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Engaging the Savage Imagina[Ion: an Actors Search for the Heart of Bottom in I I a Midsummer Night's Dream

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Engaging the Savage Imagina[Ion: an Actors Search for the Heart of Bottom in I I a Midsummer Night's Dream I 'l' I ENGAGING THE SAVAGE IMAGINA[ION: AN ACTORS SEARCH FOR THE HEART OF BOTTOM IN I I A MIDSUMMER NIGHT'S DREAM ADAM L. BERGQUIST A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF FINE ARTS GRADUATE PROGRAM IN THEATRE YORK UNIVERSITY TORONTO, ONTARIO APRIL 2013 ©ADAM L. BERGQUIST, 2013 I "' 11 Abstract This thesis will explore the notion of the Savage Imagination as it applies to an actors' process in preparation for and performance of the role of Bottom in Will.iam Shakespeare's A Midsummer Night's Dream. It establishes a working definition of the Savage Imagination then offers possible ways to apply it to the art of acting. The research is directed into three major areas: psychological, physical and experiential. Drawing from the works of Carl Jung, Declan Donnellan, Eric Morris, Janet Sonenb~rg and Keith Johnstone (among others), as well as concepts taught at York University by Paul Lampert, Erika Batdorf, Gwen Dobie (Alexander Technique) and Melee Hutton (David Rotenberg's States of Being), it references personal and academic discoveries in the fields of creativity, performance and improvisation. A production history of the play is included, with emphasis on the role of Bottom. It concludes with selected journal entries from rehearsals and performance. I ... 111 Acknowledgements I would like to thank my professors at York beginning with my advisor Michael Greyeyes for getting me started on many good ideas, Paul Lampert for introducing me to the idea of the Savage Imagination, Melee Hutton, Erika Batdorf and Gwen Dobie for their feedback and support, and especially David Smukler for being the good shepherd during the last several years of my artistic growth. I would also like to acknowlepge the valuable assistance of my colleague Thea Fitz-James for her expertise in citation formatting and Jungian analyst Tim Pilgrim for his thought provoking dream interpretations. Finally, I want thank my parents Lawrence and Marlene for their ongoing moral support and for still taking an interest in everything I do. I "° iv Table of Contents ARTISTIC CHALLENGE - INVITING THE SAVAGE ~GINATION .................. 1 DEFINING THE SAVAGE lMAGINATION ............................................ : ...................................... 2 ACCESSING THE SAVAGE lMAGINATION ................................................................................ 4 1 Psychological: '.A Dream, Past the Wit ofMan ..................................................................... 5 Physical: A Good Offense in Self-Defense .............................................................................. 7 Experiential: Imagining Through Improvisation ................................................................. 10 SUMMARY ........................................................................................................................ 14 A MIDSUMMER NIGHT'S DREAM THROUGH THE AGES ................................ 16 FIRST APPEARANCE ..................................................................... ' 1' .................................. 16 POSSIBLE SOURCES ........................................................................................................... 16 PRODUCTION HISTORY ...................................................................................................... 17 The Age ofAdaptations ......................................................................................................... 18 The Modern Era................................................................................................................... 20 SWEET BULLY BOTTOM .................................................................................................... 21 The Clown............................................................................................................................ 24 The Ass ................................................................................................................................. 25 THE HEART OF BOTTOM: A SAVAGE IMAGINATION........................................ 27 ADAPTATION: 'EVERY MAN LOOKE ORE His PART' .......................................................... 28 IMPROVISATION: 'You MAY DOE IT EXTEMPORIE' ............................................................ 29 A NEW TECHNIQUE: 'I HAVE HAD A DREAM' ................................................................... 30 PREPARATION: 'WE WILL REHEARSE' ............................................................................... 32 ANIMAL WORK: 'LET MEE PLAY THE LYON Too' ............................................................ 34 JOURNAL ENTRIES•.••••••.•.•.•..•.•••••••..•••.•••.••.•.•.••••.•.•...•.••••.•.•••.••.•..•..•..•••••••••••••.•••••••.•• 36 CONCLUSION•••....••..•••..•••.•.•••••.••••••••••.•.••.••.•••••.•••••••••••.••..•••.••..••.•••.•.•••••.••......•......•.•..• 48 WARMING UP ................................................................................................................... 49 DREAMWORK .................................................................................................................... 50 WORKING WITH TECHNOLOGY .......................................................................................... 51 ANIMAL WoRK................................................................................................................. 52 IMPROVISING IN SHAKESPEARE .......................................................................................... 53 IMAGINING A WAY FORWARD ............................................................................................ 54 APPENDICES ••.••.•••••..•.••.••.••..••••.••••...•..•.••••••.••••.••...•..••••..•..••.•.••••••••.•.••.•.•••.•••••••••.••••..•• 57 WORKS CITED••••••••••••••••••.•••••....••..•..•.•....••.••..••..••••.••••••.•••.•••.••.•••.•••.•.....•..•.•....••..••.•... 60 I .- 1 Artistic Challenge - Inviting the Savage Imagination "Nothing is more dangerous to reason than the flights of the imagination" (Hume qtd. in Avens 15). In my life and work as an actor I have often felt I needed more talent and creativity to be a true master of the craft. Not coming from an artistic background, I grew up in awe of talented performers in all disciplines. When I began acting, I learned to mimic the styles of these people for fear that my own creativity was inadequate. As a result, much of my work appeared competent but was very self-conscious. My performances were often respectable but lacked true originality and courage since I was always playing it safe. My artistic challenge involves transforming this approach to my work. I need to learn to trust my instincts, let go of anxiety and provoke the tools of my imagination to free up a genuine creative flow. "[C]reative processes, in everyone, exist by the grace of impulses which, independent of our will, arise from the unconscious" (Van den Berk 1). Leaming to have more faith in my art will involve new ways of looking at myself amd the world. Engaging my imagination physically may also help me access more creativity within. As Julia Cameron notes in her book The Artist's Way, "[c]reativity requires action, and part of that action must be physical" (185). To invite more rawness and passion into my work I may need to overcome my intellect. "Often our best ideas seem to come unbidden when doing a purely physical task that allows our conscious mind to get out of the way and our unconscious to suggest itself in its wild and creative ways" (Bergland). Exploring these and other new sources of inspiration is part of my journey into the Savage Imagination. 2 Defining the Savage Imagination My first contact with the Savage Imagination as an acting term came fa my MFA acting class at York University, taught by Professor Paul Lampert. He defines it as: "[a]n actors' ability to imagine wholly any given physical, relational, emotional or: psychological circumstances in a more creative, interesting or compelling way, making these choices with artistic daring" (Lampert). The key words in this definition for me are 'compelling' and 'artistic daring'. While the definition may be subjective, the concept points toward a fearless creativity and openness to impulse. Both extremely valua!ble assets for an actor. One example of what I believe to be the savage imagination at work is described by Patricia Bosworth in a biography of Marlon Brando. Recounting a moment from his acting class with Stella Adler: She'd instructed the entire class to behave like chickens in a henhouse after they were told that a bomb was about to explode over them. While the other students hopped frantically around the room, clucking:and 1 flapping their arms like wings, Brando sat quietly in a comer miming the laying of an egg. "That's exactly what a chicken would do under the circumstances, my darling!" Adler exclaimed (18,19). When an actor makes a creative choice that fits the scenario but is not immediately obvious to everyone, the Savage Imagination is what I believe to be the source of such inspiration. In order to define this in a more literate way, I would like to break down what these words actually mean: "Savage (adj.) - I. That is in a state of nature, wild. [ ... ] II. In extended use with reference to behaviour, disposition, or character. a. Indomitable, intrepid, valiant Obs" (OED online). The etymology of this word comes from the "Anglo- 3 Norman and Old French salvage" as well as "classical Latin silvaticus: referring to woodland or wild" (OED online). Imagination
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