Monthly Archives: June 2015

It’s a happening. I’m not just using terrible syntax, but referring to a happening in the theatrical sense. A happening that occurs randomly and somewhat out of context of a play or social situation. Like with a lot of theatre work when it begins to come together it does feel like a happening, after trudging through creative frustration , working endlessly through the night and constant body shaking because you have developed a serious coffee problem then suddenly it all comes together. It almost jumps out at you like a happening in a play, giving you new life, thoughts and reduces your anxiety to only two panic attacks a day. Which is convenient transition to my dramaturg week.

Theatre Bound- Bound to theatre, bound to art.

I’m putting together a new channel online called Theatre Buond. A project I have been working on for an EXTREMELY long time about all things theatre. Theatre Bound is an artistic entity aimed at discovering and creating new ways of how we produce and view theatre. As a dramaturg the biggest issue or concern with releasing Theatre Bound to the world was where would I situate Theatre Bound to effectively practise the ethos. Where else than the digital world. Although there are institutions that exist within the internet, they exist as a platform that do not have any artistic restrictions and present a boundless amount of freedom to discussing theatre in its entirety. Theatre Bound is about discussing theatre (with a slant) and practical investigations into theatre land.

It is really exciting and terrifying releasing Theatre Bound into the world, similar to a rollercoaster that has sharks at the end of the ride. All will be revealed, as in Theatre Bound not a rollercoaster with sharks.

Floccinaucinililpilification

A good while back I decide to study a theatre dictionary and encyclopedia. And I’m still enjoying it immensely. That’s it. Oh and I found a word the other day on dictionary.com that is the above in bold lettering. It means the estimation of something as valueless or worthless. Its so insanely long and mind bending to pronounce but oddly enough when you see it you cant get it out of your brain. You close your eyes and its there.

You’re welcome.

DOLLAMINE ADAPTIONS

My lifeless cast has finally started to cooperate with me. We wont question this, just let it be like a pleasant zen buddhist monk. Unfortunately my wee lighting rig has refused to operate anymore, but thats ok I have a tiny lighting tech on the case.

The play being adapted is an ancient Greek play, I chose an ancient Greek play because as I read it I found it hilarious. Not because of the content, but what the content would look like on a 21st century stage.

I have always been so fascinated how some theatre goers or enthusiasts talk about plays and playwrights with such zest and passion as if they were there when the play was first performed. I remember years ago when I was in college I was talking to a random man about theatre, well he wasn’t random he was a friend of my friend that I was forced to socialise with. And he would not stop talking emphatically about Sophocles. So out of my own boredom and interest I did the unthinkable I told him I didn’t like Sophocles AND didn’t see the point in his work.

I do like Sophocles but I don’t understand the possessive terrority that comes with being a Sophocles enthusiast or any theatre in that sense.

To say his blood boiled would be an understatement. He then went on a rant about all of the articles and writings he has read to clearly prove me wrong. After what felt like a small lifetime of Sophocles talking I told him I was joking that I did like Sophocles and that I only said it to see his reaction. Which he then responded with the oddest look. Which was then followed by you probably thought you didn’t like him because you are one of those feminists. He said something else afterwards but I didn’t get to finish the full conversation because I had to burn my daily phallus effigy.

ANYWAY, with really wonderful theatre gestates clubs or communities of passion and appreciation. Which I find dilutes theatre, instead of experiencing theatre it is instead shoved aggressively on to a pedestal with a strict hierarchy below it, which is constructed according to your breadth of knowledge and the length of your boner. Like finding the area of a square in maths.

Then came Dollamine Adaptions. All of the plays produced through Dollamine Adaptions are plays that I really enjoy and from playwrights I really admire. Which I then deconstruct to be told through dolls, why, because theatre is to be experienced.

Thanks for reading, here our some flowers.

Not real ones, get it together its the virtual world.

All rights reserved to Katie Poushpom©

I THINK MY COMPUTER IS HAL. SEND HELP.

For some unknown reason the minute technology is put into my possession it either corrupts itself or malfunctions in some manner with a quick note from my computer saying ‘its not for you’. At the moment my work is heavily involved with videos, editing and creating a habitual space online with theatre bound. This is no easy task.

In October 2014, I completed about four months of work, which included about two years of continual R & D, completed work and prep for other projects. All of which I had put onto my hard drive. A hard drive I had bought under the pretence that it was almost child proof, to fulfil my accident prone needs. As I finished my practical challenges which involved writing a play in an eight hour car journey, to see if creative writing was possible under intense time constraints. During the drive I had created a strategic plan of organising all of my electronics in the back of my car so everything was safe and sound. So of course when I got back to Dublin from Cork I was defiant in my delicate organising skills would protect all the footage and I could create an informative and entertaining video about the challenge. However, as I began to edit all the footage, there was nothing there, nothing. The SD card decided to corrupt itself. Everything was gone, note even an electronic note to tell me what had happened. My tech savvy brother told me effortlessly ‘yeah it’s all gone, you wont be able to get it back. Now will you run down to the shop for me’.

WHY GOD WHY! It’s the theatre gods lashing out at me for making fun of Aristotle, I was eighteen, and his bust does look like he is forcing out a turd.

As I sobbed into the dark hours of the night, I then had to create a new plan for all my work that was lost. By the morning I was ready to get back to work with a positive dramaturgical perspective. With downfalls however, comes greater possibilities. I then began my work and the editing software I had decided to stop working. The software, which I had been teaching myself how to use for a year, stopped operating AND the top of my tripod just snapped off, you know the most important part of a tripod where the camera securely sits, it broke off. Now I just have a dramatic looking metal rod.

From this I told myself this is the universe balancing itself for all the great things to arise in my path. The universal order of all things like the Eros and Thanatos theory. That’s right I’m taking a spiritual standpoint. Mostly to lower the volume of my cacophony of rage filled screams.

The dramaturgical discoveries were bountiful during this experience. One being theatre skills don’t transfer easily to the digital world. Although this is where the translating aspect to being a dramaturg is utilised. For instance, Computer says ‘troubleshooting’, dramaturg says production note. Computer says ‘no internet connection’, dramaturg says ‘research and development’ .Computer says ‘not responding’, dramaturg says the death scene.

Like with any developing play text or performance piece there is a complex relationship that surfaces. Which does not necessarily draw up positive thoughts and experiences.

As a dramaturg you have to remain decisively pragmatic to the process, interpreting each discovery as a possible usable bone to the dramaturgical skeleton and not a bone of contention. Which has been ESSENTIAL to transferring theatre work online.

And thankfully now after many moons have passed I can finally start uploading work online!

After wiping the many tears and snots from my face induced by literally every piece of technology failing me, it taught me to remain confident when shit hits the fan and even hits you in the face. Even if your computer ominously asks you what are you doing Dave? You simply reply, I am not letting you deter me Hal, being a dramaturg is about persevering through the wonderful theatrical discoveries and the awkward and frustrating obstacles.

Until then here is a soothing picture of Amelie to get you through the day.

All rights reserved to Katie Poushpom ©