Five Truths

  1. First, some context, so you know what on Earth I’m reacting to.

  2. And now, my reaction.
  3. At the @v_and_a, experiencing #fivetruths. Arrived midway through the loop. Correctly identified Brecht, muddled the rest completely.
  4. Hanging around now to watch each Truth all the way through. Stanislavski first. #fivetruths
  5. The Stanislavskian Ophelia could be a character in Cartwright’s ROAD. #fivetruths
  6. Stanislavskian Ophelia’s drowning clearly a choice: she composes & arranges herself, in the bare minimum of water. #fivetruths
  7. Not that she looks happy about it – but it feels like a decision nonetheless, not a reaction. #fivetruths
  8. Brecht’s Ophelia next. She’s once again deliberate, making herself up like her own undertaker. Very Gestic! #fivetruths
  9. Have I mentioned that Michelle Terry is stunningly good? #fivetruths
  10. Brecht’s Ophelia addresses us directly, of course. Unwavering eye contact. And singing! Love a bit of Brecht. #fivetruths
  11. Stanislavski’s Ophelia shows us why she dies. Makes the act tragic, cathartic. Brecht’s tells us. Makes the act an accusation. #fivetruths
  12. And matter-of-factly, she dunks herself. #fivetruths
  13. Out of my comfort zone now. I’ve never studied Artaud, Brook or Grotowski. #fivetruths
  14. Already the Artaud version seems quite dependent on the camera angle. Close up through the fishtank. Would it work on stage? #fivetruths
  15. Artaud’s the Theatre of Cruelty one, right? Can anyone give me a 140-character crash course? #fivetruths
  16. @MattBoothman The idea is that it communicates pre-linguistically, pre-rationally.
  17. @MattBoothman Though it would be fair to add that I think Artaud is 85% codswallop.
  18. @DanRebellato I think maybe my secondary school drama teachers agreed, and that’s why they only taught Brecht and Stanislavski…
  19. I fear for Artaud-Ophelia’s goldfish. #fivetruths
  20. She took the goldfish bowl off-camera, goldfish and all, and it was never seen again.
  21. Brecht-Ophelia and Grotowski-Ophelia are competing, drowning the rest out. #fivetruths
  22. Brecht-Ophelia does a lot of strident singing. Grotowski-Ophelia wails. Because the underlying structure of the five pieces is the same, these high-energy moments tend to occur simultaneously. Stay in the installation long enough and you get a really strong sense of the rhythm of the template speech.

  23. The weird distortion on the camera is distracting me from Terry’s performance as Artaud-Ophelia. #fivetruths
  24. @MattBoothman That’s the point. Just see the work as cruelty, and how ‘painful’ it is for actor/audience
  25. @jakeyoh Well, that’s certainly a different way to look at performance…
  26. The sound is muffled/underwatery too. I don’t understand how this would work as a theatrical style. Feeling a bit ignorant. #fivetruths
  27. There’s not much question but that Artaud-Ophelia is mad, plain and simple. #fivetruths
  28. On to Brook-Ophelia. Nostalgic. Going through possessions with reverence – saying goodbye. #fivetruths
  29. She’s gone. We’re left with an empty space. #fivetruths
  30. See what I did there?
  31. She’s back. This time I really get the feeling she doesn’t want to do what she’s going to do. Singing to delay the deed. #fivetruths
  32. Brook-Ophelia’s suicide has a tragic inevitability to it – but also a heroic determination to be remembered. #fivetruths
  33. Brook-Ophelia’s tidy desk is her combined suicide note / last will and testament / confession. #fivetruths
  34. Brook-Ophelia floats but doesn’t drown, her face above the surface. #fivetruths
  35. @MattBoothman My favourite is your next one… Grotowski. It’s chilling.
  36. Finally, Grotowski-Ophelia. My brain is saying “Poor Theatre” to me – have I got that right? #fivetruths
  37. Yes, according to Wikipedia:

  38. The Grotowski screens are dark the longest. The rest are humming, arranging possessions … this one’s fashionably late. #fivetruths
  39. But wow, what an entrance. Shaking and wailing with despair under the desk. #fivetruths
  40. Grotowski-Ophelia is alternately resigned to her fate and railing against it. #fivetruths
  41. Five cycles in and Brecht-Ophelia is still demanding my attention, impossible to tune out. #fivetruths
  42. Grotowski-Ophelia’s main motivator is grief. She’s utterly defeated by it, yet driven on by it too. #fivetruths
  43. Grotowski-Ophelia’s possessions lie abandoned, carelessly discarded. Stillness. She’s nowhere to be seen. #fivetruths
  44. …and lights up on her floating face down, the deed carried out *ob scene*. #fivetruths
  45. Thus endeth my #fivetruths Twitter deluge.
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One Comment to “Five Truths”

  1. Aha! Storify/Wordpress linking works now. As you were. I’ll be the one in the back room, tinkering.

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