True Tales
Saturday, August 2, 2014
Sunday, March 9, 2014
VISITANT at Project Arts Centre, Dublin. 19-22 February 2014
Visitant
Directed by Trevor Knight
Choreography Gyohei Zaitsu
Performers Gyohei Zaitsu, Trevor Knight and Aine O’Dwyer
Music Trevor Knight and Aine O’Dwyer
If a picture's worth a thousand words then The Visitant (as a spectacle of gesture) is priceless. It is extreme, it is powerful and despite some naff acting by the musician/composer Trevor Knight, it is good theatre. No words of criticism like that she's no singer(!) can lessen the impact of Aoine O'Dwyer's harp playing. She's superb on the instrument though admittedly she's no actress either. Indeed, as the narrative progressed both Aoine and Trevor became somewhat of an encumbrance on the stage, somewhat getting in the way of the true hero of the evening, the choreographer and Butoh dancer Gyohei Zaitsu.
The stage production however earns few brownie points in my book. Some significant action takes place on the floor which is hardly visible from anywhere bar the first two rows of the audience. At other times Aoine and Trevor block the view of the dancer completely. A surprising mistake on the director's part as this was essentially dance theatre with no spoken narrative to shift the audience focus and propel the story along.
The costumes were another curiosity. Compared to the rather exquisite attire of the dancer, Trevor sporting an off-the-peg if unusually colourful suit and Aoine's long dress did little for the play's aesthetic resolve.
As for the stage design, a few uncomfortable comments need to be made. Alice Maher is a good and well meaning artist and the ramp in the middle of the stage was a stroke of genius, I admit, but what of the rest? She should have known better. The stage is not a painter's canvass however tempting, nor is it a sculptor's pedestal to make a personal statement. Neither is it about decoration, however inventive. Stage design is architecture focused specifically on the dramatic narrative. The actors' play has a point and the designer's task is to materially extract from the story the elements that make it believable and to put these squarely before the audience. From a transient narrative to conjure up substance within the confines of the stage. In The Visitant however the final effect of the messy electronic paraphernalia higgledy-piggledy all over the place and the elephant of a harp smack in the middle of it all was rather more grating than surreal.
However, to be clear, the glory of the evening goes to Gyohei Zaitsu's performance and the music, both as composition and performance, and I feel immensely thankful for that.
Lighting Design Marcus Costello
Set Design Alice Maher
Costumes Yuni Hong
Production Management Miriam Duffy
Produced by Aisling Murray
Directed by Trevor Knight
Choreography Gyohei Zaitsu
Performers Gyohei Zaitsu, Trevor Knight and Aine O’Dwyer
Music Trevor Knight and Aine O’Dwyer
If a picture's worth a thousand words then The Visitant (as a spectacle of gesture) is priceless. It is extreme, it is powerful and despite some naff acting by the musician/composer Trevor Knight, it is good theatre. No words of criticism like that she's no singer(!) can lessen the impact of Aoine O'Dwyer's harp playing. She's superb on the instrument though admittedly she's no actress either. Indeed, as the narrative progressed both Aoine and Trevor became somewhat of an encumbrance on the stage, somewhat getting in the way of the true hero of the evening, the choreographer and Butoh dancer Gyohei Zaitsu.
The stage production however earns few brownie points in my book. Some significant action takes place on the floor which is hardly visible from anywhere bar the first two rows of the audience. At other times Aoine and Trevor block the view of the dancer completely. A surprising mistake on the director's part as this was essentially dance theatre with no spoken narrative to shift the audience focus and propel the story along.
The costumes were another curiosity. Compared to the rather exquisite attire of the dancer, Trevor sporting an off-the-peg if unusually colourful suit and Aoine's long dress did little for the play's aesthetic resolve.
As for the stage design, a few uncomfortable comments need to be made. Alice Maher is a good and well meaning artist and the ramp in the middle of the stage was a stroke of genius, I admit, but what of the rest? She should have known better. The stage is not a painter's canvass however tempting, nor is it a sculptor's pedestal to make a personal statement. Neither is it about decoration, however inventive. Stage design is architecture focused specifically on the dramatic narrative. The actors' play has a point and the designer's task is to materially extract from the story the elements that make it believable and to put these squarely before the audience. From a transient narrative to conjure up substance within the confines of the stage. In The Visitant however the final effect of the messy electronic paraphernalia higgledy-piggledy all over the place and the elephant of a harp smack in the middle of it all was rather more grating than surreal.
However, to be clear, the glory of the evening goes to Gyohei Zaitsu's performance and the music, both as composition and performance, and I feel immensely thankful for that.
Lighting Design Marcus Costello
Set Design Alice Maher
Costumes Yuni Hong
Production Management Miriam Duffy
Produced by Aisling Murray
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Sunday, February 23, 2014
NEW MOVEMENTS: REBECCA REILLY at Dancehouse, Dublin. 17th January 2014
Choreography Rebecca Reilly
Performers Trevor Furlong, Leoba Petrie, Tonnta Choir, Katherine O' Malley, Philip Connaughton and Fergus Byrne
Performers Trevor Furlong, Leoba Petrie, Tonnta Choir, Katherine O' Malley, Philip Connaughton and Fergus Byrne
Although still a work in progress, this was a spectacular showing of an intense melange of sound design (Trevor Furlong), the cello (Leoba Petrie) and the voice by the members of the Tonnta Choir. Unfortunately the dance did not amount to much. Admittedly, in the context of such talent the choreographer might have felt it'll do but really, isn't a research bursary about raising the bar and living up to the challenge?
I suspect the problem may stem from the multiplication of roles that a choreographer is expected to fulfil these days. Apart from creating the dance narrative itself, choreographers are stage and production designers, accountants and producers, and whatever else that falls their way. I don't pretend to have an answer but I feel that a broader involvement of drama and theatre talent in dance, along the lines of creative collaborations already established with musicians, filmmakers and the like, might not be a bad idea.
I suspect the problem may stem from the multiplication of roles that a choreographer is expected to fulfil these days. Apart from creating the dance narrative itself, choreographers are stage and production designers, accountants and producers, and whatever else that falls their way. I don't pretend to have an answer but I feel that a broader involvement of drama and theatre talent in dance, along the lines of creative collaborations already established with musicians, filmmakers and the like, might not be a bad idea.
Sunday, January 5, 2014
ROAD MOVIES
Road Movies
A friend of mine suggested I watch some Irish movies as homework before I say more on the subject. So for anyone interested here goes. My aim is a film maker's analysis rather than a review of any of the films. The difference is like that in all art and wine. Bad may still be worth consuming and give pleasure though in the end you're hardly better off.
Now, this will only make sense to those who have seen the film when I say that “I Went Down" was finally a disappointment. The main character was underplayed throughout, close on boring in fact while his accomplice was actually very funny and kind of grew on you. It's like the director or the writer or whoever could not make up their minds as to who the hero was meant to be . . It rather reminded me of “Sideways” where for about a third of the film the hero’s travelling companion takes the central spot. It is subtle and you only realise it when you begin to feel more for the secondary character than the hero. Admittedly the film recovers but only with some heavy footed emotional pounding the hero gets from his ex-wife at his friend’s wedding.
The pivotal point in “I Went Down” when the cheerful accomplice saves the hero's life lacked focus. A shame as it was critical to the plot when from unwilling bed fellows they become friends of sorts. The drama was lessened again when the guy they had kidnapped to bring back to the bad boss revealed himself a far more interesting figure than our hero.
All in all, the plot was too complex to follow or care. The shoot-out scene at the end was slow in coming not to mention that the main villain was so unbelievable. He had the lines, he just about had the face but the body language was totally unconvincing. It made you think, this guy is scaring them? Really? Also, the love interest was underdeveloped to make much sense. As a character the ex-girlfriend was a non-entity. It seemed rather like a stab at padding out. At least she could have been a manipulative bitch who wants more than she deserves or gets. It may be unwarranted to put it all down to bad direction but clearly something's gone wrong.
The camera work was often clever without a good reason which is always a no-no. This is where American cinema excels. Never a self conscious shot. The camera is there to serve the storyline. It is a guide to bring us along and show us whatever it is that we are told. That said, it was still far more intelligent than in "The Eclipse" but that is another story
A friend of mine suggested I watch some Irish movies as homework before I say more on the subject. So for anyone interested here goes. My aim is a film maker's analysis rather than a review of any of the films. The difference is like that in all art and wine. Bad may still be worth consuming and give pleasure though in the end you're hardly better off.
Now, this will only make sense to those who have seen the film when I say that “I Went Down" was finally a disappointment. The main character was underplayed throughout, close on boring in fact while his accomplice was actually very funny and kind of grew on you. It's like the director or the writer or whoever could not make up their minds as to who the hero was meant to be . . It rather reminded me of “Sideways” where for about a third of the film the hero’s travelling companion takes the central spot. It is subtle and you only realise it when you begin to feel more for the secondary character than the hero. Admittedly the film recovers but only with some heavy footed emotional pounding the hero gets from his ex-wife at his friend’s wedding.
The pivotal point in “I Went Down” when the cheerful accomplice saves the hero's life lacked focus. A shame as it was critical to the plot when from unwilling bed fellows they become friends of sorts. The drama was lessened again when the guy they had kidnapped to bring back to the bad boss revealed himself a far more interesting figure than our hero.
All in all, the plot was too complex to follow or care. The shoot-out scene at the end was slow in coming not to mention that the main villain was so unbelievable. He had the lines, he just about had the face but the body language was totally unconvincing. It made you think, this guy is scaring them? Really? Also, the love interest was underdeveloped to make much sense. As a character the ex-girlfriend was a non-entity. It seemed rather like a stab at padding out. At least she could have been a manipulative bitch who wants more than she deserves or gets. It may be unwarranted to put it all down to bad direction but clearly something's gone wrong.
The camera work was often clever without a good reason which is always a no-no. This is where American cinema excels. Never a self conscious shot. The camera is there to serve the storyline. It is a guide to bring us along and show us whatever it is that we are told. That said, it was still far more intelligent than in "The Eclipse" but that is another story
Friday, January 3, 2014
JAMES JOYCE’S DUBLIN. VINTAGE PHOTOS FROM 1897 TO 1904
JAMES JOYCE'S DUBLIN
"Had the real Dublin crumbled . . "? Unfortunately in a very substantial sense the real Dublin has crumbled. Only a short hop to the An Taisce offices or The Georgian Society website will show you the extent of it. Though it is local mess, it continues to shape the nation's image of itself. This is tragic for there are good many people here - remember the thousands that demonstrated against the Wood Quay development? - but the prevailing political ethos is far below this country's best. The peculiar pandering to the lowest common denominator encapsulated so well in the "Sure, it'll do" mentality does no one any favours here.
"Had the real Dublin crumbled . . "? Unfortunately in a very substantial sense the real Dublin has crumbled. Only a short hop to the An Taisce offices or The Georgian Society website will show you the extent of it. Though it is local mess, it continues to shape the nation's image of itself. This is tragic for there are good many people here - remember the thousands that demonstrated against the Wood Quay development? - but the prevailing political ethos is far below this country's best. The peculiar pandering to the lowest common denominator encapsulated so well in the "Sure, it'll do" mentality does no one any favours here.
IRISH FILM
Irish Film
Image and dialogue are mainly functional categories in film. Useful in direction and production though far less so in screen writing. In other words a film or a play are experienced as a series of actions. There's a great book on this, "Backwards and Forwards" by David Ball. I have a feeling that what some might mean by undue focus on image in Irish film is really quite a recent phenomenon in film in general that came with all the advances in image acquisition and processing technologies. It's only understandable. It was the same with CinemaScope as it is now with 3D. Just look at a Polish disaster of a 3D film "Battle for Warsaw 1920”. It will all pass. In the meantime here are a few thoughts on Irish film in general.
Lack of, a dearth of tragedy. Like everyone knows, the main thing about tragedy is that the hero struggles against all odds for what is believably presented to us as a laudable goal. In true tragedy (and these days very little of it about) the hero's suffering is inflicted upon her or him wantonly. It is a Greek invention. It asserts the basically unreasonable nature of the course of History. This is what makes the Hero's actions heroic, it is a fight for a (generally assumed) Lost Cause. The Hollywood Happy Ending is a clever adaptation of this by making, equally unreasonably, the Good and the Happy triumph. A good book in this context is "The Death of Tragedy" by George Steiner. An example of a film that should perhaps have grasped this tragic mantle is "What Richard Did". I admit I never read the book on which the film is based but if Richard is a hero then we do need to see him far more as an individual with a unique goal and which Gods (and why) decreed his tragic fate.
Local nature of Irish film is a common issue. Often a way out is to focus of the mechanics of the story, the plot itself, see the successful British "Lock, Stock and Two Smoking Barrels". Another approach is to universalise the human condition eg. "The King's Speech". Another angle that has worked well in "Once" for example is to make the story cross cultural.
Image and dialogue are mainly functional categories in film. Useful in direction and production though far less so in screen writing. In other words a film or a play are experienced as a series of actions. There's a great book on this, "Backwards and Forwards" by David Ball. I have a feeling that what some might mean by undue focus on image in Irish film is really quite a recent phenomenon in film in general that came with all the advances in image acquisition and processing technologies. It's only understandable. It was the same with CinemaScope as it is now with 3D. Just look at a Polish disaster of a 3D film "Battle for Warsaw 1920”. It will all pass. In the meantime here are a few thoughts on Irish film in general.
Lack of, a dearth of tragedy. Like everyone knows, the main thing about tragedy is that the hero struggles against all odds for what is believably presented to us as a laudable goal. In true tragedy (and these days very little of it about) the hero's suffering is inflicted upon her or him wantonly. It is a Greek invention. It asserts the basically unreasonable nature of the course of History. This is what makes the Hero's actions heroic, it is a fight for a (generally assumed) Lost Cause. The Hollywood Happy Ending is a clever adaptation of this by making, equally unreasonably, the Good and the Happy triumph. A good book in this context is "The Death of Tragedy" by George Steiner. An example of a film that should perhaps have grasped this tragic mantle is "What Richard Did". I admit I never read the book on which the film is based but if Richard is a hero then we do need to see him far more as an individual with a unique goal and which Gods (and why) decreed his tragic fate.
Local nature of Irish film is a common issue. Often a way out is to focus of the mechanics of the story, the plot itself, see the successful British "Lock, Stock and Two Smoking Barrels". Another approach is to universalise the human condition eg. "The King's Speech". Another angle that has worked well in "Once" for example is to make the story cross cultural.
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