Decisions

We have had to submit our choices for approaches groups for next term. I had initially wanted voice, but in my email told our course leaders I would be ok with Laban too. I was really torn on this decision. On one hand, I find LABAN and historical dance to be extremely interesting...but with so much history in dance related forms, and being known already as a "movement" person back home, I worried that this wouldn't open up any new doors like voice would. I also liked the idea of creating a voice project, what this might entail. And not to mention, I really love voice work in general. So as I expected may happen, I was put in Laban. And at first I was a little upset...but now have realized that it is going to be immense fun, and I will learn things I haven't seen before, particularly the historical social dance. And my ever-practical brain has recalled that it will give me some ground on which to look for work with theatre companies choreographing historical dance, such as RMTC or the Opera. So I am now feeling good about these things.

Our second approaches choice was between directing and playwriting. I immediately chose directing, mirroring my choice of Scene Study directing, because I do not in any way fancy myself a playwright. The numbers were really lopsided, so some of us who were doing scene study directing too were asked to consider switching. I gave this some serious thought...was I willing to risk an entire module in something that I don't think I am capable of doing with any success? Again, I sat to re-evaluate. I have devised/created work, and choreographed with success, and this too is playwriting. Perhaps I can approach playwriting from this perspective, and hone my voice as a creator, not just as a director. And who knows, maybe I will find I can actually write things. I think back to undergrad and our Style & Genre class, where Per had us write our own monologues...in fact, that didn't go too badly. And it is important to do things that take you outside your comfort zone as an artist; that is how we grow.

So next term I will be doing Directing Scene Study (major module), Laban, Playwriting, and Birkbeck Scene study (major module, audience perspective). I have opted out of the producing course; again here, this would be nice to have, but I don't fancy myself a producer, it is too far removed from creation itself.

Sophocles - Antigone

This has been a favourite play of mine for a very long time. The clash of forces between the ruler (master) and citizen (slave), father figure and daughter, law and reason is very vivid, and ignites my imagination. Antigone does what she thinks is right, and sticks by this choice...then cannot live in a world where she is condemned to death for this. Her suicide seems initially like she is cheating, however she has no other choice; this way she dies at her own hand and not that of her oppressor.

Interestingly, this play, unlike many Greek Tragedies, has a single action, but many side-actions. I hesitate to call them sub-plots, for they are still along the initial line of Antigone's plight, but the love story, suicide, etc almost tend toward our more modern understanding of plot.

image: Woman Struggling to Break Free of Contentment - Naznin Virji-Babul

Choice

It has now been nearly 4 weeks of the MA. The time has just flown by, I can't even conceive of what I've managed to do already. Directed a scene from Duchess, performed in a scene, created a presentation, read a mountain of plays (some required, some chosen). Agreed, disagreed, viewed 3 performances (two for school), had to turn down 2 amazing experiences (Marat/Sade, and Ralph Fiennes masterclass). Been amazed by the skill and talent around me, both in tutors and fellow students.

What is really resonating with me is the theme of choice. In the characters, in myself, in those around me. We were debating a bit yesterday about who the main character is in the Duchess of Malfi, and the role of the duchesss in the story. Are we meant to feel sorry for her? I don't necessarily thing we are to feel sorry for her, but I do think that the play as a whole hinges on her making a choice. Another student debated with me that she is selfish and doesn't think of the impact her choice to marry/have kids will have on others.....I'm not sure I agree on that being the case. She chooses not the specific act of marriage/kids against her brothers' will; she chooses power. Power over her own life, and those directly related. And what we see is the consequence of someone choosing power; ultimately her downfall. I don't see the Duchess' situation as necessarily female - even a man, choosing power (Macbeth anyone?) will suffer a downfall. For me, this is the tragedy in the play. Of course there are hundreds of other perspectives, social norms, etc, that play in to the situation, why her choice causes these events...but again it all comes back to choosing power.

The other major topic of choice for me is selecting the play on which I will write my dissertation. Somehow this feels like the most significant choice of my academic life; what if I choose poorly? What if the play I select doesn't align with my ideas about theatre any longer by January or February...what then?? Realistically I don't see this changing too much, but the idea of making such a significant choice, standing up for this....is rather frightening.

Overall, I am feeling good in the course; there are always moments that bother me, but surprisingly they have been on the academic side more so than on the practical side of the course. This is surprising, as generally one thinks that the subjective artistic side will be where disagreements form. Instead, I feel like each day, each tutor seems to re-affirm a thought or inclination I have had about creating work, approaching the work. Conversely the academic side sometimes bristles against my sensibilities; I keep wanting to yell out to challenge the reduction of theatre to a series of symbols, influenced and informed only by what the audience brings to the theatre. Shouldn't good work allow audience members to interact on all levels? Whether "well-read" or not at all....whether they come with a lot of theatrical viewing experience or not. This was really getting to me, so I have been reading in full the argument for phenomenology in the theatre in the States text. I am hoping that positioning the idea in the full argument will help me better understand, for right now it is feeling reductionist, and making me angry.

I should clarify the image as well - for me, this close up looks like someone reflecting on choice, how to proceed, what comes next. There is a mixture of despair and hope.

image: Edvard Munch - The Sick Child

Bertolt Brecht - Antigone

I have felt a connection to the story of Antigone for some time. At her core, Antigone is a woman who does what she ought to and not what she is told by convention; her defiance of expectation to do what she thinks is right echoes through later heroines in theatre history. And she stays with this choice, even when offered the opportunity to declaim her actions and save her life.

Brecht's interpretation, translated by Judith Molina, is an interesting update of the story. Brecht focuses on the politics of the story; contrasting the Elders' blind faith in Kreon with Antigone's action to honour her brother. For me, this breezes over the important philosophical argument, to reach the political argument. Clearly this is influenced by Brecht's views on the role of theatre, and also the time he is writing for. But for me the more important piece of Antigone's development is that she will not renounce what she believes in, even if given the chance to live.

This has made me want to re-read the Sophoclean original....with some ideas.

image: Antigone by Albert Toft (1907)