Tim Crouch - The Audience

Funny to have this assigned as reading, just as I was considering how one can make the audience not just intellectually complicit in the theatre act, but physically so. I have been thinking about what happens if scenes are staged entirely in the dark? Or entirely lit, audience too? Or with mirrors behind the actors so the audience see not only the fronts, but the backs of the actor, and themselves?

Crouch's play takes my musings to an amazing level of actualization; the 4 characters sit among the audience, with no real stage space, talking sometimes in full dark or full light, or bathing the audience in "stage" light. This is a meditation on the active role that audience/actor/writer play each and every time the play is performed, and the impact this can have. The play discussed here is extreme, clearly for effect...but one can extrapolate the implication that any play does (and should!) have this effect to some degree.

I couldn't help but consider that producing this play would not be possible in traditional theatre spaces. Or could it? An empty stage, while the house is lit and the lines come from the house? The presence of that empty space would create a 5th character, which I think might change the implications of Crouch's play.

Shakespeare - Hamlet

Have read this one many times in the past as well, this time as required reading for Birkbeck Scene Study. I think my read this time was influenced by having just read Othello the day before, but i really felt the stagnancy of the pace in Hamlet's first acts this time around. Although much happens, the movement of the play is rather sustained until nearly the point when the Mousetrap is played, after which it spirals quickly.

Sort of fuelled by class discussion today as well, I began to think of where the climax is in the plot of hamlet. I almost feel that the play steadily rises at a crazy level of intensity until one moment; for me, the deaths at the end of the play are a denouement, the inevitable consequence of a decision. The climax, then, is the moment when Hamlet finally reasons with himself to the decision to kill Claudius. From here, the tension between action and inaction is imbalanced, moving swiftly from one action to the next.

Sarah Kane - Psychosis 4.48

This play really grabbed my attention. I happened upon it after several tutors talking about Sarah Kane's work, and me realizing that I hadn't even heard of this woman. So I popped into the library, and this title stood out at me.

The language is beautiful; savagely beautiful and abrasive. Structurally I liked that it isn't completely clear who is speaking immediately, but that a clear character emerges quite quickly. Similarly the movement from individual, poetic language into 2-handed scenes really appealed to me. I couldn't help but consider options for how to bring this to the stage, how one might deal with the pages of heightened inner-monologue without being pitched too high for the full show. Or should it be?

One of the structural ideas of feminist theatre is that there can be multiple climaxes in a piece, rather than following the Aristotelian ideal. This play nearly felt like several continual climaxes, without anything more than a few lines comedown before the next fever pitch.

I don't know yet what I will do with this. But I suspect I will be drawn back to it.