One of the most enjoyable blogs to emerge from Guangdong Province, and one of my favourites for being an art-performance-archaeological-theoretical China dweller of many years is Shenzhen Fieldnotes, actually one of my favourite blogs all-round. Currently she’s rehearsing Samuel Beckett’s Waiting for Godot with her theatre company, Fat Bird.
Shenzhen Fieldnotes – Fat Bird Rehearsal, August 25, 2006:
fat bird took the summer off, but reconvened to begin rehearsals for “waiting for godot”. it marks a move from the workshop format that we had been pursuing the past two years. however, it continues the fat bird tradition of adapting our performances to participants’ strengths; this time, we are taking our direction from judi moriarty. we hope to stage godot in mid november.
judi decided to work with fat bird in order to deepen her understanding of chinese people and culture. she believes that this happens through collaborative effort, specifically through the development of trust between all members of the group. accordingly, in addition to going over lines and blocking, rehearsals consist of exercises designed to increase trust. these exercises range from falling backward into someone’s arms and using two fingers to lift someone, to sitting on the truth chair and having to answer any question honestly. at the core of these techniques is the belief that what is true in a performance is the actors’ emotions and relationships; the performance builds out of and upon that base. it remains to be seen what each of us connects to in godot.
i have uploaded images of that emotional work.