Transforming poetry for the stage
Today I'm on two fantastic websites, nattering about the process of transforming The Shipwrecked House into a show.
The first is for Kim Moore's fantastic blog and contains a lot of specifics about the process: when the idea was born, how we developed it etc:
'The script had to be created from scratch in a short space of time using poems in an order that would make sense, with new material to bind it together. I found the endless discussions at the start of the process frustrating (‘but what does the home mean?’ ‘wait, where is this set?’) because I’m more of a do things first ask questions later kind of gal, but they were necessary. The key for me was realizing that even if the audience doesn’t see the links, we have to have our own internal logic for everything that happens on the stage. I wrote some dry material to accompany the poems at first, we either found ways to play or build on them, or replaced them entirely. As the process went on I became more confident about substituting phrases and editing sections to suit the performance. I’m not a playwright and don’t think I could write for the stage in a vacuum, but this way of doing things worked for me.'
You can read the full blog here.
The second is for Exeunt Magazine and has more of a page/stage angle to it:
'Promoters like to make differentiations between ‘page’ and ‘stage’ poets, and perhaps there are some stylistic differences borne out of the preferred end medium. However, to corner any modern poet into being just one or the other does feel hopelessly old-fashioned: ‘stage’ poets publish their beautifully-crafted work in collections all the time, ‘page’ poets are no longer the elbow-patched shy-mutterers you might expect. The diversity of voices and methods is one of the things I love best about poetry: there’s a poet and audience for almost everyone out there.'
Only three days to go before the tour starts! You can book tickets here. See you there I hope?