![]() The actor is carrying the weight of the whole show and that's a work of physical and emotional and mental endurance. As an actor or as a director that can be terrifying, but also liberating. The other difference is that there is nowhere to hide. The audience are, in essence, the other character. What's the need to speak? Who are we speaking to and why? The relationship between the performer and the audience becomes paramount in a one woman show. ![]() The obvious difference is the need to find a very strong conviction or purpose for speaking. What are you looking forward to about that and does it make a difference? ![]() In doing that, we reduce her to an abstraction and confine her forever to a pedestal from which she can't step down.Ī lot of your work for STC has involved directing ensemble productions – Hay Fever, After Dinner, Machinal – but here you’ll be working with just one actor, Alison Whyte. She has become a muse for painting, music, the male gaze and notions of motherhood and womanhood. ![]() Her story has been packaged with a particular agenda from the beginning and over the millennia, its edges have been smoothed over and elevated to mythological proportions. The problem is that Mary is all of those ‘figures', but what she is not and has not been allowed to be is a flesh-and-blood woman – someone who ages, dies, experiences pain, has sex, feels desire, cowardice, regret, rage. Does The Testament of Mary concern the religious, historical, or literary figure of Mary?
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