Performing Plethora: staging 'Nausicaa at 50'.

在过去的三十多年里，我一直在为现场演出编写、导演和设计剧本。在这段时间里，我发展了一种悲剧形式，我称之为“灾难”，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与众不同的演讲形式，这个过程继续着我的新剧本“50岁时的娜乌西卡”的上演。我作为一名作家、导演和艺术家的演变受到两个信念的影响。首先，我认为文本是所有戏剧体验的主要元素。第二，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。《娜乌西卡》就是这样一次探索。在6个月的时间里，这个项目将上演“娜乌西卡50岁”，这是一部探索“过剩”的戏剧——一种由许多声音说出的压倒性的话语，几乎是一个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塑料的、雕塑般的东西——是否需要传达意义，或者它是否可以用来创造紧张和狂喜，从而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可以在没有——严格地说——任何话的情况下发声？然后问，这种听觉体验还能让观众产生情感吗？通过扩展我的实践，以及我的剧团的实践，我希望展示戏剧文本新生命的可能性。“50岁的娜乌西卡”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“过剩”的搭档和对面的“赤裸充足”——探索一个场景的整个意义如何与一个简短的概念或图像联系在一起。《娜乌西卡》的制作将以语言过剩为核心，包括人类的声音——个人的和合唱的——和声音。该剧团将由100多名演员组成，从摔跤学校（1988年为表演我的作品而成立的剧团）的专业演员到研究生戏剧专家，从社区演员到没有表演经验的人。为了实现表演的多样性，我需要挑战，发展和发展我作为导演和舞台设计的艺术实践。这个过程将与摔跤学校的核心演员一起进行为期四周的密集表演实验室，他们专门负责我的灾难性戏剧的表演，排练和与表演的多角合唱一起进行研讨会。我们的工作最终将在德文郡的诺斯科特剧院为公众演出三部完整的作品。不仅我的实践会随着项目的发展而发展，摔跤学校表演者的核心公司和设计团队也会随着项目的发展而发展，他们将促进一个丰富的舞台环境的实现，此外还有大量来自不同背景和经验的合唱团表演者。这些艺术家不仅会为我的研究提供便利，更重要的是，他们也会为我的研究提供信息。广大公众，除了参加现场表演，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说明，演出后讨论和在线采访了解更多关于我的大量实践和理论，以及支持材料，这些材料将出现在四个网站上：诺斯科特剧院，摔跤学校，埃克塞特大学和我自己的网站。然后，这个作品将成为一个为期一天的公众研讨会的主题——结果是出版——当剧本由奥伯龙出版社出版时，它将伴随着我的批判性评论，这将反映整个项目，并考虑舞台上的效果。

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.