1) In what way is
identity explored in the characterisation and setting of Signs of
Life?
There are several explorations of identity. Georgie is from a
more upper middle class family transplanted to a hard rural life in
WA, but she is very secure in herself and her place in the
world. She exhibits very little self-doubt, and expresses
surprise only when she finds herself caught in a situation abroad
with which she cannot cope. Georgie is equipped to offer
compassion and imagination when confronted with surprise
guests. She is not boxed in by ideas of how life should
proceed. She is adaptable, and articulate - able to express
the vulnerability and bewilderment of a woman whose husband has
recently died in a bizarre accident. She meets her much loved
husband's accident is with fortitude and humor. She
came to the land late in life, but she is content with where she
has found herself.
Bender has the least sense of place. As an indigenous man, he
has had his language taken away, his sense of place and home
destroyed, but he has a strong sense of community and family.
He cares for his addled sister with tenderness and
solicitude. He understands Mona's need to return to a place
that held a story that was important to both of them. Mona,
Bender and Georgie all care for the land and the stories it has
thrown up. By the end of the play, they have all revealed the
parts of themselves that have brought them to a place that is
special for all of them.
2) How does the playwright
Tim Winton explore the idea of a world outside of normal human
existence?
Tim's ghosts inhabit the present, in fact they often dominate the
psyche of the people they move amongst. The ghosts reflect
the power of the past, its hold on us. Often the presence of
the ghosts can be more dynamic than the people in the
present. The past interweaves effortlessly with the present,
and claims it's space. In this play the past has a very
powerful hold over the characters in the present. Georgie,
Mona and Bender can not inhabit the presence with any peace or
clarity until they revisit and name the past.
3) What challenges do the
fantasy elements set for you as the director?
I love the fantasy elements. I think at times we walk through
the present, but live in the past. I love that the elements
of the supernatural and magical shape and transform how we view the
play. The characters that are alive and those that are dead
have profound relationships with their psychic landscape.
It's exciting to explore Tim's beautiful world, to understand how
he views a theatrical landscape rich in details both naturalistic
and supernatural. Inhabiting his stories, his love of
narrative and bringing to life his characters is an exciting
challenge, and I am delighted to have the opportunity to direct
Tim's wonderful second play.
Signs of Lifeopens
at the Drama Theatre, Sydney Opera House on 2 November, 2012.
(Image by Brett Boardman)