A great session with Emma Willis today looking at dramaturgy and the role it can play in choreography. That wonderful question “what is it exactly that you do?” which was asked of Emma during a rehearsal with Maila Johnston is such a relatable one, isn’t it? I feel it as a director sometimes! I realise that I have many dramturges that I work with, I just don’t name them as dramaturges. Sometimes I call them my Spiritual Advisors, sometimes Nature’s Supervisors! They are the people who are able to patiently listen to all the guff in my brain about the work. Not only listen, but in fact, be interested! The people I bring in to rehearsals regularly. They are the people who are indicative of the target audience, the ones I want to please with my work. They are the people whose brains I admire greatly.
Emma very usefully reminded us that a great things sometimes is to give your work to someone else and to do the opposite! A simple thing, and such a relief to get out of the Ouroboros Dragon for a while!
– Speak for a minute about your work.
– The audience listens and records words that stand out to them.
– Create from their words a list of 10 for yourself.
– Work in partners.
– Design tasks for your partner based on the opposite idea of their work and their words.
– Before presenting your task to audience, read out your original list of words.
My Words: I HAVE TO TELL YOU…ALL I KNOW IS TWO THINGS…GOVERNMENT ARTS FUNDING SCHEME…THEATRE…DYING…NOT ACTUALLY DYING…OBSESSED…KIND OF….DE-DE-DE-MYSTIFY…DIAGRAM…HOW THINGS WORK.
My Task as prescribed by Chloe:
Create a sculpture of anything you can find. Make sure it doesn’t make sense. Don’t speak. If you need help, be vague about it. Stand back and enjoy your sculpture!
What I loved was realising that it’s all just a collection of stuff. Letting myself be looser with the work. Enjoying not-knowing. Enjoying no ending.
– Throw it up and see where is lands.
– Bringing a witness or a spectator in to the room.
– Someone who reads the material differently.
– Horizontal peer relations.
– Moving between competence and comfort.
-Devices for language. Embedding the text without voice – textural.
– Embrace Hammy Theatricality!
– Using the backstage space as a revelation.
– Finding out what stands out to other people.
– Understand the opposite.