In the third and final conflab between The Quest co-founder Darren Brady and international theatre practitioner and academic Paul Woodward, they make their final reflections on the power of crafted storytelling for the stage and its potential within The Quest provision, as well as heralding the launch of the next phase in storytelling The Haunting…
So this is our final conversation about storytelling. I know that you have recently performed yourself and I was interested to know- What do you think happens when somebody shares an important story about themselves with an audience? Continue Reading →
In the second part of a trilogy of discussions, the creators of Beneath The Surface explore the many issues raised in reviving a live storytelling performance
Paul Woodward: So… in resurrecting the performance Velvet Rage Live: Real Stories which was performed at the Sarah Siddons Theatre in November, it became the revised version Beneath The Surface which was presented last week at The Embassy Theatre at The Royal Central School of Speech and Drama… I wonder if we could reflect this session on what happened in-between these events in terms of the cast and their relationship to the material… and I guess within that there is a good question that we can use as a conflab starting point and focus…
Is a story completed once it is told?
Darren: The guys had moved on in quite a significant way after they performed their piece the first time. When we regrouped to go through the piece for the performance a few months later there was a different energy to the stories. It was less ‘charged’. They were assured and confident and had a distance between themselves and the events they had retold in their stories. It was actually quite beautiful to witness. It also created a challenge- how do we now make these stories have emotional impact for the audience? Continue Reading →
In the first part of an ongoing Conflab, The Quest co-founder Darren Brady and Storytelling Coordinator Paul Woodward discuss their journey as Storytelling Facilitator and Dramaturg (respectively) for the recent performance piece ‘Beneath The Surface’.
The show was first premiered last year at the Sarah Siddons Theatre as part of our Gay Utopia weekend, and recently re-worked and performed to great acclaim at The Embassy Theatre at The Royal Central School of Speech & Drama.
Paul: I thought we could kick this off with our responses to a quote I read recently: The secret of a moving story is to tell it from a place of complete authenticity – Annette Simmons.
Darren: Yes absolutely! But in reality that’s easier said than done! As gay men we learn very quickly (from the ages of 4 upward) to start hiding a key part of our true (authentic) selves, so showing ourselves does not come naturally to us.
Paul: And I think its interesting that the very nature of theatre itself presides on a kind of inauthenticity – in the traditional sense, the actors and the audience are collaborating in a lie – pretending neither is there in the same space at the same time. There’s always been speculation about why gay men in particular are drawn to the theatre arts. I wonder if its something to do with two forces prone to hiding reality, or a masking of truths based on some fundamental in-authenticities. Gay men and theatre – the mix in some ways was always going to be explosive, for our performers and audience both. Continue Reading →
The world recently watched with anticipation as the most successful championship cyclist the sport has ever seen perform an extraordinary series of disclosures in his highly publicised interview with Oprah Winfrey. Despite many years of staunch denial, supported by a mercilessly aggressive campaign of defence against almost all detractors, including libel actions upon both friends and colleagues alike, Lance Armstrong finally came clean to the world, and admitted he used performance-enhancing drugs to clinch the once legendary championship victories that had inspired so many.
I don’t know about you, but it was, for me, a uniquely unsettling experience. It wasn’t just due to the squirm factor of watching a publicly disgraced man attempt to seek absolution through trial by TV. Nor was it embarrassment at watching a man making a last ditch attempt to claw back some remnants of a career for himself. It was something else, something deep inside of me that stimulated these acutely uncomfortable feelings. Continue Reading →
~ A Dramaturg’s Perspective on ‘Beneath The Surface: Real Life Stories’
As we await the next incarnation of The Quest storytelling performance inspired by The Velvet Rage… Paul Woodward, the production Dramaturg reflects here about how the original production Velvet Rage: Real Life Stories was shaped and structured, and the processes which brought the piece to fruition….
It’s a weird old word, German in origin (and boy does it sound it), which when I describe myself as such makes people check my breath, to see if I’m drunk and trying to say ‘dramatist’ or ‘director’ – in actual fact, its kind of a specialized combination of both of these things. I’m going to resort to Wikipedia here (the academic in me shudders at this of course) for the clearest definition I could find:
Dramaturgy is the art of dramatic composition and the representation of the main elements of drama on the stage. Dramaturgy is a distinct practice separate from play writing and directing, although a single individual may perform any combination of the three. Some dramatists combine writing and dramaturgy when creating a drama. Others work with a specialist, called a dramaturg, to adapt a work for the stage.
Dramaturgy may also be defined, more broadly, as shaping a story into a form that may be acted. Dramaturgy gives the work or the performance a structure.
And that’s basically what my role was for this project. I was the structure and shaper guy for the piece, the guy in charge of production design, and who took a co-directorial position, alongside Darren Brady, who was taking the reigns on this particular project, as facilitator. Continue Reading →