Charlie Kaufman is describing screenwriters here. However, I take this as a substantial part of the definition of how I approach my work as a director:
‘they find themselves in an environment where they’re encouraged to use their powers to explore the world, their minds and the form itself. Think about the staggering possibilities of the marriage of light, vibration and time.’
The good news is you’re free, The bad news is you’re free!
‘Apartheid’ still exists in new forms. Proud to be performing in Black Mass by Edward Bond with TwoSheds Theatre known for ‘cool and dangerous’ work.
What do you think of this version of the postcard flyer for How Planes Fly? http://ow.ly/i/72mhd
Honoured to have just received confirmation that I have been cast as The Inspector in @twoshedstheatre’s production of Edward Bond’s Black Mass
My late dad, whose body I will be preparing tomorrow for burial on Friday, was a passionate radical campaigner against apartheid in South Africa, the place of our birth. The opportunity to perform in this powerful piece written against the backdrop of the Sharpeville massacre comes at an extraordinary time. There are no coincindences.
@TheLondonTheatrenewcross as part of The Lewisham Fringe Festival http://ow.ly/BQ0Af
Make You Feel That Way by Tor/Sufjan Stevens from @LRCN0CNNR’s ‘The 1.2’ compilation. Great upbeat-music-to-listen-to-whilst-working track.
To be nobody but myself, in a world which is doing its best night and day to make me everybody else, means to fight the hardest battle which any human being can fight and never stop fighting. – E. E. Cummings
‘Love is patient, love is kind. It does not envy, it does not boast, it is not proud. It is not rude, it is not self-seeking, it is not easily angered, it keeps no record of wrongs. Love does not delight in evil but rejoices with the truth. It always protects. It always trusts, always hopes, always perseveres. Love never fails.’ (Corinthians 13).
I am humbled in gratitude to those by whom I am, truly, loved.
Held an impromptu screening of this with an open house at my place this evening with tea and cake followed by chanting meditation in celebration of International Peace Day.
It made for a lovely occasion.
I recommend watching it (preferably with others). I challenge you to not feel inspired:
Today, I offered to help a lady of seemingly elderly years home with her shopping…
…. She told me her story. One of the last of the Windmill Girls (‘before it was ruined by the [entreprenuer whose name deserves no mention here]’). Her claim to fame was as one of the act publicised as ‘real virgins on chairs’. ‘…and I *was* you know. He’d make me lay in bed with him but I would always put on two nighties and four pairs of knickers just in case he tried it on while I was asleep..’ quoth she. ‘When I eventually tried it- well, I thought “what’s all the fuss about”. ‘took me twenty years before I worked that one out. And then…[she chortled brassily]’. And so it went, and so it went. and I learned of her progressive osteo perosis and recent stroke and her determined independence and faith that there is nearly always a kind person around to help when she needs to get her trolly of shopping up the stairs. And she showed me the step ladder on her balcony that she climbs atop of in the evenings to be able to enjoy the last rays of the evening sun. And the stories and the jokes flowed. And amongst her parting words were: ‘never mind an apple a day, it’s a *laugh* a day that keeps the doctor away!…’
August 10,1987. Battersea Arts Centre queue for coffee during rehearsal break.First met Mary. First words: ‘I’m going to marry you one day’.
“The seed to the craft of acting is the reality of doing.”
Shakespeare workout (http://bit.ly/aqcumP) at the Actors Centre, London ( http://bit.ly/9TkjC9 ) – 10th June 2010.
Director: Luke Dixon
During the course of the workshop, which was very hands-on, ‘in yer face’, Shakespeare performance work, a number of background tidbits were thrown-up.
It was inspiring to learn that Shakespeare’s works were performed in Africa ( http://bit.ly/cU1yp6 ) during his lifetime.
Also interesting was that that, again during his lifetime, a replica of the The Globe was built in Gadansk in which his works were performed.
A couple of truly great professional actors participated and so I was treated to a masterclass in how to ‘conjur-up a silence’.
Some great tips/reminders included:
1. Get away from the text from time-to-time e.g. just express the sense with whatever means necessary.
2. Break-up/change the space – avoid ruts.
3. Take risks.
4. Concept of ‘meta-theatre’.
a. In Shakespeare’s day, acting was a new profession.
b. It was more about hearing a play than seeing a play.
c. The space was noisy.
d. The sun was in the actors’ eyes in the afternoons, at certain times of year (not in the audience’s, as in the recreated Globe).
During the workshop we worked on:
– Hamlet’s advice to the players (http://bit.ly/bQIXsE )
– Portia’s speech to Bassiano over the caskets (http://bit.ly/bRBqqW )
– Mercucio’s queen Mab speech from Romeo & Juliet ( http://bit.ly/9qt2tZ )
– Lady M’s ‘sticking place’ speech ( http://bit.ly/96rGBg )
– Juliet’s realisation speech following Romeo’s being ‘banished’ ( http://bit.ly/94gLnF )
Participating were:Luke, Susan, Paul, Evis, Micheal, George & myself.
Great vocal class with Caryll Ziegler at @theactorscentre Included gems like ‘the character doesn’t know they have an accent’, ‘project from your balls’ and tips about how rythm creates/determines an accent. Some classic clifford-turner thrown in for good measure.
Lawrence O’Connor is blogging here