Showing posts with label Bella Stewart. Show all posts
Showing posts with label Bella Stewart. Show all posts

Thursday 28 June 2018

The memory of what was lost, between the speaker and the listener

This is a first-night response* to in situ:, performing in the ghost in me at Wandlebury

More views of - or before - Cambridge Film Festival 2018 (25 October to 1 November)
(Click here to go directly to the Festival web-site)

28 June

This is a first-night response (work in progress) to the ghost in me [haunted selves, lost sounds, old futures], by and as given by members of in situ: at Wandlebury Country Park on Thursday 28 June 2018 at 8.00 p.m.




 What I carry in my heart
Brings us so close or so far apart
Only love can make love

‘That Voice Again' ~ Peter Gabriel (from the album So)



For those unfamiliar with in situ:’s approach to experimental drama (their tag-line calls it leading the way in environmental theatre), they do not drag members of the audience into the action – and the new show at Wandlebury does not require any prior knowledge. Ideal for those who like, as #UCFF does (with the medium of cinema), a film to speak for itself (and not to depend on extraneous material, or some explanation that should have been in the film).

 It may feel odd, but, to have its effect, one does not even have to imagine that one can or has to take everything in [as demonstrated by a version of Chekhov’s The Cherry Orchard, with one or more actors in different rooms of a building at the same time] – the show is one that builds and builds, in a way that one cannot quite explain** : precisely because, in the initial scene-setting (these are not, one suggests, tableaux), one is free to move perspective, one can follow one's impulse that the main action is to be seen / found elsewhere. (Amongst many, many others, a vague and maybe not consciously felt echo – from just being led into and through an orchard – is of The Garden of Eden : some gravity-waves that, at least, #UCFF felt are listed below.)


Such theatre, where it is grounded or rooted – avoid the words as one may – in the place where it is performed*** (work on it had taken place over three terms, the last of which was spent at Wandlebury), feels informed by other times (as if connected to them) : in this case, with frequent references in utterances to grandparents, one is certainly back to the start of the twentieth century in the minds of the actors' relatives, and therefore in quite a different age (in some ways).

 What does one experience here, in terms of generalities ? A troupe dressed ordinarily (if in some sort of spectrum of pastel or pastoral hues ?) ; birdsong ; people performing familiar actions, as much sometimes to reassure themselves as others [almost as ritualistic repetitions ?], but also standing or moving as a kind of phalanx [a rippling surge of advancing, and of retreat], and attempting to be careful of each other's needs ; dappled late-evening light high on the wall behind the main performance-area…

All of these (and other things that were noticed and noted), and, in a sense, none of them – when more aware of the birds, is one perhaps less aware of the sound-design, of that actor’s gesture or unheeded / unheard speech, or of sitting with leaves of an apple-tree on one’s shoulder ?




Led, as if Dante at the start of his Inferno (by necessity) or then by having to trust Virgil, we shadily saw figures in the woodland : those represented, but were not, skiis – so what might that be about [and could we see how painful and difficult it looked to walk in them ?], or what could a man be doing, seemingly trying to drop walnuts (or walnut shells ?) into the cuckoo-clock-like aperture of a box-like resonating chamber**** ?




[...]





Some cultural resonances and / or sympathies (a gathering list) :

 * Samuel Beckettt’s Acte sans Paroles II***** ~ http://www.youtube.com/watch?v=BaGnKjla6pA

 * Chumbawamba with some sentiments in their ‘Tubthumping’ ~ http://www.songfacts.com/detail.php?lyrics=1909

 * Franz Kafka’s Das Schloß (The Castle) and Der Prozeß (The Trial) ~ significantly, in the former, K.’s late-night chance meeting with Bürgel at the Herrenhof, and representatively, in the latter, Josef K., neglecting his advocate Huld in favour of seducing Huld’s mistress Leni, or being distracted from hearing Titorelli by the cries and presence of the school-girls

* Arthur Koestler’s The Ghost in The Machine [even if just as a title] ~ http://archive.org/details/TheGhostInTheMachine

* @TheUnthanks (= Rachel and Becky Unthank) with 'The Romantic Tees' ~ Diversions, Vol. 3 : Songs from the Shipyards




End-notes :

* But now with closing-night interpolations.

** Although, having said which, it may partly be that – with the performers not essentially ‘hiding behind’ a text (as they might in many a play (or opera)) – so much of our relation to them is in their physicality or presence, and so there is a greater effect of human attachment both to them and to our sense of their mortality / frailty (and, hence, of our own) ?

 *** Afterwards, director Bella Stewart told us that a version of the piece, using film and other media from the Wandlebury performance-space, will be given at The Leper Chapel later in the year : The Chapel and Wandlebury are both owned / managed by the charity Cambridge Past, Present & Future. We also heard, from Richard Spaul (who is directing Woyzeck, at The Chapel, from 12 to 14 July inclusive), that he will be doing a single-player Hamlet (some will remember Bella’s and his eerie double-handed Macbeth).



**** It also had an elongated and flat piece of wood appended, which resembled a set-square – was it probably a home-crafted musical instrument, whose sound, without our seeing it being made, we heard later on ?

***** But, also (and more obviously), Mouth (in Not I), and Winnie (in Happy Days) - parts both written for Billie Whitelaw. (Even more clearly, the brief candle soliloquy of The Tragedy of Macbeth, and Jacques, taxonomizing 'seven ages' in his monologue in As You Like It [or What You Will] - but somehow exempting him (and us, with him ?) from it... ?




 Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)
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Saturday 3 October 2015

How Many Children Had Lady Macbeth ?*

This is a review of Macbeth (2015)

More views of – or before – Cambridge Film Festival 2015 (3 to 13 September)
(Click here to go directly to the Festival web-site)

3 October (End-note / Tweets added, 4 October)

This is a review of Macbeth (2015)




Some of the inventive ways in which the Shakespeare play has been transmuted in this film simply will not have people seeking out the original, because they probably will not conceive that the play (in the form, at any rate, in which it has come down to us) has here been (in places) very much abridged, or that material has been relocated within it (sometimes within an immediate context, sometimes scarcely so, and even to the extent of introducing repetition) : at other times, it will be clear that, under licence, painting with images or with poetry are part of this endeavour. (This will be evident without anyone needing to know that it is those who have edited Shakespeare, over the centuries (and by a process of inference and deduction), who have given us both scene-locations and some of the usual printed stage-directions (e.g. as to who is on stage during a scene, and when he or she enters or exits), and thus that a licence to do something different, if it were needed even in the theatre, can be claimed.)




Where many are most likely to come unstuck, however familiar they may be with the text that we have from the so-called First Folio of 1623, is with the bewilderment that is the film’s ending : none, almost needless to say, of the pat wrapping-up, in however mournful rhyming-couplets (which we might also recall from the close of Lear), but instead much confusion of image and action – of thought, word and dream.

Thereby pursuing, relentlessly and acceleratingly, the blurring of sleeping and waking that builds across the film : just as the verse-speaking, simply gorgeous at the start (and therefore bringing tears at its beauty), becomes more and more degraded by fury, frenzy, and fire. Just, likewise, as Jed Kurzel’s score**, which began with so much heart-breaking keening and Celtic intonation, ends – through partway beginning to incorporate electronica – in quite another mood, and place. [He is sure some relation to director Justin Kurzel, being credited with scoring his Snowtown (2011) (amongst others) ?]).




On all of these levels, then, Macbeth (2015) both is and mimetically embodies a journey into night, and it slips further and further into it, whereas Shakespeare’s protagonist will have it that sleep has become elusive to his ambitious quest :

Still it cried 'Sleep no more!' to all the house:
'Glamis hath murder'd sleep, and therefore Cawdor
Shall sleep no more, Macbeth shall sleep no more!'
Act II, Scene II, 40–42




Except that, in fact, what distinction is there between whatever ‘reality’ is and the distracted snatches of the world that come to us as part of and, to some significant extent, filtered through the medium of Macbeth’s mind, mood, and soul ? (Which makes the screenplay, and its approach to the text itself, quite sympathetic (as, with some musical instruments, ‘sympathetic strings’ are), in wanting to make interpolations and transpositions within it.) Nonetheless, the direction may have strayed, by trying too hard to give us a visible basis for others’ opinion, such as reported here (as well as co-opted from Macbeth’s attempts at self-diagnosis), in the form of montage ? :

Great Dunsinane he strongly fortifies.
Some say he's mad ; others that lesser hate him
Do call it valiant fury
Act V, Scene II, 12–14


With some material, such as the case of merely truncating the interchange between Ross and Macduff (at the end of Act IV) to concentrate on one principal topic, the screenwriters give us Macbeth pretty straight ; with other parts, they bend them very much more to their will, and for a broad variety of purposes, such as :

* In the opening (crimson) captions, as well as explicating the origins and significance of - and forces behind - the conflict that we see, even naming a battle (that of Ellon)

* To clarify how it is that Macbeth becomes / expects to become king (which, it is arguable, is not the strongest element in the idea of eliminating Duncan / committing regicide)

* In doing so, and almost certainly on no naturalistic level (but rather on that of will (again***)), characterizing Malcolm’s impulse to flee – which is exemplified in the text, and at its peak, at the moment when Macbeth puts the witches under obligation****

* To expand Lady Macbeth’s familiar scene with the doctor into the general theme of sleep-walking into the future (which not a few ages have liked as an idiom), and thereby dis-locate time and space****

* In a linked way, to widen the scope and role of the witches so that they permeate the totality : in their two-handed Macbeth (in the building in Cambridge that is known as The Leper Chapel), Richard Spaul and Bella Stewart of in:situ made enchantment and being bewitched central to the production




End-notes

* Quoting the title of the essay by L. C. Knights, ’How Many Children Had Lady Macbeth ? : An Essay in the Theory and Practice of Shakespeare Criticism’ (Explorations, New York University Press, 1964, 15-54).

** It would be so useful to pause the credits (during which so many others, blocking the screen and chattering, leave), because there are also ones for improvisation...

*** Endlessly shown in train, in literature and religious writing (which, from Paddy Considine’s Banquo, one feels that he well knows), from the Cabbalistic tradition of The Golem, and the creation of Adam, to that of Svengali and Trilby (in Trilby), or Frankenstein.




**** We do not directly, audibly witness these words in the film, but perhaps we already know that Macbeth demands information (openly calling it a form of conjuration), even at the cost of chaos – which is what the film, by other means, has us see, sense, and feel :

I conjure you, by that which you profess,
Howe'er you come to know it, answer me :
Though you untie the winds and let them fight
Against the churches ; though the yesty waves
Confound and swallow navigation up ;
Though bladed corn be lodged and trees blown down ;
Though castles topple on their warders' heads ;
Though palaces and pyramids do slope
Their heads to their foundations ; though the treasure
Of Nature's germens tumble all together,
Even till destruction sicken, answer me
To what I ask you.
Act IV, Scene I, 50–61




Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)
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