On Eyes

posted 6 Jun 2013, 16:03 by Gareth Morgan   [ updated 6 Jun 2013, 16:04 ]

[DISCLAIMER - since starting this post, sat in the corner of a friend's rehearsal, the world has become a bit of a whirlwind - from which I have only just had time to settle down from. This whirlwind was making a Shakespeare Live Art show in just 50 hours, 5 hours on the train, producing two script in hand performances in Lincoln in two days, bumping into Midge Ure, 5 hours on the train, Notes… rehearsal weekend, Notes… work-in-progresses, and EXEplorer mixed in amongst it all. Busy theatre-maker few weeks, but back to eyes…]

Sometimes you get an input on a show from someone who just gets it, straightaway. They give you some supportive criticisms on it but these are constructive - they are them encouraging you toward the outcome you've always wanted, not them placing their blueprint for theatre upon it - and this helps you to steer what you are making in the direction you always wanted it to go. I wrote this after a session with Natasha Lushetich, who lectures at Exeter. I wanted to put it up as a thank you really - that session was aces.

I also want to talk about music. The use of music in the process of putting the work together.

There has been a level of serendipity in how some of the musical choices have slotted together and whilst many of these have been removed from the final production, they have informed into the staging, realisation and construction of the piece's dramaturgy.

The use of Dylan's If You See Her, underscoring the final Voice speech in the first section, echoes into David in Act 2. This use of Dylan informing into the process of the end of act 1 causing David to discuss his relationship with the music - a beginning of a crack, a moment of merging between the conceptual framing of the piece and the delivered text. This is also the case with act 2's beginning, with intertextual 'feeling' section with Ry Cooder/Wim Wenders or its ending with The Righteous Brothers, also using film as counter-point too.

I'm also hugely indebted to what inspiration I've drawn from Ron Mael and Georgio Moroder's No. 1 in Heaven album from 1979 [seriously, 1979, that album was so ahead of its time!]. Their subversion of the modes of disco, pop and more punk/rock influences from their previous more garage-y albums has fed into the slower pacing and under-cutting of ideas. I do this a bit in reverse, I get more DIY by the end.

This sounds pretentious but I think it's the case.

I'll stop now but music was important - maybe I should have just said that?