Time for me to ask something of you readers (and lurkers) - I am running the British 10k in London on July 8th in support of RADA scholarships, and am looking for donations. Any of you lurkers who are artists know how horribly expensive school can be, and how few scholarships there are for arts students. Fundraising from this will help with the Hardship fund at the school, and for creating future scholarships for students.
You can donate here: http://www.justgiving.com/Kendra-Jones
Any amount is greatly appreciated, as it all adds up. Thank you in advance for any support you can offer!
Friday, 1 June 2012
Thursday, 31 May 2012
Review - The Conquest of the South Pole by Manfred Karge - Arcola Theatre @ The Rose, Kingston
In premise, a strong idea; 4 unemployed lads from east London, working their way through social exclusion in their own way, bond over the story of an expedition to the South Pole that begins as an escape, but slowly merges with their own reality. The job market, prospects, become metaphorically the endless antarctic ice, and the goal of reaching the South Pole something never fully attainable. Very timely in its subject matter, the production unfortunately does not hold up. The script - disjointed and episodic - felt as though it was being moulded into a linear, psychological storyline, rather than allowing the juxtaposition of scenes that may or may not make sense. Having not read the original German version, it is tough for me to say just what role translation and direction jointly held in this.
The performances were adequate at best, with mere moments of interest perking up for me. I strongly dislike actors who appear to be over-directed, with choreographed physicality that does not come across as natural to their being. This may seem like a contradiction given my penchant for physical theatre and dance, however pieces which manage this balance of choreography that seems to be pouring out of the actor rather than painted on it are truly remarkable, and what we strive for. This piece did not have this quality.
Again, I stress, there were moments. Unfortunately they were few and far between, the gaps being overwhelmed by actors shouting in roaming accents.
I do, really, see a seed of something interesting here - it simply didn't get to blossom.
The performances were adequate at best, with mere moments of interest perking up for me. I strongly dislike actors who appear to be over-directed, with choreographed physicality that does not come across as natural to their being. This may seem like a contradiction given my penchant for physical theatre and dance, however pieces which manage this balance of choreography that seems to be pouring out of the actor rather than painted on it are truly remarkable, and what we strive for. This piece did not have this quality.
Again, I stress, there were moments. Unfortunately they were few and far between, the gaps being overwhelmed by actors shouting in roaming accents.
I do, really, see a seed of something interesting here - it simply didn't get to blossom.
Wednesday, 30 May 2012
Labels
So, as I approach my 30th birthday, growing ever further from the "emerging" 16-25 year old artist category, but certainly not yet "established" at least by my definition of the word, I am at a loss for how to describe my position. It is funny that we see such a need to rank and label everyone and everything - emerging director, young theatre practitioner, veteran actor - as if the label somehow justifies what we do. Can't I just be an artist? A moderately successful artist? Does that work? It is hardly a selling feature to write on my next grant proposal. I can see it now - "Kendra isn't quite young, nor is she old. She has done some work, but not a ton. Truthfully, she lives a life of artistic moderation." Not really going to rake in the cash.
I don't know whether I really have anything to say about this, beyond what is above....what do you think? What do you call yourselves?
Also related to the birthday, I'll be travelling to Paris in a couple weeks to celebrate my 30th. I thought that given my proximity now, and the elegance that is added to any task by doing it in French, I would turn 30 en francais. It is better that way. I have not been before, and am looking forward to taking in Montmartre, the Seine and all the public gardens, along with some French Gothic architecture at Notre Dame. I also plan to make a pilgrimage to Montparnasse cemetery. Unlike those who visit the graves of more popular figures (Jim Morrison, Oscar Wilde, etc at Pere Lachase) I plan to visit with Ionesco, Beckett, and Sartre, 3 minds with whom I have been engaging over the past 6 years or so. I do love cemeteries, but have never been one to visit "famous" grave sites (although my toy poodle once peed on Louis Riel's grave in St Boniface) so this will be an interesting and unique day out. Also, I love the idea of creeping out my daughter with an afternoon in the cemetery. I am a nice parent.
I don't know whether I really have anything to say about this, beyond what is above....what do you think? What do you call yourselves?
Also related to the birthday, I'll be travelling to Paris in a couple weeks to celebrate my 30th. I thought that given my proximity now, and the elegance that is added to any task by doing it in French, I would turn 30 en francais. It is better that way. I have not been before, and am looking forward to taking in Montmartre, the Seine and all the public gardens, along with some French Gothic architecture at Notre Dame. I also plan to make a pilgrimage to Montparnasse cemetery. Unlike those who visit the graves of more popular figures (Jim Morrison, Oscar Wilde, etc at Pere Lachase) I plan to visit with Ionesco, Beckett, and Sartre, 3 minds with whom I have been engaging over the past 6 years or so. I do love cemeteries, but have never been one to visit "famous" grave sites (although my toy poodle once peed on Louis Riel's grave in St Boniface) so this will be an interesting and unique day out. Also, I love the idea of creeping out my daughter with an afternoon in the cemetery. I am a nice parent.
Friday, 25 May 2012
Intellectual Fan Girl
Our dissertation term (aka right now) is peppered with weekly lectures and workshops to help us along with our process, and also to help us consider paths once we have finished the MA. This has included various events from panels with emerging artists, Q&A with former students of the course, and talks about casting and organizing. A highlight has been the fabulous workshop on directing from Andrew Visnevski for which the quote of the evening (whilst dissecting a scene from The Duchess of Malfi) was " 'How Now?' here means 'Holy Fuck she's going to shoot my balls off' " - something you have to imagine this polished, intellectual, very proper man in sweater vest and tie saying to get the full effect.
The most recent installment was from the academic side, and featured the brilliant Elin Diamond, feminist theatre writer and professor at Brandeis University in the US. Elin's lecture focused on a chapter of her book - Unmaking Mimesis - which looks at Brecht through a feminist lens, calling for a Feminist Gestic Theatre. A chapter (and book) I would strongly recommend.
What was most inspiring, for me anyway, was her discussion of how she got to where she is now. She began as an actor, trained in drama school and working professionally, but always had an intellectual side, writing essays and reading voraciously. After completing her MA and committing to being an academic, her focus was on bringing theatre and performance into the contemporary discussions of criticism. She argues that playwrights are theoreticians within each play, and the time spent to consider a play and/or performance text is unendingly valuable in understanding many of the ideas that scholars so readily apply to painting, philosophy, gender studies, etc. I was encouraged to know that it is possible to make a move such as this; to sit on both sides of things, and force not only work, but serious intellectual consideration of the work through your own writing. This is something which I hope to be able to do with at least minor success in the coming years.
The most recent installment was from the academic side, and featured the brilliant Elin Diamond, feminist theatre writer and professor at Brandeis University in the US. Elin's lecture focused on a chapter of her book - Unmaking Mimesis - which looks at Brecht through a feminist lens, calling for a Feminist Gestic Theatre. A chapter (and book) I would strongly recommend.
What was most inspiring, for me anyway, was her discussion of how she got to where she is now. She began as an actor, trained in drama school and working professionally, but always had an intellectual side, writing essays and reading voraciously. After completing her MA and committing to being an academic, her focus was on bringing theatre and performance into the contemporary discussions of criticism. She argues that playwrights are theoreticians within each play, and the time spent to consider a play and/or performance text is unendingly valuable in understanding many of the ideas that scholars so readily apply to painting, philosophy, gender studies, etc. I was encouraged to know that it is possible to make a move such as this; to sit on both sides of things, and force not only work, but serious intellectual consideration of the work through your own writing. This is something which I hope to be able to do with at least minor success in the coming years.
Monday, 21 May 2012
10 Weeks With Genet
This is my portfolio, bearing creative and academic witness to my 10 week encounter with Jean Genet during the MA.
The "hard copy" was handed in as an installation - dirtied paper, various trash items from scenes and things through the 10 weeks, reminiscent of Tracey Emin, crumpled and in a trash bin.
10WeeksWithGenet_KendraJones_2012
The "hard copy" was handed in as an installation - dirtied paper, various trash items from scenes and things through the 10 weeks, reminiscent of Tracey Emin, crumpled and in a trash bin.
10WeeksWithGenet_KendraJones_2012
Going Beyond To Return
This is an adaptation of an essay I wrote on the MA earlier this year, looking at the history of tragedy and what all of this theory means to someone trying to create theatre today. Please share your thoughts!
KendraJones_BeyondToReturn_2012.ashx
KendraJones_BeyondToReturn_2012.ashx
Sunday, 20 May 2012
Head is Swirling
An MA dissertation in any form is a challenging prospect. One in which you will be not only researching a subject, but creating a response to it theatrically as well as writing on it academically is an entirely new level of challenge.
Things I am learning:
1) I really like to research. To a fault. There comes a point where reading yet another version of Antigone (or reading it again for the 100th time), watching anther German Opera version, or listening to another random lecture from the RA about any painter ever to have lived is just not going to do anything. You need to create. You need to put down the books and get up in the studio and just see what comes out. I am approaching this point now.
2) I have a tendency to want everything to fit to a plan, but at the same time happen randomly. The two are not compatible. I have been hit with two major setbacks to my plan - in the form of casting issues which were first solved, then sort of solved, then not solved at all - both of which had me reeling last week. Several hours we spent lying on my bed, staring at the ceiling, surrounded by my iPad and copies of the play, listening to intense music whilst wondering what to do. I do learn the most from these things though; the times when my left and right brain are battling it out over order versus chaos are the times when the most remarkable ideas come out.
3) The play has the answer. It always has the answer, you just have to give it time to tell you. Luckily, I had the time in this instance, and didn't end up staying up nights bawling at my lack of options.
So, phase 1 of the dissertation approach (reading like a maniac) is coming to a close. My first workshop to lead will be in just over a week, and I am looking forward to just playing. It is funny that when reading, I get so many ideas, mostly in the form of physical images in my head, all of which seem to be contrary to the last. Right now there are about 50 "moments" I have imagined. The first 3 workshops will be a chance to try these out, see what actually works physically and with text or music, and then I will go away to try to piece together the first draft of a piece. Then I will come back for 3 more workshops to sew it together and share it on the 19th of July at RADA.
From here, oodles of reflection on the process, writing to pull in all the inspiration and thoughts to create the piece along with the future...where does this go now. And more importantly, where do I go after this whirlwind of a year, personally, and artistically.
Things I am learning:
1) I really like to research. To a fault. There comes a point where reading yet another version of Antigone (or reading it again for the 100th time), watching anther German Opera version, or listening to another random lecture from the RA about any painter ever to have lived is just not going to do anything. You need to create. You need to put down the books and get up in the studio and just see what comes out. I am approaching this point now.
2) I have a tendency to want everything to fit to a plan, but at the same time happen randomly. The two are not compatible. I have been hit with two major setbacks to my plan - in the form of casting issues which were first solved, then sort of solved, then not solved at all - both of which had me reeling last week. Several hours we spent lying on my bed, staring at the ceiling, surrounded by my iPad and copies of the play, listening to intense music whilst wondering what to do. I do learn the most from these things though; the times when my left and right brain are battling it out over order versus chaos are the times when the most remarkable ideas come out.
3) The play has the answer. It always has the answer, you just have to give it time to tell you. Luckily, I had the time in this instance, and didn't end up staying up nights bawling at my lack of options.
So, phase 1 of the dissertation approach (reading like a maniac) is coming to a close. My first workshop to lead will be in just over a week, and I am looking forward to just playing. It is funny that when reading, I get so many ideas, mostly in the form of physical images in my head, all of which seem to be contrary to the last. Right now there are about 50 "moments" I have imagined. The first 3 workshops will be a chance to try these out, see what actually works physically and with text or music, and then I will go away to try to piece together the first draft of a piece. Then I will come back for 3 more workshops to sew it together and share it on the 19th of July at RADA.
From here, oodles of reflection on the process, writing to pull in all the inspiration and thoughts to create the piece along with the future...where does this go now. And more importantly, where do I go after this whirlwind of a year, personally, and artistically.
Saturday, 19 May 2012
Review - King Lear - Belarus Free Theatre @ Shakespeare's Globe
This is the kind of production that changes your mind about everything. Belarus Free Theatre brought their politics to the fore very clearly on several fronts in this production. First, performing in Belarusian rather than the "legal" Russian of Belarus. Second, in their sparse, minimalist interpretation of the play, proving that you can take away the funding, the building, most everything, but you can't take away the fire of theatre when there is talent and something to say to the world.
When we critique most productions of Shakespeare, we critique the use of the poetry, the selected cuts, the understanding of the play. This production took away our ability to do this by being done in Belarusian, but also in the layering of sound, singing and piano under soliloquies, soundscapes created through noisy tarps and water; despite this, the sounds and images created on stage seemed to evoke the poetry in their very existence. Never before have I felt the cold fury of Lear on the heath in such a powerful manner, or the haunting moment of Lear mourning Cordelia's death. The incorporation of Orthodox religious-sounding songs, beginning with happier folk songs and evolving to dark chants haunting the pace underscored the piece perfectly. Lear's violence toward his daughters and everyone around, and their reciprocal violence toward Lear was frightening and stirring, evoking thoughts of life in an authoritarian regime. When Lear and Cordelia are caught after the French lost the war, the faceless soldiers, speaking in hushed tones sent chills up my spine.
This was my first experience of the Belarus Free Theatre's work live, having only read/heard about them. I will do everything I can to see their work again and again.
When we critique most productions of Shakespeare, we critique the use of the poetry, the selected cuts, the understanding of the play. This production took away our ability to do this by being done in Belarusian, but also in the layering of sound, singing and piano under soliloquies, soundscapes created through noisy tarps and water; despite this, the sounds and images created on stage seemed to evoke the poetry in their very existence. Never before have I felt the cold fury of Lear on the heath in such a powerful manner, or the haunting moment of Lear mourning Cordelia's death. The incorporation of Orthodox religious-sounding songs, beginning with happier folk songs and evolving to dark chants haunting the pace underscored the piece perfectly. Lear's violence toward his daughters and everyone around, and their reciprocal violence toward Lear was frightening and stirring, evoking thoughts of life in an authoritarian regime. When Lear and Cordelia are caught after the French lost the war, the faceless soldiers, speaking in hushed tones sent chills up my spine.
This was my first experience of the Belarus Free Theatre's work live, having only read/heard about them. I will do everything I can to see their work again and again.
Wednesday, 16 May 2012
Review - Posh by Laura Wade (Royal Court @ Duke of York's Theatre, West End)
I saw this last week, on the opening night of the previews for this West-End transfer from the Royal Court. Posh was highly successful for the Royal Court a couple years back, completely selling out its run, and receiving strong reviews from some camps for its bold anti-Tory politics. Others did not find the politics so convincing.
Sadly, despite the outstanding performances and production, I have to side with those critics who did not find the initial production as political as it claimed to be. Presenting us with a clique of entitled (and titled) Eton-Oxford boys enjoying a night of debauchery, Wade is clearly aiming to show us what is wrong with those in power in England (and elsewhere). In this, she is successful; the young men come across as awful people, initially in their brazen plans, then as the play goes on, in their misogyny, violence, and ability to squeak out of trouble unscathed, in spite of the destruction they have caused, all with the wave of a pen over a cheque. That said, the play is rather one-sided - we do not see a glimmer of dimension to these characters. Wade presents them without a shred of compassion or decency, only concerned for themselves. I left feeling like the play hadn't given me anything I didn't already know, and didn't challenge me to think about the situation in a new light; it encouraged the sort of envy and derision these characters accuse the 'middle classes" of in the play, rather than attempting to present an alternative.
As I said, the production itself was strong. All performers were well cast and excelled in their roles; notably the pub owner and his daughter brought 3-dimensional life to characters who could run the risk of being hokey stereotypes. The clever set and use of choreographed set changes added to this (although the musical interludes could have been done without...the first was intriguing and used the set and history well, after which they devolved into a Glee-style singalong in my opinion).
It is certainly a play worth seeing. I'm just not sure it achieved what it set out to do.
Sadly, despite the outstanding performances and production, I have to side with those critics who did not find the initial production as political as it claimed to be. Presenting us with a clique of entitled (and titled) Eton-Oxford boys enjoying a night of debauchery, Wade is clearly aiming to show us what is wrong with those in power in England (and elsewhere). In this, she is successful; the young men come across as awful people, initially in their brazen plans, then as the play goes on, in their misogyny, violence, and ability to squeak out of trouble unscathed, in spite of the destruction they have caused, all with the wave of a pen over a cheque. That said, the play is rather one-sided - we do not see a glimmer of dimension to these characters. Wade presents them without a shred of compassion or decency, only concerned for themselves. I left feeling like the play hadn't given me anything I didn't already know, and didn't challenge me to think about the situation in a new light; it encouraged the sort of envy and derision these characters accuse the 'middle classes" of in the play, rather than attempting to present an alternative.
As I said, the production itself was strong. All performers were well cast and excelled in their roles; notably the pub owner and his daughter brought 3-dimensional life to characters who could run the risk of being hokey stereotypes. The clever set and use of choreographed set changes added to this (although the musical interludes could have been done without...the first was intriguing and used the set and history well, after which they devolved into a Glee-style singalong in my opinion).
It is certainly a play worth seeing. I'm just not sure it achieved what it set out to do.
Monday, 14 May 2012
Reading Time
My mind is engulfed with reading on performance theory right now. More on that later. That, and Laura Wade's "Posh" now transferred from the Royal Court to The Duke of York's Theatre in the West End. It is a good thing I am not a reviewer with deadlines, as it is taking me awhile to decide exactly what I have to say about it.
In the interim, I have come across two excellent articles today that I must share.
First, Dennis Kelly's (colourful) speech to open the Stuckemarkt festival in Germany. Kelly, a Brit playwright who pushes the boundaries of "polite" political theatre, challenges theatre makers to stop trying to make plays political for the sake of it. Quote of the piece "I believe young theatre makers need a very healthy does of 'go fuck yourself'". Well said, Mr Kelly, well said.
Link Here: http://www.theatertreffen-blog.de/tt12/english-posts/dennis-kelly-opens-the-stuckemarkt/
Second, Lauren Gunderson on the economics of presenting female characters, since (gosh darn it) a significant proportion of audience members are female. I can't say I agree with the argument entirely (which pretty much relies on mimesis and our desire to see the self reflected in the theatre...) but she does make a valid point. Worth a read.
Link Here: http://www.huffingtonpost.com/lauren-gunderson/theatres-audiences-are-ma_b_1388150.html
Happy Reading!
In the interim, I have come across two excellent articles today that I must share.
First, Dennis Kelly's (colourful) speech to open the Stuckemarkt festival in Germany. Kelly, a Brit playwright who pushes the boundaries of "polite" political theatre, challenges theatre makers to stop trying to make plays political for the sake of it. Quote of the piece "I believe young theatre makers need a very healthy does of 'go fuck yourself'". Well said, Mr Kelly, well said.
Link Here: http://www.theatertreffen-blog.de/tt12/english-posts/dennis-kelly-opens-the-stuckemarkt/
Second, Lauren Gunderson on the economics of presenting female characters, since (gosh darn it) a significant proportion of audience members are female. I can't say I agree with the argument entirely (which pretty much relies on mimesis and our desire to see the self reflected in the theatre...) but she does make a valid point. Worth a read.
Link Here: http://www.huffingtonpost.com/lauren-gunderson/theatres-audiences-are-ma_b_1388150.html
Happy Reading!
Saturday, 5 May 2012
Video Post....Lavinia
This is an older video of a piece-in-development from 2009 (Performed in autumn 2009 at FemFest Cabaret in Winnipeg, Canada). Titled Lavinia, it is inspired by Lavinia, Titus Andronicus' daughter in the dark Shakespearian play. Lavinia is kidnapped and raped, then has her hands and tongue cut off to stop her from telling who did this to her. In the piece, I wanted to explore her mental state, knowing that she is henceforth unable to communicate, trying to tell of the horrors she experienced whilst still re-living them in her nightmarish reality.
The audio is a cut-up interpretation of the BBC production of Titus Andronicus (1985 - the voice you hear is Edward Hardwicke), merged with a PJ Harvey song....all audio editing done by John Norman.
Here is the vid.
The audio is a cut-up interpretation of the BBC production of Titus Andronicus (1985 - the voice you hear is Edward Hardwicke), merged with a PJ Harvey song....all audio editing done by John Norman.
Here is the vid.
Friday, 4 May 2012
Review - Cymbeline by The South Sudan Theatre Company @ Shakespeare's Globe (Globe to Globe Festival)
There is something truly extraordinary about seeing performers so joyous to be performing, that when the curtain call begins, a full-blown dance party breaks out. This company, which has only existed for a year, born in Sudanese refugee camps, was presenting their first international performance, at the much publicized Globe to Globe festival. Working in translation to Juba Arabic, they presented Cymbeline as a story of love and war in Sudan. Accompanied by fabulous drumming (by the co-director and translator), Juba songs and dances were woven into the play, for entrances, exits, and the fantastic war scene. Each performer was fully committed to their character and the presence of each performer was undeniable.
Now, as a piece of theatre, it was by no means the best thing I have seen. Jumping lines occurred with fair regularity (although in many instances, worked rather well for the energy of the piece), and some scenes felt flat. As well, even softer scenes, such as Imogen reading the letter and learning of Posthumous' location, came across as harsh, simply due to the nature of the sounds of Juba Arabic. . . as a result, some of the colour of the story was lost. Overall, however, the pure joy filled The Globe and infected everyone in the theatre.
Sometimes theatre isn't about the perfect performance. It is, as a brilliant thinker once told me, about "bringing joy to the peeps". Per Brask, you were right.
Now, as a piece of theatre, it was by no means the best thing I have seen. Jumping lines occurred with fair regularity (although in many instances, worked rather well for the energy of the piece), and some scenes felt flat. As well, even softer scenes, such as Imogen reading the letter and learning of Posthumous' location, came across as harsh, simply due to the nature of the sounds of Juba Arabic. . . as a result, some of the colour of the story was lost. Overall, however, the pure joy filled The Globe and infected everyone in the theatre.
Sometimes theatre isn't about the perfect performance. It is, as a brilliant thinker once told me, about "bringing joy to the peeps". Per Brask, you were right.
Saturday, 28 April 2012
Review - Mind as Matter and Medicine Now @ Wellcome Collection
Mind As Matter
I think brains are pretty cool. So when I heard of an exhibition about brains, merging science with art, i was extremely excited. This exhibition (@ Wellcome Collection, Euston Road, until June 2012) takes us through an examination of the human fascination with the brain. The exhibition housed photographs and paintings along with artefacts, scientific objects, and yes, brains (preserved of course). The goal of the Wellcome Collection is to present exhibitions at the meeting point between art and science. I found that with this exhibition waned a bit on this front; the outer edges presented the more art-focused pieces while the science was in the middle, the two existing in a segregated environment. This meant that the desired experience of seeing science as art and art as science was lost, for me anyway. That said, some of the pieces were really cool; casts of brains and the vein system in the human brain, and most haunting, drawings of a child experiencing a pre-operative procedure for a mental condition that will stay with me for some time.
Medicine Now
This exhibition, upstairs at Wellcome Collection, achieved what I feel Mind as Matter did not. Taking 5 areas of medicine now, the gallery was split up to merge the science and art of these. The most impressive section for me was the one on obesity; an installation of a tall, thin book shelf, stuffed with diet books reminded of the overwhelming amount of 'advice' available on the subject. Another sculpture (I've forgotten the title) looked at obesity physically; instead of the beautiful greek physique we are accustomed to seeing in a sculpture, the piece inflated various points of the body, balloning like the morbidly obese bodies we see from time to time. The figure was headless, and its body read like a road map of neglect. Other installations in this section were also very moving, includng the world map made of the kind of mosquitos that carry malaria; delicate, and dangerous.
I would recommend going along to check both out....they are definitely worth the time.
I think brains are pretty cool. So when I heard of an exhibition about brains, merging science with art, i was extremely excited. This exhibition (@ Wellcome Collection, Euston Road, until June 2012) takes us through an examination of the human fascination with the brain. The exhibition housed photographs and paintings along with artefacts, scientific objects, and yes, brains (preserved of course). The goal of the Wellcome Collection is to present exhibitions at the meeting point between art and science. I found that with this exhibition waned a bit on this front; the outer edges presented the more art-focused pieces while the science was in the middle, the two existing in a segregated environment. This meant that the desired experience of seeing science as art and art as science was lost, for me anyway. That said, some of the pieces were really cool; casts of brains and the vein system in the human brain, and most haunting, drawings of a child experiencing a pre-operative procedure for a mental condition that will stay with me for some time.
Medicine Now
This exhibition, upstairs at Wellcome Collection, achieved what I feel Mind as Matter did not. Taking 5 areas of medicine now, the gallery was split up to merge the science and art of these. The most impressive section for me was the one on obesity; an installation of a tall, thin book shelf, stuffed with diet books reminded of the overwhelming amount of 'advice' available on the subject. Another sculpture (I've forgotten the title) looked at obesity physically; instead of the beautiful greek physique we are accustomed to seeing in a sculpture, the piece inflated various points of the body, balloning like the morbidly obese bodies we see from time to time. The figure was headless, and its body read like a road map of neglect. Other installations in this section were also very moving, includng the world map made of the kind of mosquitos that carry malaria; delicate, and dangerous.
I would recommend going along to check both out....they are definitely worth the time.
Wednesday, 25 April 2012
Time to get political
I try to stick to theatre and art in this blog, and its various inspirations. I can not do that right now. It is time to get overtly political. Time for some Canadian politics. Earlier this week, Alberta held an election for leadership of the province. As of the week-end, polls were showing the right-wing WildRose party in the lead, and the 40-year reign of the PCs in that province looked poised to fall.
As they sometimes do, the voters surprised everyone, and re-elected the PCs to a strong majority - 61 seats - while WildRose saw only 17. Canada breathed a sigh of comparative relief; bloggers and twitter lit up with otherwise left-leaning minds commenting how happy they were for a PC win, something you don't expect ever to hear.
So this morning, reading The Globe And Mail, I was made ill to read Ms Smith's latest.
Now that the WildRose were unsuccessful on their first attempt, they plan to change their policies. Okay, seems like a decent idea, right? Everything needs a fresh perspective after a loss. Sure. But Ms Smith campaigned on core beliefs including smaller government, ignoring climate change (well, arguing that it is still disputed scientifically...which amounts to ignoring it) and personal liberties. She had candidates making racist and homophobic comments in the media, never censured them. Now, upon losing, Ms Smith is thinking of "re-evaluating" their policy on climate change and other contentious issues. Pardon me, but re-evaluating? The party campaigned for several months on this right wing agenda, alienating the rest of the province. This is clearly something they believe heartily in. But a swift turn of the page to the day after losing the election, and Smith is ready to reconsider. Funny; a certain Mr Harper had similar right-wing views some years ago in Calgary. . . but he was deemed too extreme, and toned it down to get elected. Now that he is elected with a "mandate from the Canadian people" he is back to his right-wing tricks, dismantling the very institutions that define our country. Ms Smith appears to be taking a page out of Mr Harper's playbook.
Don't be fooled, Alberta. Ms Smith, it seems, will say whatever is required to get elected, and then do what she wanted all along. Please, have long memories on this one. Please.
As they sometimes do, the voters surprised everyone, and re-elected the PCs to a strong majority - 61 seats - while WildRose saw only 17. Canada breathed a sigh of comparative relief; bloggers and twitter lit up with otherwise left-leaning minds commenting how happy they were for a PC win, something you don't expect ever to hear.
So this morning, reading The Globe And Mail, I was made ill to read Ms Smith's latest.
Now that the WildRose were unsuccessful on their first attempt, they plan to change their policies. Okay, seems like a decent idea, right? Everything needs a fresh perspective after a loss. Sure. But Ms Smith campaigned on core beliefs including smaller government, ignoring climate change (well, arguing that it is still disputed scientifically...which amounts to ignoring it) and personal liberties. She had candidates making racist and homophobic comments in the media, never censured them. Now, upon losing, Ms Smith is thinking of "re-evaluating" their policy on climate change and other contentious issues. Pardon me, but re-evaluating? The party campaigned for several months on this right wing agenda, alienating the rest of the province. This is clearly something they believe heartily in. But a swift turn of the page to the day after losing the election, and Smith is ready to reconsider. Funny; a certain Mr Harper had similar right-wing views some years ago in Calgary. . . but he was deemed too extreme, and toned it down to get elected. Now that he is elected with a "mandate from the Canadian people" he is back to his right-wing tricks, dismantling the very institutions that define our country. Ms Smith appears to be taking a page out of Mr Harper's playbook.
Don't be fooled, Alberta. Ms Smith, it seems, will say whatever is required to get elected, and then do what she wanted all along. Please, have long memories on this one. Please.
Saturday, 21 April 2012
New Explorations
Spent this lovely, sunny Saturday indoors at the University of London. Normally this would make me sad, however, today it simply inspired and encouraged me. I attended the Womens Studies Group's annual Workshop, titled Women, Performance, Portraiture. This is a group of mainly history scholars who meet throughout the year for workshops, field trips, etc, and most importantly, to share their scholarly endeavors.
The day began with a keynote speaker - the brilliant Gill Perry. (more on her here: http://www.open.ac.uk/Arts/arthistory/perry.shtml). The paper she presented looked at art and the creation of feiminine celebrity, particularly in 18th century London society circles. Looking at the semiotics not just of the works themselves, but also at their placement, prominence, and re-location in manor houses throughout England, she made some intriguing suggestions regarding the role art played in creating and perpetuating myths of celebrity. There were many resonances for me in this lecture, notably the ideas of public vs private space - hearkening back to our thoughts about The Duchess of Malfi. I cannot begin to give justice to her argument in the lecture, however suffice to say that it sparked many ideas in me, and something creative will come from this.
The second half of the day allowed for each delegate at the workshop to bring a small 5-10 minute presentation on their own current work. This, too, was fascinating. I was humbled in the presence of these intelligent women and the brilliant research they are undertaking. For my own contribution, I brought a section of Forc'd To Woo, the devised response to The Duchess of Malfi that I had created before our group merged our individual work to create In Secret. I talked a bit about my process for creating theatre - looking at historical texts for modern resonances and stories that echo forward, telling us something about the human condition, and specifically the female experience. I also talked a bit about how this developed in performance, and my future plans for the piece. I had some great questions from the group, and overall they seemed encouraging to my endeavors.
On a personal note, I was sure I would be nervous speaking; I was in the company of accomplished and published scholars, a lowly MA candidate, and in theatre nonetheless. That said, I wasn't nervous whatsoever. I felt extremely confident sharing my work and responding to questions about how I had created the piece.
It seems odd for a theatre maker to find their best inspiration in a room full of academics, but alas, I tend to be unconventional.
The day began with a keynote speaker - the brilliant Gill Perry. (more on her here: http://www.open.ac.uk/Arts/arthistory/perry.shtml). The paper she presented looked at art and the creation of feiminine celebrity, particularly in 18th century London society circles. Looking at the semiotics not just of the works themselves, but also at their placement, prominence, and re-location in manor houses throughout England, she made some intriguing suggestions regarding the role art played in creating and perpetuating myths of celebrity. There were many resonances for me in this lecture, notably the ideas of public vs private space - hearkening back to our thoughts about The Duchess of Malfi. I cannot begin to give justice to her argument in the lecture, however suffice to say that it sparked many ideas in me, and something creative will come from this.
The second half of the day allowed for each delegate at the workshop to bring a small 5-10 minute presentation on their own current work. This, too, was fascinating. I was humbled in the presence of these intelligent women and the brilliant research they are undertaking. For my own contribution, I brought a section of Forc'd To Woo, the devised response to The Duchess of Malfi that I had created before our group merged our individual work to create In Secret. I talked a bit about my process for creating theatre - looking at historical texts for modern resonances and stories that echo forward, telling us something about the human condition, and specifically the female experience. I also talked a bit about how this developed in performance, and my future plans for the piece. I had some great questions from the group, and overall they seemed encouraging to my endeavors.
On a personal note, I was sure I would be nervous speaking; I was in the company of accomplished and published scholars, a lowly MA candidate, and in theatre nonetheless. That said, I wasn't nervous whatsoever. I felt extremely confident sharing my work and responding to questions about how I had created the piece.
It seems odd for a theatre maker to find their best inspiration in a room full of academics, but alas, I tend to be unconventional.
Saturday, 14 April 2012
Review - The King's Speech @ Wyndham's Theatre (West End)
I went in knowing little of the production, and only knowing the script in its film incarnation. I was pleasantly surprised by the subtlety of the direction of Adrian Noble (former RSC AD) and the ability to stich seamlessly together the multiple short scenes in various landscapes in this rather cinematic script. It visits many of the same locations as the film, but obviously lacking outdoor settings in the theatre, Noble, and his very talented sound and set designers, used the depth of the stage and a series of frames to give shape and distance to the space, and ingenious sound placement and effect to give the impact of being in very large or very small spaces.
This was a very crisp production, with top knotch performances on all fronts, even for the matinee crowd. Notable were Charles Edwards as King George VI, and Joss Ackland as King George V. Ackland's monologue about Edward's impending coronation after his death was riveting; a master class in acting. The only actor whom I felt less engaged with was Charlotte Randle as Myrtle Logue; granted, this is a challenging role, rather one-dimensional, as we really only see her complaining of the desire to go home to Australia. That said, her performance felt up and down, which was noticeable in comparison to such seamless performances from the rest of the ensemble.
It is refreshing to see a professional production who clearly have an enormous budget (revolving stages don't come cheap) and yet don't overuse this budge to clutter the space visually or technically. The design, as with the performances, didn't have anything that wasn't necessary. Noble has clearly taken a page from Peter Brook's manifesto and brought it sparklingly to life.
One thing to add...perhaps it was the timing and seeing this in London, but the stage show came off with a much greater sense of patriotism to the empire, rallying the troops, etc, than did the film.
This was a very crisp production, with top knotch performances on all fronts, even for the matinee crowd. Notable were Charles Edwards as King George VI, and Joss Ackland as King George V. Ackland's monologue about Edward's impending coronation after his death was riveting; a master class in acting. The only actor whom I felt less engaged with was Charlotte Randle as Myrtle Logue; granted, this is a challenging role, rather one-dimensional, as we really only see her complaining of the desire to go home to Australia. That said, her performance felt up and down, which was noticeable in comparison to such seamless performances from the rest of the ensemble.
It is refreshing to see a professional production who clearly have an enormous budget (revolving stages don't come cheap) and yet don't overuse this budge to clutter the space visually or technically. The design, as with the performances, didn't have anything that wasn't necessary. Noble has clearly taken a page from Peter Brook's manifesto and brought it sparklingly to life.
One thing to add...perhaps it was the timing and seeing this in London, but the stage show came off with a much greater sense of patriotism to the empire, rallying the troops, etc, than did the film.
Wednesday, 11 April 2012
Review - Song Dong: Waste Not @ Barbican (The Curve)
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
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
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.
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