'I've always been of the opinion that I'm a director first and a writer second,' he explains. As the artistic director of a large provincial repertory theatre (the Stephen Joseph Theatre in the Round at Scarborough), his priority is for fast, disposable theatre. 'I direct my own work because of the satisfaction of a vision where word and gesture and space and reaction all merge together,' he says.Īlan Ayckbourn's directing impulse comes from his technical expertise, and partly also from expediency.
His latest work, The Office Party, 'an investigation into truth and image' set in a city marketing firm, is partly written in blank verse and uses dance sequences to provide another level of commentary on the action. He conceives his plays with a very clear visual and choreographic idea which only he can realise on stage. So,' he adds, 'I have to direct it myself.' In order for it to be a seamless process, I have to start working with the choreographer, the designer, the composer and even, in this case, the magician (Ali Bongo, the head of the Magic Circle, has acted as consultant on the piece), even before I've finished the text. 'I compose spatially and visually, my plays have a scored spatial life. 'I have a hunger for a more organic kind of theatre, which is not compartmentalised,' says the poet and playwright Tony Harrison, who is directing his latest work, Square Rounds, at the National Theatre. But with the pendulum swinging away from the literary play, in which the text is pre-eminent, towards a growing interest in the kind of 'total' theatre produced by artists like Ariane Mnouchkine or Robert Lepage, the writer's role as a director takes on a new importance. Bouncers premiered at the Edinburgh Festival in The conflict between those wanting a good time and those stopping a good time from being had is a basic dramatic premise.Brecht and Shakespeare did it - there have always been dramatists who venture out of the study and on to the stage to direct their own works. It is a funny, energetic piece of highly theatrical storytelling where the men are at once themselves, and every character they happen to meet on a night at vouncers at the nightclub. The boredom of the men on the door spills over into grotesque violence and fantasy. No performance may be given unless a licence has been obtained.
1 Buy Script £ Click here to The original versions of John Godber and Jane Thornton’s classic comedies together in one volume.īouncers by John Godber shows a night on the tiles from the point of view of the men on the door. Buy Script £ The four brutish bouncers of the title portray over twenty different characters as we are Visit John Godber’s official website CLICK HERE. It is a funny, energetic piece of highly theatrical storytelling. Bouncers by John Godber shows a night on the tiles from the point of view of the men on the door.
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