Judith Adams - Playwright & Dramatist

"Judith Adams and Gaynor Macfarlane: two of the safest pairs of hands in radio" Radio Times Choice

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Whitestone Arts Research Centre

Creative Workshop Space, West Yorkshire

Adapted 17th Century Pennine longhouse

www.whitestonearts.co.uk
info@whitestonearts.co.uk
+44 (0)1535 644644

blog entries

Timis

Comment No. 1059660

April 20 10:37

(aka Judith Adams of Clickwind and Ghost - and currently exploring a rehearsal/performance score with Fifty-Nine Productions to show/tell the story of Angela Carter's Lady Purple)

It feels to me as though it isn't so much technology itself to blame for its disjointed relationship to many productions, as the minds of those producers and directors who compartmentalise - the better to control - all elements of live performance creation and staging.

Too often, new media artists are called in like decorators to slap paper over the walls of a house already designed and built (all too often from pre-fabricatied, and so moribund, blueprints). As usual, theatre has been grindingly slow to embrace change. Other art forms have already bent, beaten, twisted, encouraged and challenged new media to grow organically, empathetically and creatively.

Theatre alone does not seem to see the thrill and beauty of incorporating all elements in the plans for construction from the outset: space, text, visuals, technology ("For the Art Itself is Nature"), sound - even audience, ideally. Rehearsals instead take place behind sacred closed doors, letting the next influence in under strict, staged rules of guarded defensiveness.

Mitchell's decision to virtually co-direct and re-think as well as rehearse Waves WITH the possibilities of new media, in the light of Fifty-Nine's (Leo Warner's) video daring and vision, was what earned it the accolade of seeming "like a new art form". Likewise groundbreaking is most of what the National is doing at the moment, brilliantly, under Tom Morris and Nick Hytner: engaging all its artists at once in the mix of finding a voice for each project. Strangely, it's the old avant guard who now who seem to be most self-protective about directorial control and unchanging styles of production.

You only get to new art forms by letting go and stepping off cliffs.

(Fifty-Nine, however, are also able to perform video sleights of hand so magical that no one sees it's video - as frustrating sometimes for them as doubtless is the telling fact that there are no prestigious awards yet for video design in the theatre world).

Interestingly, the Arts Council seems currently quite interested in cliff-leaping and moving away from the conventional making of shows to the old bums on seats marching tune of R&D, Making, Showing. They have currently funded myself, 59, dancers and puppeteers to try and uncover a language/text/score for Lady Purple - where there's no dialogue.

A fabulous step into space for a playwright.

All together now........let's evolve.

PilotTheatre

Comment No. 1059721

April 20 12:23

excllent points Timis. Our 'Looking for JJ' show that Lyn mentioned was built online and in fact the design team from the off included av/lx/sound and 3D scenographer from the start of the project who could work together to produce the best positions and design for the images/text/lights/ to work cohesively right from the initial meeting. The bolting on of a video projection is not enough. The whole design and creative process needs to work together.

Timis

Comment No. 1059780

April 20 14:11

re "we don't burn lime in a box downstage centre anymore"

- I have to admit, guiltily, that I quite fancy this end of the spectrum too, having always longed to end a show with fireworks and burning down the house - both of which happen in the Angela Carter story we're working on.

A one-performance only conflagration: so easy to market - so hard to sell to funders.