Nudity - the actor's POV
Mon, 28 Aug 2000, 07:55 pmWalter Plinge37 posts in thread
Nudity - the actor's POV
Mon, 28 Aug 2000, 07:55 pmPurely as a hypothetical question (at this stage, anyway): how do the actors out there in community theatre feel about nudity?
Would you do it? If so, under what circumstances? If not, please give reasons.
I'm talking serious nudity here; not "underwear nudity", but actual nudity: full frontal, topless, etc.
Would it be unreasonable of a director to ask a large portion (if not all) of their cast to appear fully nude, for instance in plays like "Hair", or "Steaming"?
And would be unreasonable of a director to apply for a season with a local group with a play or production that will require nudity to work effectively? Could he/she find a cast?
I open the topic for discussion....
D.M.
Would you do it? If so, under what circumstances? If not, please give reasons.
I'm talking serious nudity here; not "underwear nudity", but actual nudity: full frontal, topless, etc.
Would it be unreasonable of a director to ask a large portion (if not all) of their cast to appear fully nude, for instance in plays like "Hair", or "Steaming"?
And would be unreasonable of a director to apply for a season with a local group with a play or production that will require nudity to work effectively? Could he/she find a cast?
I open the topic for discussion....
D.M.
RE: Nudity - the director's POV
Fri, 1 Sept 2000, 04:26 pmWalter Plinge
I am not convinced that this discussion is achieving anything. For most, the question seems to have been reduced to whether they 'personally' would feel comfortable appearing naked on stage.
As a director who has recently worked on two theatre pieces that featured nakedness can I suggest that it has nothing to do with actor or audience comfort. In fact quite the opposite.
Ours is a culture that is decidedly alarmed about the appearance of the uncovered human body. To appear naked in a public place is still an offence. Due to this taboo the naked body has assumed an enormous fascination.
For centuries public viewing of naked people could only ever be justified on grounds of art or science ie. the 'Classical School' in art and National Geographic 'nature' documentaries.
It is for this reason that nakedness on stage has such a powerful effect.
As a director I consciously use nakedness in productions to put the fear factor back into the work for both actors and the audience. The last things I want in one of my productions are comfort or complacency.
Simon Baldwin's concern that it is distracting to other actors is of course not a question of nakedness but one of focus. Coughing in the auditorium is also a distraction but I am sure actors develop suitable techniques to 'stay in character' throughout the winter months.
To my own thinking it is not a simple question of whether the 'text' REQUIRES it but always one of whether the 'work' DEMANDS it.
If you are far too intimidated by nakedness in theatre then please don't audition for me or book to see 'an elektra'.
PUBLICITY RELEASE:
an elektra
A production by Malcolm Crisp
Designed by Jo Marsh
Soundscape by Graham Knapp
With: Alaina Harris, Crispian Chan, Jo Marsh, Patrick Spicer,
Renate Earnshaw, Shelly Hayes, and Timothy Collins
'The Electra' was written by Sophocles over 2000 years ago and explored a
society that had begun to question such notions as justice and honour.
This new production (retitled 'an elektra') warp-drives the story to a
dark landscape inhabited by a warlike people who have nothing to celebrate
but a history of conquest, murder, and carnal gratification.
It is a sensually violent rampage through the dark-side of a society that
has discovered that principles and beliefs are nothing more than tools of
political and personal seduction. Malcolm Crisp's 'an elektra' is a
post-modern exploration through an ancient text freshly mapping its
insights into how individuals make choices about who they are and what they
do.
This controversial and edgy production, designed by Jo Marsh, is
frantically paced and is underscored by a sizzling soundscape performed
live by Graham Knapp (From one of Perth's hottest bands The June Brides).
'an elektra' is uncompromising in its contemporary language, use of
physical imagery, and intellectual investigations. Aptly described as "like
having sex on a rollercoaster with Derrida!" the explicit nature of Malcolm
Crisp's 'an elektra' means it can only be performed as a late, late show.
If you are not offended by nudity and scenes of simulated sex, or afraid of
imaginative acts of violence, and gratuitous deconstructions, then grab a
ticket while you still can.
At the Blue Room Theatre, 53 Francis Street, Northbridge. Limited season
dates: Thursday 7th, Friday 8th, Saturday 9th, Thursday 14th, Friday 15th,
Saturday 16th, September.
Doors open 10.15pm performance commences 10.30pm sharp. Duration: one
hour. All tickets $10.00
Bookings phone: 9227 7005
Information and Interviews: 041 328 7297
As a director who has recently worked on two theatre pieces that featured nakedness can I suggest that it has nothing to do with actor or audience comfort. In fact quite the opposite.
Ours is a culture that is decidedly alarmed about the appearance of the uncovered human body. To appear naked in a public place is still an offence. Due to this taboo the naked body has assumed an enormous fascination.
For centuries public viewing of naked people could only ever be justified on grounds of art or science ie. the 'Classical School' in art and National Geographic 'nature' documentaries.
It is for this reason that nakedness on stage has such a powerful effect.
As a director I consciously use nakedness in productions to put the fear factor back into the work for both actors and the audience. The last things I want in one of my productions are comfort or complacency.
Simon Baldwin's concern that it is distracting to other actors is of course not a question of nakedness but one of focus. Coughing in the auditorium is also a distraction but I am sure actors develop suitable techniques to 'stay in character' throughout the winter months.
To my own thinking it is not a simple question of whether the 'text' REQUIRES it but always one of whether the 'work' DEMANDS it.
If you are far too intimidated by nakedness in theatre then please don't audition for me or book to see 'an elektra'.
PUBLICITY RELEASE:
an elektra
A production by Malcolm Crisp
Designed by Jo Marsh
Soundscape by Graham Knapp
With: Alaina Harris, Crispian Chan, Jo Marsh, Patrick Spicer,
Renate Earnshaw, Shelly Hayes, and Timothy Collins
'The Electra' was written by Sophocles over 2000 years ago and explored a
society that had begun to question such notions as justice and honour.
This new production (retitled 'an elektra') warp-drives the story to a
dark landscape inhabited by a warlike people who have nothing to celebrate
but a history of conquest, murder, and carnal gratification.
It is a sensually violent rampage through the dark-side of a society that
has discovered that principles and beliefs are nothing more than tools of
political and personal seduction. Malcolm Crisp's 'an elektra' is a
post-modern exploration through an ancient text freshly mapping its
insights into how individuals make choices about who they are and what they
do.
This controversial and edgy production, designed by Jo Marsh, is
frantically paced and is underscored by a sizzling soundscape performed
live by Graham Knapp (From one of Perth's hottest bands The June Brides).
'an elektra' is uncompromising in its contemporary language, use of
physical imagery, and intellectual investigations. Aptly described as "like
having sex on a rollercoaster with Derrida!" the explicit nature of Malcolm
Crisp's 'an elektra' means it can only be performed as a late, late show.
If you are not offended by nudity and scenes of simulated sex, or afraid of
imaginative acts of violence, and gratuitous deconstructions, then grab a
ticket while you still can.
At the Blue Room Theatre, 53 Francis Street, Northbridge. Limited season
dates: Thursday 7th, Friday 8th, Saturday 9th, Thursday 14th, Friday 15th,
Saturday 16th, September.
Doors open 10.15pm performance commences 10.30pm sharp. Duration: one
hour. All tickets $10.00
Bookings phone: 9227 7005
Information and Interviews: 041 328 7297
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