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Iliad National Theatre Wales in Association with Mewn Cydweithrediad  Ffwrnes 21.09—03.10.2015 01 #Ntwiliad 02 Nationaltheatrewales.Org

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Iliad National Theatre Wales in Association with Mewn Cydweithrediad  Ffwrnes 21.09—03.10.2015 01 #Ntwiliad 02 Nationaltheatrewales.Org ILIAD NATIONAL THEATRE WALES IN ASSOCIATION WITH MEWN CYDWEITHREDIAD  FFWRNES 21.09—03.10.2015 01 #NTWILIAD 02 NAtIONALTHEATREWALES.ORG “IN THE BEGINNING FfwRNES DIRECTORS/CYFARWYDDWYR LLANELLI MIKE PEARSON & MIKE BROOKES THERE WAS NO BEGINNING, A THEATRICAL STAGING OF AND IN THE END, NO END…” CHRISTOPHER LOGUE’S WAR MUSIC LLWYFANIAD THEATRIG O WAR MUSIC GAN CHRISTOPHER LOGUE 03 #NTWILIAD 04 NATIONAtIONANALLTHETHEAATREWTREWAALES.ORGLES.ORG COMMENTARY/SYLWEBAETH _____ MAKING ILIAD/CREU ILIAD MIKE BROOKES & For us, it begins with an ambition: to stage Read takes up in his Introduction to War RICHARD JANKO THE ILIAD: A COmmEntARY VOL. IV (1994) (P.4) MIKE PEARSON the whole of Christopher Logue’s War Music Music (2001): ‘Cinematic terms – jump cuts, – his account of Homer’s Iliad – in a single reverse shots – are part of his narrative ‘BY LEAVING AN UNDEFINED AREA BEtwEEN durational performance; to highlight his vocabulary, allowing movie-literate extraordinary text; to make it available to (i.e. most) readers to register certain FREE WILL AND SUPERNATURAL FORCES, audiences in the most immediate and exciting scenes quickly and vividly. Cinema’s rapid HOMER ACHIEVES twO GOALS: HIS CHARACTERS manner. [We plan to do this.] alternation between the small, isolated Then come our desires: to make detail and the big, general effect has been ARE SEER, TO SUFFER FOR THEIR Own CHOICES, site-specific performance in a theatre another useful lesson. Kings itself opens auditorium; to employ a particular range of as if on some gigantic screen…’ And Alan WHICH IS CLEARLY TRAGIC, AND YET THE WHOLE scenic devices and theatrical components; Brien in New Statesman: ‘Logue seems to explore the use of contemporary everywhere at once, like a camera in OUTCOME SEEMS BEYOND THEIR INDIVIDUAL technologies, concentrating on audio. a helicopter, continually varying close up COntROL OR EVEN PRE-ORDAINED, WHICH IS [I imagine this. I want to do that.] and long shot, description and comment, And those ideas that appear out of asides to the reader and direct address to TRAGIC IN ANOTHER WAY.’ the blue: what if the Gods are annoying his characters’. And James O’Brien in The teenagers? [How about this?] And the Tablet: ‘We hear the music of war and it is practical challenges: of presenting three thrilling. We see the cinematography of the ImAGES/DELWEDDAU hundred pages of poetry as theatre; of battlefield and it is astonishing’. EmYR YOUNG addressing the constraints of budget, of What if we regard Iliad as the available resources, of time; of working screenplay of an imaginary film? Never with young people. [We’ll need to do that.] portrayed, ever ghostly, but evoked and And gradually a unifying concept conjured in the room: emerges that meshes ideas and aspirations – Through the words of Narrators who and realities, opportunities and prohibitions: resemble benshi – ‘poets of the dark’ – embodied in an exchange of detailed ground those live actors employed by early cinemas plans and scale models and scripts of in Japan to accompany silent foreign films: many colours and schedules. [This we can to relate the story; to voice the characters; envisage. On this we can agree.] to provide commentary; to describe, A combination of performers and summarise, explain and interpret motives projections and sounds and architectures and events. Or else who perform as if for and behaviours organised in time and absent cameras. space that together resembles a ‘theatre – Through the actions of Constructors who machine’ – the mechanism that embodies at times resemble set-builders, at others War Music as Iliad. [Let’s do this.] extras, at others choreographers or second But that concept may only make unit directors… sense to us, its originators, as an overall – Through projections – as rushes, as design or as a set of operational procedures. cutaways, as footage already in the can… How to characterise it, for its makers – Through an evocative soundtrack, being and for its audience? [We’ll need mixed as the invisible film runs… a straightforward notion.] – Through the involvement of audiences Perhaps the key is in something Logue in crowd scenes. himself said of War Music – ‘In some ways But in the end this is a convenience. it resembles a movie. I have a cast of We will only know what Iliad uniquely is fifty thousand: fifteen major characters, when the already achieved, the rehearsed twenty-five subsidiary characters, and two and the improvised meet its public. And superheroes’. It’s an idea that Christopher the result may be very different from what we ever imagined! 05 #NTWILIAD 06 NAtIONALTHEATREWALES.ORG GODS ZEUS GOD; FATHER OF THE GODS DuW; TAD Y DuWIAU THE STORY/Y STORI POSEIDON HERA ATHENE ApHRODITE THETIS HEPHAESTUS GOD OF THE SEA; SISTER AND DAUGHTER OF ZEUS DAUGHTER OF ZEUS A SEA NYMPH; WIFE LORD OF FiRE; DISABLED BROTHER OF ZEUS WIFE OF ZEUS (FOR THE GREEKS)/ AND DiONE (FOR THE OF PELEUS, MOTHER SON OF ZEUS AND HERA _____ HOMER’S ILIAD/ILIAD HOMER (AGAINST THE GREEKS)/ (FOR THE GREEKS)/ MERCH ZEUS (O BLAID TROJANS, ESPEciALLY OF AcHILLES (FOR (FOR THE GREEKS)/ DuW Y MÔR; BRAWD CHWAER A GWRAIG Y GROEGIAID) PARIS)/ MERCH ZEUS AcHILLES)/ NYMFF Y ARGLWYDD TÂN; MAB ZEUS (YN ERBYN Y ZEUS (O BLAID Y A DiONE (O BLAID Y MÔR; GWRAIG PELEUS, ANABL ZEUS A HERA (O GROEGIAID) GROEGIAID) IRIS CAERDROEAID, YN MAM AcHILLES (O BLAID BLAID Y GROEGIAID) A MESSENGER ENWEDIG PARIS) AcHILLES) NEGESYDD PRINCIPAL GREEKS/ PRIF ROEGIAID [AKA/SEF AcHAEANS, DANAANS, ARGIVES) CADAM NICHOLSON THE Usually referred to as The Iliad, Iliad (meaning Cyfeirir at y gwaith hwn fel arfer fel Yr Iliad, MIGHTY DEAD (2014) (pp.109-110) ‘a poem about Troy’) is an oral epic composed ac mae’r Iliad (sy’n golygu cerdd am Gaerdroea) in the 7th/8th Century BC that tells of early yn waith llafar epig a gyfansoddwyd yn y ‘HE MAKES A POEM OF 12th Century events. The original Greek 7fed/8fed Ganrif CC sy’n adrodd digwyddiadau contains 15,693 lines. Set in the tenth year cynnar y 12fed ganrif. Mae’r fersiwn Roegaidd DEATH THAT IS ITSELF AGAMEMNON ACHILLES ODYSSEUS IDOMENEO PATROCLUS of the Trojan War, it follows the abduction of wreiddiol yn cynnwys 15,693 o linellau. KiNG OF MYCENAE; SON OF GODDESS THETIS KiNG OF ITHACA/ KiNG OF CRETE; CRETE/ AcHILLES’S LOVER/ A THING OF WOVEN Helen, the most beautiful woman in the world, Wedi’i osod yn negfed flwyddyn Rhyfel SUPREME COMMANDER/ AND HUMAN PELEUS/ BRENIN ITHACA BRENIN CRETA; CRETA CLOSEST COMPANION/ by Paris (prince of Troy, son of Priam, brother Caerdroea, mae’n dilyn herwgipio Helen, y BRENIN MYCENAE; UWCH MAB Y DDUWIES THETIS CARIAD/FFRIND AGOSAF BEAUTY. THAT IS THE of Hector) from her husband Menelaos of fenyw brydferthaf yn y byd, gan Paris (tywysog GOMANDER A’R DYN PELEUS THOAL DIOMED AcHILLES KiNG OF MACEDON/ SON OF TYDÉUS, KiNG OF Sparta (brother of Agamemnon of Mycenae). Caerdroea, mab Priam, brawd Hector) oddi wrth ESSEntIAL PICTURE MENELAOS AJAX BRENIN MACEDON ARGOS/ MAB TYDÉUS, HELEN Helen falls in love with Paris after the ei gwˆr Menelaos o Sparta (brawd Agamemnon KiNG OF SPARTA; KiNG OF SALAMIS/ BRENIN ARGOS DAUGHTER OF ZEUS OF THE ILIAD, A GREAT intervention of the goddess Aphrodite. o Mycenae). Mae Helen yn syrthio mewn cariad YOUNGER BROTHER OF BRENIN SALAMIS NESTOR AND LEDA; WIFE OF To repossess her, Agamemnon puts â Paris wedi i’r dduwies Aphrodite ymyrryd. AGAMEMNON; HUSBAND KiNG OF PYLOS/ MENELAOS/ MERCH HISTORY CLOTH, A together an expeditionary force to besiege Er mwyn ei chael yn ôl, mae Agamemnon OF HELEN/ BRENIN BRENIN PYLOS ZEUS A LEDA; GWRAIG the city – a coalition of Achaean (i.e. Greek) yn trefnu cyrch grymus i ymosod ar y ddinas, SPARTA; BRAWD IAU MENELAOS TAPESTRY OF SORROW, AGAMEMNON; states that includes the fiercest warrior ar ffurf cynghrair o daleithiau Achaeaid (h.y. GWˆR HELEN IN WHICH THE NON-CITY Achilles (son of Peleus and the goddess Groegaidd) sy’n cynnwys y rhyfelwr mwyaf Thetis, leader of the Myrmidons). brawychus Achilles (mab Peleus a’r dduwies IS SET AGAINST THE CITY, The Iliad’s theme is the ‘rage of Thetis, arweinydd y Myrmidoniaid). PRINCIPAL TROJANS/ PRIF GAERDROEIAID WHERE THE MARGINAL Achilles’: the poem maps its cause, its Thema Yr Iliad yw ‘dicter Achilles’: course and the consequences. mae’r gerdd yn mapio’i wreiddiau, ei [AKA ILIANS]/[SEF YR ILIAID] AND COntINGEnt The immediate reason for Achilles’s anger ddatblygiad a’r canlyniadau. is the refusal of Agamemnon to return Cryzia, Y rheswm amlwg dros ddicter Achilles CONFROntS THE SEttLED who was taken as war booty, to her father, yw bod Agamemnon yn gwrthod dychwelyd a priest of Apollo. After Apollo sends a plague Cryzia, a gipiwyd fel gwobr rhyfel, at ei thad, AND THE SECURE.’ of mice, Agamemnon relents but demands offeiriad Apollo. Ar ôl i Apollo anfon pla o compensation. A violent quarrel erupts lygod, mae Agamemnon yn ildio ond yn mynnu and Agamemnon announces he will take cael iawndal. Mae dadl ffyrnig yn dilyn ac PRIAM HECTOR AENEAS PANDAR CASSANDRA CRYZEZ Achilles’s ‘she’ Briseis in recompense. mae Agamemnon yn dweud y bydd yn cymryd KiNG OF TROY; HUSBAND SON OF PRIAM; HUSBAND SON OF ANCHISES LYciAN COMMANDER DAUGHTER OF PRIAM ARCHPRIEST OF APOLLO; Achilles withdraws his support. menyw Achilles, sef Briseis, yn ei lle. Mae OF HEcuBA/ BRENIN OF ANDROMACHE AND APHRODITE/ MAB COMANDER LYciAIDD AND HEcuBA/ FATHER OF CRYziA/ ˆ ˆ Achilles yn tynnu ei gefnogaeth yn ôl. CAERDROEA; GWR HEcuBA MAB PRIAM; GWR ANCHISES A APHRODITE MERCH PRIAM A HEcuBA ARCHOFFEIRIAD APOLLO; ANDROMACHE HECUBA TAD CRYziA PARIS SARpEDON WIFE OF PRIAM; MOTHER BRISEIS The Iliad is an account
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