I have decided to choose Option B: Exploring Practice which would allow me to engage actively with theatre practitioner, Bertolt Brecht and Avant Garde theorist, Antonin Artaud. Both have evidently impacted the development of theatre in the world and interestingly enough, they have very different and complex views on theatre in performance. Therefore, to implement their theories into practical exploration, I am going to focus on a specific scene, Valerie's monologue in the play, Road written by Jim Cartwright. These practical explorations will consequently enable me to seek two different interpretations of this specific scene of Valerie.
To practically explore Brechtian Theatre I want it firstly to have a socio-political aim when portraying its central themes. In incorporating Epic Theatre in Valerie's monologue, I've decided to change it from a monologue to a song, since the monologue is used by Cartwright to portray and represent central themes of his play, whereas Brecht does the same through his songs. To achieve this, Verfremdungseffekt must be implemented through using various elements and techniques in theatre. This effekt will be shown through narration, pathetic fallacy - winter or storm to indicate what is to come; also through the use of humour, music or sounds of drinking or belching of Valerie's husband to have additional use of interruptions her song which would distance the audience.
To explore an innovation for Artaud's Theatre of Cruelty, I envision Valerie's monologue as a very powerful scene. Valerie's emotions of anger, regret and sadness must be portrayed by the actress playing the part (Elizabeth), in this specific scene. As Artaud had used elements of theatre to reinforce his Theatre of Cruelty, I will use dark or black lighting to create much tension from her emotions and to have a monstrous portrayal of her husband (through shadows), which she in a sense does through this monologue. As Balinese dance was a great influence on Artaud, I hope to incorporate intricate and meticulous body movements. Props may have ritualistic references, and there shall be inclusion of masks, mannequins, and instruments on stage. As for music, there shall also be sound effects of Valerie's husband drinking or belching.
To practically explore Brechtian Theatre I want it firstly to have a socio-political aim when portraying its central themes. In incorporating Epic Theatre in Valerie's monologue, I've decided to change it from a monologue to a song, since the monologue is used by Cartwright to portray and represent central themes of his play, whereas Brecht does the same through his songs. To achieve this, Verfremdungseffekt must be implemented through using various elements and techniques in theatre. This effekt will be shown through narration, pathetic fallacy - winter or storm to indicate what is to come; also through the use of humour, music or sounds of drinking or belching of Valerie's husband to have additional use of interruptions her song which would distance the audience.
To explore an innovation for Artaud's Theatre of Cruelty, I envision Valerie's monologue as a very powerful scene. Valerie's emotions of anger, regret and sadness must be portrayed by the actress playing the part (Elizabeth), in this specific scene. As Artaud had used elements of theatre to reinforce his Theatre of Cruelty, I will use dark or black lighting to create much tension from her emotions and to have a monstrous portrayal of her husband (through shadows), which she in a sense does through this monologue. As Balinese dance was a great influence on Artaud, I hope to incorporate intricate and meticulous body movements. Props may have ritualistic references, and there shall be inclusion of masks, mannequins, and instruments on stage. As for music, there shall also be sound effects of Valerie's husband drinking or belching.
Nov. 13, '09 - MONOLOGUE - PRACTICAL EXPLORATION - REFLECTION
Today I was allowed to direct Elizabeth for her monologue as Valerie in Road. Since I am going to explore two theatrical conventions, Brecht's Epic Theatre & Artaud's Theatre of Cruelty, I decided to implement my ideas for her monologue, according to my planning above. I first decided to practically explore and apply Brecht's techniques to the monologue. I gave her her script which was divided into sections which indicated the parts when she was supposed to sing or speak. However, one big problem I faced was that she did not know which melody was to be used; and as a director of that scene I admittedly accept that I would have thought that a problem such as this would occur.
Because of this, I decided to move on and experiment with applying Artaud's techniques in the Theatre of Cruelty. It was fun to be a director of this scene using Artaud's theatrical techniques. It was very interesting to see that I had come up with much ideas as the practice progressed. I realized that I really wanted this to be a strong, overpowering scene. I had ideas of where I wanted this scene to be presented - a mental institution. The stage would be empty. Valerie would be presenting her story in a mental institution. Before she begins to talk, there would be whispers and shadows through a projector. She would be sitting in the middle, with two other patients in the stage with her. They would all be in straightjackets, and she would be revealing her situation wearing one.
In the future, I need to be more specific in my planning in what I want Elizabeth to do to effectively portray Valerie's role for each and every theatrical convention I wish to explore.
Because of this, I decided to move on and experiment with applying Artaud's techniques in the Theatre of Cruelty. It was fun to be a director of this scene using Artaud's theatrical techniques. It was very interesting to see that I had come up with much ideas as the practice progressed. I realized that I really wanted this to be a strong, overpowering scene. I had ideas of where I wanted this scene to be presented - a mental institution. The stage would be empty. Valerie would be presenting her story in a mental institution. Before she begins to talk, there would be whispers and shadows through a projector. She would be sitting in the middle, with two other patients in the stage with her. They would all be in straightjackets, and she would be revealing her situation wearing one.
In the future, I need to be more specific in my planning in what I want Elizabeth to do to effectively portray Valerie's role for each and every theatrical convention I wish to explore.
