By Anne Bogart
A thought-provoking exam of the demanding situations of creating theatre.
content material: reminiscence --
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Extra resources for A Director Prepares: Seven Essays on Art and Theatre
I know that it has touched me when the question responds and provokes thought and personal associations—when it haunts me. Presently, everything I experience in daily life is in relation to it. The question has been unleashed upon my unconscious. In my sleep my dreams are imbued with the question. The disease of the question spreads out: to actors, designers, 22 ••• MEMORY technicians and ultimately to the audience. In rehearsal we try to find shapes and forms to contain the living questions, in the present, on the stage.
VIOLENCE ••• 49 One day, unable to attend rehearsal for the remount of a play I had directed with my company, the SITI Company, I invited one of my graduate directing students from Columbia University to cover for me. The next day I asked company member Ellen Lauren how the young man had performed as substitute director. ‘Not very well,’ she said. ’ I asked. ’ She explained that, from her point of view, it doesn’t really matter how erudite or naive the observation, but, as an actor, she needs the person responsible for watching, the director, to say something around which she can organize her next attempt.
Yo Yo Ma risked failure. Risk is a key ingredient in the act of violence and articulation. Without embracing the risk, there can be no progress and no adventure. To attempt to perform articulately from a state of imbalance and risk imbues the action with extraordinary energy. We tremble before the violence of articulation. And yet, without the necessary violence, there is no fluent expression. When in doubt, I look for the courage, in that moment, to take a leap: articulate a thing, even if I’m not sure it is right or even appropriate.
A Director Prepares: Seven Essays on Art and Theatre by Anne Bogart