On Wednesday night I attended a show at the Warwick Arts Centre with Jessi. It was a Shakespeare show of The Winters Tale by Cheek By Jowl. My initial intention to see this performance was to continue my research on the ‘potential for movement’ and I ended up coming out with so much more. It was a full show, with laughs, dramatic moments of heartache and a general jovial sense of play.
The beginning image as people are filing into the theatre is of a person seated centre stage with their back to us knitting. Automatically I thought the sense of suspense of revealing an image and allowing you to ponder and analyse what it could mean, what is going to happen, soon it pulls you right into the action. Slowly I began to involve myself into the story, and make my own conclusions as to who this person was and why they were sitting there. ‘The potential for movement’ was already revealing itself in more ways than one.
As the lights go out the performers switch to present two men in stillness.They slowly look at one another, there is nothing else happening in the entire room, as everyone watches the breathe and eye line of these two men. Tension builds again but you’re not sure whether it is positive or simply terrifying. Suddenly the two men break into a fit of laughter and general horse play as they run around the stage.This was a another fantastic example of playing with stillness, particularly at the very beginning of a story, the audience do not know the characters and so are completely dependent on the initial action to reveal the first little nuggets of information.
The last strong example of the play with stillness, was a scene where two performers were placed in the centre of the stage seated facing forward completely motionless. They had no expression, no form of personality to perform for the audience. There was action happening around them, great monologues of power and fierce movement. However I could not stop myself from watching the two still creatures in the centre of the action. There was a certain power in their stillness, of being outside the confrontation. They were encapsulating, I wasn’t sure whether I was waiting for them to move or that I just wanted to join them in this peaceful moment of peace away from the complicated emotion of human beings. It reminded me of a time lapse in film where they place a person out in public and have them still as they film around them and then speed it up. So you are left with a lone person motionless around the busy lives of everyone else. It is a strong image that I feel carries out into theatre. It was lovely to see that this idea of ‘The potential for movement’ is relevant in how you place people on stage. The simple act of stillness can allow the audience to become involved, and leaves room for the imagination, rather being spoon fed every little moment of subtext.