The question arose, after Coriolanus, what next?
Other than “sit in my backyard and watch the fire with a life-giving beverage in my hand,” I hadn’t given it an awful lot of thought. But ideas have been bubbling up in my head.
I’m still fascinated by puppets and would love to use them in something. See, as an example, Blair Thomas and Company. The drawback is the time and money; as Thomas says, “It’s such a tall order to spend the time that puppetry needs. If you take shortcuts, it’s the worst-case scenario, and the puppets are treated as props.”
The works of Brecht spring to mind, especially The Good Woman of Setzuan or The Caucasian Chalk Circle. I really like Good Woman/Person and its challenge to morality, and it would be fun to develop either of those scripts.
I’d be really interested in looking at some stuff that I do not understand, and here I can give as an example of the works of Charles Mee. Mee has put all his scripts online, free for the taking/manipulating/deconstruction, and I don’t understand the theatrical impulse behind most of them. So let’s do one. As Picasso says, “I am always doing that which I cannot do, in order that I may learn how to do it.”
(Although this script by Mee is pretty powerful.)
There’s always Shakespeare. The Tempest could be fun, and of course King Lear is the Everest of them all. Or we could go all the way obscure and look at Timon of Athens or King John or Henry VIII.
I will now ramble.
I’d be interested in just developing something in that way that Marc knows how to do but I don’t.
I really liked performing in the park, the theatre not so much. I felt alive in the park, and merely observed in the theatre.
While the idea of doing a School for Scandal with the Lacuna gang brings a smile to my face, I am no longer excited by the idea of making costumes.
I liked working with all men. It will feel odd to have women in the group.
When I look at stuff like Charles Mee or photos of other company-developed pieces, I often think that I don’t have anything to say in such a piece.
I am also skeptical of the power of non-narrative pieces. I want to be convinced otherwise.
I like the idea of looking at the Neo-Futurists for real.
We could set aside a short period, three or four weeks, Wednesdays only, and study a text, then quit. Ideas and lines of energy might emerge, and that would be fine. Or not.
I need to work on music.