It’s been rather crowded recently – people, theatre, words, more people, more theatre, more words – on paper, in the air, in that dusty attic posing as my brain. Characters that had previously inhabited the relative comfort of notebooks, sleeping between the pages, are at present being made ready to be brought to life. Dusting off their wigs, hats and coats; now a little fard, a little rouge and powder; polish those shoe buckles, and they are standing in the wings, ready to leap out into the spotlight. Nothing huge, mind, in the way of actual stage-work; just a little conversation here and there – only with unexpected results. It has been an ongoing creative process, with more to come: something else I had previously written to no end has now been taken on board by another set of creatives who are actually enthusiastic to bring it to life; and all of this happening all at the same time. A little whirlwind made up of other people’s imagination, energy and perception is making its way across the pages; words, lines, dialogues, whole scenes have life breathed into them, and the transition from paper to that unreal reality of theatre is made, almost without you realising it. The magic has begun – thought processes start to whir, kickstarting a series of added details, gestures, inflections and more; some of these will be kept, others discarded, there is a constant moulding and re-modelling until the piece of art that is an imaginary character stands up on stage and takes command of itself.
The bubbly enthusiasm and creative energy brought to the rehearsal space by the actors themselves speeds up that process.
Watching someone take on board your ideas, thoughts, words and characters and invest their energy, creative, physical and even psychic, in something you have written could be a challenging experience – horror stories abound of writers turned homicidal after the perceived mangling of their work by negligible directors and/or actors; so far I can only say how pleasurable it has been, and how curious I remain to see what happens next, how those same characters will develop on stage. It is all part of the huge ongoing creative process called acting – and when you are fortunate enough to find those who can jump in, focussed, and pick up the shreds and patches we offer them, it is a magical thing indeed.
It takes a particular kind of humility to submerge one’s own ego in another’s; it is what drives many very fine actors (whom we may never actually see on the big screen), and a quality which makes such actors very special people indeed.
No U-Turn will be at the Pleasance Theatre Islington, on Sunday 17th: www.directorscuttheatre.co.uk/nouturn