process

Musings on Creation

I really honestly feel that you need to write with live bodies. The piece I am creating now, under the working title of Approaching Antigone (who knows what the real title will be) is, in the end, a performance installation, that is most likely only going to have me on stage. I have spent a lot of time reading, researching, developing ideas, but somehow until I am in the studio, nothing really comes out.

Today, I spent a lovely two hour session with a like-minded creator, trying out things and bouncing ideas off her both intellectually and physically. The ability to ask her to try something, see it in another's body, enables my mind to start to piece together how this will look to an outsider, the images it is creating. Particularly working without mirrors, this makes it possible for me to have a sense of the stage pictures my work is creating.

I tend to be extremely image-based, or text-based, and have always troubled with merging the two into a single piece. I either create a dance-theatre piece, or a text-theatre piece. I am aiming with this to merge the two so that neither text nor movement could exist without the other; i want there to be a reliance, a relationship, between the two that is parasitic in nature. The movement feeds the words which feeds the movement.

Only one more workshop left with the actors before I spend 3 weeks on my own finishing the devising process. I am going to do the majority of devising work in my flat, likely recording myself and then watching playback. Then I will move to the studio for 3 sessions. This project is really big in my head, and I need to get it out into my body and on to paper/video so that I can begin to piece something together to share in July.

Might share some videos soon.

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.

Process

After a couple late nights and a lot of collaboration, our group have created our base script for our final Scene Study presentations this term. We are looking at Gender and Power in The Duchess of Malfi, specifically at the triangular relationship between the Duchess, Antonio, and Ferdinand, and pulling in other texts which comment on the nature of this relationship. First, we came up with our list of influencing texts:

The Dog In The Manger - Lope deVega
Boston Marriage - David Mamet
Something Unspoken - Tennessee Williams
Venus and Adonis - William Shakespeare
Top Girls - Caryl Churchill

From here, we sat together and compiled bits of the text from each that we felt might be useful to create a script from. Then, rather than try to battle things out, we each went away and created a script or mock up that used what we felt was useful, splicing the texts together, and thinking about shape. What occurred was remarkable; we came back with 5 scripts that were really 5 versions of the same play. We had used almost the same bits of text, often in the same ways or same places, just varying on the situation or setup.

From this, we sat together and hacked together the proper script, drawing from what each of us had done individually and creating the shape of the piece. We aimed to focus simply on the text, using the language, etc, rather than on things like stage directions or business. Our intention is to workshop what things will look like; who is on stage when, who says what, etc.

We were successful! We presented our concept and script to Tom, and he noted that the script was clear and the use of language was good. He gave us some tips on things that were awkward or not as strong, and also gave us some thoughts about what some of the pieces might mean, encouraging us to look outside the text to other ways of manifesting actions such as "cover her eyes"..which means something very specific, but also very vague.

First workshop is today, we're going to get this thing on its feet.