Deported/a dream play has been through several readings and workshops recently. Director Judy Braha and the actors have been working with Joyce for about two years developing the piece, which has a stylistically expansive dramaturgy. There are songs; there are dances; there are objects and images of great symbolic importance. None of which I allowed in yesterday’s reading because I had the sense that the text was getting lost in the development process. Did I have any proof? Nope. It was a just a hunch. In any case, I needed to hear the text and I have yet to figure out how to listen to projections.
Ultimately, I believe it’s sometimes important to pay attention to the established structure and ignore the demands of the content as part of a development process. On the one hand, theatre seems like an almost endlessly pliable art form. It truly is whatever you want it to be, from guerrilla street theatre to Broadway. On the other hand, the satisfaction granted by an engaging, disciplined and familiarly drawn narrative is impossible to deny.
Wednesday, August 05, 2009
When You Can't See the Play Through the Theatrical
Huntington Theatre Company Director of New Work, Lisa Timmell talks about how all the tools "modernism" has brought to dramatists sometimes can't allow us to HEAR the play: