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Ildiko Solti: Crossing the line: full light 3D space provoking the audience into action
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Manage episode 160518971 series 1254227
Contenido proporcionado por Kingston Shakespeare. Todo el contenido del podcast, incluidos episodios, gráficos y descripciones de podcast, lo carga y proporciona directamente Kingston Shakespeare o su socio de plataforma de podcast. Si cree que alguien está utilizando su trabajo protegido por derechos de autor sin su permiso, puede seguir el proceso descrito aquí https://es.player.fm/legal.
The symmetry and balance suggested by the title, Measure for Measure, sits oddly with a play that crosses the line in so many ways – generically (as a problem play), structurally (by muddling up the purpose of the main action as set in motion by the Duke), and emotionally/ethically (none of its characters are above the occasional unsavoury demeanour). Any of these features would frustrate audience expectations and behaviour, but their dominance appears to suggest that such frustration of ‘normal’ beahviour may actually be the purpose of the play. But why antagonise your audience in such a blatant way, or indeed why produce a play in which there is no feature that does not require some, or a lot of, ironing out? I suggest that the original conditions of production in the full light arena, casting the audience as the streetwise filth of Vienna, makes ‘crossing the line’ their basic function morally, formally (through their leading light, Lucio) and even existentially (as bystanders, they are implicated in a series of ethically compromising situations that are aesthetic as well as (in complete light) fundamentally social. Looking at Act 2 Scene 2 in detail, I will contrast key points in the action as they are realised in a full light amphitheatre and on a proscenium stage, showing how the spatial structure of the visible arena is used to engineer this intensely bizarre engagement which cajoles the audience to tackle, and even relish wrestling with, some quite uncomfortable and impossible-to-solve existential/philosophical problems. Ildiko is an actor-director, researcher and teacher. She trained in Dramatic Arts at Macalester College, St Paul, MN, USA. Having returned to Hungary, she obtained her MA at Eotvos Lorand University, and was Artistic Director of an English language theatre company, The Phoenix, in Budapest. In 1999 she moved to London where she has been teaching and conducting research and experiment in performance, focusing on Elizabethan/Jacobean working theatre reconstructions through the method of research through practice in performance (PaR). She holds a PhD from Middlesex University.
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28 episodios
MP3•Episodio en casa
Manage episode 160518971 series 1254227
Contenido proporcionado por Kingston Shakespeare. Todo el contenido del podcast, incluidos episodios, gráficos y descripciones de podcast, lo carga y proporciona directamente Kingston Shakespeare o su socio de plataforma de podcast. Si cree que alguien está utilizando su trabajo protegido por derechos de autor sin su permiso, puede seguir el proceso descrito aquí https://es.player.fm/legal.
The symmetry and balance suggested by the title, Measure for Measure, sits oddly with a play that crosses the line in so many ways – generically (as a problem play), structurally (by muddling up the purpose of the main action as set in motion by the Duke), and emotionally/ethically (none of its characters are above the occasional unsavoury demeanour). Any of these features would frustrate audience expectations and behaviour, but their dominance appears to suggest that such frustration of ‘normal’ beahviour may actually be the purpose of the play. But why antagonise your audience in such a blatant way, or indeed why produce a play in which there is no feature that does not require some, or a lot of, ironing out? I suggest that the original conditions of production in the full light arena, casting the audience as the streetwise filth of Vienna, makes ‘crossing the line’ their basic function morally, formally (through their leading light, Lucio) and even existentially (as bystanders, they are implicated in a series of ethically compromising situations that are aesthetic as well as (in complete light) fundamentally social. Looking at Act 2 Scene 2 in detail, I will contrast key points in the action as they are realised in a full light amphitheatre and on a proscenium stage, showing how the spatial structure of the visible arena is used to engineer this intensely bizarre engagement which cajoles the audience to tackle, and even relish wrestling with, some quite uncomfortable and impossible-to-solve existential/philosophical problems. Ildiko is an actor-director, researcher and teacher. She trained in Dramatic Arts at Macalester College, St Paul, MN, USA. Having returned to Hungary, she obtained her MA at Eotvos Lorand University, and was Artistic Director of an English language theatre company, The Phoenix, in Budapest. In 1999 she moved to London where she has been teaching and conducting research and experiment in performance, focusing on Elizabethan/Jacobean working theatre reconstructions through the method of research through practice in performance (PaR). She holds a PhD from Middlesex University.
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28 episodios
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