ok so one has the concept (look at the rickety yet seemingly effective bridge that has brought her here)...
but now getting the thing done...
Jet lag has been useful. Sleeping few hours and waking sharply and definitively at 4,5,6,7am, I have had the benefit of extra quiet hours at the computer - planning setups for improvisations, collating, elaborating, making connections. Pulling up images as inspirations and examples. Our rehearsal time is limited to a couple of evenings and weekends so elegance of time is paramount. For devised work you need props (well, if you are choosing to work with props). You need to play with them before the full potential unfolds.
I have an idea of the 'world' but not all the detail yet. There will be minimal dialogue so movement and objects will create the action. The detail evolves in the devising. Erm, but the rules of the 'world' need to inform the devising!
On Monday, I sat with one of the company members ordering the first round of props online, from China. I found myself dithering, nervous...'if this prop, what convention is installed/destroyed?' 'when mime and when prop?' Some props you know you want - others have to prove themselves. If we don't buy we can't play. Some stupid element (object) may provide a later payoff - something sublime. Another purchase might be a mistake. Instinct, risk, foot over cliff.
Problems are good. The Fringe Mime and Movement Laboratory liked the concept matter of the show, but the 'scary clown' phenomena is not well known here. So - I have devised a film 'script' - a sequence of images and graphics to set up the concept of a witch-hunt for clowns. This will be shown as part of the action during the piece.
It will give the set-up / backstory with some but not complete reference to the outer world. A 'what if'. 'What if' the appearance of a scary clown had caused a round up of Clowns. There is another 'What if' I have already committed to . 'What if clowns were clowns 24/7?' Clowns by DNA, as it were. The play is set in an alternate, Absurd or Clown reality. Different rules of logic will apply. We can /need to use clown tropes but are we going to a meta level - we need to be cleverer, adapt the clown tropes to serve the narrative. I usually say in my clown workshops 'avoid narrative'. To serve the arc. The step by step logical progression (the unfolding of an illogical logic?? The dramaturgy of stoopid?? The presentation of compelling visual images/ metaphors??) Mamet says character is plot. Does a Clown pursue a 'specific, acute goal?' Yes. No. A clown only wants to be a Clown, to play. Even in the most dangerous of situations...
Forget Drama, turn to the Absurd. my faithful friend Wikipedia identifies these characteristics of Absurd Theatre : 'broad comedy, often similar to vaudeville, mixed with horrific or tragic images; characters caught in hopeless situations forced to do repetitive or meaningless actions; dialogue full of clichés, wordplay, and nonsense; plots that are cyclical or absurdly expansive; either a parody or dismissal of realism, and the concept of the "well-made play". The concept / world of The Death of Fun (Cantonese Title: 樂於嚇人 (暫時標題) ‘Pleasure to Scare You') needs to be realised at the level of buckets, buzzers, boings and balloons.
Practical problems. Language barrier and budgetary issues mean that the designer is coming on board later in the day. I have felt nervous without access to a designer to force me to articulate more clearly, to offer alternatives, developments, challenges and offer solutions (I lack making skills). With each online purchase comes the question of colour palette! I am using the poster photoshoot as a template and keeping my fingers crossed.
The theme of the hijacking of the Clown (by horror films and other corporations) offers possibilities and implications in terms of world order (every day I see an image of one of the western leaders with clown makeup superimposed). But to step into that world means a commitment to satire. Yes there can be satirical clowns. For me, satire is too sophisticated for 24/7 clowns - the piece must be solved with its own elements. And with more heart than satire seems to afford. The basic 'what ifs' are the things that need to be served. We are building a bridge with buckets and balloons.
A Facebook friend, Ralf Wetzel, is a Belgium-based performer who recently has had the great good fortune / resourcefulness to work with the inspiring and deeply human Keith Johnstone.
"As quick as you are trying your best, you’re in control mode and you prevent something else from happening. If you try to be average, you prevent becoming stressed and stiff. You allow the universe to give you something." Keith Johnstone, London 2017.
Reset goal for average. Allow some empty space.
The Fool card. Humility. Optimism. Allowing each emotion to pass through. There company of faithful, playful companion(s). Just taking the next step. One foot after the other. Even when there seems to be no sure footing.
About the Absurd
In his 1965 book, Absurd Drama, Esslin wrote:
'The Theatre of the Absurd attacks the comfortable certainties of religious or political orthodoxy. It aims to shock its audience out of complacency, to bring it face to face with the harsh facts of the human situation as these writers see it. But the challenge behind this message is anything but one of despair. It is a challenge to accept the human condition as it is, in all its mystery and absurdity, and to bear it with dignity, nobly, responsibly; precisely because there are no easy solutions to the mysteries of existence, because ultimately man is alone in a meaningless world. The shedding of easy solutions, of comforting illusions, may be painful, but it leaves behind it a sense of freedom and relief. And that is why, in the last resort, the Theatre of the Absurd does not provoke tears of despair but the laughter of liberation.'
Sentences. Construction. Finding one's way.
Well, it's true what I read (who said it?) - in order to write about something, you don't need to know what you are going to say; you will find that out in the process of writing.
I often sit down thinking I don't dare write a blog post. I would love to possess a finer level of Academic thinking. Humility. But it's a fine practice to aim to articulate. Optimism. To explore. Foot over cliff.
Devising a show / writing a blog.
I mentioned in my last post that I wasn't sure whether I would have the brain space /time to sustain a process blog / reflection log. The jet lag is abating. Eight hours sleep last night, thank you for asking.
Another evening rehearsal session tonight. Onwards. Honk.
Welcome to the blog - scroll below the brief biog to click to topics in previous posts.
Author Biog: Lily has been performing and making work for herself and others for many years. Her training was with Jacques Lecoq, Philippe Gaulier, Monika Pagneux, Theatre du Mouvement, Yoshi Oida, Carlo Boso (Commedia dell' Arte), Sankai Juku and Mike Alfreds (Theatre Direction).