As the performance date looms, I have spent some time within a studio space rehearsing the material I have so far. There are limitations to how close I can get these rehearsals to the final performance standard, as I do not currently have the tech or all the props I will (theoretically) be using. Nonetheless, the time spent rehearsing has given me a rough idea of the length of my performance. Currently it spans a time-frame of 5-6 minutes. However, I will primarily be developing what I have, as I am apprehensive about adding new aspects to the performance, for this may make the piece convoluted or confused.
My time spent rehearsing has informed me of the following:
The text I have seems to work well, and I am keen to keep it all in verse.
The opening poem was unintentionally portrayed as sermon-like (particularly as it follows the stirring hymn ‘Jerusalem’), and is an idea which I will be developing.
The second poem needs developing, as I am aware the performance may become a series of monologues if I do not create dynamic moments within and around the poems. However, the words themselves seem to work, so it is the stage pictures that need developing in that section.
The third poem is perhaps slightly out of place in the performance, as I have not yet worked it in fluidly. I wish to structure the performance as chapters – where each poem is central to each chapter. Therefore, a section which must be added is a transition between the second and third poems.
An aspect of the performance which worries me is its tone. I believe that if the performance is handled too seriously it may become ridiculous, and be derivative of Joseph Beuys’ work. Therefore, I hope that it is apparent when performing this that it is not didactic, and the poems are using colloquialisms that are conspicuous when addressing the divine subject matter. To emphasise this, I am contemplating introducing a section which reveals the falsity of words. How this will be done is uncertain, though I do have ideas which will hopefully be incorporated successfully.
The extract I have taken from William Blake’s Songs of Experience works best recorded and played through speakers, rather than myself speaking it.
Revealing the ‘dust’, which was initially planned to be a mixture of crushed Doritos and orange chalk will be difficult, as the amount of orange chalk I require is large, and possibly not attainable. However, it may be possible if I reduce the amount of ‘dust’ in the show. I am reluctant to do this as it could make the section where ‘dust’ is supposed to blanket the space underwhelming. The choice is between whether I can use a paltry amount of dust so that I may reveal a message, or use a large amount but cut the message. However, I may be able to to both if I keep the chalk separate from the Dorito dust.
I hope to return to Elgar’s ‘Jerusalem’ at the end of the performance, where the volume will gradually raise to an uncomfortably loud level.
I need to develop the technical aspects of the performance. I think the green/red lighting moving across the performance space may work, and the fade into darkness can also be used. The overt theatricality there may undermine my words, which contributes well to the overall performance. However, I am uncertain whether to add more excessive lighting effects to make the space uncomfortable and emphasise the theatricality further. I am also still deciding whether to add sound to the performance or keep it silent except for the spoken words and recording. I think a constant sound pervading the space may work well, but will have to experiment with this.
Pics from a rehearsal:
