pieces to look into re: variable interpretation
Standway Dance: IRA bombings. Incredibly offensive, groundbreaking.
Seven Jewish Children: Caryl Churchill.
Stockwell: Controversial, poorly researched dtramatization of the post 7/7 shooting of a Brazilian man on the tube by police.
Audiences:
non-theatre audience (no-clue-ers)--teenagers from East London? no familiarity with experimental theatre.
club crowd at Proud gallery?
smart kids from rough neighborhoods
-tight communities: people who'd rather be poor than work for a stranger, or for a regular paycheck for someone else's goals
What kind of show do we want to put on? Something enjoyable for both kids and adults?
Ignorant audiences, of theatre, rarely express opinions, even if they have them, whereas everyone has an opinion about film even if they don't know what went into it. Because people are used to the medium of film. Theatre audiences are more inclined to assume they just didn't get it. (?)
Clowning: effect without content. Your audience should not be trying to intellectualize your actions or intent.
Moments of Universality:
Are they useful? Do we Want moments Everyone can relate to? Is that too Hollywood?
Concept of Universality--the assumption that on some level you can please everyone. Is this imperial? Ethics of the sweeping generalization.
Why do you respond the way you do?
Visual/Physical/Sound: not text.
universal language (aside from for the blind) is movement.
What are the possibilities and problematics of universality in theatre?
Monday, January 25, 2010
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