open space in theatre.

Wed Dec 21 14:01:22 PST 2005

Love it Phelim, can I share it? There are so many messages about the
wonders of life in here -

Jane, 
UK 

Jane Quinn

miworld consultancy limited 

miworld, miresponsibility

'     0131 669 8911

Mob   0783 454 2686

fax     0131 669 2943

*      <mailto:jane at miworld.org.uk> jane at miworld.org.uk

web    <http://www.miworld.org.uk/> www.miworld.org.uk

Member of BNI Dunedin, Chapter of the Year for 2005 for BNI  South &
East Scotland

-----Original Message-----
From: OSLIST [mailto:OSLIST at LISTSERV.BOISESTATE.EDU] On Behalf Of Phelim
McDermott
Sent: 21 December 2005 18:24
To: OSLIST at LISTSERV.BOISESTATE.EDU
Subject: open space in theatre.

Hi all,

 I wrote this before i knew about open space. It was a kind of manifesto
I wrote to warn the Artistic Director of the National Theatre how we
would be working in their building after working in theatre for twenty
years.. You might recognise why i felt like i knew about open space
before I knew about it. if you want to know more about the company.. our
website is..

www.improbable.co.uk

"Improbable Principles"

This is a description of some of the guiding principles and techniques
that Improbable hold valuable for their work. In communication with our
potential actors we have come to talk about this as our "health warning"
so that actors are really clear what kind of a process they are getting
involved in and so that they can really choose to commit to the creative
journey they will embark upon. As we have discovered in the past when we
have not taken the trouble to do this we have had difficulties. "You
never told me it would be like this!" They have sometimes said. "Oh yes
we did." We reply. However maybe we just hadn't said it LOUD ENOUGH!

It is essential when creating a true ensemble that performers have
genuinely chosen to be there so that they don't check out of the
process. If someone doesn't believe in it and thinks it won't work THEY
WILL BE CORRECT! 

These beliefs may not be true but they are useful!

"It's far too important to take it seriously"

Play is an essential part of our creative process although sometimes it
looks like we don't take things seriously this is because we are true
artists who know that great ideas only come when you have persuaded the
gods that you do not care. 

Creativity is like a cat you can't MAKE IT come to you. In order to
catch it you sometimes have to walk away from it. 

We will tend to make creative decisions later rather than sooner. This
is to ensure we do not create premature closure. Often we believe
decisions can be made too soon in order to feel more comfortable and
reassure others that everything is going well. We will attempt to avoid
this. Also these early decisions stem from the belief that we won't be
able to come up with a better idea. 

Every rule we create will always be incorrect at some point. "The
opposite is also true!"

Sometimes our shows are totally improvised, sometimes they are devised
through improvisation, sometimes they are improvised and become fixed,
sometimes they are a script which is improvised with. The common thread
is the spirit with which they are performed. A scripted show should feel
as alive and vital as a totally improvised show. We sometimes don't know
which of these the show will be at the start of a process. 

We will use the work of any of the great teachers to create a great
theatre show. This includes, Michael Checkov, Viola Spolin, Keith
Johnstone, Eric Morris, Wesley Balk, Mindell etc.. 

Often our rehearsal process is more like training a sports team and
teaching than a more traditional theatre process. It is a preparation
for a LIVE event.

We believe that a lot of people talk about wanting to create ensemble in
theatre however this is often lip service. We believe we are good at
creating a genuine sense of ensemble. We actually do what we say we do.
We are proud of this. We believe this is important and we will often
work on this so that problems solve themselves rather than work directly
on a problem with the show.

There are two stories in our shows: The story the performers are telling
and the story of the performers putting on the show. This second story
is the most important to us. If it is not present then the telling of
the story will be pointless. 

We believe that what happens between the performers is more important
than what the performers can do individually. The whole show and the
synergy of the ensemble is more important than any one person's
intention to "shine". 

The whole is greater than the sum of its parts. "SYNERGY"

An audience can tell whether actors are working well together, they
smell it even if it's subliminal.

We would sooner have a great ensemble than a bunch of great actors who
are separate. 

Our job as directors is to make ourselves redundant. 

We believe the co dependence between actors and directors which often
exists does not create a show which the actors truly own. 

It's not that we want performers in our show who don't get scared. It's
that we don't want performers who pretend they aren't whilst secretly
resenting us. It is good if they are excited by the idea of not knowing.

We get scared too. 

We will often deliberately make sure our show is unfinished so that the
audience have a strong input into the creation of a show. Shockheaded
Peter is a very good example of this. Many parts of this show were
created for the first time in front of the audience. We will work on
creating a strong group of performers who are empowered to make
decisions for themselves in order to create truly exciting spontaneous
theatre from moments of the unknown. If everything has been decided
before the audience turn up then the audience have nothing to do and the
story is already over.

We value all people's voices and contributions.

We respect people and treat them well. 
The stage management and technical staff are part of the ensemble and
should be treated as such.

We believe in Alchemy.
We welcome mistakes, interruptions, gossip and trouble as potential
gold. 
If there is a sickness in the show we will use homeopathy before we
perform surgery. 
We know that a problem in a show is often not where it reveals itself
but somewhere else.

When things start to get difficult we will sit in the trouble and wait
before we try to FIX THINGS.

At the point in the creative process where most directors want to pin
things down.. we will hold off. It pays off.

"Wait. Give up hope. Keep the faith."

When we work we really work.
We will not follow rigid time structures in order to LOOK LIKE we are
working.
We know that creative ideas come from moments of relaxation as well as
intense concentration. 
Our best ideas often happen in tea breaks. 
We will not overwork people.
The audience are in the rehearsal room from day one. Watching other
performers and contributing as an audience is as important as
rehearsing. 

An Improbable Prayer.

We will say we don't know when we don't know. 
We will say we are scared when we are scared.
We will not pretend everything is ok when it isn't. 
We will never ask a performer to do something we wouldn't be prepared to
do ourselves. 
We love performers.
We believe they often know more than the director.
We love the audience.
We believe they often know more than either the performers or the
director.
Anyone is free to leave at anytime. 
It is better to leave than to be there and not really be present.
If someone leaves we will do it. 
A comedy store joke in serious theatre is just as valuable as serious
theatre at the comedy store. 
We will never do something just to be different. 
We will be prepared to be obvious. 
When things get scary we will stay awake.
When things get scary we will look after each other not ourselves.
We will have a good time.
The audience see everything.

www.improbable.co.uk

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