A daring friend suggested she might consult a character in a live theatrical production for thoughts on another character still in the making. The voice teacher in me quakes for my students when looking to a live theatrical production for character inspiration. I don't like my students to listen to other, professionally produced singers too often, or to learn a new piece by listening to someone else's recorded piece; too intimidating for most, adds to derivative interpretation for a few others.
Still, when is it possible for each of us, seeking new inspiration to populate a character, either in writing or performance, to visit with some of the current creations out and about in someone else's interpretation? When are we finally strong enough to look at someone else, have the light turn on and not find our own soul crushed?
For me the answer can be now and never, depending on the timing, the impact of the influence and how I am finding my own self to be, robust or pliable. When I am drawn strongly to someone else's work, I know that I need time and discussion to get around to understanding what those influences will do to me and what I should let them do.
The urge to have a character under one's own direction speak with another, unrelated or unlikely character is very alluring. What will 15th century French St. Joan say to my contemporary self? Will she have thoughts and conversation with my 19th century Camille? Will they get along, influence each other? Can they converse in French from different eras, or perhaps some magic meta language that is the language of inspiration itself?
I long for a series of 10 minutes plays, perhaps 3 produced together, but not the same play. The first conversation between Joan and Camille, women of passion for very different reasons. The second might be between Joan and Betty Ford. They might talk about public life, passion and the need for moderation, being taken seriously in a man's world. The last piece would feature three contemporary women, each is reading about one of the 3 women featured previously. Hmmm.
Subscribe to:
Post Comments (Atom)
3 comments:
You have an issue by the tail here--that is, whether or not to consult a character in a live theatre production in order to enhance one's own creative work on a given character/play.
Agreed there is much that can go wrong here: one can get psychologically intimidated/confused/overawed, especially if the original model is well done; also, one's work can easily turn devivative/imnitative/flat for the same reason.
Then there is this business of timing--be it psychological timing inside the creator, or timing with regard to the progressing status of the content, that is, the evolving scaffold of the ideological material. And, of course, these two are connected.
So your helpful question: when are we finally strong enough to withstand undue influence by another writer? Here are a few initial observations on the subject. First, one needs to have one's own character "firmly" in hand. This means the evolving character needs to be in the talking stage inside the creator's head.
Second, it would be helpful if the talking inside the head also had the start of individuation, that is, distinct attitudes behind/inside the talking. Perhaps the start here of personality.
Third, other characters [key ones] should be in similar formative stages. And they should be "living" inside their own mental context and their own psychological skin--be all that embryonic.
As for the creator who is in search of both inspiration and knowledge, he or she needs spiritual anchors that can counter any mental movement that seeks to overpower the creative self. One can't just float free or overpowering is almost certain to occur at some stage. The preceding notes on the presence of character substratum should help with this challenge since character portrayal/development also involves the search for "spiritual" anchors, including those involving intention.
Thanks for the warning in your post. I found it both useful and on the money. Creative process is a delicate business, and inviting outside influences can be very disruptive. Moreover, these can operate at any developmental stage in writing or production.
Feedback someone, somewhere?
I can see that my creative process, although very clear and reusable for me is very organic and not necessarily structured up front.
I get to my character's presence through conversation. In beginning a story I always start with dialog. This is why I've been thinking a play would be a good medium for me, though my past writing has all been short story or poetry.
The same applies to song or aria work. I have a long discussion or interview with the character who will be doing the singing, not the composer but that gal who is singing the Schubert lied, or if two voices need to be articulated, then I need to be sure of who's singing what.
With opera it's even more difficult because if you are lucky, your character is going to evolve. So as with acting, it's important to know the starting place. Then identifying points of change and a final emotional position for the character is essential for authentic expression.
For performance of material that is already written, the words provide helpful constraints. If I'm writing the words, I have to start with the other end. How is my character feeling, changing or refusing to change? How is the behavior of other characters operating within the piece?
I don’t think you can create a character in a vacuum. Lets take the writing Joan’s character. There have been countless books written about her and her exploits. Lets add in all the print about the male dominated church and their role. Lets throw in a couple of stage plays and even a movie or two you might have seen along the way.
I would say you have the makings of a firm outline of Joan before you have even put paper to pen. Now lets add your artistic edge and the desire to create something new. Your mind starts drawing a lifetime of experience. Your mind drifts back to a female lead in the movie “All About Eve” and there was something about her demeanor that fits what you think Joan would be like.
Now lets add the memory of, say your Aunt. When you were growing up she had a faith that you felt was the strongest you had ever seen. Now surly Joan would have that kind of faith.
Now with no harm or foul from the movies, the history books or your Aunt. Joan is complete; she is yours and is real as any person you have ever had dinner with.
Joan was created in a vacuum and if read a book with a great strong female lead in the next couple of days. You will know if any of what you read also fits your Joan or better defines her.
Again I, say NO vacuum here, bring on any and all inputs. My Joan knows who she is and who she isn’t. And if she happens to learn a little more about herself from listening to someone else the better she will be for it.
Post a Comment