In previous shows, I often sought to redefine the boundaries, to excite the paradoxes, to blur the lines between actor and character, reality and fiction. In addressing
Spring Awakening , I would continue to pursue this.
A question often arises: how to play children 14 years of players who have double?
This is not a default choice is biased staging. This difference is a strength, a true support of the game will not be subject to imitation. I would like to solicit the players remaining who they are, suggest and guess the child they were. There is no takeover of one over the other.
Kantor died in class, had assigned the roles of young schoolchildren to actors very old. In their back, they saw the corpse of their childhood. Here the distance is smaller, but the dialogue remains the same.
Looking through the room, I feel like an elk, a vitality, something instinctual that should be held accountable. I wish we could hear movement inside the actors (the beating of the heart, blood in the temples), that opens each scene and after a race and the breath is palpable. I would also like the sensuality expressed fully.
It seems to me to tell the child he would go through the body, the body discussed, but the body moving, dancing body.
For the first time, I want to link my work that of a choreographer. David Wampler, dancer and choreographer has often explored throughout his shows, the group's report against the individual, he also worked on a formal set of privacy.
In conjunction with this work, I explore the movement of a less cerebral, less narrative. I like to give life to this group of children other than through the text and dialogue, as in the interstices of the scenes the whole place is made to move and dance to find the throbbing, seething that seems internal text.
Music and sound will also important. Olivier Pasquet who works at IRCAM, has often worked on forms of musical theater, he recently worked with Aperghis for its machine parts. He will sign the soundtrack to Spring Awakening .
Visually, I guess for the actors to create a huge playground. Steep terrain because of bumps, holes, water holes, scaffolding ... A united space that can evolve separately considering a forest, a dump, a graveyard ... recreate the pace and atmosphere of the seasons: summer, autumn, winter spring. This will close the drawings of Henry Darger.
Numerous commentators Spring Awakening and I think particularly of Freud and Lacan, have mostly emphasized the feelings of children, the effect produced on them the awakening of sexuality. In this analysis, the repressive character played by parents and the values of bourgeois EDUCED are sidelined. It is an essential part. It's still the aspect that interests me the least, it seems almost obsolete. By working to adapt the piece, I sought to minimize the maximum the role of parents, but to make them exist as off-field, at least not to make them responsible for all the ills of their children. It is a radical bias. But it seems that things have changed dramatically over these issues. A stork is no longer a credible hypothesis, one click for an explanation much more plausible and more detailed evidence by the image.
By working with high school students, I realized that the drama that roamed the room (suicide, abortion, prison house of correction ...) had not lost their topicality. As in the play, we attends a failing education system, it simply educates more children today as a century ago.
I want to talk about today's children.
Wedekind's writing is radical, there is no complacency, Spring Awakening flirts with cruelty, but never forget the humor, the play allows himself lyricism, but n is not a shoddy lyricism. The characters have aspirations, they must still manage to resolve their contradictions.
Spring Awakening : The title carries with it the problem part. Awakening of consciousness, sensuality, sexuality ...
How to negotiate the turn?
is the age when one is no longer a child, it loses its status as an officially innocent, but that status did not he always been overused?
Spring: no season knows so much upheaval.
William Vincent
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