Ok, so we had our first run without stopping and our first audience of three. And although the play still needs to gets it's arc right, (ie we need to see what happens in the little quest we establish - does Thandeka find out what happened to her dad in Johannesburg? Does it matter? Does she make sense of her journey...etc) - still, at least the audience (of three) is interested in what happens to her. This is good.
Its been an incredibly taxing week, trying to push it all together. The performers we are working with are AMAZING!!! I am SOSOOOOOSO impressed by them. I am constantly giving them new bits of script, new lines, taking away lines I gave them only a day ago. (Oh sorry, did you learn those words, well, we're cutting them!). And I have never seen any of them with script in hand during a rehearsal or run through. They are SO professional, SO versatile and so so talented.
Congrats to them. And to Jen and I for casting them - aren't we clever for spotting such talent!!
No, no video yet. Monday, Monday....
Saturday, June 20, 2009
Friday, June 19, 2009
The Abyss (and back again)
Blogging about this baby is harder than I thought. There's always a bit of mystique in the rehearsal process and artists don't like voyeurs in the early stages - with good reason.
Sometimes we wonder if there's a play in there at all. Sometimes I wonder why I do this to myself. Staring down into the abyss wondering if there's a play in there somewhere. Watching the calendar shrink.
The slow work of trying to make concrete the invisible. Ideas abound, but bodies in space and time catch up slowly. This process of page to stage and back to page again is confounding sometimes.
We had Guy in town two weeks ago. Our lighting designer and production, old mucker from Grahamstown. What were we thinking? When we first planned his visit, we felt sure that the early June was the perfect time. We'd have enough to show him by then, and we'd still have enough time to polish before the festival. Gulp.
We didn't factor in the Wits prac exams and how incredibly fragmenting and time consuming they'd be. So at best we had some cobbled together scenes to show him, from all the material we've been generating. A hilarious "friday night" movement sequence, and this still tentative little narrative... girl travels to Joburg to find what happened to her dead father... meets taxi owner / tour guide megalomaniac... hmmm, but its sketchy at best and needs serious editing.
When we had a run on Wednesday I went home with a rock in my heart. That sinking ooooh noooo feeling. Stayed up late and made some bold cuts, shuffled some scenes around and now its looking stronger.
Its turning into a collage of ghost stories - strange little portraits of Joburg people past and present who's spirits wander the streets and tunnels underneath the streets.
We'll be taking a video clip over the weekend, and if we're brave enough we'll post some here.
Sometimes we wonder if there's a play in there at all. Sometimes I wonder why I do this to myself. Staring down into the abyss wondering if there's a play in there somewhere. Watching the calendar shrink.
The slow work of trying to make concrete the invisible. Ideas abound, but bodies in space and time catch up slowly. This process of page to stage and back to page again is confounding sometimes.
We had Guy in town two weeks ago. Our lighting designer and production, old mucker from Grahamstown. What were we thinking? When we first planned his visit, we felt sure that the early June was the perfect time. We'd have enough to show him by then, and we'd still have enough time to polish before the festival. Gulp.
We didn't factor in the Wits prac exams and how incredibly fragmenting and time consuming they'd be. So at best we had some cobbled together scenes to show him, from all the material we've been generating. A hilarious "friday night" movement sequence, and this still tentative little narrative... girl travels to Joburg to find what happened to her dead father... meets taxi owner / tour guide megalomaniac... hmmm, but its sketchy at best and needs serious editing.
When we had a run on Wednesday I went home with a rock in my heart. That sinking ooooh noooo feeling. Stayed up late and made some bold cuts, shuffled some scenes around and now its looking stronger.
Its turning into a collage of ghost stories - strange little portraits of Joburg people past and present who's spirits wander the streets and tunnels underneath the streets.
We'll be taking a video clip over the weekend, and if we're brave enough we'll post some here.
Sunday, June 14, 2009
We declare the gold diggings open
Joburg is probably the most democratic of South African cities. Sure, the rift between rich and poor is an ever widening canyon. Sure the real money is in the hands of the few, and it helps if you went to the old boys schools. But if you have a smart idea and a gift for talking, you can make cash flow towards you. Easier than, say, Cape Town where its your pedigree that counts, and how many grape vines your family owns.
We built this city on rock and gold
Joburg has opened her dirty streets to Nigerians, Rwandans, Zimbabweans, Congolese, Mozambicans, Malawians, Cote d'Ivoirians, Senegalese and Ethiopians. Lets not forget that both her sky-grabbing buildings and her earth-burrowing shafts were built by migrants from the north. Well, apparently this was forgotten when so-called foreigners were chased, burned, beaten and stolen from, a year ago. But lets not dwell on that weird contradiction right now.
Come join us on the playground
So in the spirit of the inclusiveness that made this city, we want to throw open the doors to Paydirt, and invite people to collaborate. Do you have ideas, snippets of writing, stories or real life experiences that you'd like to share or see included in a unique collaborative performance piece? If you are a digital artist, writer, photographer, an image maker, storyteller, animator or simply someone who lives in and loves Jozi, you are welcome to send us a proposal for a project that might link into Paydirt in some way. Think exhibitions, online collaborations or site specific performances.
We built this city on rock and gold
Joburg has opened her dirty streets to Nigerians, Rwandans, Zimbabweans, Congolese, Mozambicans, Malawians, Cote d'Ivoirians, Senegalese and Ethiopians. Lets not forget that both her sky-grabbing buildings and her earth-burrowing shafts were built by migrants from the north. Well, apparently this was forgotten when so-called foreigners were chased, burned, beaten and stolen from, a year ago. But lets not dwell on that weird contradiction right now.
Come join us on the playground
So in the spirit of the inclusiveness that made this city, we want to throw open the doors to Paydirt, and invite people to collaborate. Do you have ideas, snippets of writing, stories or real life experiences that you'd like to share or see included in a unique collaborative performance piece? If you are a digital artist, writer, photographer, an image maker, storyteller, animator or simply someone who lives in and loves Jozi, you are welcome to send us a proposal for a project that might link into Paydirt in some way. Think exhibitions, online collaborations or site specific performances.
But that's not all
The play that launches in Grahamstown on the 2nd of July is still under construction. Currently its a melting pot catchment for portraits, landscapes and meditations on the Jozi experience, with a chopped up linear narrative running through it.
Be part of the first blog playmaking collaboration ever (that I know of)
Like the city that has been built, erased, re-built and is still under construction, Paydirt will continue to be shaped and tweaked long after its Grahamstown run. Or so we hope.
So here are some starters – taken from some of our chapter headings. We welcome stories under 500 words and they must relate to Joburg – portrait, landscape or still-life.
Lost
Park Station
Negotiations
Trouble
Friday Night
Traffic-Lite
Under Construction
Hillbrow
Protection
Send them (or your proposal) to playdirtplay@gmail.com
If we like yours we'll either:
Put it on the blog
Incorporate it into the play
Use it in one of our future reworked versions of the play
You will be credited. We cannot yet promise moolah, but if you invite more and more people to visit the blog we can persuade new sponsors to give us money and we can promise them some logo-space on the blog.
Go on, give it a go!
Monday, June 1, 2009
Process - early days
Collaborating in the way we have chosen requires huge reserves of trust and lots of letting go. As well as a healthy dose of control, in the right places, and loads of preparation. Sounds contradictory? Its weird, but I'm a firm believer in a creation process that doesn't involve constructing so much as uncovering. Or allowing. Finding the underlying structure and pattern to a work, listening closely, and scratching away at the topsoil to reveal what's there - a skeleton framework under the sand. The key is spotting a pattern that others may not see coz they don't have their eye tuned in.
Let me take you back to our early chats. Jen's idea - I want to create a work that uses three modes - portrait, landscape and still-life. My idea - I want to create a work about Joburg. About the way that this city's goldrush origins still inform it's contemporary spirit. The original city site was the driest, most inhospitable piece of land in the area - allocated for settlement because it was the only spot where there was no gold underneath. The population that streamed in like the rivers that originally brought gold dust into the sludge here in the first place, billions of years ago, came purely on the "tata ma chance" philosophy - a bit of adventure and (maybe) some money. They chipped and drilled and blasted away, penetrating ever downwards in search of those quick moments of yeah-haaa! Yep, its origins are distinctly masculine.
So, we take these two ideas and we audition people using some extracts from Vladislavic's Portrait with Keys and a couple of non-verbal scenarios based on getting lost in the city. We cast three people that we like and feel excited about working with.
At our first meeting, we take those three modes - portrait, landscape, still life and we brainstorm. Mining each of our 'Joburg' experiences, we create three lists. What is Jozi to you - the landscapes, the objects, the people.
We give homework - everyone must go and research two random people that fascinate them. One on each end of the economic scale.
At the next rehearsal we share these stories, gestures, observations. Nhla has had an extraordinary conversation with a homeless man in Joubert Park. His story is one of many stories that give truth to the "if you go there you will never come back" line. A man from Lusikisiki whose mother does not know where he is. Their stories layer quite neatly over the conversations we already had, and the structure that is starting to emerge.
I've already got a storyline I'm nurturing as a hook - something about a girl who goes to the big city in search of her father. She meets a skellum. She has some choices. I'm not pushing this story, but i'm aware its there, and I share it, and ask them to do some character exploration. I only know the opening phrases of it - no crisis yet, just the first movement.
In the meantime, we are also using each of their audition pieces as source for some material. Jess did a haunting breath/running/chased sequence. Ndu clearly is adept at character channeling. Nhla, well, he's got a nice take on the rural perspectives. We spend some sessions bouncing the storyline back and forth at each other until it starts to get an arc. This is fun. We realise that we all have an 'outsider' perspective on Joburg. But then we remember that this is the core Jozi experience. Everybody was a foreigner here in the early days. Its part of the soul of the city.
In the meantime, Jen developing some killer gesture-scapes with them. As you can see, our rehearsals til now are fragmented and we are working piece by piece, filling in a structure that can accommodate small slotted-in segments. Yes, there's a storyline. But there's also a whole parallel historical narrative that sketches the history and origins of the city, as we follow our heroine on her journey. And there are also parallel "car window" vignettes. Short cuts, chopped in. Fragmented, yeah, that's the scene here in Jozitown, so that's how its working for now.
And I trust that it is. Working, that is.
That was the first week or so. Now that we've done some interesting explorations and generated some truly delicious physical sequences ( the Friday Night Brenda Fassie sequence is to die for, doll), we need to start pinning it all together and sculpting. I've got the structure down now. Nhlanhla and I have figured out the story arc. (Well, it just landed, really).
I'm frantically trying to get a decent working script out for tomorrow, so pardon me for now.
I do have an exciting aspect to talk about in terms of collaboration and further processes we wish to explore, but before those come, I just needed to give you that bit of background...
If you'd like to write to us, please do - you can send email to paydirtplay(at)gmail(dot)com. You get the code, neh? That's to fool spammers. Coz I'm a streetsmart Jozikid, me. I can sommer fool the spammers. They won't catch me.
Let me take you back to our early chats. Jen's idea - I want to create a work that uses three modes - portrait, landscape and still-life. My idea - I want to create a work about Joburg. About the way that this city's goldrush origins still inform it's contemporary spirit. The original city site was the driest, most inhospitable piece of land in the area - allocated for settlement because it was the only spot where there was no gold underneath. The population that streamed in like the rivers that originally brought gold dust into the sludge here in the first place, billions of years ago, came purely on the "tata ma chance" philosophy - a bit of adventure and (maybe) some money. They chipped and drilled and blasted away, penetrating ever downwards in search of those quick moments of yeah-haaa! Yep, its origins are distinctly masculine.
So, we take these two ideas and we audition people using some extracts from Vladislavic's Portrait with Keys and a couple of non-verbal scenarios based on getting lost in the city. We cast three people that we like and feel excited about working with.
At our first meeting, we take those three modes - portrait, landscape, still life and we brainstorm. Mining each of our 'Joburg' experiences, we create three lists. What is Jozi to you - the landscapes, the objects, the people.
We give homework - everyone must go and research two random people that fascinate them. One on each end of the economic scale.
At the next rehearsal we share these stories, gestures, observations. Nhla has had an extraordinary conversation with a homeless man in Joubert Park. His story is one of many stories that give truth to the "if you go there you will never come back" line. A man from Lusikisiki whose mother does not know where he is. Their stories layer quite neatly over the conversations we already had, and the structure that is starting to emerge.
I've already got a storyline I'm nurturing as a hook - something about a girl who goes to the big city in search of her father. She meets a skellum. She has some choices. I'm not pushing this story, but i'm aware its there, and I share it, and ask them to do some character exploration. I only know the opening phrases of it - no crisis yet, just the first movement.
In the meantime, we are also using each of their audition pieces as source for some material. Jess did a haunting breath/running/chased sequence. Ndu clearly is adept at character channeling. Nhla, well, he's got a nice take on the rural perspectives. We spend some sessions bouncing the storyline back and forth at each other until it starts to get an arc. This is fun. We realise that we all have an 'outsider' perspective on Joburg. But then we remember that this is the core Jozi experience. Everybody was a foreigner here in the early days. Its part of the soul of the city.
In the meantime, Jen developing some killer gesture-scapes with them. As you can see, our rehearsals til now are fragmented and we are working piece by piece, filling in a structure that can accommodate small slotted-in segments. Yes, there's a storyline. But there's also a whole parallel historical narrative that sketches the history and origins of the city, as we follow our heroine on her journey. And there are also parallel "car window" vignettes. Short cuts, chopped in. Fragmented, yeah, that's the scene here in Jozitown, so that's how its working for now.
And I trust that it is. Working, that is.
That was the first week or so. Now that we've done some interesting explorations and generated some truly delicious physical sequences ( the Friday Night Brenda Fassie sequence is to die for, doll), we need to start pinning it all together and sculpting. I've got the structure down now. Nhlanhla and I have figured out the story arc. (Well, it just landed, really).
I'm frantically trying to get a decent working script out for tomorrow, so pardon me for now.
I do have an exciting aspect to talk about in terms of collaboration and further processes we wish to explore, but before those come, I just needed to give you that bit of background...
If you'd like to write to us, please do - you can send email to paydirtplay(at)gmail(dot)com. You get the code, neh? That's to fool spammers. Coz I'm a streetsmart Jozikid, me. I can sommer fool the spammers. They won't catch me.
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