And so are you Marketa. The boys from Fishamble ain’t so bad either 😉.
All jokes aside, I just really want to say thank you for the place on the Belltable:Connect mentorship programme. It was a valuable experience.
Driving down to Limerick city once a month over the past 10 months to meet and connect with other emerging directors in the Beltable theatre was exciting. The directors group was hosted by Jim from Fishamble theatre company, whose manner is so chilled he put us all at ease.
It was full of first times for me and first times can be nerve wrecking. This is my first time to ever blog!!!!!.
But it was also my first time to ever pitch. My first time to sit in on a mentorship programme, my first time in THE Beltable theatre, my first time having any connection with Limerick City and my first time meeting all the other young, hip, cool emerging directors and Jim.
Little by little we got to know each other, our styles, our preference and our projects, through the monthly meet ups and chats.
It was great. Hopefully we will meet again. Until then onwards and upwards.
This is my second attempt at a blog post. The first was written a few days after a run of a show I’d directed. I was writing about the post-show bubble and how difficult it is to review your own work without letting other people’s opinions, good and bad, influence your relationship with it, yet how necessary it is to reflect on the whole experience in order to move on to the next thing.
I didn’t submit that blog because the more I read it, the more critical I became of it (which was fitting giving the subject matter) so I decided I’d wait and write again while away on an upcoming trip which might give me a new perspective.
Now I am on that trip, in Belgium, attending shows in Brussels as part of KunstenFestivalDesArtes, and in Ghent to explore the work of Ontroerend Goed. The work I have seen so far is a mixture of performance art and political interactive theatre. Some of it I have found quite inaccessible – it seemed more about the artists’ intellectual ideas as opposed to the execution of a piece that left room for an audience.
The shoe is on the other foot now, as I experience, interpret and judge the work of others, just a couple of weeks after churning over how to take praise and criticism of my own. I’m looking at these performances as an audience member, a [sensitive] critic and a theatre maker. I find hope in the things I don’t like, because I feel I can do better, and I find inspiration in the things I do like because it makes me want to be a better artist.
The work I have seen here traverses a line between stage and spectator, performance art and theatre, science and philosophy, film and lecture. These are not theatre pieces as such but happenings, protests, experiences, live art. I realise that although I talk about the desire to make theatre which is unpredictable and disruptive, I still want my work to involve skill, heart, aesthetic and a sense of artistry. Much of what I have seen here does not have that – the idea is the piece, rather than central to it; the execution seems disregarded and this is where I encounter a tension within myself.
I feel quite lucky that I can come away here and have these experiences and reflections. It’s great to be able to go and see work outside of Ireland as it informs my perspective and reminds me that it’s all relative. Last year I attended a workshop in London where participants complained about how theatre in the UK is too traditional, yet often in Ireland we regard theatre in the UK as being progressive (and obviously there are many organisations there which are). On the other side of that, this year I’m experiencing work which is so untraditional, it makes me wonder where the line is between accessibility and experimentalism. So much of this depends on audiences, on the appetite for the arts in any given place. Who am I making the work for? What am I responding to?
I’m not altogether sure where this leaves me in relation to my own theatre making and the post post-show bubble. The piece I recently directed was not experimental but it afforded me the opportunity to try out some simple yet potentially risky ideas, to work with somebody else’s script and a smaller cast. All of these elements of the traditional theatre process gave me secure conditions in which to create work and as such I learned an awful lot about directing. For my next piece, I plan to write it myself but leave room for collaboration and devising, working with a small cast and drawing on elements of Dadaism and post-dramatic theatre. A few weeks ago, I might have thought I was proposing something cutting edge but by European standards, this is nothing new – this is old hat. And that’s OK. I’m not making this piece for KunstenFestivalDesArtes and while I’m glad to have another context in which to place what I want to do, I’m not going to change my perspective to try to be relevant.
It’s great to be reminded that I’m not creating in isolation, in my own community, or my own country, but surrounded by continents of artists and a whole world of audiences. It’s quite freeing to think beyond my own perceptions of what theatre is and the possibility of where it could take me.
On the plane home I came across an extract from the writings of WH Auden and was reminded that reflection, self-criticism and authenticity are age-old struggles (I also thought it would make me sound very learned to conclude my blog with a quote from a poet):
”[Every writer] needs approval of his work by others in order to be reassured that the vision of life he believes he has had is a true vision and not a self-delusion but he can only be reassured by those whose judgement he respects . . . No writer can ever judge exactly how good or bad a work of his may be, but he can always know, not immediately perhaps, but certainly in a short while, whether something he has written is authentic – in his handwriting – or a forgery”
I wasn’t quite sure what to expect when I went through the doors of the Belltable way back in September for the start of the Director’s Mentoring programme with Fishamble. I was nervous and daunted but I decided to take the plunge and see where it might lead. Once I got there and mingled with the other participants I instantly knew that I was among like-minded souls.
They say you are only as good as your network (or something like that!!!) and the one thing I have gotten from these monthly sessions over the last eight months is a sense of belonging , support and being in a room with people who get the same things as I do. We are all so busy in our own creative corners that I think we often forget there are other people out there doing exactly what we are doing – taking a script or an idea and creating something unique and individual from it. A rehearsal room can be a creative, energising place but it can also be a scary one if people are always looking to you for the answers. My approach to directing has always been collaborative. I believe the best ideas come when actors, directors and often writers work together and have a shared vision of the goal.
I have always felt insecure about calling myself a Director as I studied Law in college and not Theatre. I am studying Theatre now so you could say I am doing things back to front!! There is such a diverse range of backgrounds and experience in the group that I come away from each session buzzing with new ideas and approaches. But most importantly I leave with a little more confidence in my right to call myself a director. I am trying to take my first steps in writing and always have a spurt of creativity after leaving the Belltable on Saturday afternoon!!!
It has also been a joy to meet the playwrights and feel the energy and enthusiasm they have for their writing. Writers have always been my heroes as I am in awe of how they write dialogue which sadly is a skill I have yet to master.
This has been a fantastic journey and my confidence has grown in leaps and bounds since it began. I would hope the participants will stay in contact when it comes to an end as getting to know you all has been an absolute pleasure.
The theatre writing course I am involved in as part of Belltable:Connect is not simply a writing course. It is a theatre course.
I have been a writer for a little under twenty years, which may sound impressive but I am only 23 so a lot of my career has well, flown under the radar. For as long as I can remember I have loved to write. From the age of four or five I have loved writing stories and poems. Creative writing assignments in school were an exciting challenge. While I still write poetry and have also in recent years delved into performance poetry to relative success another form of writing has taken over my interest.
Theatre didn’t enter into my life until my first year of college when I got the chance to act and then to work backstage. My first attempt at writing for the stage followed the next year. As part of the Writers’ Society in Mary Immaculate College I wrote numerous short plays which I would often help produce, direct, act in, provide music and lights for… etc. In other words it was quite a small setup. But over a number of years we managed as a group to improve and get bigger and better. We did this by, well, making every mistake possible and learning from them (for the most part anyway.) This led me to writing and producing my first full-length play in college ‘Searching for Rusty.’ Searching for Rusty was probably, for me at least, the pinnacle of my experience in college theatre. After that I was ready to try and enter in the real world and try to write outside of college. I was ready to write. I was excited. I also had absolutely no idea what to do, how to do it or where to find answers. Until…
Belltable:Connect entered into my life at the perfect time. I wanted to write and work in theatre but I didn’t know how. This was my way in. The course wasn’t going to do everything for me but it has given me the opportunity to learn from my mentor Gavin, my fellow writers, many of whom have a wealth of experience, and also the directors in the other course. I have gotten to learn about play structure, about character building, how to effectively critique a play. Also, very importantly, I learned how to effectively take critique and understand why certain kinds of feedback are given.
When I said at the start of this piece that the course is not simply a writing course it is a theatre course I meant it. The interaction we have with the directors, industry professionals and each other teach much more than just writing. The classes don’t just teach you how to write they try and help you understand the place of the writer in theatre. How to work with directors, managers, actors etc. and how you must realise all theatre is collaboration and everyone has a role in the creative process. This class for me has been a great aid in transitioning away from college theatre. I have got to meet and learn from so many great up and coming writers and directors. I have made connections that could lead to collaboration. The course has allowed a network of young writers and directors to come together and I cannot wait to see what everyone will accomplish both individually and hopefully in many cases as teams comprising of the people we have met here. After almost twenty years of writing (15 off which my parents and relatives were my only readers) I have a hell of a lot left to learn but this course has been a great start.
This mentorship in Belltable came along at a time last September when I really needed a lifeline,-applications for everything between day jobs & arts stuff were coming back ‘No’s’ time and time again and I was feeling very deflated so when I got the email to say I had got a place on the course, my whole self just lit up and there were, I’m not embarrassed to say, a few tears as I sat rereading it over and over again ready to burst with a joy that just invaded my everything. I needed someone to recognise the potential in me that I know I have as a writer person thing and maybe to take a bit of a punt too and Gavin did that in choosing me to be part of the 12 so I’ll always be thankful to him for that. Soon after starting this course I found out whilst being glued to my Gmail – a daily routine, I had also got a place on The Next Stage – another artist development initiative as part of The Dublin Theatre Festival and I know this would not have happened if I hadn’t got the place on the playwrighting course so one definitely happened as a result of the other. I was back in the land of happy and hope and ’I am part of this’ – in the room and on an equal footing with people a few months before I never thought I would be.
Living a bit out in the shticks of Co. Galway, I can sometimes feel a bit on the outside or the only ‘creative in the village’ as a writer/performer full of ideas and wanting people to play / explore with ; staring out the window hugging my mug of builders tae , sitting not content at the table ‘trying to write’ – feeling a bit lost betimes with the ‘am I writer if I’m not writing, am I an actor if not acting, should I just go and work in a shop and stop codding meself debacle. So a journey to Limerick once a month, off the bus and in the doors of the Belltable at 9.30 on a Saturday morning, a coffee and let’s get stuck in, is to me a joyous relief and release and where I fit really – It’s there with my extremely talented group that I realise my gut feelings are right- I do have a contribution to make in the arts arena – I need to get out, make things happen, persist and make my mark cause no one else will do it for me. Life and ourselves can get in our own way sometimes and the thing we are meant for we can run away from or have to in some cases cause the rent needs paying etc but what I find this course is giving me as the months progress on aside from technical skills and meeting my peers which is a massive part of the good stuff is, it connects me and reconnects me, I feel rooted – an Anchor I think is the word. So regardless of any other goings on or noise in my life when I’m there, I’m present and I’m a writer (fuck it I said it ha ) and most importantly I’m me.
The few hours seem to tick by in a heartbeat and I’m walking away’ back into a busy Limerick Street/ soundscape with a sudden ‘oh it’s over ‘haze feeling. I want more, more of those few hours all the time, more ‘challenge me’ , more time with those people in my group I’m getting increasingly intrigued by with every meeting, more let me into the theatre space to play and create , more who are these directors in the room next door …. I just want to live in it- this world and not outside it if that makes sense. Bring on next time :-).
“Deep practice is slow, demanding and uncomfortable. To practice deeply is to live deliberately in a space that is uncomfortable but with the encouraging sense that progress can happen.”
― Anne Bogart
Every so often I find myself at a crossroad in my life where plunging or freezing are the only possible solutions; I need to decide whether to risk what I have cumulated until now in the chance of getting more and opening more doors to myself, or whether to keep the safety of the status quo, albeit paralyzing any other possible action that would get me astray from a path that is already growing sterile.
As a person who has moved to a foreign country (at the age of nineteen, barely fluent in the language, with no friends nor family in the location) I always promote getting out of your comfort zone when the situation calls for it; sure, it is very scary at first, and you might regret your choice a couple of times, but the final outcome and the experiences you derive from it are worth the price.
All my good life choices have been determined by stepping out of my comfort zone: this mentorship was for me a full trust fall, for I did not know if I was experienced enough, capable enough, and every time I take the bus or get a lift from Cork to Limerick I am getting out of my comfort zone (as I suffer from travel sickness and I never know what the journey will bring me to).
Directing was another bold choice I made. It wasn’t the reason why I enrolled to college initially, and I had past problems due to being in a power-conflicted theatre company that made the experience less than appealing; but I slowly came to the realisation of all the possibilities it could open up to: the feeling of creating something new on the stage, like putting together pieces to form a delicate mosaic or a decoupage, working together with the actors as the designers while coordinating their skills like a conductor in an orchestra. It sounds very pretentious, but the feeling of elation and pride that comes after all the work for a play is so ephemeral for me that I don’t have any other way to describe it other than these images.
When you first step out of your comfort zone everything seems bigger and scarier than it actually is: everyone in the mentorship group seemed so much more experienced and bolder than me, and I was afraid I could not keep up with the others. I believe it was the result of being stuck in my comfort zone in all the other areas of my career: I had a few plays in mind I wanted to put on, but I kept postponing them because I thought I was not ready for it. I decided to stop overthinking and a little after I accepted the direction to a contemporary play (Eigengrau, which shall be put on this spring), and the stage management of Cork Shakespearean’s Hamlet.
After that, I kept asking myself ‘what can I do more?’. There is always the fear I am not good enough for a certain project, or not ready enough, or that I am too young for it, but truth is that because I am this young and this inexperienced I do not have a reputation to defend, or a track of success to keep up to, nor a comparison to previous work: one tends to believe people will have high expectation, but the reality is that I worked too little for people to even have the chance of forming new expectations on me. So why not plunging into big oceans and try something difficult and new? The outcome will certainly be more interesting and fulfilling that staying in my comfort zone and repeating things I know I can already accomplish.
My latest and current challenge is directing Cork Shakespearean’s Julius Caesar. This is a classic example of what I was writing earlier, for I love this play beyond reason, and when I first saw it live-streamed two years ago I went out the Gate cinema jumping around and the first thing I did was message a friend of mine to tell him that I wanted to direct that play.
When the occasion presented itself I jumped on it, but all kinds of fear came about: Shakespeare is absolutely marvellous and intricate, but the text can be off-putting to many actors and many audience members if not well performed, and it is definitely the kind of play people have expectations on before ever seeing it. Not everyone understands the language, so projection, both physical and vocal, must be on point; diction must be correct, there is no space for carelessness.
Plus, I never worked on Shakespeare as a director before.
So I was terrified.
And then, I started to apply my usual solution: it is a small trick I use everytime I approach a new genre of play or a new art: it is a very simple way to get yourself to extend your comfort zone, and it works on analogical thought and experimentation.
The first part is easily explained: you need to find the similar within the new, to connect what you already know or have seen and experienced within the new context. I found for instance that it was easier to explain Shakespeare if I connected it in my mind with rules of harmony, which I am also currently studying. Relying on interdisciplinary has always been a good solution for me.
The second part required pushing yourself more outside your comfort zone: it is not only about experimenting, but also trusting your co-workers while they do so, keeping yourself from controlling the room all the time. I find that using other minds and relying on others always reveals new opportunities and new directions and sometimes gives you the solution (or the information) you need to settle down in your new environment.
At the end of the day, once you push yourself to practice this little two tricks every rehearsals, you find out you survived the plunge and have completed a new project.
There is no art that hasn’t profited from borrowing from new, unexplored sources, while blending familiar concepts and rules to create a new product: impressionism and art nouveau were influenced by ukiyo-e; jazz and rock started through experimentation, and even great classics like Johann Sebastian Bach’s and Debussy’s work were the product of plunging into the unknown, exploring new rules and new rules of harmony and counterpoint. Beckett, Pinter, and Strindberg are obvious examples. Postmodernism is an extreme one, but it has brought a lot of fruits to the table.
Noticing new things and relating them to the familiar has always been a common practice amongst all arts: dance and theatre have profited by their relationship to the rest of the world, and are always about the renovation and hybridization that comes when new minds take on exploring. It’s what both realism and character storytelling have in common: observation, analogy, and experimentation, repetition (of gesture or concept).
It is about learning to trust yourself and your ability to adapt to new situations, your problem solving skills as a director, and your abilities to explore the text in new ways and with different approaches.
It is also about learning to trust your colleagues, which is something of extreme importance to me: it is about trusting them to put as much work as you in the project, to be as enthusiastic as you about it, to make it their baby as much as yours, to keep exploring it with you and to accept the trust you put into them.
It is also hoping that everything will be fine, while knowing that something might go wrong, and be ready to adjust yourself to the new circumstances if it does.
At the end of the day, the only rule about art is to keep moving, and plunging into new territories can bring you to whole new continents to explore. To boldly go, where no one else has gone before.
I could not have started the Belltable:Connect Director’s mentorship programme at a better time. Before participating in the programme, I was feeling somewhat lost having just finished university. In college, I had been allowed to fail -it didn’t matter as long as I was able to learn from it and get something out of it. This was to be my first year outside of the warm and cosy bubble of drama studies. Now, the stakes are much greater and it feels like every piece of my work will be taken as a statement of what kind of artist I am. Frankly, this terrifies me. It has been refreshing to have a place to seek guidance and advice from directors both relaxed and/ or as scared as myself! To pick their brains about anything from funding to thrust staging. To give advice as well as receive.
A lot has changed since I began the mentorship programme back in September. The day after my first session in the programme, Half Light won the First Fortnight Award at the Dublin Fringe Festival. This meant we would get to remount the show as part of the an incredible festival challenging stigma through the arts. It made my heart soar to see fellow mentees Mike, Rebecca, Martin, Niall and Shane all come see the show. It’s an incredibly supportive group.
Additionally, a few weeks after our first mentor session I began studying at Artstrain, the National Association of Youth Drama’s course in Drama Facilitation. This has also been a wonderful experience where I am gaining new skills in designing and leading workshops and also taking time to reflect on my directing skills.
Last weekend, I travelled to Galway to participate in Branar’s Tiny Plays initiative, collaborating with Fionnuala Gygax on a new children’s play The Boy in the Boat. I am also collaborating with Fionnuala on a new piece called How to be a Superhero, which I am directing a work in progress of as part of Smock Allies Scene and Heard. This will be performed in three weeks time. I am really looking forward to Play on Words by fellow Belltable: Connect mentees Niall Carmody and Shane Hickey-O’Mara, also being presented as part of Smock Allies.
I am also hearing lots about ALSA Productions, Sonar, Ferocious Composure, Mothers Artists Makers, and Honest Arts, all founded by fellow director mentees. I am very excited to check these out!
If you had asked me when I was 17 and leaving school what I wanted my career to be, I couldn’t have answered you. But I think that is the case for most people. I had always had an interest in the arts. Writing, Musicals, Theatre and even visual art. However I felt I posessed none of the skills or talent to perform or make artwork. I loved telling stories though and Theatre for me became an outlet.
I chose what most people think is a very general degree. A Bachelor of Arts and I loved every second of it. I thought I could be a teacher and stay involved in the amatuer dramatics world, not having realised that all of those plays I loved seeing had to be made by someone.
Theatre found me without me even realising it. Without Mary Immaculate college I would not be where I am today. MIDAS the drama society was very active and well supported by Dr. Michael Finneran who gave willingly of his time and expertise.
I started to stage manage and knew I had found a role that I was good at, then I was given my first opportunity to Direct, that is when I found my passion. They say if you love what you do you’ll never work a day in your life. When I was 21 I was offered a paying job to stage manage and the penny dropped, I realised I could make a living from working in theatre and I was sold. I was going to work in theatre and become a Director.
I don’t know if you’re aware but to obtain a job as a director starting out, is incredibly difficult, but I was lucky, I also love stage management and in doing that job I get to work with amazing directors with decades of experience and learn so much about every angle of theatre.
Directing has many definitions but I suppose for me I see it as having the opportunity to get into the nitty gritty of the story and characters and then step out to support the cast and design team to create the world that the director has formed from that process. It is challenging, collaborative and so rewarding.
Before I graduated I set up my own company Honest Arts, with Pius McGrath. You may wonder why so many people set up their own companies, the simple answer for us was to make work. In August 2013 we made our maiden voyage to the Edinburgh Fringe with our first show “The Mid-Knight Cowboy”. It was exhausting and challenging and the definition of jumping in at the deep end but it was also exhilarating and educational. The Play also was a part of the United Solo Theatre Festival in New York Later that year.
We were fortunate enough to receive funding for our second piece from Limerick National City of Culture ‘Waiting In Line’. That piece was nominated for best Set Design at the Irish Times Theatre Awards and also won the Cutting Edge Artist Award at the Toronto Fringe Festival. We had figured out an identity for our company. We then had to regroup.
We have spent the last year developing two new pieces of work. One of which is a play titled ‘PUNT’ which will debut on March 31st & April 1st 2017 as part of the Limerick Fringe Festival in Shannon rowing club. It is a story about gambling culture and the adventures involved with a life of investing in chance.
This mentorship scheme has been a sort of haven. To be able to set aside time every month to meet with like minded people with different styles, opinions and experiences is so helpful to broadening your mind and troubleshooting problems. It is also about getting to know other people who are going through the same process as you and having a safe and supportive space to be able to explore and learn.
My favourite thing about directing is that you can never know it all, you can always be surprised by what a good story and creative team can produce.
As I finish writing this, I ask myself why is this the topic of my blog, who cares about why I am directing? The answer is, I became involved in theatre for fun and to work creatively but now it has become my vocation. There is not only one path to take in pursuit of your passion in life, every person will find their own way, it takes patience and endurance to progress, but eventually you will be rewarded. I am proud of my accomplishments thus far but I have only begun my journey, and courses like the mentorship help me to continue on my path.
My name is Dermott I am a ginger and writer from North Clare. I’m not sure I have always wanted to be a writer? I am dyslexic, it was 11 by the time I had learned to read, the writing came much later. To this day my handwriting and spelling are a source of immense embarrassment and shame. I always feel that someone is literally going to drag me away from keyboard to show the world what an imposter I am as a writer.
I enjoy play-writing for the storytelling potential. I worry sometimes that Theatre sees itself more as high art, sometimes ignoring its roots as bawdy, rough, in your face entertainment with explosive passionate rows and conversations to spin your head. I also dream of a 32 county socialist utopian republic so both counts may be elusive.
Story and ideas are fantastic to me, yet characters are more compelling for their mystery, wisdom and ignorance. Not every character has a story or an idea but they all have that one trait that makes them different. A secret not known, a drink too many, a kiss better forgotten.
In my family many such delicious contradictions abound. My Dad was a plasterer, he went to England just after World War 2. He loved England. Coventry, London or Brighton were all a possible source of fortune and craic for him And yet he became a draft dodger. Declaring that ‘he did’t want to fight for his country why would he fight for a foreign land’ he was on the run for a number of years. There was the practical concern of been cannon fodder in Malaysia or Cyprus in the dying light of the British Empire. The surprising fact was that afterwards he still loved England and he loved English people, he was at best politically a reactionary. Left wing ideas and Hippies had the same value of a bad fart to him. And still he made no apologies for not taken the Kings shilling.
On my Mother’s side my Great Grandfather had emigrated to the USA and spent many years in the Wild West. He ran a saloon that the outlaw Jesse James was a regular patron in. He bucked the trend and return to live in Ireland and bought a small farm in West Clare. He built a cottage on the top of the mountain with a view of Liscannor Bay.
The house also had a unique feature. While it was a typical West Clare cottage it had one and a half floors. When we were kids this was a mild source of mystery. Why would anyone only build only half a floor?
Many years later an Uncle explained to me that Great Granddad was a bit of a dandy. He had returned from the United States with a certain flair, a confidence verging on cocky, with a thirst for liquor that would sadly never be quenched.
He first wanted to build the house on the very top of the mountain, with a lovely view but totally exposed to the raw relentless winds of West Clare. Eventually friends and neighbours persuaded him to build the house into a more practical sheltered site. Each day while building the cottage he would buy a barrel of porter for the workers, and as importantly, for himself. In the West of Ireland in the late 19th century a barrel of good porter was costly. Alas too costly, as he ran out of money with only the one and a half flours of the cottage build. Practicality always wins over grand visions so my mother and her family lived in the only 1 and a half sided cottage in West Clare. Peoples dreams are not always a testament to living happily ever after, more akin to continuing to live.
I have a feeling that in the near future Theatre will be more about storytelling as we enter an age of powerful fragment media. The Fishamble program is very enjoyable. The writers are all very different, funny, hard working and all very determined to change Theatre in the Mid West one scene at a time.