In 2013, you
directed Mrs Warren's Profession at STC and
in 2014 it'll be Perplex. How do George
Bernard Shaw and Marius von Mayenburg compare?
At their core Shaw and Mayenburg are both playwrights who
are deeply fascinated by ideas, Shaw often political, Mayenburg
often philosophical. They also share an interest in comedy. Their
difference is how they explore their ideas theatrically.
Of course these difference come down to many things, but most
importantly the fact that they are writing from different
eras. Mayenburg writes with Beckett, Albee, and Ionesco
behind him. Shaw writes with them in front of him.
I would also describe Shaw's texts as more closed, and Mayenburg's
as more open. This isn't necessarily a negative or positive
judgement, they're simply different kinds of texts. Shaw is
extremely prescriptive, he tells you exactly what he wants, how to
act each line, where to put every door, which way the sun is
shinning. Mayenburg, a director, dramaturg and writer, is far less
prescriptive, his writing couldn't be more different; void of stage
directions, open to interpretation, his works are a puzzle to be
solved by a director. This comes back to my point about when they
were writing and how theatre making has shifted over time.
You also recently directed another Mayenburg
play, The Ugly One. What is it that attracts you
to his writing?
As an audience member and theatre maker I find his sense
of humour and the way he explores ideas theatrically
irresistible.
What excites me is that his comedies never feel trivial or little,
they explore big ideas, deep philosophical perspectives and
theories through both the content of the play and its form.
It this, as well as the kind of ideas he explores that excite
me.
For example, at the core of The Ugly One are
questions about our modern day obsession with how we look and our
need to fit in and conform. At the core
of Perplex are questions surrounding our
apparent shared reality and existence and whatever meaning we try
to give to these things.
I think humour is the best way to deal with anything terribly
depressing and confronting. For example, the notion that there is
no greater meaning to our existence, how better to face and explore
that hideous idea than by, at least beginning with a laugh. There'
no other option really.
In short, it's comedy that makes you laugh, has depth, heart and
brilliant ideas at its core.
The script is freewheeling, brainy, absurdist. Is it Monty
Python meets Pirandello, or is this something else entirely?
If I had to use existing references to try
and describe it might be something like this...
The great Italian writer, Pirandello, in particular the
play Sei personaggi in cerca d'autore (Six
Characters in Search of an Author). Stoppard's work, in
particular Rosencrantz and Guildenstern are
Dead, The Real Thing and
perhaps The Real Inspector Hound. The Bald
Soprano by Ionesco, Who's Afraid
of Virginia Woolf? by Albee. Monty
Python is useful with regard to the slightly "sketch comedy"
quality of it. Arrested Development. Trey Parker and
Matt Stone. Seinfeld (people often say what they
think and aren't too ashamed of it) and perhaps some of the bleaker
tones of Happiness (the Todd Solondz film)
and Withnail and I. Waiting for Godot.
Perplex, 31 Mar - 2 May 2014, Wharf 1 Theatre
Q&A: Sarah Giles
Date posted: 13 Sep 2013Author: STC Production: Perplex