Megan's Head

A place where Megan gets off her head.

More musings on The Tent

So I’m sure you can guess what’s occupying my brain (and heart) right now. I am reflecting a little after day three of rehearsals, and again I am thanking the crazy gods of theatre for the sequence of events that has brought these amazing actors into the rehearsal space.

I have always had a bit of a problem with writers who direct the plays that they have written, and here I am, doing just that. But, I have to say, I’m loving it. This work (of rehearsing) is so complex and layered, and so much more than what is on the page, that it is so exciting fleshing it out. And there is also the luxury of time to do it; this isn’t a rush job.

Naturally, while we are focusing so strongly on the making of the play, there is not enough time for me to market the thing. I hope people will want to come and see it. It’s amazing how I can give myself things to worry about hey? Obviously there is The Tent group on Facebook. And I’m writing about it here, on meganshead. Doing last year’s showcase has helped get the word out there a bit. and a cast of eight will at least have friends and family to see it.

Ok, I’m going to let myself worry about something else now. Until tomorrow, day 4. And, I’m loving it.

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2 Comments

  1. Ugli Bob

    It’s always an interesting question/debate – should one direct one’s own work? In our field, it makes a hell of a lot more sense, but then we’re creating from scratch and so everyone in essence is a “co-writer”, and of course one can easily fall prey to too many authorial voices and the piece as a whole suffers from a specialised writer controlling the central narrative. But all of theses are furiously debateable. Of course. I believe if a writer can direct, then why not do one’s own work? One knows exactly what one wants, it’s a natural extension of the creative process. That is, of course, as long as the director doesn’t necessarily believe the script is complete, and still open for further development. A script is just a text, a guide to performance. If the writer can let that go, and not get too precious about the effort and time that went into writing it and thinking it complete, and trusts the vision of the director, then all is cool. That said, it’s a difficult thing that – to let go.
    Anyone else?

  2. megan

    Ugli, sometimes you pop up at the right time and place wena! I needed that. And you are right on all counts. The best thing is, you have returned my confidence, given me the freedom to slash at the text like the scissor happy director I am, and give the cast the freedom to be totally unprecious with everything.

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