Finding Logic in the Non-logical

Posted in Uncategorized on March 5th, 2010 by jerry

Yesterday I blogged that I tried to dismantle any meaning when meaning began to arise in a scene in Tick Tack Type. I wrote that doing this was to free the play and not have it land in a didactic world. Today I will contradict my thinking saying that for every action in the play (or for most) I tried to find meaning in it.

Is this a contradiction? Yes and no. I think it’s a fine balance between an abstract work that has no means of a handle and an abstract works that resonates for audiences. I am not interested in pure abstraction, if I was, I would imbed the work in pure movement and dance and not try to create theatre of it.

So to get back to my opening statement, for every action I tried to find meaning yet at the same time dismantle it. (I hope this blog makes sense to someone, cause writing about movement is not easy, if it was easy, then I would assume the movement theatre has little merit.) In its simplest terms, when I had a character execute an action I tried to find one level or several of dramaturgical importance.

I assume this blog is vague since I am not divulging any of the action of Tick Tack Type. I apologize for this, but I am doing this for your sake (that is if you plan to see the work.) By discussing the action I am robbing you of the experience of it. What I see in an action may not be what you see. I can say this about Tick Tack Type, in many way it’s about “seeing” or “not seeing.”

Tick Tack Type plays March 11 to 14. All tickets are free. Go to www.imagotheatre.com for info.

Abstractions, Actions & New Worlds

Posted in Uncategorized on March 3rd, 2010 by jerry

In my last two productions APIS, or The Taste of Honey and The Cuban Missile Tango I kept my cast in the dark for several weeks and then revealed to them the narrative structure of the play. For example in APIS I worked on movement and character development before I revealed to the cast that their prison was a beehive - those inside were honey bees and those outside were bee keepers. In my next play Tick Tack Type (TTT) there is nothing to reveal to the cast. TTT began as an abstraction and will end that way.

In TTT, I have a hierarchal structure and there is narrative. There is a typing instructor (ruler) and typists (who serve the ruler.) There is action, for example a typist performers badly and is punished. Yet despite the presence of a narrative the work remains an abstraction. I intentionally worked to insure that no symbolism or didactic context was present or at least I tried to subdue those directions. I tried to dismantle meaning when TTT started to lean in ‘meaningful’ directions.

Where am I heading or what it is, is not as important to me as to what qualities or situations arise. I think it was Godard that said that a film must have a first, second and third act but not necessarily in that order. Tick Tack Type must have dramatic builds, releases, peaks, valleys, scenes, acts and resolutions – but it needn’t have clear precise meaning.

Theatre can create a world that defies a tangible lucid reality. If I have create a completely cognitive world then I have missed the ‘other stuff.’ That ‘other stuff’ is when our explanations don’t meet and we see something else. Can I create a convincing universe that exists on its own merit? A world that does not fit our common understanding of reality then perhaps I have created a new world, one in which I have not visited.