Q&A — PROCESS / PROBLEM / CONFLICT / TEXT

CONFLICT

Performers do not need to manufacture conflict or artificially construct a relationship. Bring one's “soul” close to another person's; allow random / unconscious sensations to emerge; observe what occurs between two existing bodies / things. Construct from what is already there, ask what happens next and enter dialogue with emergent material. Potential concepts may emerge rather than being forced.

DRAMATURGY

The work first develops a physical score through weight, space, technical participation and accumulated physical tools. When technique reaches its developmental limit, the notion of a problem is introduced. A more conventional dramatic progression may then be attached.

Theatre Re does not necessarily begin from traditional dramaturgical progression. Guillaume does not believe in total abstraction of the human body. Eventually form needs some context to progress, but context is not where the process starts.

PROBLEM VERSUS CONFLICT

A problem can generate many stages before conflict: create distance from the problem; formulate an idea; develop strategy; attempt a solution; discover failure; change strategy; introduce doubt; try again.

Conflict is only one possible stage. The problem itself is especially important for drama because it creates a point of attention.

ACTION / MOVEMENT

“Theatre cannot exist without movement.” Action and movement are part of the DNA of theatre. In conventional drama conflict may generate action; in Theatre Re, movement is already physically generated and theatrical components are reordered. Two living bodies can become the point of attention through their relationship without immediately becoming conflict.

TEXT

Text is compared to a piece of clothing. Physical material exists first; text can be tried on. Does the text fit the physical material? This exploratory process reverses text / idea → physical form into physical material → text tested afterwards and requires a kind of rewiring / discipline.

GAMES / OBJECTS

There is no rigid system for choosing a game or object. The process is fluid and responds to room, space, people and project evolution. A game may be retained and develop unexpectedly, or discarded when nothing develops.