Magnetic North Blog
This year's Rough Mix will take place at Tramway as part of the Rip It Up season. The residency runs from 11th March and there'll be a public showing at 7.30 on Friday 22nd March - more info here.
The artists at this year's residency are:
- Christine Devaney (choreographer)
- Linda McLean (playwright)
- Janie Nicoll (visual artist)
- Miguel Rojo (director/theatremaker)
- Kate Temple (visual artist)
- Bill Thompson (composer)
They'll be joined by emerging artist Sarah Bradley and a group of performers. The residency is led by Nicholas Bone.
When I was 10 I spent the year in bed
One day at school, the teacher told us that a new boy would be joining our class. She explained that he was older than the rest of us and that he had been ill and that as a result of this he had spent the last year in bed. This seemed fantastically glamorous to me for two reasons: first, he was being announced in advance by the teacher, rather than just having to turn up at school on the first day like the rest of us; and secondly, he hadn’t had to get up for 12 months. No-one really knew anything about him and even once he started, he had an air of mystery about him: the only thing he ever told me was that he hadn’t had his hair cut for the entire year, which only added to his glamour in my eyes even though he now had rather neatly cut hair. What had actually been the matter with him, I never knew - and I was probably too embarrassed to ask him (the middle class fear of asking personal questions) – but I was fascinated by the idea of what it would be like to just stay in bed. This was long before I’d ever heard of Oblomov.
We're now well into Walden rehearsals - well, three days in actually - and it feels like getting to know an old friend all over again. This is now the fourth time I've rehearsed the play, but each time I discover new things. It's also interesting working with a new actor as this inevitably brings out new aspects of both the character and the text. Cameron (the new actor) has new questions, and this leads me to finding new things as well, and one of the great things about doing a one person show is that you can afford to spend more time talking - Walden is so much about ideas that you really need to thrash about a bit to get to the grist of it, and to find the charactersitics of this stage version of Thoreau. You have more time because you don't have to worry so much about the actual staging - a lot of which is, crudely speaking, avoiding actors standing in front of each other. It's more complex than that, of course, but you're usually trying to create focus on particular parts of the stage - with only one actor you don't need to worry because the audience don't have anyone else to look at instead. Having said that, as Walden is peformed in the round, the audience can look at each other, and this also presents a challenge for rehearsing with a new actor. The style of the production means that the audience are a very active part of the performance - another character in a way - which means that until you actually perform it with an audience, the actor has little ideas of how this other character is going to behave and react to him. Cameron is having to do a lot of imagining other people looking at him, making eye contact (or not), reacting to his quips with them etc, and I imagine this is probably quite hard.
It's great having the set back up again - it still has that wonderful cedar aroma after a year in storage and I love walking through the rehearsal room door in the morning and meeting the smell.
I first came across the story of Victor, the so-called Wolf Boy of Aveyron, when I saw Francois Truffaut's film L'enfant sauvage (The Wild Child) as a sixth former. The story stayed with me and a few years ago I came across a copy of Lucien Malson’s book Wolf Children in a bookshop, with a still from the film on the front. In the book, Malson documents the various cases of feral children that have been documented and discusses the Victor case in some detail. The second half of the book consists of translations of Jean Itard’s two reports on Victor. Itard was the doctor who took on the task of tying to “civilise” Victor, and the two reports follow his ultimately fruitless attempts to teach Victor to speak.
Reading the book, and in particular Itard’s reports, brought the story back to me and the idea formed to make a theatre piece based around the story. As usual with these ideas, it was necessary for me to find a team with whom to develop the idea. I had known and admired Pamela Carter’s work for some time and something made me approach her about the idea of working on the play – subconsciously, it was probably her two plays for Stewart Laing that gave me the idea: both had French sources (Slope was about the relationship between Rimbaud and Verlaine and An Argument about Sex was based on Marivaux’s La dispute). At the time we first spoke, An Argument… had yet to be produced, but I knew the original play and the strange connection between La Dispute and the case of Victor (La dispute imagines the results of the “forbidden experiment” long dreamed of by philosophers where a child is deprived of human contact).
It seemed natural to then ask Sans facon and Simon Wilkinson to work on the project – I had had a particularly happy experience working with Tristan and Charles (otherwise known as Sans facon) on Walden, and now doing a full-on theatre production seemed a logical extention of that relationship. I liked the work Simon had done on After Mary Rose and had just invited him to become as associate artist of the company and I felt he would work well with Tristan and Charles (who are also associate artists).
What will follow on from this posting is some of the correspondence that has flowed between us over the past few months as the project has developed.
We have one more day in the rehearsal room and then we move on to the stage and start to work with the full set for the first time. Sound is an integral part of the show and sound designer Kim Moore has been in rehearsals a lot to try out things - the soundtrack is a fifth voice, supporting and counterpointing the 4 human voices. We're at the stage of running the play every day now, with one more rehearsal room run to go before we go on stage. Simon Wilkinson, the lighting designer, watched the run on Thursday before finalising his lighting plan and we're all excited to see how all the design elements will come together at the technical rehearsals next week.
Because of the form of the play - 4 characters telling 4 separate, fragmented stories simultaneously - working out how to rehearse the production was a challenge. Linda McLean's script is not divided into scenes, but is punctuated in two places by the instruction BOOOOOM (if you come to see the production you'll be able to see how we have interpreted this). In preparation for rehearsals I split the text into 8 sections, which was amended to 9 during rehearsals. This division was made by following the 4 characters stories to find where there were events (points where something significant happens that completes a strand). As I did this I discovered that there were points where all four stories had simultaneous events, suggesting a break in the overall narrative. In order to visualise this, I made a 'score' consisting of 4 tracks (one for each character) running left to right, divided top to bottom by dotted lines for page breaks and more substantial lines (like bar lines on a stave) for section breaks. This long piece of paper (made from 7 A3 sheets) is stuck on the rehearsal room wall and was a regular reference point during the first week of rehearsals when we were getting to know the text. When you look at the score, the play progresses from left to right like a playhead running over a multitrack recording, with vertical lines marking the section breaks.
The rehearsal process has been a mix of table work (reading and discussing the script sitting at the rehearsal room table), practical preparation (voice work with Ros Steen and Viewpoints with me) and staging work (exploring the physical life of the script). Both the Viewpoints and the voice work are practical means of unpicking the play; this practical work complements the more cerebral process of discussing the play and its characters at the table. We developed a technique of working the sections with each character in a separate lane (like runners in a race) before improvising the action on the set. Through this process we have gradually built up the life of the play, adding details (or sometimes simplifying) and refining the work each time. Linda has been in the room with us for almost the whole month, listening and watching carefully, occasionally making a cut or change, sometimes clarifying a detail.
Moments in the play are quite intense and there have been moments in the rehearsal room when we have all felt the emotions of the play very strongly (we've also laughed a lot, I should add). Our work over the final few days is to try and transfer the spirit of the rehearsal room onto the stage.