what would the community think...
"In the end we forget everything, anyway. We're human; we're amnesia machines."
Subliminal.
A decision is made then the next day or so the entire conversation happens again as if no one remembers.
I hope the play is necessarily re-written through the vocal, bodily, spatial practices of the actors and the rest of the performance / technical team. Theatre is, and always has been profoundly and necessarily heteroglossic,
even though the prism of the dominant paradigm has led us to see it as the product of one voice (traditionally that of the writer, more recently the director). It was surely the effect of that prism and ignorance of actors creative processes
that led Bakhtin to claim that the theatre was monologic, for I would argue that the relation between text and performance in text-based theatre is fundamentally, paradigmatically dialogic. That is to say that the performance is a 'structure in
relation to another structure', which is Kristeva's definition of the dialogic.
Subliminal.
A decision is made then the next day or so the entire conversation happens again as if no one remembers.
I hope the play is necessarily re-written through the vocal, bodily, spatial practices of the actors and the rest of the performance / technical team. Theatre is, and always has been profoundly and necessarily heteroglossic,
even though the prism of the dominant paradigm has led us to see it as the product of one voice (traditionally that of the writer, more recently the director). It was surely the effect of that prism and ignorance of actors creative processes
that led Bakhtin to claim that the theatre was monologic, for I would argue that the relation between text and performance in text-based theatre is fundamentally, paradigmatically dialogic. That is to say that the performance is a 'structure in
relation to another structure', which is Kristeva's definition of the dialogic.
4 Comments:
In relation to another
Having finished our Hamlet project in Frascati I went on a vacation and forgot everything about the event - the amnesia machine.
Then two days ago I started reading THE WHITE DOMINICAN by GUSTAV MEYRINK.
I am half through when the main character, a young lad, starts describing his neighbour's daughter - Ophelia Mutschelknaus. (love the name) Ophelia dressed in greek dresses and wearing myrtle in her hair every sunday going to church. She is trained as an actress by an obscure man called Mr. Paris and their main rehearsal text" Der König von Dänemark" is written by an even obscurer Professor Hamlet.
"Drin soll der Kronprinz mein Fräulein Tochter heiraten, aber Ihre Majestät, seine Frau Mama, erlaubt's nicht und drum geht meine Ophelia ins Wasser. Meine Ophelia ins Wasser!" – Der Alte schrie es nach einer Pause nur so heraus. "Wie ich das gehört hab', hat's mir fast das Herz zerrissen. Nein, nein, nein! Meine Ophelia, mein Augapfel, mein Alles, darf nicht ins Wasser gehen! Auch nicht in einem Theaterstück. Hm. Tja. – Sie werden vielleicht lachen, Herr Taubenschlag, weil's ja nur ein Theaterstück ist und nicht Wirklichkeit! Aber schauen Sie, in dem Theaterstück wird meine Ophelia auch Ophelia heißen. Wissen Sie, Herr Taubenschlag, ich bin nur ein Tepp; was, wenn aber doch dann meine Ophelia sich ertränkt? Der Herr Paris sagt ja immer: die Kunst ist mehr als Wirklichkeit – was, wenn sie ins Wasser geht! (excuses, no english version online)
In the book Ophelia repeats the fate of her namesake and kills herself.
Reminds me of our performance and us repeating certain behavior patterns that are in the Hamlet:
the role of women, the power they have and their ways of submission plus strategies of resistance.
In these 3 weeks of rehearsals we went through a number of painful discussions, painful because I experienced blocking each other's motivation, enthusiasm, paying no attention to what someone said/showed.
Fights, thoughts and certain questions kept on repeating, as Nancy wrote below.
How long does one fight?
My strategy consisted in making silent compromises, not joining discussions about aesthetic issues any more even though my opinion differed.
For the final showing in Frascati this was definitely a mistake - only the full exposure of hate and dislike that was going on, the impossibility of understanding each other and working together would have led the opdracht "make something about theatre in the year 3000 together with 4 other people you have not chosen for" to its completion.
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