The return of the dramatist into theatre’s world

Motto: “When you really know what you have to do there’s no more room for miracles”

The interest of the playwright for the rehearsals is not a paradox as long as he is tormented by the procedure trough which, depending on the context, his text is mocked or enriched. This situation is valid most of the times when precisely the playwright is the one excluded from the process of putting the play on stage. Being indignant, resentful or just curios, the playwright feels the need to find out the reason why certain lines he wrote are eliminated or severely modified, why the others go unharmed beyond rehearsals becoming a solid part in the theatre’s world.

This huge thirst for knowledge towards the most intimate details of the rehearsals aims to improve his own work so that he could get closer to the perfect condition in which his text can have an accurate performance. The lucid dramatist never forgets that a theater performance is the projection of the group and in many cases the producers perceive his text as a dramatic pre-text and not as a score that needs a more precise and personal interpretation. But he dreams to create a strong text to hold all the specific characteristics so that his work should be followed in detail.

No matter the variety of styles adopted by the directors, the performance stays the palimpsest of the rehearsals highlighting subtly their evolution. The ordinary process of making a performance, almost always describes the same two “technical” phases. First of all they choose a pre-existing dramatic text then the rehearsals begin. Within rehearsals we can see the dynamic part in which the dramatic text changes its “solid” state into a “fluid” state represented by the theatre performance; from the lifeless text to the process of bringing it to life on stage. The latent energy released during rehearsals makes this miracle to come true. In this case, the dramatic text is like a pip. Around it grows and ripens the fruit of the performance. The rehearsals can be included in a demonstration of a supposed hidden truth in the dramatic text.

Speaking about rehearsals and renewed theatre, a challenging hypothesis would be the parallel evolution of both writing of the text and rehearsals, following the Elizabethan model. “The pip” is replaced by a seed, by a dramatic triggering idea. The Seed of the future performance grows in the “pip-fruit” obtaining a miraculous result: the text becomes identical with the text uttered on stage. The dramatic work will have come to achieve the “on stage” confirmation it had during rehearsals, the theatrical matter reaches its homogeneity. Through the return of the dramatist into the theatre’s world, rehearsals become the search for truth that follows a question, or just an initial wondering. The answer is to be found in the performance. The dramatic text gains through its birth a theatrical “face”, all later plays coming to search for their twin.

Written by Valentin Nicolau

Translated by Ramona Grama, MTTLC, 2nd year


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