When your fish meets another fish they stop for a moment, acknowledge each other and move on. Notice when the moment is too long and it's a bit embarrassing. Notice when your fish feels cut off.
Notice when you feel like your fish went too early. Don't criticise, but judge and notice. All this happens in really life. We feel all this. Fish feel all this. It's the pulse of social behaviour. LOOK AT YOUR FISH!
Part 1 Hold your hand in front of you and imagine your hand is a fish. Look at the fish, and let the fish look around the room. Imagine that you can see what the fish sees - focus. Let the fish lead. Your arm follows the fish, and you follow your arm - fixed point. Imagine what the fish is seeing, thinking. Think what the fish is thinking. Breathe with the thoughts - breathing. Follow where the fish takes you.
This is what they did: This is what they were trying to do (redirected): In the first picture the puppeteers are "feeling it" - you can see them feeling it. They are full of earnest passion. All three of them. Pushing the puppet over the edge of the table to show us that he's looking over the edge. But the puppet isn't thinking or feeling anything. The puppet is passive, pushed over the edge of the table, off balance. In the second one however the puppet is thinking. You can see the puppet thinking. You know what it is thinking and guess at what it is feeling, just from looking at it. Or to put it another way, you are feeling what you're seeing.
I stayed. Actually it wasn't as painful as the other one and the seating was more awkward. I realise of course that people must have felt like this in my shows as well. Although if I'm honest I find it very difficult to really face that fact. It's interesting what we will go to again and again even though it isn't good, in the hope that one of them will be good. And what we won't. I think this is the more important factor in success - not what the good ones are like but what you feel about the bad ones. Not sure how you capture that.
What should you do when you see a show that you hate? Last night I saw a show that I hated from the first five minutes. I wanted to go almost straight away and it was agony to stay there. My neighbour who I didn't know, turned to me after about 20 minutes and said, "Did we pay for this?" He left in the interval, I and the person I went with, stayed. It's hard to make theatre and there's plenty to learn from watching a show you don't enjoy. But it is torture somehow. You can't do anything else. At least on the tube I can read a book or listen to music or just look at people. But the rest of the audience loved it. In fact they gave it a standing ovation. I guess it was worth staying to see tha
It may not even represent the views of the blogger. What is a blog? I've only written 71 posts so far. I'm learning. I'm figuring it out as I go along. The way I do everything. The way we all do everything. It's a work in progress. Life is a work in progress. This is a place where I write things that are on my mind. Most likely things I don't like about what I'm doing - because that's what I'm thinking about. I'll also write about things that pop up in rehearsal that I don't know what to do with. What probably isn't going to be here is all the stuff that's going well, because it's going well, so it's not on my mind. And I'll change my mind. And events will change. And what I mean will change
This is all about trust isn't it? I don't trust people who are always positive. I can't. Of course positivity is important but always being positive is not good, it's alarming. It implies that you don't make judgements at all. If I am relying on someone to tell me that I am "ready" to go on stage, then I have to know that you would tell me if you weren't. Otherwise I can't trust you.
I think people often wonder what to say to people who make things like plays. And they often think artists are upset by criticism. But actually I don't think that is quite true. I like criticism. I like opinions. I listen to them. In fact I seek them out. I respond to them. I change what I do in response to them. But they need to be specific. "I didn't like the scene when..." Or "that bit annoyed me". Or "I didn't get what it is about". Or "you should have done this". Or that. Or the other. Actually that last one is probably the most useful. When someone thinks there is something that was glaringly missing, sometimes that is the key to the whole thing. Someone (Kieran Fay) once said to me in
On Saturday we renamed "Henry", “The Puppeteer”. We changed the first page on monologue. We cut lots of exposition, we re-retranslated the subtitles (thank you Ana!), we re-programmed some cues and premiered in Spain to an audience of 400 people who love The Table. We also added a shopping trolley dance with 3 shopping trolleys. It was pretty hard to perform but we got through it and the audience was encouraging and generous. A critic was not so kind, once again he mistook my piss-take of an egotistical director for me being egotistical director. (I probably am but...) Feedback from the festival and audiences suggested 3 things: 1 - people didn’t like it as much as the Table. 2 - People appl