One of the fundamentals of creating theatre is to share. It is an act of sharing. Nowhere is this more true than when you are devising with a group, and especially when the group is devising a piece of theatre based on their experience. So it was with an American student group from Principia College whom I met for two periods of devising; once at the beginning of their trip, and once at the end. The devising of their piece around their trip to Ireland, what they experienced both literally and emotionally, is the subject of their dramatic piece. Indeed this process is not over as the summer intervenes and they recreate and further develop the piece next term with their drama professor John O’Hagan.
I have devised many pieces, particularly with young people’s groups, and with this piece in particular it was important to share the idea that this was not a lecture or a slide show, but a feeling response to their experience. This highlights for me what is absolutely unique about a theatre experience; a direct response from the hearts of the performers pouring their energies into the theatre space, either through the filter of character and story or in this case, the more direct route of their own writing, and their own experiences.
It is very often the case that initially students come at devising very intellectually and make thin work. Once the feeling response starts to happen and the instincts kick in, the work gets deepened. It is wonderful to watch this opening up to the “intangible” as Michael Chekhov would say. Only when you approach the intangible and start to use and express it can an audience truly get a sense of what the experience was like. “Atmosphere” is a very valuable tool in accessing this intangibility, particularly in this group when they wanted to get a sense of place, for example, Dublin, Belfast or Tara.
Whilst you need to also play to the group’s strengths (all of this group could sing beautifully) I am a firm believer that it is unfair in all but the most basic of circumstances not to develop the skill level in the group, so I always mesh a number of skill workshops in with the devising to help the participants maximise their power; except in exceptional circumstances creation is not enough. So in this series of workshops we meshed tools, ensemble, voice and devising together. There was of course a large Chekhov component; we used the imagination and the body first to find expression, which freed many of the students up and widened the range of feelings they could express. Meshing devising and skills work is complex in that you have to choose exercises to suit the material they produce on the day so the leader cannot prepare the exercises in advance, except in a broad way. You as the leader risk more but you also gain more when the magic comes and their devised material is enriched by the skills you have offered.
Because we were always dealing with the participants’ own material it was vital to show the utmost sensitivity towards it. The deviser is usually revealing something about themselves directly, especially in written solo work. It is often not appropriate to use this material as an acting exercise and push the student into difficult areas. A play enables more of a distancing between the actor and the material. It means students can be more robust in their acting because they are playing the impulses and feelings of the characters rather than themselves. The work is seen through the atmosphere and situation of the play ; it is not theirs but they nonetheless have to inhabit it in order to perform successfully. Often with devising the work is very very close and as a leader I am aware of a delicate balancing act, which often involves how much they want to reveal.
This, along with rules of composition which we touched on and the creation of a rough structure and some deep honest work was the total of the time i spent with them. it was amazing to actually see them in their first tentative days and then in their last days in Ireland, like a beginning and an end in itself. Thanks for such an enriching experience.
I will be returning to atmosphere specifically in the summer school Journey Through Atmosphere,August 24 -27th being held on the NUI Galway campus. We will be working with Pericles, a play with a myriad of journies and atmospheres. Plays with Journies, like devised pieces about journies seem to me to have atmosphere almost as their engine. check out http://www.chekhovtrainingandperformanceireland.com for info or contact email@example.com