN: What will they build on? I observed them carefully throughout my stay. Their only memories are of poverty and humiliation . . . Yes, what will they do? Can an art be born for the purpose of enshrining so many facts which they themsleves would like to forget? And if there's no art, there's no culture. Are they therefore doomed to decay? And there they go nailing the cage . . .
________________________________________
What is fabulous about this is that it is used ironically; the Academician, and his colonialist compadres The Banker, Sir Harold, Mrs Blanensee, are all looking down upon the native Algerians from their position of power. And yet Genet's argument throughout the play, that this dirty mess is precisely what the matter of art must be, rings through.
_______________________________________
KADIDJA: Without women what would you be? A spot of sperm on your father's pants that three flies would have drunk up.
THE DIGNITARY: Go away Kadidja. This isn't the day.
KADIDJA: It is! They accuse us and threaten us, and you want us to be prudent. And docile. And humble. And submissive. And ladylike. And honey-tongued. And sweet as pie. And silk veil. And fine cigarette. And nice kiss and soft-spoken. And gentle dust on their red pumps!
THE DIGNITARY: Kadidja, it's a matter of general security. Go away.
________________________________________
If this exchange doesn't clearly illustrate the long fought battle for escape from patriarchal power, i don't know what does.
and also...his beautiful and raw description of art functioning for society in scene 17 brings to mind volumes of conversation.
________________________________________
THE ACADEMICIAN: What will they build on? I observed them carefully throughout my stay. Their only memories are of poverty and humiliation . . . Yes, what will they do? Can an art be born for the purpose of enshrining so many facts which they themsleves would like to forget? And if there's no art, there's no culture. Are they therefore doomed to decay? And there they go nailing the cage . . .
________________________________________
What is fabulous about this is that it is used ironically; the Academician, and his colonialist compadres The Banker, Sir Harold, Mrs Blanensee, are all looking down upon the native Algerians from their position of power. And yet Genet's argument throughout the play, that this dirty mess is precisely what the matter of art must be, rings through.
Saturday, 24 December 2011
Review: Matthew Bourne's Nutcracker! - Sadler's Wells Theatre
How do I even begin to describe this? Bourne's imagination is unparalleled, taking the well-known story of the Nutcracker, and twisting out a playful perspective. The nods to classical ballet throughout were wonderful, with little details such as the bratty brother/sister's exaggerated toe-first turned out walk, to the arabian dancer's final pose, however Bourne twists these and "shakes them up" for the audience. As well, his references to pop-culture were overflowing; one couldn't help but think of Marilyn Monroe's rendition of Diamonds are a Girl's Best Friend when watching the young heroine with her nutcracker and gaggle of topless men, or of boy bands when watching his russian dancers. What I found most remarkable about this was his ability to push the boundaries, to squeeze out the underlying themes in the story and magnify them for us to see, while still creating a story that was extremely watchable and enjoyable.
With some trepidation, I took my 7 year old daughter and husband to this show. My daughter has seen quite a bit of ballet for her age, but never The Nutcracker, despite being very familiar with the story and Tchaikovsky's score. My husband has seen only a little ballet, and again, never a Nutcracker. Both loved it! They had a lot of fun with the story, and the fabulous set and lighting design had an impact on the audience, even from up in the second circle.
I am SO unendingly happy to have been able to see this show, and share it with my family. More Bourne for all!!
With some trepidation, I took my 7 year old daughter and husband to this show. My daughter has seen quite a bit of ballet for her age, but never The Nutcracker, despite being very familiar with the story and Tchaikovsky's score. My husband has seen only a little ballet, and again, never a Nutcracker. Both loved it! They had a lot of fun with the story, and the fabulous set and lighting design had an impact on the audience, even from up in the second circle.
I am SO unendingly happy to have been able to see this show, and share it with my family. More Bourne for all!!
Wednesday, 21 December 2011
Reflections - The Audience
I have been spending quite a lot of time thinking about the audience. Clearly, without the audience, we really can't have theatre. Until there are people out there, taking in your words and gestures, everything is just a rehearsal. The give and take between performers and between performer-audience are what make live theatre unique and enjoyable; the sense of risk that something could go wrong, the sense of profound connection with those around you. Increasingly among the avant-garde (and even in the mainstream) there has been a push to involve the audience in new ways. Immersive theatre experiences, although still relatively un-common in Winnipeg, are de rigeur here in London. Even companies as "mainstream" as Headlong, producing with the National Theatre, try to take steps at making the experience in some way interactive for the audience.
Our presentations at RADA played with this to varying degrees. Some groups had the audience sitting on the floor, some had them sampling treats, while still others had them participatinig in the violence against a character, pouring food and liquid over an actor bound to a chair. With each of these experiences, I questioned several things:
- when did this work for me as an audience member?
- when it did work, what was it about this that worked?
- when it didn't work, why not?
- regardless of efficacy, what was this doing to the audience member? And did the group creating the piece seem to know or intend this impact?
I spent likely an equal amount of time watching the audience as I did the production. How were they reacting? What were they happily taking on, compared to what got their backs up or made them uncomfortable?
What I found (almost overwhelmingly) was that when these moments of audience participation worked best, they felt like there was no other way to do it. I could not, as an audience member, think of another way for the message or the scene to be conveyed. The times when it didn't work were times when it didn't feel necessary, where the action felt as if it wasn't done for the sake of the production, but just for the sake of it. Indulgence, at times.
Oddly, some moments which, if described, would feel gratuitous, were just fine - they worked. While conversely others which may sound like they would be ok simply felt over the top. What it comes down to is intention and thought; has the company really thought through what they are doing, why they are doing it - can they justify the choice artistically and as it relates to the text. The times when this didn't seem possible, did not resonate.
Simultaneously, I have been been performing in an immersive theatre event called You Me Bum Bum Train. I can't reveal many details, other than that it is an opportunity for the audience member to be the focus of the show, experiencing various things from the absurt, to the unusual, to the mundane. I have been in a couple different scenes now, and had a chance over my several nights performing to gauge the various reactions people have to the different kinds of scenes. It is really fascinating to watch people who really buy into this audience power, and those who really shut down...along with all gradients in between. I actually admitted to a fellow cast-mate this week that if I just heard about it, I probably wouldn't want to go see this kind of show. Even going to the audition I was nervous, thinking about the awful kinds of audience participation I have seen over the years. But this specific production gives such ultimate care to the emotional ride of the passenger - in fact they call the performance a ride - each scene, and the succession of them, is carefully crafted to take a person through the highs and lows of human experience, but with a sense of safety that allows them to play.
I have, despite my initial worries, ultimate respect for the creators (Kate & Morgan) of this amazing experience, and only hope I can one day create something as truly special and experiential as they have.
Our presentations at RADA played with this to varying degrees. Some groups had the audience sitting on the floor, some had them sampling treats, while still others had them participatinig in the violence against a character, pouring food and liquid over an actor bound to a chair. With each of these experiences, I questioned several things:
- when did this work for me as an audience member?
- when it did work, what was it about this that worked?
- when it didn't work, why not?
- regardless of efficacy, what was this doing to the audience member? And did the group creating the piece seem to know or intend this impact?
I spent likely an equal amount of time watching the audience as I did the production. How were they reacting? What were they happily taking on, compared to what got their backs up or made them uncomfortable?
What I found (almost overwhelmingly) was that when these moments of audience participation worked best, they felt like there was no other way to do it. I could not, as an audience member, think of another way for the message or the scene to be conveyed. The times when it didn't work were times when it didn't feel necessary, where the action felt as if it wasn't done for the sake of the production, but just for the sake of it. Indulgence, at times.
Oddly, some moments which, if described, would feel gratuitous, were just fine - they worked. While conversely others which may sound like they would be ok simply felt over the top. What it comes down to is intention and thought; has the company really thought through what they are doing, why they are doing it - can they justify the choice artistically and as it relates to the text. The times when this didn't seem possible, did not resonate.
Simultaneously, I have been been performing in an immersive theatre event called You Me Bum Bum Train. I can't reveal many details, other than that it is an opportunity for the audience member to be the focus of the show, experiencing various things from the absurt, to the unusual, to the mundane. I have been in a couple different scenes now, and had a chance over my several nights performing to gauge the various reactions people have to the different kinds of scenes. It is really fascinating to watch people who really buy into this audience power, and those who really shut down...along with all gradients in between. I actually admitted to a fellow cast-mate this week that if I just heard about it, I probably wouldn't want to go see this kind of show. Even going to the audition I was nervous, thinking about the awful kinds of audience participation I have seen over the years. But this specific production gives such ultimate care to the emotional ride of the passenger - in fact they call the performance a ride - each scene, and the succession of them, is carefully crafted to take a person through the highs and lows of human experience, but with a sense of safety that allows them to play.
I have, despite my initial worries, ultimate respect for the creators (Kate & Morgan) of this amazing experience, and only hope I can one day create something as truly special and experiential as they have.
Thursday, 15 December 2011
The Portfolio
Here, as promised, are photos of the portfolio I have created for the Autumn Term at RADA, primarily focused on The Duchess of Malfi. The assignment itself is really rather vague; create a portfolio tracking your response to the course. Scene study specifically, but it should also include references to research and to the other parts of the course. I decided that creating a director's notebook was my way in. I don't know if this is "right" or if it has worked, but I am pretty proud of what I have created, the ideas that have come out of it. And I now, more than ever, want to produce this play!
Wednesday, 14 December 2011
Closing Time
My posting has slowed down significantly as classes wind down and assignments pile up. Our performances of interpretations of our Scene Study plays happened this week. First, on Monday, the Measure for Measure group presented their piece. I was really impressed by the way they merged all 8 scenes, individually conceptualized or devised, into a single evening response to the play. Some scenes worked better than others, but on the whole it was a highly enjoyable evening, presented by some talented individuals. I particularly liked the scene that turned one of the early scenes into a brothel; I have felt this seedy underbelly, the netherworld in this play, but so often people producing it are scared to "dirty up" Shakespeare. Kudos to my classmates for letting the Bard get messy!
Tuesday (yesterday) was our performance of responses to The Duchess of Malfi. Our class functioned a little differently, creating 3 separate short pieces on our own themes. I really loved seeing what the other two groups brought out in the text, looking at politics and power, and the other at game playing and fate. Our group's focus on women and power was successful, I think. I have a brief audience-video that I will post a link to shortly. Not the greatest vid, but a sense of what we did with the text, interspersing other plays that lend themselves to this theme. In many cases the text of those plays was undistinguishable from Webster's text; several audience members commented to us that our piece really affected them, made them think about violence and power, and how women even today are subjected to these injustices, these violations.
Elsewhere on my plate has been the portfolio process. I have used this blog as a starting point to create my written response to the course. It is finished!! I will be posting photos of the final creation tomorrow, before I hand it in.
Tuesday (yesterday) was our performance of responses to The Duchess of Malfi. Our class functioned a little differently, creating 3 separate short pieces on our own themes. I really loved seeing what the other two groups brought out in the text, looking at politics and power, and the other at game playing and fate. Our group's focus on women and power was successful, I think. I have a brief audience-video that I will post a link to shortly. Not the greatest vid, but a sense of what we did with the text, interspersing other plays that lend themselves to this theme. In many cases the text of those plays was undistinguishable from Webster's text; several audience members commented to us that our piece really affected them, made them think about violence and power, and how women even today are subjected to these injustices, these violations.
Elsewhere on my plate has been the portfolio process. I have used this blog as a starting point to create my written response to the course. It is finished!! I will be posting photos of the final creation tomorrow, before I hand it in.
Saturday, 10 December 2011
Decisions
We have had to submit our choices for approaches groups for next term. I had initially wanted voice, but in my email told our course leaders I would be ok with Laban too. I was really torn on this decision. On one hand, I find LABAN and historical dance to be extremely interesting...but with so much history in dance related forms, and being known already as a "movement" person back home, I worried that this wouldn't open up any new doors like voice would. I also liked the idea of creating a voice project, what this might entail. And not to mention, I really love voice work in general. So as I expected may happen, I was put in Laban. And at first I was a little upset...but now have realized that it is going to be immense fun, and I will learn things I haven't seen before, particularly the historical social dance. And my ever-practical brain has recalled that it will give me some ground on which to look for work with theatre companies choreographing historical dance, such as RMTC or the Opera. So I am now feeling good about these things.
Our second approaches choice was between directing and playwriting. I immediately chose directing, mirroring my choice of Scene Study directing, because I do not in any way fancy myself a playwright. The numbers were really lopsided, so some of us who were doing scene study directing too were asked to consider switching. I gave this some serious thought...was I willing to risk an entire module in something that I don't think I am capable of doing with any success? Again, I sat to re-evaluate. I have devised/created work, and choreographed with success, and this too is playwriting. Perhaps I can approach playwriting from this perspective, and hone my voice as a creator, not just as a director. And who knows, maybe I will find I can actually write things. I think back to undergrad and our Style & Genre class, where Per had us write our own monologues...in fact, that didn't go too badly. And it is important to do things that take you outside your comfort zone as an artist; that is how we grow.
So next term I will be doing Directing Scene Study (major module), Laban, Playwriting, and Birkbeck Scene study (major module, audience perspective). I have opted out of the producing course; again here, this would be nice to have, but I don't fancy myself a producer, it is too far removed from creation itself.
Our second approaches choice was between directing and playwriting. I immediately chose directing, mirroring my choice of Scene Study directing, because I do not in any way fancy myself a playwright. The numbers were really lopsided, so some of us who were doing scene study directing too were asked to consider switching. I gave this some serious thought...was I willing to risk an entire module in something that I don't think I am capable of doing with any success? Again, I sat to re-evaluate. I have devised/created work, and choreographed with success, and this too is playwriting. Perhaps I can approach playwriting from this perspective, and hone my voice as a creator, not just as a director. And who knows, maybe I will find I can actually write things. I think back to undergrad and our Style & Genre class, where Per had us write our own monologues...in fact, that didn't go too badly. And it is important to do things that take you outside your comfort zone as an artist; that is how we grow.
So next term I will be doing Directing Scene Study (major module), Laban, Playwriting, and Birkbeck Scene study (major module, audience perspective). I have opted out of the producing course; again here, this would be nice to have, but I don't fancy myself a producer, it is too far removed from creation itself.
Thursday, 8 December 2011
Some Business With A Camel
This was our final approaches class for the Autumn term....true evidence that time is rapidly slipping by. Our group began in Acting Space with Sue, our course leader, who asked us to respond both to Brian's class and the Barbican Hamlet in some way. Some pairs chose just to talk about their experience, some chose a demonstration. We chose to create a scene which demonstrated our experience of Brian's approach, while commenting on Hamlet and what challenged us in the production. This was met with success. It was really great to watch and listen to everyone talking about their individual experiences in this way.
Next we went to dramaturgy in which Paul Sirrett answered our questions/led a discussion first about working as a dramaturg, and then about working as/being a playwright. This was a really great discussion, and a reminder that even those who work and whom some may deem have "made it" have the same insecurities, need to push forward, and effort to make/find work that those of us starting out do.
Next we went to dramaturgy in which Paul Sirrett answered our questions/led a discussion first about working as a dramaturg, and then about working as/being a playwright. This was a really great discussion, and a reminder that even those who work and whom some may deem have "made it" have the same insecurities, need to push forward, and effort to make/find work that those of us starting out do.
Wednesday, 7 December 2011
In Earnest
Today was my daughter's school christmas concert. Unlike schools in Canada, the Christmas concert in this English school was during the day only, with performances in the morning and afternoon. There were no stage lights, no fancy party dresses, and a conspicuously religious story behind the play set up to allow all the classrooms to sing a song; while the first bits of the show celebrated santa, presents, christmas dinner, the tree as the "star" of Christmas, the coda to the piece was to really celebrate the Star of Bethlehem as the star of Christmas, sneaking in the reminder of the religious basis for this holiday (for some, of course). This in itself was odd..in Canada, at least in public schools, religion has been outlawed since my years in primary school. If I recall correctly, the Lord's prayer and bible reading in class were made contraband in around my Grade 2 or 3 year.
What stood out even more, though, as I sit pondering creation, development, art.....was the effort and honesty of these students as they stood modestly on a low stage, with little costume and no light, in front of their adoring parents and the parents of their peers. Each child, even those terrified by standing in front of the crowd, had a look of extreme earnest pride as they sang their song, smiling with extreme joy. It was a gentle reminder of what little we need to make magic for those watching.
Keep it simple.
What stood out even more, though, as I sit pondering creation, development, art.....was the effort and honesty of these students as they stood modestly on a low stage, with little costume and no light, in front of their adoring parents and the parents of their peers. Each child, even those terrified by standing in front of the crowd, had a look of extreme earnest pride as they sang their song, smiling with extreme joy. It was a gentle reminder of what little we need to make magic for those watching.
Keep it simple.
Tuesday, 6 December 2011
Crisis of Faith
It is crunch time. So naturally, it is also the time when any other part of the universe (mainly transport) that can mess around with me does its best to make things difficult. Today, it was the return of the kid's flu, meaning that I was stranded at home when I should have been rehearsing and attending Scene Study for our impending Malfi presentation (one week today!!!!!! aaaaaahhhhhh!!!!!!!!!).
AND screw this. i wrote the whole blog post, and then blogger ATE IT. example of the above happening.
What you missed: me musing about the presentation, positive feedback that makes me uneasy and think I'm not pushing far enough, details about portfolio and essay status.
AND screw this. i wrote the whole blog post, and then blogger ATE IT. example of the above happening.
What you missed: me musing about the presentation, positive feedback that makes me uneasy and think I'm not pushing far enough, details about portfolio and essay status.
Sunday, 4 December 2011
Review - Hamlet, Schaubune Berlin @ Barbican
There is so much to say about this production. I had high hopes, having read at length about Thomas Ostermeier's work, and his penchant for tearing apart then sewing back together canonical texts. This afternoon was in no way a disappointment. His vision of the Danish castle as a gauche, messy, single room was pitch perfect; the set was at once beautiful and ugly, with gold chain curtains and flashy lights, actors in tuxedos juxtaposed against dirt covering the first quarter of the stage, and an increasing amount of mess (literally garbage!) littering the stage as the play went on. The actors, too, began beautiful and we saw them fall apart. Images of consumption were highlighted quite forcibly, with not only the actors being consumed (by guilt, by revenge, etc) but many scenes of actual consumption of water, beer, milk, liquid that looks like blood. The very first introduction to Horatio was with him sitting at the table, eating voraciously, with food all over his face. This symbolic representation of the characters' devolution was quite stunning.
The performances were remarkable: Hamlet (Lars Eidinger) was not the beautiful, brooding Danish prince we have come to expect, but rather a spoiled, overweight, moody brat, forcing his video camera into the faces of his family (and at times even the audience). Gertrude and Ophelia were played by the completely fabulous Judith Rosmair, who played the two women differently and yet the same, characterizing the echoes of these two women so central to Hamlet's life in one another. Her physical work both in the transitions from Gertrude to Ophelia and back, and more specifically in Ophelia's madness was completely transfixing; I couldn't stop watching her remarkable and specific movements and vocalizations. The other four (that's right, only 4) actors were fabulous as well, playing Laertes/Rosencrantz in the same actor and Horatio/Guildenstern as one, along with an actor for Polonius and one for Claudius.
What I found most fabulous was the self-awareness of the production, finding moments to highlight Hamlet's jester-like qualities, coming out to the audience, turning the play into a black comedy. And it did not feel in any way incorrect...it was all those things that flash through your mind reading the play, brought brilliantly to light.
Fabulous. I must try to visit Schaubune when I go to Berlin...and hopefully manage to catch their Measure for Measure in Paris. More!! I want more!!!!!
The performances were remarkable: Hamlet (Lars Eidinger) was not the beautiful, brooding Danish prince we have come to expect, but rather a spoiled, overweight, moody brat, forcing his video camera into the faces of his family (and at times even the audience). Gertrude and Ophelia were played by the completely fabulous Judith Rosmair, who played the two women differently and yet the same, characterizing the echoes of these two women so central to Hamlet's life in one another. Her physical work both in the transitions from Gertrude to Ophelia and back, and more specifically in Ophelia's madness was completely transfixing; I couldn't stop watching her remarkable and specific movements and vocalizations. The other four (that's right, only 4) actors were fabulous as well, playing Laertes/Rosencrantz in the same actor and Horatio/Guildenstern as one, along with an actor for Polonius and one for Claudius.
What I found most fabulous was the self-awareness of the production, finding moments to highlight Hamlet's jester-like qualities, coming out to the audience, turning the play into a black comedy. And it did not feel in any way incorrect...it was all those things that flash through your mind reading the play, brought brilliantly to light.
Fabulous. I must try to visit Schaubune when I go to Berlin...and hopefully manage to catch their Measure for Measure in Paris. More!! I want more!!!!!
Saturday, 3 December 2011
Ghosts
Classes Friday were good, and I got lots of essay-related work done, which is rather necessary at this point. Also rather necessary was some time of relief and relaxation; this was handily filled by a chance to see Plastikman Live 1.5 at the 02 Brixton Academy. Now this might just sound like a night of hedonism, however in fact it was in many ways an experience echoing the ideas we have been discussing in classes and outside about the performer/audience relationship, and the idea that in a mediated world audiences need stimulus or many stimuli to engage.
Richie Hawtin, the UK born, Canadian raised, Berlin-based techno pioneer who created Plastikman has always been one to push technology forward. From his early days challenging the limits of analog sound creation, to more recent forays into live performance and digital music creation, Hawtin is known to challenge the conceptions of what a DJ performance is. So when my husband told me of the SYNK app that Hawtin created for Plastikman live shows, I was immediately intrigued. SYNK allows iPhone users in the venue to interact with one another, and with the performer via a live chat, commenting on what is going on and the performance. In addition, and more forward-thinking, there are points in the performance where the SYNK users are able to impact the performance, sometimes through the lights on the enormous, semi-circle LED screen surrounding Hawtin in his mad-scientist lab, and sometimes through writing text which Hawtin then converts to sound via his equipment, and samples into the sounds he is creating. It was this in particular that really intrigued me. DJ and producers are notorious control-freaks, obsessed with the sound, the gear, the effect...not unlike many actors and theatre directors. So the idea of opening up parts of the performance to be moulded by the audience, and a large, alcohol-fuelled dance club audience, is at once terrifying, and liberating.
Granted not all audience members participated in this, or even knew was happening, but for those who wanted "more", wanted to be part of the action, this additional connection with the performer was offered.
The other thing I found uncanny was the "ghosting" going on in this space, echoing nearly 100 years of performance through the very walls. The Brixton Academy was first built in 1929 as a Theatre and Cinema, and physically the space hasn't changed significantly since this time. It still retains the proscenium arch with opera-style columns, and large playing spaces well above, eye-level with the Circle seating. The buildings comprising nearly a full set, including fake trees of what was likely once an attempt at naturalism, still appear surrounding the upper bits of wall. Juxtaposing this history with such forward-thinking dance music experiences as the one we were undergoing; I couldn't help but think of the historical significance of a dance music artist playing in such an historic space. At moments I imagined an opera production, or some Chekovian actors moodily walking about.
While dance music is often derided as hedonistic pleasure-seeking, it is moments such as this that remind me of the potential for greatness among dance music artists. Because the truly good ones are just that; artists.
Richie Hawtin, the UK born, Canadian raised, Berlin-based techno pioneer who created Plastikman has always been one to push technology forward. From his early days challenging the limits of analog sound creation, to more recent forays into live performance and digital music creation, Hawtin is known to challenge the conceptions of what a DJ performance is. So when my husband told me of the SYNK app that Hawtin created for Plastikman live shows, I was immediately intrigued. SYNK allows iPhone users in the venue to interact with one another, and with the performer via a live chat, commenting on what is going on and the performance. In addition, and more forward-thinking, there are points in the performance where the SYNK users are able to impact the performance, sometimes through the lights on the enormous, semi-circle LED screen surrounding Hawtin in his mad-scientist lab, and sometimes through writing text which Hawtin then converts to sound via his equipment, and samples into the sounds he is creating. It was this in particular that really intrigued me. DJ and producers are notorious control-freaks, obsessed with the sound, the gear, the effect...not unlike many actors and theatre directors. So the idea of opening up parts of the performance to be moulded by the audience, and a large, alcohol-fuelled dance club audience, is at once terrifying, and liberating.
Granted not all audience members participated in this, or even knew was happening, but for those who wanted "more", wanted to be part of the action, this additional connection with the performer was offered.
The other thing I found uncanny was the "ghosting" going on in this space, echoing nearly 100 years of performance through the very walls. The Brixton Academy was first built in 1929 as a Theatre and Cinema, and physically the space hasn't changed significantly since this time. It still retains the proscenium arch with opera-style columns, and large playing spaces well above, eye-level with the Circle seating. The buildings comprising nearly a full set, including fake trees of what was likely once an attempt at naturalism, still appear surrounding the upper bits of wall. Juxtaposing this history with such forward-thinking dance music experiences as the one we were undergoing; I couldn't help but think of the historical significance of a dance music artist playing in such an historic space. At moments I imagined an opera production, or some Chekovian actors moodily walking about.
While dance music is often derided as hedonistic pleasure-seeking, it is moments such as this that remind me of the potential for greatness among dance music artists. Because the truly good ones are just that; artists.
Thursday, 1 December 2011
Devise This
Workshopping our devised response to The Duchess of Malfi continues to go well. We have made a few adjustments to clarify the script we have created, and have come up with some really neat ways to visualize the story. We still have one enormous bit of physicality to work out, however aside from that have worked out basic blocking for the rest, and are unlikely to make many more script changes. A break on this for a couple days, then back in to share what we have done so far with Tom on Tuesday.
Class today was also focussed on devising, this time as a dramaturgical task. We each came to class with a couple observed quotes and situations from around London, from which we created two plays, and then performed the other group's play. This was a fantastic exercise, and one that would be great to help introduce people to devised work in a class or workshop. I should also add that it was greatly fun, and the stress-relief I think we all needed at this point.
And because I don't have enough going on, I have volunteered for the smash immersive show You Me Bum Bum Train. This ran last year in London to sold out audiences as part of the Barbican season, and a new Bum Train has been created for this year, at a new location. Because of the nature of the show, I can't really say more than that. I am really excited to have the chance to be a part of this!!
Class today was also focussed on devising, this time as a dramaturgical task. We each came to class with a couple observed quotes and situations from around London, from which we created two plays, and then performed the other group's play. This was a fantastic exercise, and one that would be great to help introduce people to devised work in a class or workshop. I should also add that it was greatly fun, and the stress-relief I think we all needed at this point.
And because I don't have enough going on, I have volunteered for the smash immersive show You Me Bum Bum Train. This ran last year in London to sold out audiences as part of the Barbican season, and a new Bum Train has been created for this year, at a new location. Because of the nature of the show, I can't really say more than that. I am really excited to have the chance to be a part of this!!
Subscribe to:
Posts (Atom)