"If You Are The Writer You Have To Say Something. It Works Or It Doesn't Work, But You Have To Say Something."

Today started with David and Maria performing a fully rehearsed and realised scene from Spanish a play called ¡Ay, Carmela!. 

In the play two left-wing artists are forced to perform in front of an audience full of right-wing military, and all the left-wing people who tomorrow are going to be killed by Francisco Franco.

I was really proud of Maria and David. They put a lot of work into what they showed - a big step up from everything else we've seen this course (which has been pretty lazy to be frank).

"We don't see the deep point of the play." i.e. We need to see them uncomfortable and pissed off - all the emotions they would be going through - whilst performing for people they despise.

Philippe led them towards being more simple and letting images (with fixed point, stillness, and silence) do a lot of the work for them. e.g. David: Look at her! Look at the audience! Rise your arm slowly! Maria: Lower your nose! David: Text! Pause! Text! etc.

"We start to have a relationship between the actor and the atmosphere."

"Every millimetre...changes totally the play...totally."

"You have to put the beautiful human things in this."

"You can't escape. You have to be human...If it is not human, you leave."

When a character 'reads' a text on stage "you have to know by heart and you pretend to read it."

~

André led an improvisation of Tim's story about his father. André didn't have a clear idea in his head of what exactly he wanted - but he knew it was a film - and he proposed a few things, but wasn't as definite as Philippe wanted him to be, so Philippe pushed him to be!

"If you are the writer you have to say something. It works or it doesn't work, but you have to say something."

"You have to say 'it's like this' so the actor knows."

I played Tim's father (with a not so bad Australian accent I might add!) in a scene in which he and Tim's mother meet for the first time, just after they have both attended a Satsang together. I played slow, simple, subtle. Smoking a cigarette. Looking at the moon. A bit of dialogue here and there. But really taking my time. Steph played Tim's mother. "Not too bad the actors." Philippe asked afterwards whether the audience thinks we will be lovers, or just good friends, and people were indecisive. And this was a good thing. He said the mystery is nice. And actually to have a story in which the lead man and woman don't become partners, but just love each other as friends could be something new and wonderful.

~

Tim and Claire presented a scene from Endgame. "Is it boring?" ... "We don't like the couple because there is no love."

Ned: He is happy in the morning! 5am... We have to see him think "If I don't do something soon I'm going to be bored." This leads to him knocking on Nell's bin. But seeing him build up to the knock can/should be delightful!

"You have always to find a contrast. Contrast is always a good game...a good answer."

~

I got up and asked some questions, and for peoples opinions, about potential plots for my story. 

...A bit like a TV focus group.

"So. Did you like the latest episode of Blue's Clues?

Is it better for A) Steph and Tama (the Mãori love interest) to meet, fall in love, and spend the whole holiday together? Or B) for them to meet, Steph goes away, then they bump into each other again and then fall in love?

B won.

Philippe said what I want to do "depends on the rhythm".  

And C) should Steph grow up by having this love?

Or D) grow up because Tama actually had a girlfriend the whole time and their love has been a lie = heartbreak.

C won. Nobody wanted D.

When I asked whether what happens in my story will be enough for the audience to see she has changed Philippe said we only have to see "she changes one millimetre." So I'm dealing with something small here. Something subtle. And that's a bit of a relief actually. Because it's a mission to write a story that turns a girl into a woman. Although a great challenge!

Philippe also said we may never know or hear about the love with Tama again in the story. "This love has to be the secret of something beautiful...a secret that helps her walk."

And he said the love between Tama and Steph doesn't have to be for long. They can have a "one week love". He said the greatest loves of people's lives are just for one week. So that has freed me a bit too - and given me a good idea for a song.

~

I did a bit of writing last night, and then worked with actors before and after class today. So far it's going really well! The text is holding up - although you realise quickly what lines don't work, or should be cut - often because without them we get to the action clearer. I found myself as a director today going around and setting tasks for different actors whilst I worked with some one else (this project is an ambitious one - I'm now feeling the push to get it up and a live - and the writing finished - very soon!), and when I did work with actors the time flew by! As a director I found myself showing what I want a few times, instead of using words to get it naturally from another actor. I'm not sure I like that approach. I mean I do - it's much easier for me. But it takes the power and ownership away from the actor. It's no fun just to copy how someone else (me) does it. It's best for them to find their own way. Surprise me! But I'm getting there. My secret plan is to work the scenes we worked on tonight in class tomorrow. So Philippe can jazz them up and give me guidance...without him knowing it! HAHA!