Posts Tagged ‘people’

Translucent Daydreams

Monday, October 12th, 2009

Being in New York again has reminded me of that particular mega-urban experience of immediate distance. The fact that you can be standing shoulder to shoulder with someone on the subway and yet functionally be worlds apart. There is, as a friend of mine once described it, a forcefield that keeps strangers at bay. This is necessary for functioning somewhere like Manhattan, for if one were to truly take in all the social energy inherent in a day, one would fast become schitzophrenic.

I imagine these walls dissolving yet they feel real as brick or wood. What would occur if we treated these walls we depend on as permeable? What if our protective shells became transparent thus giving strangers unfettered access to our internal worlds?

I think of an egg. At once solid and yet so fragile. Easy to break with the slightest error in movement. But eggs have another quality. While solid they are translucent. Light can, to a limited degree, pass through them. So too with our social walls. No matter how strong a front we put on some spark of that inner world is accessible to the acute observer. At times one must invert the actions of another to understand them, rage as fear for example, while other times the truth hides to the side in a nervous tic or an unconscious sigh.

The human soul has often been represented in spiritual writings as a light. A brightly(or dimly) shining light which expresses the true essence and Being of the individual. One image I have heard often is of the light of a lamp. The lamp may get covered in dirt and soot. It may scratch and become dull. Through all these transformations, the light inside the lamp remains unchanged.

Perhaps the dirt metaphor is true but it is an incomplete truth. I have seen that “inner light” grow brighter and dimmer over time. Perhaps then actualizing human authenticity is a more complex thing than merely wiping away the accumulated dirt. One must also stoke the flames of that inner light. Authenticity is not merely finding a deeply hidden secret, it is the very quest itself. It is a searching. A reaching. It is a going beyond the now and into the possible. That is where the authentic lies.

We return to that egg. An egg is not whole and complete in itself. It is a beginning. It is a possibility. The being that is in the process of becoming must break through that egg shell in order to become.

When we are around people who are easily excitable or easily upset we talk of “walking on egg shells” to avoid causing upset. Those egg shells, at the risk of now mixing my metaphors, are the dirt and scratches which diminish the glow from our inner light. Perhaps those shells are a false lamp containing the inner light. Perhaps those egg shells should be walked upon. Perhaps those eggshells should be broken open to reveal what is inside. For hiding in the comfort of excitability and upset hurts both the individual and those around them.

Those egg shells provide the individual with a great protection or so it first appears. At the risk of causing upset, those around the excitable person go to great and extreme lengths to avoid causing upset. As such the shell grows larger, the triggers for upset grow slighter, and those in constant reaction must now be on an even greater vigilance to not upset the shell.

But those shells are just that, shells. A covering that masks from view the inner uncertainty, self doubt, ineptitude or incompetence. Flying into rages force those around you to focus on the rage rather than what it is hiding. If these shells could be illuminated to see through them into the inner core beyond them, their inherently thin and translucent nature would fast be revealed.

The image of an egg is a metaphor of manifold meaning. It is the very symbol of beginning and possibility. It is a spirit on the verge of being born.

I am not sure how this will manifest in my work, but I am curious in exploring the translucent nature of these human shells. Installations or sculpture is the immediate medium that comes to mind. Possibly performance although doing so would necessitate a wider scope than mere lighting design provides.

I am enjoying this avenue of thought and am curious to see where it leads.

. . . but win the war

Tuesday, September 19th, 2006

Well, the IT Awards were last night. I didn’t win but I did get a nice consolation prize. One of the presenters was a former teacher of mine, so after the ceremony, at the after party, I got to sit at the big kids table. At the table were Lanford Wilson, Marylouise Burke, ML Geiger among others. It was quite a fun time. The bar was radically underprepared for such a large crowd on a Monday night and they quickly ran out of Martini glasses and certain brands of vodka. How apropos of a function for off-off-broadway, cutting corners on the props budget! Still it can’t beat the broken air conditioner at the nomination ceremony.

I have a meeting at INTAR this morning for Windows. It is the first read through with the cast. I love these. I love them because I hate reading plays, but love listening to them. But more, there is a kind of raw truth to a play, the script and the cast, that one finds in a first reading. I have worked on many new plays and this is always the case. No one quite knows what will happen, it is new for everyone. And it is awesome. I think the play is quite beautiful, and am really looking forward to hearing it come alive.

Regarding new plays I have two new translations that I am lighting in the next few months. Twenty Years of Agnes is a spanish play by Juan Riquelme, directed by Camilo Fontecilla and produced by my friend Shoni Currier who I have worked with a number of times. In November I am lighting a new translation of Anouilh’s Antigone produced by QED Productions. Madness of Day is neither a new play nor a new translation, but it is new in the sense that it has never before been adapted to the stage.

Jay Aubrey, producer of Cupid and Psyche, has asked me to light another play for the Themantics Group, although the details are not yet nailed down, so I do not know how it fits in with my schedule as it currently stands.

Today is a good day.

The same river twice

Thursday, September 14th, 2006

A teacher of mine once said of designing “You have not been hired in the theatre until you have been hired back.” It may seem like an awkward phrase, but it quite elegantly encapsulates the nature of freelance work. The first time working with someone is a constant negotiation. You must learn to speak their language. In the theatre it is not enough to simply understand a play. You must also understand how someone else understands a play. You must be able to negotiate meaning in the space between your understanding and your collaborators understanding.

I have worked with a lot of people once. Most of them were pleasant enough experiences. Some of the work was decent, some quite good. But it was clear that the language barrier was too much. We just did not “get” one another. I don’t mean socially as people, but as artists, we could not come to a real understanding. And without that, one can not truly work.

A designer I know works regularly with the same creative teams. A few directors who utilize similar designers. To look at them interact is to see a highly dysfunctional family. They fight and bicker. They scream and yell. They clearly do not “get” each other as people. But as artists they do. And they create some wonderfully beautiful work. While they may yell and bicker, they do “get” each other at an artistic level.

Everyone speaks their own language and thinks in their own way. Some people I work with can only talk in terms of images, and so we share images back and forth. Some talk in terms of music and we play songs for one another. Some talk through the language of the play and we discuss the meaning of words and syntax. Usually it is some combination of these three with differences in balance of the one and the other. One director I have worked with a few times talks very literally, in terms of what kind of light or scenery or costume he wants. It is a game of translation. I think very abstractly. But the way I think for myself is not conducive to collaboration. So I must translate. Often I translate into pictures or music.

The first time you work with someone is largely a matter of learning how they think. It is a matter of learning how to speak to each other. And you can only find out if you have been successful when the house lights go out and the play begins. Like a first date, you only know after you cum(or go home alone) how the evening will end.

I am very fortunate this year to be working with a number of people with whom I have worked before. It is quite comforting. In a job as uncertain as freelancing in the theatre, one is very grateful for a sense of familiarity. Friends are made quickly in the theatre, and the novel soon becomes the familiar, but still it is very pleasant to have someone in the room with whom you know you can do good work.

Every time you work with someone new, you must relearn how they think. Yet each time you start further along the path and progress to a deeper level of understanding. It is no easy task coming to terms with another human being and learning to accept all their idiosyncrasies and frustrations. That is a large part of the daily work in the theatre, as it is the daily work in life. Ultimately you are working with people. How you deal with them can determine how deep you can go with the work. It is difficult and frustrating. It is also a wonderful adventure.


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