The ECP Diaries

As revealed in my last post, discussions with my assigned university tutor about my final Extended Creative Project (ECP) have finally begun. I was raring to go, of course, but also more than a little nervous before we started our Zoom chat last Wednesday. Numerous questions were whizzing through my head, the biggest of which was “what if he despises my idea?” I could have spent ages with my heart set on something only for it to be completely unworkable. Thankfully, I needn’t have worried, because we were both attentive and receptive to one another’s ideas right from the start. My tutor is the kind of person who encourages someone to ask every possible question about their work, so they can reflect on it as fully as possible, and I was no exception. Over the course of 45 minutes or so we both raised a variety of queries concerning my proposal, and I made sure to list these after the call had ended as part of my developing long-term notes. It had been recommended that we all keep a ‘diary’ describing our efforts throughout our projects, to make the accompanying essay we’ll submit much easier to write, so I started mine straight – and the aforementioned questions were all duly listed.

I don’t feel able to tell you about the finer details of my project just yet, because it’s likely to change a great deal over the next year – possibly even before my next meeting with my tutor at the end of September. At the moment, though, it’s a stage play with something very personal at its heart, and before there are any further alterations, I need to think carefully about the following:

  1. Is theatre the right medium for it? Could it be adapted into a short film?
  2. Could it be two or more smaller pieces rather than one big piece – perhaps with a linking theme (longing)?
  3. What is it about? What do I want the audience to take away from it?
  4. Am I confident in my characters? Do they behave naturally and are they strong enough to carry a conflict?
  5. What exactly is this conflict? What will set this relatively ordinary idea apart from other similar ones?

Aren’t I cryptic? There’s already a lot to think about, as you can see, but I will relish the challenge ahead. A list of plays I might find inspiring has been given to me, and as I write this now, two of those – Yasmina Reza’s Art and Patrick Marber’s Closer – have arrived, ready to be devoured. I’ll let you know what I think of them, as I intend to keep you updated on every twist and turn throughout the process. This is the first instalment of a new series, so look out for Part 2 once I’m back in Winchester. The ball is well and truly rolling…

Mason

 

The Stage And The Stars

Prior to last weekend, I had been lucky enough to see three Shakespeare plays, and these opportunities all came during my A-Levels. I saw the first two – a modernised adaptation of Twelfth Night and a more traditional version of Romeo and Juliet – on trips to the University of Exeter, and I was then incredibly fortunate to see Antony and Cleopatra at the Globe Theatre in London. We studied the latter two plays as part of my English Literature course, and as we did so it was hard to notice the lack of enthusiasm creeping around the room at times. Maybe that was because we were made to read and endlessly analyse them, but I still thought it a shame to see. I knew these plays were great, and that everyone else would find them a lot easier to engage with when they saw them unfold on stage.

Sure enough, when we eventually did go on the trips, I could tell that they were more enthused by watching them in the flesh than any sweaty classroom reading. There’s a certain magic I feel watching a Shakespeare play that no other piece of theatre has, no matter how good it is. I’m not entirely sure what it is, or where it comes from, but I know for sure that I felt it again on Saturday night when I attended an outdoor production of Hamlet along with Mum. It was a warm and pleasant summer’s evening, and our surroundings weren’t bad either – that’s high praise coming from someone who doesn’t always get on with the countryside. The show was to be performed by the five members of a theatre group known as the Three Inch Fools, who would use only a simple wooden stage (adorned with a string of fairy lights for when it got dark) and the various props and costumes dotted around it to play multiple parts each. I was intrigued by this minimalist approach as soon as we arrived, and I liked the fact that everything had been laid bare for the audience to see.

I was not disappointed. I welcomed Shakespeare’s words again as though they were old friends, and every one was delivered beautifully by the actress behind Hamlet, Rose Reade, and the rest of the cast, whose projected voices were carried all the way through the audience and across the hills by the light breeze. Everyone present was both respectful of the actors and totally captivated by humour and pathos alike. The English language was a very different thing in Shakespeare’s day, but as it manifested itself in front of my eyes I had no trouble at all understanding and interpreting it. It felt almost like I had become suddenly and instantly fluent in French or another foreign tongue. This helped to make me very comfortable with what I was seeing, even when I was also on the edge of my seat – this was a feeling only exacerbated by how well the cast made the entire piece flow. Each actor was also an equally proficient singer and musician, and many of the props they performed with were traditional folk instruments that matched the time period the play was set in. In such gifted hands, these were able to provide excellent interludes that either served as useful bridges between scenes or illustrative devices at key points within them. Any movements to and from the stage were gentle and hardly noticeable, as was every costume change – anything slower or more stilted was made a part of the performance, usually with a line from one character that put another back on track. Not once did any of the cast slip out of character. If anything, with every passing scene they seemed even more at one with their roles. This added a little more comedy to every laugh, and a little more gravity to every tragedy – especially the multitude of deaths at the play’s climax.

I originally started writing this post on Sunday morning, only hours after we had returned from Hamlet. What prevented me from finishing it in one sitting was mainly my lack of confidence as a reviewer – I was worried about publishing it and appearing as though I had no idea what I was talking about (I might not anyway, but you can be the judge of that). Ultimately, though, I decided that it was more important for whoever did read this to know how much I appreciated the Three Inch Fools and the evening of first-class theatre they gave us. As that particular performance was the penultimate one on their summer tour, I was glad to have been able to see them before their break, and I have no doubt that everyone who sees them when they are next on stage will feel exactly the same way. Look them up if you haven’t already, and if you do feel inclined to witness them at their best, I am certain you won’t regret it in the slightest.

Mason