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Director,
David W W Johnstone, answers some questions:
Why
the Oresteia?
Ever since I worked in classical repertory 25 years ago or so, I loved the
ancient Greek plays - they have all the truth, power and relevance of
Shakespeare, and yet they manage it with amazing
simplicity when staged with elegance, minimalism and directness.
They have a ritual quality.
The
Oresteia story always appealed to me – the uneasy moral dilemma – no
easy moral answers. Later, when I got into the avant garde theatre I was
captivated by the idea of Orestes’ trial as a one-man show. He really
can re-tell and re-live his horrific fate in his testimony as a condemned
man – but this time, of course, we must be his judges.
Why is the Oresteia an
important piece of theatre in general?
In these days of sound-bites and spin we love our morality and ethics all
black & white and clear-cut – very reassuring. In the war on terror
we are always the good guys. Orestes is our beloved protagonist, a good
guy – yet he is guilty of unlawful murder, revenge. Orestes is more like
the truth. The play is not a sermon.
What
is different about Lazzi’s approach?
Well…
three full-length plays reduced to one hour – with only one actor.
Also, the physical metaphor which
Sandy
performs is not acting – what you see is real – although the context
for it is fictional. Sandy
Grierson is the only actor I know who could do it – it has involved
years of training.
We did not want to update the play, although some have found it topically
relevant – we hope to preserve its classical relevance and elegance…
but we want the audience to feel that they have no choice but to
experience something real – sharing Orestes’ real distress – it’s
a visceral experience for all – not just an intellectual one.
As director, what are you trying to achieve?
A 21st Century take – in terms of performance, not content
– on an immortal classic… to challenge the audience about what theatre
may (or may not) do… and yes, there have been suggestions that our
choices ought to be the subject of debate in the theatre community. Sandy
and I would welcome this. This is a basic ethos of Lazzi – and really
comes from my mentor, Mr Ossetynski – and being inspired by the likes of
Jerzy Grotowski, Andre Gregory and Rade Szerbedjia.
How do you feel Ossetynksi affects your work in general, and on this
piece in particular?
Take risks. Don’t fear failure. Respect the intelligence of your
audience.
Find
joy in work. It is always about Beauty.
(These
simple credos are enough to keep anybody going for a lifetime.)
What is theatre to you? How would you define theatre?
No joke: I try to redefine it with every new project. Inevitably, every
century redefines its own art.
Where do you think theatre can go in the next years?
As
long as there is intelligence and a dedication to a sense of beauty –
who knows? Anywhere. …or, it
can go nowhere new… it’s up to the artists.
What are Lazzi’s aims as a company?
To blend the comic and the spiritual
harmoniously
To honour the traditions of theatre with a 21st Century
originality.
To
train young artists and inspire them to be imaginative and courageous.
To explore new subject matter and unconventional performance spaces.
To
make theatre really exciting again.
December
2007
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