What aspects/dimensions of the performances in Chief Ike's should we consider carrying with us and/or try to recreate at CHAW? What should we consider letting go of
Things to take to CHAW: -the bar atmosphere, to the best of our ability, the relaxed atmosphere for the audience, in terms of them being able to get up, go to the bathroom, get a drink, etc, without really upsetting the action of the play. -the band being separate (and if possible raised up) from the action taking place in the scenes. -the ability for the actors to perform around the audience, inlcuding them as much as possible in the show -having a specific playing area for the majority of the scenework that is not filled y audience. -using prop boxes and stage edge instead of chairs, less "stuff" to deal with
1. The idea, the mindset, mode of “finding out”. Finding out not just about the space, but about what is possible, what the show is, means, wants to be, could be, isn’t, etc. From my perspective, this entails still placing our performance feet out there ahead of us, in different places, even if delicately. That’s the point after all, isn’t it? Sure we want to put on a good show, but I see a good performance (although desirable on many fronts) as a secondary priority. Finding out, finding out, finding out.
2. How the space will inspire new things. I feel our handle on the “through” of the piece is becoming more familiar. It felt that way Saturday, especially. Like we were comfortable wielding the arc we had created in our set. So, we’re riding into a new space and I hope that with our increased comfort and ability to play in spaces we’ve never played in, we can ride with no hands some of the time. Or at least let go enough to give a nice, present wave with one.
While I posed the question, I also believe my larger answer is: we should not try to recreate the Chief Ike’s performance at CHAW. It goes back to that conversation in rehearsal long ago that was later blogged about (“Music,” April 7, from Milo) about trying to recreate successful moments.
Milo wrote: “I don’t believe Epic Theatre is solely about contrivance, but I do feel there may be compelling material waiting patiently for and even requires us to pass through that which is contrived. The question that follows for me, if I’m in any way on a track we might walk together, pertains to how we create a community to act most comfortably and with brave generosity in contrivance and to witness it with awareness and compassion, so as to set the audience to do so as well.”
Kathleen wrote in her response: “What we can do is belt the product of Betsy and DaveBobb and let Wyckham and Kathleen watch, and open to what the new results will be, based on the new values…”
I wrote: “In rehearsal we explore what those contrivances are and what they allow for or reveal. And we seek out those which will allow for greater number of accidents and reveals.”
So we should take with us from Chief Ike’s memories of the moments in the play that opened us up to the environment (which includes everything – the space, the ensemble, the band, the audience) and be open to what this environment shares with us.
We should also take our awesome attitudes of play and casual/chill.
And we should consider each last experience together in this workshop/project part of rehearsal. And while we are sharing with the audience, they are really there for us: to help us in our art-making journey in order to return to them next time with something even more exciting/challenging/fun/provoking.
Posts
From BETSY
ReplyDeleteThings to take to CHAW:
-the bar atmosphere, to the best of our ability, the relaxed atmosphere for the audience, in terms of them being able to get up, go to the bathroom, get a drink, etc, without really upsetting the action of the play.
-the band being separate (and if possible raised up) from the action taking place in the scenes.
-the ability for the actors to perform around the audience, inlcuding them as much as possible in the show
-having a specific playing area for the majority of the scenework that is not filled y audience.
-using prop boxes and stage edge instead of chairs, less "stuff" to deal with
...That's what I've got for now...
To take with us:
ReplyDelete1. The idea, the mindset, mode of “finding out”. Finding out not just about the space, but about what is possible, what the show is, means, wants to be, could be, isn’t, etc. From my perspective, this entails still placing our performance feet out there ahead of us, in different places, even if delicately. That’s the point after all, isn’t it? Sure we want to put on a good show, but I see a good performance (although desirable on many fronts) as a secondary priority. Finding out, finding out, finding out.
2. How the space will inspire new things. I feel our handle on the “through” of the piece is becoming more familiar. It felt that way Saturday, especially. Like we were comfortable wielding the arc we had created in our set. So, we’re riding into a new space and I hope that with our increased comfort and ability to play in spaces we’ve never played in, we can ride with no hands some of the time. Or at least let go enough to give a nice, present wave with one.
FROM Dave Bobb
ReplyDelete1. What Betsy said
2. What Milo said
3. The ability to create theater in any space!
While I posed the question, I also believe my larger answer is: we should not try to recreate the Chief Ike’s performance at CHAW. It goes back to that conversation in rehearsal long ago that was later blogged about (“Music,” April 7, from Milo) about trying to recreate successful moments.
ReplyDeleteMilo wrote: “I don’t believe Epic Theatre is solely about contrivance, but I do feel there may be compelling material waiting patiently for and even requires us to pass through that which is contrived. The question that follows for me, if I’m in any way on a track we might walk together, pertains to how we create a community to act most comfortably and with brave generosity in contrivance and to witness it with awareness and compassion, so as to set the audience to do so as well.”
Kathleen wrote in her response: “What we can do is belt the product of Betsy and DaveBobb and let Wyckham and Kathleen watch, and open to what the new results will be, based on the new values…”
I wrote: “In rehearsal we explore what those contrivances are and what they allow for or reveal. And we seek out those which will allow for greater number of accidents and reveals.”
So we should take with us from Chief Ike’s memories of the moments in the play that opened us up to the environment (which includes everything – the space, the ensemble, the band, the audience) and be open to what this environment shares with us.
We should also take our awesome attitudes of play and casual/chill.
And we should consider each last experience together in this workshop/project part of rehearsal. And while we are sharing with the audience, they are really there for us: to help us in our art-making journey in order to return to them next time with something even more exciting/challenging/fun/provoking.