One of the things that has struck me again and again in this preparatory week with the exuberant and talented student actors at the Centre of Drama Theatre and Performance at NUI Galway is the joy of working with young people, their boundless energy, talent and enthusiasm, such as may elude them if they enter the world of ‘the profession’ . It also reminded me of the issues.
When working as a professional director you expect to develop a vision at a high and competent level because the actors have most of the skills you will need, well they are supposed to. Of course this sometimes falls short with certain individuals as clashes of style develop between performers and directors, and often between performers themselves. In actual fact, the collaborative element in directing, whilst important in both professional and student spheres, is much easier to achieve with young people and hence paradoxically the work is often ultimately more interesting despite the youth of the group and the fact they have to work harder at skills.
Interestingly, and I find this more and more as I get older, it seems that any vision I have needs to be tempered by the young people. They are coming from a very different place to me and as the exploratory week of the production evolves so does my sense of direction, because it is not just mine but theirs. This does not mean that I just go along with their wishes because sometimes, from inexperience, they are not seeing the play in a deep way or perhaps in a way what seems like a good idea at the beginning is going to become derailed by the needs of the play itself (Actually many professional productions suffer from this problem too – what seemed like a good idea at the start goes wrong).
In addition what is important for me in that first week is assessing their individual strengths and challenges . It is nearly always true that in the beginning the student actors after being free as birds in the first week where the story is explored through sound and the body suddenly come up against the needs of the text and the expectation they feel is there. ie talking in an English accent. While I always do a lot of physical voice work based on Michael Chekhov Exercises which promotes variety and grounded truth, the old stalwarts of breathing and diction are frequently serious challenges. Whîlst on the one hand I wouldn’t want to over force the practice, on the other hand without decent clarity all the depth in the world will not be radiated through the text. Weeks 2 and 3 often have this constant feeling of a plane landing uncomfortably as adjustments of time and focus need to be made. Once the lines are understood and learned, we can really play again.
What keeps emerging from our work with this play is this deep sense of loss and loneliness in so many of the characters, that the search for love is a search to forget loneliness. Maybe the play says that no matter how hard we try we are always lonely; that in relationships we save ourselves from loneliness but to some extent sacrifice our identity. This is an interesting if rather sad thought – and particularly because the play is a comedy.