Month of March

I realize now that it is April.

March is behind us. For me, that means the Humana Festival has come and gone, not to mention one of my grad school interviews, and we’ve begun rehearsals for the New Voices Young Playwrights Festival. Obviously, I haven’t been rapidly blogging about any of these so I thought I’d get everyone up to speed.

It felt like Humana was quicker than ever this year. Having been a part of the 33rd season last year it was a pleasure to welcome friends from around the country to sleep on our floors, aerobeds, and couch for the 34th season. Each piece was endearing in incredible ways, but I must say that I was very impressed by the seeing the visiting ensembles’ work.

The cusp of March/April means it is time for the New Voices Young Playwrights Festival. The education department at Actors Theatre of Louisville read over 400 plays from students across Kentuckiana. Somehow we whittled it down to nine plays for this year’s performance. Each play will be published in an anthology and fully staged at the Festival (Monday, April 12 and Tuesday, April 13). I am proud to have the opportunity to direct “A Threepenny Space Opera” by Jackson Wolford — a junior at Manual High School in Louisville, KY.

Jackson has created a 17-minute (space) opera which takes place in the year 3050 AD. Our intergalactic ruler, Quasarkon Bona’na (quay-ZAR-kon), is bent on arresting the outlaw Jacks Muldoon for his atrocities across the universe, but will he catch this lonely space cowboy? So far we’ve had a great amount of fun learning the music. We’re just about fully blocked, but still a long way to go. Our production schedule allows us eleven  hours of real rehearsal before we’re teching and into dress rehearsal. It has been intense and fun to say the least. Actors’ company of acting apprentices have been incredibly daring and very excited to bring this play to life. It is great to work with great people.

So here we are, at the beginning of April….

What’s next?

Drinks with Dominique

I took Dominique Serrand out for drinks. We talked about the Physical, the Emotional, and the Intellectual.

Me: When do you bring in the intellectual?
Dominque: Never.
Me: Never?
Dominique: Never.

Comment from dominique

“quite a bit out of context…but correct, in context.”

Update April 3, 2010

You’re right, sir! I should put some framework around this conversation. First, let me emphasize that we were speaking of the truth and how it speaks on stage. So much of today’s theatre, and the world of “realism,” is to be psychological. However, for centuries what American’s consider “physical theatre” has simply been “theatre” in Europe. Dell’Arte et. al reveals that the physical is always the truest expression of the emotion. From the searching of words to the fears that you harbor — they are living somewhere in your physicality.

The intellectual is for understanding the piece, the story, the article which all else is based upon. Once there is understanding there is living. And each time that the understanding is lived then there is a real discovery each and every time on stage. When does the intellectual appear on stage? Never. Only the truth of the physicality should appear.