Photograph by Adam Thomas for You Are Here |
Once someone said to Andrew they wanted to go to an event, ‘because a
bespoke poem had been written for a pop-up venue’ and Andrew wanted to punch
that person in the face. Instead he wrote a poem about carpets. He questions,
is there a need to fight poetry, how violent do we need to be with poetry, does
poetry afflict the comfortable and comfort the afflicted or is it the reverse,
and is it just too easy to go with aggression? Fighting poetry isn’t a lifelong
commitment, it is bloody victory and whimpering defeat.
Synopsis
Fighting
Poetry is a symbolic narrative of three rounds of poetry combat. The
performance tracks Andrew as he swings against the clichés, tropes and
characters of poetry writing and performance. In the second act he is unable to
escape these same concepts that drive him to poetry violence as blow after blow
rains on him. A framed snapshot of his first ten years of writing, publishing
and performing poetry, this is a show that delves into the perspectives, tools
and objectives of poets writing and performing their work. It is both
Canberra-centric in its examinations but wider-ranging in its exploration of and
experiments with poetry.
The play
uses two key facets of satire: 1) it allows you to say almost anything and 2) it
can go places that serious discussion may not. As satirical theatre founded in
poetry and polemic, Fighting Poetry tackles some problems faced by satire,
including preaching to the choir rather than confronting the target, that art
doesn’t change other minds as much as it changes the creator’s life, that satire
doesn’t work if you are obviously trying to be funny, and that satire should be
full of teeth.
Background
Fighting
Poetry was developed by Andrew Galan for You Are Here 2017. Its development was
assisted by funding from the festival. The text and performance of Fighting
Poetry received invaluable dramaturgy from Canberra theatre practitioner Nick
Delatovic. The play was staged on 6 April 2017 as part of the festival.
The play
makes use of Andrew’s poetry previously published in Australian and
international poetry journals as well as his first two books, That Place of Infested Roads (Knives
Forks and Spoons Press) and For All The
Veronicas (Bareknuckle Books). New poems written for the play during the
development of the work over six months were also included.
The key
objectives of the work was to create theatre that makes people think about the
use of poetry and that prompts them to buy poetry books.
Key development processes
Movement
and positioning during the play was devised while working with Nick Delatovic
to strengthen and extend the performers range of action, as well as to ensure
that these actions were deliberate and symbolic. This was done over four months
and facilitated the exploration of positioning to show key concepts and assist
the audience in absorbing the play.
The composition
of the text was designed to integrate the scripted monologues with already
written and new poems in a way that formed a coherent theatre piece. The intent
was to use the poetry seamlessly. This process involved re-scripting with
advice from Nick, as well feedback from two rehearsal reads with invited
audiences.
Scripting
and staging the play involved careful consideration to ensure that the satire
targeted the tropes of poetry and that the invective served the key polemics of
the work rather than engaging in needless ad‑hominem attacks.
Audience reactions
‘Andrew
Galan’s one man poet(ry) assault unit in action’ – Aaron Kirby, public servant
and performance artist
‘Stoic
isn’t the right word.’ – Cameron Thomas, theatre practitioner and bottle-shop
manager
‘This
feels like a book launch.’ – Ryan Schipper, poet and computer engineer
‘A show
that made me stop and think more about why we love poetry why we write, what we
write and how.’ – Akka Bellengen, photographer, poet and parent
‘You’re
an arsehole’ – Scott Sneddon, physical performer and Co-Director of Ruckus Slam
‘You’ve
made me think about what I write and perform.’ – Scott Batum, poet and BMA
reviewer
‘Having a
fashion crisis over which suit of armour to wear to this.’ – Dr Adele
Chynoweth, academic and theatre practitioner
‘Where
can I buy a book?’ – Andrew Yallop, writer and student
Selected source material
Revisionist
History, episode 10 – the Satire Paradox
The Limits of Satire, the New York Review of Books, 16 January 2015
A Point of View: What's the point of satire?, BBC News Magazine, 13 February 2015
Notes
taken during a visit to Viktor&Rolf: Fashion Artists at The National Gallery of Victoria
Viktor&Rolf - Fashion Artists review: Dutch design duo's NGV show a strong statement ofartistic intent, Sydney Morning Herald, 7 November 2016
How to write a political poem by Taylor Mali
Thank you for writing this, Andrew. It gave me further insight into the play and it helps me better understand what goes in your creative process. oh, and thank you for the quote - I did not expect that.
ReplyDelete