We Make Sense from the Fragments

Nothing is more basic to the process of human thinking than how we divide everything into oppositions between one thing and another. We orient ourselves to the world by speaking of up or down, left or right, hot or cold, future or past, good or bad, light or dark, alive or dead. So fundamental is this dualism to the way our consciousness works that we are scarcely aware of the omnipresent part it plays in our thinking.

Image of Chaotic Arrows

Which Way is Up?

We use such dualities in establishing our own identities – in sensing our own difference from others. We are male or female, tall or short, this religion or that, this political belief or that etc. It gives us a sense of where we fit in but also a sense of our own uniqueness. This duality lies at the heart of all stories which, it seems, are designed to guide us towards a point where opposites can become reconciled or transcended.  Stories bring that which is unbalanced and incomplete to a state of balance and completeness – not somewhere between the two extremes but usually to some third position that transcends them both.

The Moon's a Balloon Graphic

Polarity - Dave Gadsden Graphic

In real life – we, as individuals are involved in a wide range of experiential fragments – now I am typing, thinking about the reasons for doing theatre – in a moment I may be on the phone discussing what we’ll have for tea – then I might go and have lunch – as I go inside I might stop and talk to the dog telling him how beautiful he is – then I might watch an ad that grabs my eye on tv about a woman who heroically climbs mount everest – lots of little fragments impinging on my consciousness -  broken, fragmented moments – that as a whole make up the movie of my life. This movie that I call my life is only made continuous by the continuity of space and time … and all of these fragments of experience are translated into complex branching, multiply firing neurone sequences. My mind can make a linear thread from this multiplicity of fragmented, branching experience in the form  of a story … a story is a line of structured thought tied together by cause and effect pulled out of the branching, chaotic, fragmentary experience of reality, i.e. “Story” packages reality into comprehendible meaningful experience … with the clutter, stripped away.  In the same way that our brain uses dualities to make sense of the world, so too do stories simplify and give meaning and insight to our lives and our existence.

Story is the extraction of cause and effect threads from the chaotic, complex, layered, branching nexus of activity that is the stuff of living.

Making Theatre for 4-8 Year Olds?

Theatre-Making is a passion. At the core of being an artists is a compulsion … a drive that you cannot avoid without doing yourself some sort of internal damage. I wake up each day and can’t wait to get on with it.

light box

Sarah Brokensha as Amy in Emily Loves to Bounce!

I’m a slow burner. I love to dig deeper and deeper into the possibilities of something until its layers flow over me and around me and I can’t tell “me” from  ”it”.  I’m also a collaborator. I rely on the skills of theatre-making artists to push and probe and prod the boundaries of our exploration and take it to places none of us could have ever envisaged singly. This often involves months and often years of tinkering and playing, writing and thinking, sharing and responding around some germinal idea that inevitably grows into something special.

Zoe+Bel in Emily Loves to Bounce!

Zoe Barry and Belinda Gelhert in Emily Loves to Bounce!

For the last 10 years, I’ve devoted my artistic life to making theatre for 3-8 year olds. I’m pleased to say, “I’ve found my place!”

“Why? you say. “Surely having 3-8 year old children as your theatre audience limits the possibilities for you as an artist?”

Absolutely not!  This is a realm of artistic endeavour, which is not only infinitely challenging but also profoundly important and richly rewarding.

Think 3-8 year olds. When in life are humans more receptive to arts-experience?

Never!

fastboy

Q: What does it take to be the Fastest boy in the World? A: Imagination

This age-range provides a unique, short-lived window of opportunity.  Four year old children sees the world through fresh eyes. They are largely unfettered by experience. They think radically because they know “no better.” They reside freely in their imagination. They are open to the new because everything is new for them.  They’re sponges. They play and explore and learn naturally and joyfully. Learning has yet to become a task!  If ever anyone questions me on the future of theatre, I invite them to sit in an audience of 4-8 year olds and be amazed! Children respond to theatre experiences with such immediacy, joy and exuberance, you can’t doubt its power and impact.

fastboy2

Theatre-making is a passion. Emily Smart and Mario Spate in The Fastest Boy in the World

As a theatre-makers, artists and educators, what do we do with this unique window of opportunity in a child’s life. We engage with it deeply because it’s a two way street and it’s mutually rewarding.

There’s a wonderful synergy between the world of artists and the world of children. As artists we seek to see and feel and play and explore like a child and apply to our discoveries the experience and analytical capacities we’ve developed as adults.

This synergy lies at the heart of Patch Theatre’s decade of artistic exploration.

To be continued …

Dave Brown – Artistic Director
Patch Theatre Company – keeping the artist alive in the child 

Rattley Old Truck

I visited my Flash Trash shop in Buderim today and was reminded that not only did I buy the WW2 pilots head-gear but also a fabulous 1930′s tin toy truck, which we used in the our production of the Little Green Tractor.

Here she is in all her glory, featuring as the Rattley Old Truck.

rattley old truck

...featured in our production of The Little Green Tractor

Check out the song from the show…. Rattley Old Truck.

Want to know more about the Little Green Tractor production? Click here to see our website resources.

Tell us about an object that is precious for you.

Dave Brown – Artisitc Director
Patch Theatre Company – keeping the artist alive in the child

Flash Trash Antiques

It’s New Years Day, 2012.

This time last year, I was holidaying in Maryochydore (as I am now) and riding daily from the coast up the mighty hill to Buderim. At the top of the hill in Buderim, I discovered a shop boasting Flash-Trash and Antiques.

Flashtrash Antiques

Flashtrash Antiques

At the time, my head was filled with thoughts about the creative possibilities of a new work we’d just begun called A Lion in the Night, inspired by the themes and ideas of a Pamela Allen book of the same name.

A Lion in the Night inspired by the themes and ideas of Pamela Allen's book

Eliza Lovell as Angelie in the creative development for A Lion in the Night

Our performance conceit involved a character, Theo, who wakes into a dream where every physical element has significance for him within some memory from his life.

We had collected randomly, a range of aesthetically beguiling objects, which included an old cupboard, a tin bath, a rocking chair, a revox tape recorder, a standard lamp, a clothes horse, a tray mobile, a cot and a variety of interesting oddments like a meat grinder and an old radar from a yacht.

With these objects arranged in the rehearsal space, we invited our performers to play.

Through tasks, improvisations, provocations and explorations, set with in the “frame” of Pamela Allen’s story and the themes it suggested, the performers created the world of Theo and Angelie.

So, this explains why I became excited by the Flash-Trash and Antique shop in Buderim one year ago.  My antennas were up for interesting objects. When I ventured in, I was delighted to see lots of beautiful oddments but none more beguiling than a beautifully maintained WW2 Airforce Pilots headgear. (I’m not even sure what to call it)  It had been brought into the shop by a local Buderim man in his 90′s. He was a British pilot during World War 2 and he hoped his cherished piece of memorabilia would find a good home. It did.

Rory Walker as Theo in the creative development of A Lion in the Night

Rory Walker as Theo in the creative development of A Lion in the Night

I look forward to revisiting the shop when it re-opens on Jan 3 … yes … to discover more treasures but also to ask if the gentleman, who owned the pilots headgear is still alive.

I’d like him to know that his beautifully maintained piece of memorabilia is seeing a new life in a richly imaginative theatre production for 4-8 year old children… 65 years beyond his time of wearing it in the very different theatre of war.

Dave Brown – Artistic Director
Patch Theatre Company – keeping the artist alive in the child