| Popis: |
This essay charts the theoretical background to my approach as a director with regards to creating and inhabiting Heightened Theatrical Landscapes. Primarily it deals with the role of the director as the actor's guide into to an extended space where the actor is the audience's envoy into the unlived human experience. It is a supporting document to my final production of The Possibilities by Howard Barker and it forms a partial fulfillment of an MA degree in Theatre & Performance as undertaken from the position of a director. The essay focuses particularly on the director's role whilst creating with the actors in rehearsals for a production. Firstly, I identify the term “Heightened Theatrical Landscape” and associate it with the works of other theatre practitioners, drawing particularly from the writings and productions of Antonin Artaud, Jerzy Grotowski and Howard Barker, and specifically inspired by the latter's Theatre of Catastrophe. I will stipulate the major characteristics of a Heightened Theatrical Landscape with respect to the requirements for the space, actor, audience, and theme. Secondly, I explain how I as the director prepare the foundation for the Heightened Theatrical Landscape, where I will place myself alongside director Peter Brook, and his theories on the director's role. In order for the actor to inhabit the Heightened Theatrical Landscape, I put forward David Rotenberg's acting system as my main director's tool for the process. After a short analysis of the actor's requirements towards inhabiting the Heightened Theatrical Landscape, I will discuss some of the main concepts of the system and give examples of its proposed application to my production of The Possibilities. My analysis will focus on why I believe this system is successful and how it shifts the role of the director into serving as a guide for the actor in placing himself in the Heightened Landscape. As my work is primarily with young actors, I will then articulate a need for methods of working with actors which address vocal and physical training in order to develop a form for the Heightened Theatrical Landscape. I firstly put forward a vocal method, as developed by Cicely Berry, to guide the actor towards the work on the text of this landscape. Consequently, I will introduce my understanding of Anne Bogart's Viewpoints as a complement to Rotenberg's system which addresses the actor's use of the body. I will clarify the principles that are shared between Viewpoints and Rotenberg's acting system before describing the application of Viewpoints within The Possibilities. Lastly, I reiterate my understanding of the combined theories of Rotenberg and Bogart, and how they form the main component of my directing toolbox which will become evident in my production of The Possibilities. |
