Exeunt Magazine: When you’re making a project with a group of real people (n.b. actors are also real people but for the purposes of this article… you know what I mean) you’re doing it not only for the benefit of the wider community, but also for the benefit of the people you’re working with. You’re asking a group of people from a background estranged from the theatre to make a show, be in it, have their mates see it, and probably talk about something that is probably quite traumatic to them. How the fuck do you get people to do that? And, more importantly, why would you want to?
6 comments:
I agree wholeheartedly that theater is a should be about the story telling. It is that story that actors, directors, and designers are seeking to tell and to elevate in their respective areas of expertise. It is elements of that story that they emphasize, elements that they diminish to show their direction, their view, their intent to the audience. Sure it’s nice to go to the theatre to see your favorite actor perform live in front of you, and sometimes with good reason. They might actually be the one who can get that story across with more emotion, more meaning, more skillful telling than any other actor. However, they should not be the point of the show. The point of the show is the show. And maybe this playwright, Luke Barnes, is correct in thinking that the best storytellers are “real people” and not actors because they know the show as they have lived it.
I think that this type of theatre which engages “real” people is one of my favorite type of theatre to see. I think there is something so powerful about how genuine these people and their stories are. In looking at the question of why we would bother to try and create this sort of art, I think there are answers in looking at the center of what we’re trying to do which is storytelling. Actors are amazing in their skills in replicating another person, however there is just something about hearing the story from it’s source that typically makes it so much more potent. The article also mentioned some of the troubles that come from going down this road of using non-actors or even theatre people to preform the big one being that the typical format we use to present our work is anything but comfortable to most people. But I do agree that finding ways to provide what is necessary to succeed to these people allows for more diverse and interesting stories.
This is very interesting to me, because actors often spend a lot of time digging within themselves to find connections to their characters so they can “perform from an authentic place,” which is difficult, and often brings about some of the best performances. But the most authentic experience comes from the “real people,” non-professionals, non-performers, regular people that live those lives every day.
In that same sense, I don’t know if I would consider it a performance in a traditional sense as much as I would a sharing of sorts and it is just as much, if not more, for the performers than it is for the audience. It’s an opportunity to reflect through art and I think that’s beautiful. I am fascinated by our criminal “justice” system here in the States, and I love stories about art and theater in prison, it’s humanizing, and inspiring, it sparks thoughtfulness about the prison system and empathy for people within and I am thrilled that there are people in the world that not only recognize that but have a passion for bringing experiences like these to people who would not normally get them, but need them more than we do.
“Real” people has always been the most critical part of making theater. Beside the scenarios of conflicts, collaborations and negotiations commonly seen in theater making progress, here the article presents a picture of what theater should be that is closer to “humans.” I think theater, in general, should not be seen only as an entertainment or dream making industry, but also a vehicle or place that is inclusive for people to go inside, speak out, share their stories, influence the communities and produce or invoke collective changes. Back in ancient Greece, theater had been a form for public gathering. Up until now, however people and communities scatter or assemble in much different ways than before, theater has always been a forum open to ideas and stories, and the most significant, it is the “earthliest” art form that is close to real humanity to help people reflect their life and regain power to live.
The title of this article is really evocative because it deals with a basic human want to be able to work with genuine and hard working place. And what better place than theater, which is a melting pot of different types of equally hard working people coming together to create something completely different than their own personalities.
Theater is a creative place where magic is woven, But this is not possible if the emotions of the actor are not true. It is paramount for the emotions to be true to the actor because then what they are emoting is essentially a different, hidden part of their personality. And that is necessary to be able to bring to life their characters.
This technique also enables actors to be real to themselves and to the people around them which is a pleasurable environment to work in because that kind of an environment ensures that positive, happy vibes are around everyone and in the minds of everyone which essentially benefits the craft of the actors to a point where they can do complete justice to their roles.
Theater in general takes a lot of acceptance and vulnerability with oneself in order to be able to adapt and openly tell stories. There is a certain degree of bravery that it takes, as the article mentions, to face your fears and address them head on. It’s especially discouraging to do so when you know people feel the same way as you, but it's a matter of time before someone actually speaks up. There is a point where spectacle and theater start to blur together but it's important to recognize when to bring out raw and true emotion and when to let go of the show aspect of it all. At the end of the day theater is a place where all stories are heard and all stories are told. It's important to understand both the perspectives of the audience and the perspectives of the performers because both can be interchangeably vulnerable during a production depending on the circumstances.
Post a Comment