[This post is a continuation of a series about the developmental process of THE JOURNEY. Click here to read the previous post.]
Our meeting work session today included Jeremy, the Assistant Director. Yo-El and I read the script aloud, alternating scenes, while Jeremy and Georgia listened and took notes. This was Jeremy’s first encounter with the script.
One of our nagging concerns has been about how to best support people’s first encounter with the script, as it is not a traditional “script” with lines. It is more similar to a short story, though it does not include the psychological insight that prose often utilizes. Our script tells the story by following the physical action of the story — what the characters do. It is not the traditional path towards insight into the characters’ psyches. Actors will be embodying the physical journey and through the that find their actions.
It became clear through our meeting that the actors first interaction with the text cannot be from reading it aloud. The scenes are dense and the format too unusual. As a story told through movement, we have to live physically and imagistically first, before we can turn to a textual guide. Yo-El, Georgia, and I have been talking about hiring a storyboarder to draw the journey. As luck would have it, our set designer wants to draw it out. Yo-El also has a video of a production that utilizes many of the same images and was, in some ways, a first physical draft of The Journey.
And yet, as the person whose artistry went into the crafting of the script, there is a part of me that wants the script to be an artistic container, so Georgia and I are thinking of ways we can break up the text or add images. In reality this is a 360 project (drawing on the theme of Yo-El’s junior movement class 360 Storytelling), it does not live solely in text, or music, or images, or the body, but needs a combination of all aspects, and we are still trying to find the most helpful combination.