Title Motion in Poetry: A Psychophysical, Action-Based Approach to the Composition and Analysis of Metrical Dramatic Verse Type The sis URL https://ualresearchonline.arts.ac.uk/id/eprint/10822/ Dat e 2 0 1 6 Citation Askew, Benjamin (2016) Motion in Poetry: A Psychophysical, Action-Based Approach to the Composition and Analysis of Metrical Dramatic Verse. PhD thesis, University of the Arts London. Cr e a to rs Askew, Benjamin Usage Guidelines Please refer to usage guidelines at http://ualresearchonline.arts.ac.uk/policies.html or alternatively contact [email protected] . License: Creative Commons Attribution Non-commercial No Derivatives Unless otherwise stated, copyright owned by the author Motion in Poetry: A Psychophysical, Action-Based Approach to the Composition and Analysis of Metrical Dramatic Verse By Benjamin Askew Thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy (PhD) University of the Arts London Central Saint Martins June 2016 1 Abstract: Why do so few contemporary dramatists write in metrical verse? One of the chief criticisms levelled at modern verse drama has been that playwrights’ use of verse fails to cohere with contemporary notions of dramatic action. As action-playing is largely a matter of text in performance, this thesis assumes that the best way to meet this challenge is to approach it as much from the perspective of the actor as from that of the playwright, and presents a psychophysical, action-based approach to the composition and analysis of metrical dramatic verse. Verse rhythm is explored through the application of Rudolf Laban’s concepts of Motion Factors and Working Actions, and with reference to contemporary theories of cognitive poetics. The rhythms of metrical verse are thereby understood and experienced as purposeful movements of the human body which are, in turn, understood and experienced as the psychophysical sensations of dramatic action. This approach, given the title of the Verse Psychology Game, draws together three original concepts: 1. Creating and interpreting dramatic texts according to Stanislavskian notions of action is a game, with the playwright as ‘gamewright’ and the actors as players. 2. The Motion in Poetry Metaphor: a conceptual metaphor that builds on the principles of the Laban-Malmgren System of ‘movement psychology’, allowing verse rhythms to be understood and experienced as embodied sensations of psychophysical dramatic action. 2 3. Hyperactivity: an ‘intensified’ form of action-playing that operates beyond the limits of ‘naturalistic’ performance. This enables a ‘specialist game’ in which verse serves a hyperactive dramatic function. Within this framework, metrical dramatic verse can be created and interpreted on the basis of its performative potential. This is demonstrated through the development of a new methodology for metrical analysis, ‘actorly’ interpretations of Shakespearean dramatic verse, a series of training exercises that ‘sensitise’ the playwright to the performative potential of verse rhythm, and the creation of original material for a new verse play. This approach also aids actors, directors and teachers when making interpretative choices. The theories and techniques of the Verse Psychology Game are pedagogical tools that can contribute to broader programmes on dramatic writing and inform the methodologies of conservatoire actor-training. 3 Contents Abstract: ......................................................................................................................................... 2 Prologue: A Playwright Prepares ............................................................................................... 6 Chapter Overview: ..................................................................................................................... 29 Part One: Practice in Theory ........................................................................................................ 42 Chapter 1: Active Measures ..................................................................................................... 42 1.1 Why Verse? Why Not?.................................................................................................... 42 1.2 Undramatic Verse ............................................................................................................ 45 1.3 A Negative Attitude .......................................................................................................... 60 1.4 Advice from the Players .................................................................................................. 73 Chapter 2: The Verse Psychology Game ............................................................................... 88 2.1 Playing with Words .......................................................................................................... 88 2.2 Drama Games .................................................................................................................. 92 2.3 Hyperactivity ................................................................................................................... 104 2.4 The Motion in Poetry Metaphor ................................................................................... 112 Chapter 3: Rhythm Games ..................................................................................................... 129 3.1 Finding a Rhythm ........................................................................................................... 129 3.2 Rhythmical Performance .............................................................................................. 137 3.3 Movements of the Psyche ............................................................................................ 154 3.4 The Mighty Line ............................................................................................................. 162 Part Two: Theory in Practice ...................................................................................................... 183 Chapter 4: The Anatomy of Verse ......................................................................................... 183 4.1 Basic Anatomy ............................................................................................................... 183 4.2 Bones............................................................................................................................... 191 4.3 Joints ............................................................................................................................... 200 4.4 Muscle Tone ................................................................................................................... 214 4.5 Muscle Tissue ................................................................................................................ 221 Chapter 5: Playing the Game ................................................................................................. 226 5.1 Playing the Game .......................................................................................................... 226 5.2 Anger Management ....................................................................................................... 228 5.3 Playing Nicely ................................................................................................................. 239 5.4 Seizing the Moment ....................................................................................................... 249 5.5 Richard and Anne .......................................................................................................... 255 Chapter 6: Gaming the Play ................................................................................................... 278 6.1 Re-Verse Psychology ................................................................................................... 278 6.2 The Lady of the Lake .................................................................................................... 295 4 Epilogue: What’s in a Game? ................................................................................................. 322 Appendix I: Excerpts from The Lady of the Lake ................................................................ 338 A: Excerpt from Act 1, Scene 1 .......................................................................................... 338 B: Excerpt from Act 1, Scene 3 .......................................................................................... 339 C: Excerpt from Act 2, Scene 4 .......................................................................................... 340 Appendix II: Biographical Note ............................................................................................... 341 Bibliography .............................................................................................................................. 342 Digital Appendix (Attached CD): Track 1: “Remorseless, treacherous, lecherous, kindless villain” Accompanying Section 5.2, pages 229-239. Track 2: “Mine ear is much enamoured of thy note” Accompanying Section 5.3, pages 240-249. Track 3: “But I know none and therefore am no beast” Accompanying Section 5.5, pages 273-277. Track 4: Writing Exercise (Slashing Affordances) Accompanying Section 6.1, pages 282-286. Lines included in the digital appendix are marked with the following symbol: 5 Prologue: A Playwright Prepares The goal of this thesis is to present a new action-based approach to the composition and analysis