Tag: drama

Snowflakes

How do you feel about Facebook? Is it a wonderful gift to improved human communication or a divisive force that’s driving us all into echo chambers and filter bubbles?

It’s certainly getting more hectic. At least, my feed is. I’ve never ‘unfriended’ anybody, you see, so get to read stuff from all sides of the political spectrum.

Most of the time I’m just a spectator, watching the clumsy wrangling and immature name-calling unfold like a slo-mo pie-fight – or else a desperate scrap in the dark that makes me feel somewhat nostalgic for my old school debating-society with its dignified dance of thrust and counter-thrust. A choreographed verbal joust conducted face-to-face and a friendly handshake at the end …

Maybe I’m looking back through rose-tinted spectacles. It’s tempting to paint our youth as a golden age when everything was hunky-dory, buffeted and bruised as we are by an ever-changing present. Something of this same injured innocence fuels the following Facebook post – received yesterday – although its increasingly bizarre and highly unlikely turn of events reveals the underlying message to be anything but innocent:

Image may contain: text

Phew! Where on earth does one start? Well, we are expected to sympathise with the protagonist – a poor martyred victim of ‘political correctness gone mad’ – when the reality this implausible fable seeks to obscure is almost its opposite. In real life the social groups mentioned are victims of inequality, yet here they are implausibly caricatured as oppressors in a sinister conspiracy. If there’s anything truly sinister going on, however, it lurks between the lines of this hysterical little story.

That’s between you and me, of course. In the public arena of Facebook the mask must remain in place. Sometimes it seems that only two questions are permitted:

  • What’s the matter, can’t you take a joke?
  • What’s the matter, can’t you feel my pain?

Oddly, the passive-aggressive post above managed to combine them both. This stuff is fiendishly difficult to answer because it’s quite artfully done – it may be that art itself is the answer. If you can’t beat ’em, join ’em! Let the battle of the stories commence!

Image result for comedy tragedy masks

Bearing this in mind, I responded with the following Facebook reply:

By a curious coincidence … made a group of snow figures holding hands to represent tolerance between people of different genders, races, faiths, nationalities, political viewpoints and sexual orientations. Just woke up after a well-deserved nap and looked out through broken windows to see they’d all been flattened. Left here wondering who I could have offended …

So far, I’ve got one Like. Not being dramatic – well, OK, being dramatic! – that’s somebody else who’s stumbled into the soundproof silo … sssh! … perhaps another snowflake. Nothing wrong with snowflakes. I hereby take the word as a badge of honour …

Image result for snowflake

My favourite riposte to the derogatory use of this word came from comedian John Cleese:

After one unamused follower used the term ‘snowflake’ as an insult, Cleese, 78, couldn’t resist tweeting a response. Adding his trademark humour, of course.

In his cutting reply, Cleese said: ‘Yes I’ve heard this word. I think sociopaths use it in an attempt to discredit the notion of empathy.’

Next post: How to Tell a Good Story!

Something and Nothing

Warningthis post is about nothing.

If you have something – anything – else better to do, you are advised to get on with it. Unless, of course, you can’t be bothered – in which case, reading this could be a perfect excuse to postpone starting that.

If by some unlucky chance you have to begin that without delay, why not treat yourself to a well-earned break after a little while and come back to this? Then you can read about nothing and save your mental energy for that important something – that vital anything – else.

And if you’re just kicking your heels, this is right up your street.

I’ve been reading plays by Pirandello. Don’t worry, they aren’t about anything. Turns out there’s nothing out there for them to be about. That wouldn’t stop theatres charging you to watch them, mind, nor reviewers and critics trying to sell you their opinions about Pirandello’s brilliant creation of nothing.

But this isn’t the story of The Emperor’s New Clothes. His characters have plenty to say and nothing turns out to be surprisingly interesting. Something of why is contained in the following online critique of Pirandello.

Before that something, here’s a nothing that is – unsurprisingly – tedious. Watch it all and you may even turn with some relief to the final quotation. As Pirandello suggests, everything is relative, and as I once heard someone who showed us some very dull experimental films say in answer to an adverse audience reaction: ‘There’s no such bloody thing as boredom!’

Things we regard as Constant constantly change in the restless turmoil we call life. We think we catch a glimpse of the situation. But impressions change from hour to hour. A word is often sufficient or even just the manner in which it is said to change our minds completely. And then besides – quite without our knowledge – images of hundreds and hundreds of things are flitting through our minds, suddenly causing our tempers to vary in the strangest way.

In all his best self-questioning plays, Pirandello’s characters find that the firm selves they believe they own are in fact made up of evanescent hopes, impulses, wishes, fears, social pressures, the instincts of the animal inheritance.

They are driven deeper. Pirandello said he tried to make them express “as their own living passion and torment the passion and torment which for so many years have been the pangs of my spirit: the deceit of mutual understanding irremediably founded on the empty abstraction of words, the multiple personality of everyone corresponding to the possibilities of being found in each of us, and finally the inherent tragic conflict between life (which is always moving and changing) and form (which fixes it, immovable).”

Hence his characters usually wander as in a hall of mirrors, thinking they look for reality, while in fact they desperately try to find safe illusions -“ideals”- to live by. When, for a moment, they seem “real” to an audience, their non-realism is often suddenly declared: they turn out to be in a play-within-a-play.

Hmm, sounds a bit like blogging …

Haha, only kidding!

Or am I … ?

The Roar of the Greasepaint, the Smell of the Crowd …

Chatting to another blogger the other day, I mentioned a one-act play what I wrote – blame Ernie Wise for the bad grammar! – and my fellow cybernaut replied that he’d like to read it. Aren’t people kind?

So … two years ago I entered Beyond The Gilded Cage for a playwriting competition. It didn’t win – OK, it never even made the shortlist! – but it does have the minor distinction of being the first play I ever finished. Starting a dialogue comes easily enough when the discordant soundtrack to your childhood is constant parental bickering – all the books tell you that drama needs conflict, so it’s Ta to Ma and Pa for plenty of that! – but fictional endings come harder when disagreements in real life are never really settled.

Anyway, that’s my excuse.

Deadlines help, of course, they always did. One long boring car journey us kids decided to start writing down everything my parents said, so we sat on the back seat scribbling like crazy while they came up with pure comedy gold – things like, “You’re far too close to that cyclist!” … “What cyclist?”  We ended up with pages of this stuff, driven on by the delicious prospect of reading it aloud to everybody when we got to our grandparents’ house. A performance deadline, no less, and we brought the house down!

If my mother and father had ever seen eye to eye, perhaps I wouldn’t still be scribbling crazy dialogues I can’t seem to finish. There’s certainly something of my parents in Sarah and Patrick, the central couple in my play, but whether I manage to bring them together convincingly at the end is anybody’s guess. Ah well, all the books on playwriting tell me that farce is close to tragedy …

If you can spare a little time to read Beyond The Gilded Cage, please click on beyond2 and a Word document should load up (in Protected View) after a few moments. I would be very interested in any feedback, favourable and otherwise – if I can improve it, or improve on it, I might make a shortlist in the future!

 

Image result for drama

 

 

Image: St Stephen’s CE Primary School

Arts Wars

When I began A Nomad In Cyberspace six months ago, my declared aim was to avoid going over old ground. Then I proceeded to write about my childhood memories, musical nostalgias and firmly-entrenched opinions. Ha, so much for mission statements! Memoirs Of An Old Codger, you might think, though you’re much too polite to say it to my face.

Well, go ahead. I’m a grown-up. I can take it.

More than that, I need it. Any writer worth his salt must have something to offer the present. The young Arthur Rimbaud, who seemed to pack a lifetime’s experience into his brief career as a poet, put this as well as anyone.

It’s necessary to be absolutely modern.

No hymns: hold the yard gained. Harsh night! The dried blood smokes on my face, and I’ve nothing at my back but that horrible stunted tree.

I take ‘modern’ to mean ‘future-proof’ as well as ‘of the moment’ because Rimbaud’s writing never seems dated. His words above wouldn’t have been out of place in Sam Beckett’s existentialist play Waiting For Godot, almost eighty years later.

WaitingForGodotW

Trying to develop as a writer in your sixties, it’s easy to feel daunted by young writers like Rimbaud and John Keats who were done and dusted before they were a third your age. But the precocious perception of the 24 year-old Keats can give an old-timer hope.

The common cognomen of this world among the misguided and superstitious is ‘a vale of tears’ from which we are to be redeemed by a certain arbitrary interposition of God and taken to Heaven – What a little circumscribed straightened notion! Call the world if you Please “The vale of Soul-making” … Soul as distinguished from an Intelligence – There may be intelligences or sparks of the divinity in millions – but they are not Souls till they acquire identities, till each one is personally itself.

As a humanist, I can find little to argue with here – his philosophy seems closer to Buddhism than to conventional Christianity. As a teacher, I welcome his rejection of passive fatalism in favour of an active existentialism and feel that this wise young man still holds out a generous hand to other young people struggling to find a foothold – nil desperandum, he seems to say, just hang on in there because things can only get better. And as one who has somehow made it through, I can only confirm the beautiful truth – and truthful beauty – of his prescient insight. Everyone deserves to discover that ripeness is all.

But the young teach the old as much as they learn from them. When your own future is ‘circumscribed’, to echo Keats, hope comes from the future of others. And as a would-be writer I want to communicate with everyone, not just the old and nostalgic. I must live in the present, in the harsh light of day rather than the rosy glow of evening.

To stretch the metaphor – only in the here and now, together, can we bear to face the black night to come. Your energy becomes mine. I was young, as you will be old. Je est un autre, said Rimbaud, I is another. Perhaps we are become a single being in cyberspace? Could this be the starship Paul Kantner said we should hijack? Mankind gone from the cage, he sang when the internet was still just a hippie dream, all the years gone from your age. Only connect …

Alas, the fragile web of language comes apart so easily. These days, I need to hear the snap and crack of a scourge. And spurred on by guilt at the mighty mess my generation has left yours to clear up – our old freedom cry of Do your own thing long since hijacked to justify the selfish individualism that rampages across the planet like a bull in a china shop – yes, spurred on by morality and creaky metaphor, I might yet do something. Think Lucky driven ever onward by the whip of a greedy Pozzo

Waiting-for-Godot-Play-Pa-001

Lucky I might be – luckier than Lucky, for sure – but the mess isn’t all my fault. I never voted for those bastards …

In downbeat moments, I do wonder whether my moment has passed. A one-act play competition at the local theatre galvanised me into finishing one of my dribbling dialogues as I drolly dub them. The winner was a brilliant young poet called Toby Campion.

If this floats your boat, you can view another of his performance monologues by hitting the Sob Story link on my menu cloud.

Yeah yeah, Sob Story. The title is two months old. My sobs are subsided. Now I can take it. I’m grown up. And it doesn’t hurt – would I lie to you? – when a feller loses to a younger, more vigorous competitor …

Red%20Deer%20Stags%20(Cervus%20Elaphus)

The beautiful truth, of course, is that all competitors share in the genuine victory of the better man. Here is a young talent with striking maturity, a unique voice that combines celebration with a call to arms and the bravery to speak up for a town and even a whole region. My private victory was in finishing a play for the first time.

Unless you count the script for a horror film I wrote as a kid. Bored on holiday and fed up with the feeble fright-factory that was Hammer Horror, I resolved to come up with something really scary. With my brother and sister and a couple of other kids in the cast, we performed it to an audience of parents. The details have gone – perhaps blotted out to spare my own psyche – but the upshot was that they confiscated my pens for the whole fortnight.

This time round, my only regret is not making the shortlist which would have earned me some official feedback. With that in mind, I’m publishing my one-act play online. If you have an hour or so to spare, you are welcome to take a look. Click on Beyond The Gilded Cage and a Word document should load after a few moments. I really would appreciate any opinions, the more candid the better. It is necessary to be absolutely modern. And as Keats almost said, No pain, no gain …