Performing Plethora: staging 'Nausicaa at 50'.

在过去的30年左右的时间里，我为现场表演编写、导演和设计了剧本。在这段时间里，我发展了一种悲剧形式，我称之为灾难性的，以区别于某些古典形式。在这样做的过程中，我发明并改进了对我来说独特的语言形式，这个过程继续着我的新剧本“50岁的风之谷”的上演。我作为一个作家、导演和艺术家的发展受到两个信念的影响。首先，我相信文本是所有戏剧经验的主要元素。其次，我也认为传统的现实主义戏剧是一种枯竭的形式。然而，摆脱这种困境的方法不是放弃文本，而是寻找新的方法。《风之谷》就是这样一种探索。六个月后，这个项目将上演《风之谷50岁》，这是一部探索《过多》的剧本--一部由许多声音组成的压倒性的剧本，几乎是人类声音的管弦乐队。在这个项目中，我将探索语言--我认为它几乎是一种可塑的、雕塑般的东西--是否需要传达意义，或者它是否可能被用来创造紧张和狂喜，压倒语言的纯粹指涉（即基于意义的）功能。我将探索一个表演者是否能在严格地说什么也不说的情况下说话？问，这种听觉体验还能在观众中产生情感吗？通过扩展我的实践，以及我的表演者团队的实践，我希望证明戏剧文本新生命的可能性。《风之谷50岁》并不是孤立存在的，它也预示着我的研究的第二阶段，它考察了普雷多亚的伙伴和对立面“裸足”--一种探索，探讨一个场景的全部意义如何可能依赖于一个简短的概念或形象。《风之谷》的制作核心是语言的过度，涉及人声（个人和合唱）和声音。该公司将包括100多名表演者，从摔跤学校（一家成立于1988年的公司，以执行我的工作）的专业演员到研究生戏剧专家，从社区表演者到那些几乎没有表演经验的人。为了实现在性能将要求我挑战，发展和发展我的艺术实践作为一个导演和scenographer。这一过程将与一个为期四周的密集表演实验室分享，并由该实验室提供信息，该实验室由摔跤学校的核心演员组成，他们专门从事我的灾难剧院的表演，并与表演的合唱团一起排练和研讨会。我们的工作将最终在三个完整的制作为公众观众在诺斯科特剧院在德文郡。不仅我的做法将演变作为一个项目的结果，所以将摔跤学校的表演者和设计团队的核心公司，谁将促进实现一个plethoric舞台环境，除了大量的表演者的合唱团从一系列的背景和经验。这些艺术家将不仅仅是促进我的研究，更重要的是，他们也将为我的研究提供信息。广大公众除了观看现场表演外，还可以观看正在为艺术档案馆收藏制作的DVD录音，他们将能够通过节目笔记，展后讨论和在线采访了解更多关于我的多器官实践和理论，并附有辅助材料，这些材料将出现在四个网站上：诺斯科特剧院的，摔跤学校的，埃克塞特大学的和我自己的。然后，这部作品将成为为期一天的公开研讨会的主题-最终出版-当剧本由Oberon书籍出版时，它将伴随着我的批判性评论，这些评论将反映整个项目，并考虑舞台上多器官的有效性。

For the last thirty or so years I have written, directed and designed plays for live performance. In this time I have developed a form of tragedy I have described as Catastrophic, to distinguish it from certain classical forms. In doing so I have invented and refined speech forms which are distinctive to me, and this process continues with the staging of my new play-script 'Nausicaa at 50'. My evolution as a writer, director and artist is informed by two beliefs. First, I believe the text is the primary element of all dramatic experience. Second, I also believe the traditional realistic play is an exhausted form. However, the way to escape this dilemma is not to abandon text but rather to find new ways with it. 'Nausicaa' is such an exploration.Over six months this project will stage 'Nausicaa at 50', which is a play written as an exploration of 'Plethora' - an overwhelming with words spoken by many voices, almost an orchestra of human sounds. With this project, I will explore whether speech - which I believe to be an almost plastic, sculptural thing - needs to convey meaning, or whether it might be employed to create tensions and ecstasies which overwhelm the purely referential (i.e. meaning-based) function of language. I will explore if a performer can utter without - strictly speaking - saying anything? And ask, yet could this audial experience still generate emotion in an audience? By extending my practice, and the practice of my ensemble of performers, I would hope to demonstrate the possibility of a new life for text in theatre. 'Nausicaa at 50' does not exist in isolation, but also anticipates the second phase of my fellowship, which examines Plethora's partner and opposite Bare Sufficiency - an exploration that asks how a scene's entire meaning might hang on a brief concept or image. The production of 'Nausicaa' will have at its heart linguistic excess, involving both the human voice -- individual and choral -- and sound. The company will comprise more than 100 performers from professional actors of the Wrestling School (a company formed in 1988 to perform my work) to post-graduate theatre specialists, and from community performers to those with little acting experience. In order to realise the plethoric in performance will require that I challenge, develop and evolve my artistic practice as a director and scenographer. This process will be shared with, and informed by, an intensive four-week performance-laboratory with the core company of Wrestling School actors who specialise in the performance of my Catastrophic theatre and rehearsals and workshops with the performances' plethoric-chorus. Our work will culminate in three full productions for a public audience at the Northcott Theatre in Devon.Not only will my practice evolve as a result of the project, so will that of the core company of Wrestling School performers and the design team who will facilitate the realisation of a plethoric stage environment, in addition to the large number of performers of the chorus from a range of backgrounds and experience. These artists will not simply be facilitating my research, but importantly, they will also inform it. The wider-public, in addition to attending the live performances will also be able to watch a DVD-recording that is being produced for the Arts Archive collection, and they will be able to find out more about my plethoric practice and theory though programme notes, a post-show discussion and an online interview, with supporting materials, which will appear on four websites: the Northcott Theatre's, the Wrestling School's, the University of Exeter's and my own. The production will then become the subject of a one-day public symposium - resulting in publications - and when the script is published by Oberon books it will be accompanied by my critical commentary that will reflect on the project as a whole and consider the effectiveness of the plethoric on stage.