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Savage Staging (Savage/Love Performance) Staging Absence in the Pursuit of Physical and Tactile Extension of the Self

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Savage Staging (Savage/Love Performance) Staging Absence in the Pursuit of Physical and Tactile Extension of the Self THEATRICAL COLLOQUIA DOI number 10.2478/tco-2021-0009 Savage Staging (Savage/Love Performance) Staging Absence in The Pursuit of Physical and Tactile Extension of the Self. Reflections On the Social Crisis of Love Relationships Raluca LUPAN Abstract: The main subject of this research is the transition from a professional point of view to another artistic form and the subtle reorientation from acting to directing and choreography. The process of transition and implementation of different creating techniques has been analyzed and theorized using the `practice as research` method in the following study. Applied and practiced methods of creation have been dissected and subjected to a series of professional enquiries, also due to personal intimate and aesthetic unanswered questions. Keywords: love, performance, self-schemata, aesthetic experience, embodied reflection In the following article, the core and the essence of the professional discourse is the subtle transition from a non-conventional text to the soft, recurrent patterns of a sensory-motor theater experience, in other words, working with a text and mold it into a dance-theater performance. The basic structure of the work was constituted in six different stages induced by the creative processes: 1) Sources of inspiration for LOVE- main theme of the performance 2) Engaging the dramaturgic creator to write specific text that would serve the theme of the project. Assistant professor, Faculty of Theatre and Television, Babeș Bolyai Univerity-Cluj Napoca 113 THEATRICAL COLLOQUIA 3) Creating dramatic and choreographic space (regarded as fictional space) for the performers in order to enhance the creative process of the dance- theater piece 4) The text- an exploration of the fictional space 5) Choosing the performance techniques in the `making of` process` 6) Conclusions on directing and choreographing the Savage/Love performance As we go alongside in the heart and beat of the creative process, we have decided to analyze every step mentioned above. So, in order to dissect into various dimensions our creative actions, we are obliged to mention that the title and the hole performance is a tribute and a reinterpretation and re- dramaturgy of Sam Shepard’s and Joseph Chaikin’s play Savage/Love. Quoting Nelson Pressely from Washington Post: `Savage/Love is a sequence of 19 poems-some lyrical, but most of them anxious –on love`1. And merging forward in my own personal career, SAVAGE/LOVE2, the unconventional play, made a huge impact in my life, around the times when I started to get familiar with devised-theater and collective creation processes. This particular play, as it will unfold and we continue our professional pursuit and analysis, has been in my texts-to-t-do archive since 2014, when the director I was working with at that time, introduced me to it. Scanning the play at that point it made me and Alexandra Felseghi (the director I was referring to) want to stage these imagined love-letters of Shepard and Chaikin, to see what it could be like if we started to talk about LOVE-The Stranger, that toxic and that savage type of love that gets us emotionally drained at the end of it; and then we thought of what it would be like if we took these poems and make a dance-theatre performance out of it in our own cultural context. That part of 1 https://www.washingtonpost.com/archive/lifestyle/2002/03/06/savagelove-experimental- poetry-in-motion/548f54ab-b7d7-450e-91bd-b0cde2484949/ Accesat la data de: 11.12.2019 2 https://books.google.ro/books?id=lbd5BqD- ZNYC&pg=PA127&lpg=PA127&dq=savage+love+joseph+chaikine&source=bl&ots=- VU2GwoTOM&sig=ACfU3U0hmYzbf3IFZAEgQ-C-iBnQcNIN- A&hl=ro&sa=X&ved=2ahUKEwia076ShKvmAhUGjqQKHf2kBBE4ChDoATAJegQICRA B#v=onepage&q=savage%20love%20joseph%20chaikine&f=false Accesat la data de 10.12.2019 114 THEATRICAL COLLOQUIA the journey had to be postponed at that time (in 2014), but the survey on how the play was written and how it has been staged, did not stop. At that point in time, we found out that `Savage/Love` is a poetic collection of monologues on the puzzle and vicissitudes of romantic love. This play does not have the standard structure of a narrative plan and is instead made up of various pieces such as a poem or a music song. The first staging action was a New York production in a double bill with `Tongues` at the Public Theatre in November 1979 and it was performed by Chaikin and directed by Shepard, the music was assisted by Harry Man and Skip LaPlante. For the London audience, the production was staged at the Donmar Warehouse on the 30th of April 1984 under the direction of Christopher Payton3. In this regard, me and `my own personal director`, as I like to call Alexandra Felseghi, and this affirmation comes because the two of us have been working together since 2010, went further with the investigation of `Savage/Love` and we stumbled upon a very interesting part gathered from the correspondence of Sam Shepart and Joseph Chaikin (Letter and Text, 1972- 1989): `When Sam Shepard and I decided to work in close collaboration on a new theatre piece, we wrote each other (…) and we decided that our piece should be about romantic love and about the closeness and distance between lovers. (…) We both felt that we wanted the piece to be readily identifiable, not esoteric. We felt it should be made up of love moments that were as immediately familiar to most people in the audience as they were to Sam and me. Although we had known each other for many years, we had never talked about this subject. When we began to talk and work, even though we each had very different stories, we found that we shared many thoughts about the human experience of love. We talked especially about the difficulty of expressing tenderness and the dread of being replaced. (…)We argued about the title. Sam continually defended Savage/Love. I found something wrong with it each time I spoke and heard it. But by the second or third public performance, I felt the power and appropriateness of these two words`4. 3 http://www.sam-shepard.com/savagelove.html, accesat la 21.01.2021 4 http://www.sam-shepard.com/savagelove.html accesat la data de 24.02.2021 115 THEATRICAL COLLOQUIA Sources of inspiration for LOVE-main theme of the performance Reading the letters and acknowledging the professional and personal connection between Shepard and Chaikin, the avangarde esthetic, the dissimilar approach of this particular theater play, the theme chosen and trying at that point to translate the play from English to Romanian seemed like a proper line to start creating a new performance, and yet we never did it up until 2019. The years went by, personally and professionally we grew, we developed certain methods of boarding into creating an artistic product, taking care of each other as humans and artists and in May 2019, me and Alexandra Felseghi5 stepped up to our promise to stage Savage/Love. Finally it was time; we could enroll in a discrete dissection of what was LOVE in a world that has transformed the paradigm on the concept of `love` into a compulsion stretched in social media, an extortion of a self- produced image on media platforms that could no longer reach the other person without a little glimpse in his media life and profile. The rift between ourselves as we are on a daily basis and our media avatars (self produced images or self branded profiles on social media) certainly generated a disruption in our LOVE discourses, actions and our regards and thoughts upon the matter. Investigation started immediately, we positioned ourselves as `old fashioned` type of females in search of our LOVE language. Just to clarify what I mean by `old-fashioned`, it could take greater amplitude and this is not the main topic of this article, but just to disentangle a little: old- fashion girls think about the distance between what we say and what we do should have a null value; old fashion girls know that our love actions and love utterances should actual be a projection of who we are- human beings assuming its own existence and place in the world not desecrated by a multitude of inner inconsistencies. Standing in front of these plain personal convictions we employed into the marrow of the theme presented in Sam Shepard’s and Joseph Chaikin’s play- Savage/Love. For the second part of the artistic journey in the decision 5 https://alexandrafelseghi.ro/, accesat la data de 21.01. 2021 116 THEATRICAL COLLOQUIA making process we tried to translate the play into Romanian once again. Reading and re-reading it, the final translation endured a substantial loss of situational and cultural content. At that point, a mutual resolution had to be made: to keep the original text (translated into Romanian) or to create a new piece from scratch. The original play of Sam S. and Joseph C. had a certain cultural-social atmosphere that was specific for the 80’s and it had nothing to do with the Romania social-cultural context of 2019. The identification with the story imagined given by the interpretation of the text commenced in the second and third part of the creative process. The performers imagined central or main characters and these new-fictional-beings emerged and had a significant motivation for the next step: dance theater improvisation and choreography. The main characters: four young people: two boys, two girls. And now let love sink in. Let imagination sink in. The story could be as simple as `boy meets girl`, but we often can conclude that nothing is simple in the encounter between two human beings.
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