- ContributedArrival at the end of the 'Journey' is a descent to earth.
Tanya Batson, Staff Reporter
'All the world's a stage' is one of the most famous lines by The Bard, William Shakespeare. It is also a statement which some theatre practitioners take personally in developing their craft.
As such, they are not limited by the stage or even traditional use of the stage when giving performances.
Taking performances off the stage is nothing new to Jamaican theatre. This is especially so, given that Jonkunnu is such an art form. Instead of gathering in a set space, the performance is taken to the streets and the audience becomes all who are passed along the way.
When it comes to performing in the theatre, one way of breaking the mould is involving the audience. This too is a favourite of Jamaican theatre and in fact can be seen as a staple in Jamaican comedies.
While Jonkunnu is experiencing a resurgence, there are other theatre practitioners who, if not necessarily taking their art form to the streets, are finding ways of stepping outside of the boundaries. Additionally, there are some well-known theatre practitioners such as Jean Small and Amina Blackwood-Meeks who make difference their business.
Some young performers are also beginning to make it their business to create something different. Evidence of this could be seen in this year's Tallawah drama festival, which took place in November at the Phillip Sherlock Centre for the Creative Arts (PSCCA). The winner of the best actress award, Simone Harris, used dance, drama and visual aides to get her point across.
This was not the only instance of such a combination. At a recent rendition of 'Voice: The Spoken Word in Action', held at Grosvenor Place, Shelly-Ann Maxwell and Ian Williams also engaged in a performance which combined dancing and graphics, poetry and singing.
The event's producer, Connie Bell, pointed out that during the production "everybody stopped dead still" due to the artistry and engaging nature of the piece.
Other performers have also become engaged in blurring the boundaries of the stage. FourPoorDancers, which comprises Neila Ebanks, Kafi Jones, Oneil Pryce and Kevin Moore, recently produced Destination Self. While the production was no doubt a dance show, it certainly was a different one. Destination Self was performed in the dance studio theatre at the Edna Manley College of the Visual and Performing Arts. In so doing, the room was turned around and the 'stage' was employed as the seating area while the steps - usually used for sitting - were used as the major dancing area.
Another performer attempting to go outside the boundaries is Tracy-Ann Brown, who has formed the performance company, Musical Waters. Thus far, Musical Waters has produced only one show, Journey. This production featured dance, poetry and drumming. One of the dances which especially seemed to go outside the box featured Ms. Brown being dangled from the rafters.
Self-expression appears to be the major inspiration for producing these works. Ms. Brown said that Journey was produced "because of a need to rather than wanting to". She pointed out that although she began dancing late, at age 19, she has been involved in different kinds of artistic expression - drumming, dancing, painting and poetry. As such, Journey was a combination of all of these schools as she wanted to "merge more than one world into one thing".
There are several factors which may limit the staging of these performances. First, they are usually independent performances. While this is not particularly unusual in the Jamaican context, it means that these independents are often not financed, as Ms. Ebanks pointed out. This, of course, usually means that the shows are not advertised and thus depend on word of mouth for publicity.
Advice
Producer Louis Marriott, however, has some advice to give to young theatre practitioners who would like to get their work on the stage. Mr. Marriott pointed out that as a rule, he refrains from reading other people's scripts. He remarks that this is to reduce any risk of accusations of plagiarism. "The chances are that if I read your script it may be something that I have in mind," he remarks.
As such, Mr. Marriott recommends that young playwrights may use forums such as the readings which take place at the P.S.C.C.A. on Sunday mornings once per month. Then, the young playwright can invite producers to view the work. "If it is a public stage reading, it is a horse of a different colour," he said. In such a venue, he would certainly have no problem viewing the work.
Nonetheless, would-be playwrights would still have a problem convincing a producer to take on their work. This is because many of Jamaica's producers are also playwrights and thus have their own work to produce. "The problem with Jamaican theatre is theatre space," Mr. Marriott remarked. One bright spark in the future may come in the form of the Jamaica Association of Dramatic Arts, which Mr. Marriott says will pay attention to such issues.
Another major drawback in producing these different works is fear of rejection. Ms. Brown remarks that more persons need to be willing to put on their works despite possible criticism.
It also appears that Jamaicans are accepting of performances which go outside of the boundary. Ms. Ebanks pointed out that she was rather surprised by the number of persons who found non-traditional performances appealing. She made reference to her performance in Living Art Off The Wall, which took place at Devon House.
"When we did the thing at Devon House... when we did the presentation, people were really receptive. Not just artsy people," she goes on to explain. This seems to contradict the idea that Jamaicans only want comedy.
Regardless, these young practitioners are insistent on letting their voices/expressions be seen/heard. The reason is simple. As Ms. Brown says, "I have a desire to express my own thing."
