Making it up as we go along.

September 5, 2010 at 4:25 pm | Posted in creative process, creativity, Ensemble, flow, improvisation, Physical Theatre, pleasure, Psychophysical Training, Theatre | Leave a comment
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We ran the show for the first time on Saturday morning.

It’s always exciting for director and cast to experience, for the first time, the journey from start to finish. The flowing sections, the bits that feel right, are evident. So are the bits where scenes or moments rub against each other in awkward, clumsy, inappropriate ways.

First runs can be painful, but this one wasn’t. Quite the reverse – it was exhilarating. Though it’s over a week until we open, I would not be particularly worried if we had to open this week. There are things that need looking at and much that will benefit from being taken to pieces and put back together differently. But nothing is bad, nothing fell to pieces, nothing looked or sounded as if we were lost and bewildered. Everything can use more detail and every action, every sound, needs more detailed embodiment by the performers. But, already, there are moments of real power, madness, weirdness, some moments that are highly theatrical, some are very moving. Undeniably there is a sense of a coherent journey, an arc, a crafted shape.

For me, one of the most exciting results of watching the first run was seeing how the ‘idea’ we have been working on of an aesthetic, a style of performance, has found concrete form. I am trying to direct in a different way to how I have directed in the past. Though I am building on my experience of working in a huge range of styles and contexts, and though I am developing the work from the physical training processes that I know well, I am trying to let this show find a new form, a new style.

Essentially I am working to integrate improvisation much more deeply into the fabric of the performance than I ever have in the past. There are improvised sections dotted through the structure of the show, ranging from a few seconds to a few minutes. The ensemble have a ‘score’, a physical language, but no fixed structure or movements. I ask that, each time they come to one of these sections, they pay deep attention to each other at the very moment the improvised section begins and that they build the section from what they find in paying attention, rather than simply recreating what they made the last time they did that particular improvisation. This puts huge demands on a performer as she has to move from paying precise attention to the details of fixed movements and relationships to suddenly having to find her material from reacting to an almost limitless set of impulses.

It also means that the section following an improvisation, however short that improvisation was, will start from a different place each time – even if that section is itself tightly choreographed or directed. In other words, as soon as you integrate improvisation into the structure of the piece, it demands that the performers are flexible about how they approach the non-improvised sections. While in non-improvised sections WHAT the performer does may be fixed, HOW she does it will be affected by the energy and material that she invented, spontaneously in the improvisation that preceded it.

If a show is truly live, one moment of improvisation in it means that the whole show, at some level, becomes improvised.

The reason I am doing this is quite straight forward in theory. I want the entire show, notwithstanding the fact we are working in huge detail on every element of what we are doing, to feel as if it is being made up as we go along. The best way I know of giving the sense that the show is being created spontaneously is to make sure that it is in fact being created spontaneously.

Although much of what is in the show is ‘abstract’ and ‘experimental’ and nothing is ‘realistic’, the show itself is absolutely real. What you see is what you get. The audience will see nine highly skilled, utterly connected performers creating the journey through the script, live and differently every night. Some parts they will be making up WHAT they are doing, always they will be inventing HOW they are doing it.

Will the audience like it? Those who are excited by live performance and live performers will. Those who are open to going on a journey with the cast will. Those who have strong ideas of what theatre ‘ought’ to be might not. Those who think theatre should be safely caged behind a fourth wall will not.

But I do. Absolutely.


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