MTC - COCK How does the theatrical style of this performance communicate with its audience? What was your experience as an audience member?
Style is a term used to distinguish any activity or object that reflects a particular practice or fits within the categorical subject of a large demographic. Style within the theatre realm describes what an audience will be subjected to, in terms of the conventions used to help enhance the style chosen. Stemming back from Greek theatre, the public was limited to few conventions and style; comedy, tragedy and satyr. From these, many other styles have emerged as subcategories created and exploited by influential theatre practitioners such as Brecht and Stanislavski. Cock by Mike Bartlett, performed by MTC at Fairfax Studios on March 15, 2014, unquestionably displayed the style of realism within its acting and elements of abstract and minimalism within its stagecraft. The term style itself is a very broad heading that house many sub-headings of theatrical elements that make up what an audience identifies with one style. Cock represents a show that combines two conflicting stylistic choices in one coherent piece to convey its ideas and messages that are supported by Bartletts script.
In a minimalistic fashion the abstract staging is stunning; no props, no furniture, no costume changes. 1 Attempting to stay true to the naturalistic style of the play, but let that live within the realm of an abstract setting. Cceres attempted to let the audience fully submerge themselves within the written simplicity of the conversational-like text. It expresses the hardships of being in love triangle while debating the personal struggle with sexuality. What this show presents is two different and conflicting theatrical styles assimilating to enhance the performance and message of the show. Originally the basic theory of naturalistic drama developed from Ibsen: the idea of the fourth wall. The interior set should be designed as if the room were part of a whole house 2 Cocks staging leaves more to the imagination with its staging, but then in the acting, it becomes a reincarnation of the realism style.
Realism within Cock lies within the actors portrayal in the character. Realism is a style that presents real scenarios to an audience that closely mimics real life. The way we regard a regular conversation is what we observe on the stage. What were seeing is an insight into their life as if we were just to walk into their lives and just stand in their living room while they co-exist with them. The notion of realism also brings to the stage emotional issues and trauma that asks the big questions, rather than dealing with a physical blockage that creates the issues. The connection of characters and the way that they interact become ever so important to the emotional state of the actors and their connection to the
1 Bache, B. Theatre review: C--k, Melbourne Theatre Company. 2014 http://www.heraldsun.com.au/ 2 Styan, J. L. 1981. Modern drama in theory and practice. Cambridge: Cambridge University Press. audience. What another thing that realism brings is the sense that issues can be rhetorical. The playwright often makes big questions arise, but never resolve in a definite answer, as see in the final scenes of Cock. Tom Conroy, who played John, had a love triangle with Angus Grant, who played M, and Sophie Ross, who played W. The issues and themes that arise are ones of love and sexuality most common themes in todays society that link in very closely. What the style of realism allows is the audience to do is to relate to the characters and the situation theyre in. Compared to Brechts method of Epic theatre, which is highly based on making sure that the audience is aware of the fact that theyre sitting there watching a play. Moments are often broken in case the audience members become too involved with the emotional state of the character rather than the message theyre trying to portray in an attempt to alienate the audience. Stanislavski was one of the fist people in the 20 th century to question Naturalism that involved method acting. When one had experienced the emotion or even that is being acted out, it can be a more believable moment on stage because the actor can access those already lived out thoughts. Dissimilarly, the actions mentioned in the piece are never acted out, which touts elements of non- naturalism. Specifically a very intense scene when F is asking W to take her coat. The line your coat, take it 3 is repeated over and over, all while theres no coat in hand or any movements or gestures to even insinuate that theres a coat to physically grab, again, playing on the mental integrity of performance based on the Stanislavski method. For Cock it was very much "What would I do if I found myself in this (the character's) circumstance?" 4 Which made the situation quite interesting because we then as the audience are taking on the Stanislavski method because we become so involved with the characters on stage.
Marg Horwell, set designer has made bold, but simplistic choices in set design for the play. When the audience enters the amphitheater style space theyre exposed to two wall that are angled in, but are to the ceiling with one gap between them that allow then to enter and exit from, but also a stage floor that is lined with white pillows which the characters are able to interact with. This simplistic set never changes at all through the whole show, which lets the audience never break a connection with the thoughts of the characters. The stage it self is round and the audience surrounds this just like cockfights that still exist in Mexican culture. The cockfight like style staging makes the relationships of all three characters constantly pit against themselves within this world where they all coexist in a one on one situation. During the show theres a pillow fight between John and W, in which the duck down stuffed pillows explode over
3 Bartlett, M. 2009. Cock. London: Methuen Drama. 4 Carnicke, Sharon. Stanislavsky in Focus: An Acting Master for the Twenty-First Century. Routle Theatre Classics, 2008
Horwell made sure that during the rehearsal process of the show that the pillows were always to remain pillows, never to represent or replace physical objects 5 which makes viewing the show quite interesting. The interpretations of what the pillows mean can be very vast. Symbolism within their interaction of the pillows really enforces the notions of what I have understood from the piece. From the beginning the pillows are lining the complete floor of the stage, being there coherent, until John picks up the first pillow when the first line is delivered. As the conversation progresses the solid foundation of pillows is completely broken up, the beginning of the deterioration of their relationship. This is then built back up as a wall physically when their relationship recovers, then broken down itself when both John and W jumped onto the wall when their relationship began to flourish. The minimalistic set itself has nothing that represents a real life situation which begins to conflict with the naturalistic style of the acting. What this does in turn, allows you to completely focus your emotional attention to the action without distraction. When it gets back to naturalism, viewing the pillows as pillows themselves brings the idea that sexuality holds its roots within the bedroom. The conversation could happen in a bedroom, between the sheets that makes the environment much more personal. The term pillow talk can be highly regarded as an influence for the show.
As an audience member whom studies acting and theatre, majority of Leticia Cceres (director) choices were relatively obvious for me in terms of blocking, staging and symbolic use of the pillows. What I was concerned about was if the choices were too difficult to read for the average theatregoer. Sometimes it was hard to read what was going on, but most importantly why it was happening. The use of pillows was clever in the way that everyone can relate to that object and having them almost as a safety blanket while dealing through tough situations, like the ones on stage, but things like the wall they built and destroyed and blocking off the only entry point to the stage for a sense of being trapped may have just slipped through the hands of some audience members. Whats most important about the staging of the show was the lack of. I believe that Cceres wanted the audience to pay attention to the text so intricately, that anything else that was gained through their on stage actions and interactions was a bonus for us as an audience. Minor details are often picked up subconsciously, such as the use of coloured gels to signify pink Johns interaction with a girl, and blue Johns interaction with males. These I feel were in place for a sense of easy-to- understand theatre where were almost being fed everything, but not quite.
5 N.P. Melbourne Theatre Company. Cock rehearsal blog, The set workshop - Melbourne Theatre Company. http://www.mtc.com.au (Accessed April 1, 2014) In retrospect, Leticia Cceres has done some amazing work with Mike Bartletts play, Cock. Her interpretation was well structured enough to highlight the sound written text, but left the play to live and thrive within this interactive, urban bedroom wasteland. The actors managed to maintain the balance between keeping a consistent, naturalistic conversational style piece going and looking comfortable within the space they were in. This highlights that more contemporary pieces of theatre can be a mixture of styles and elements to create a great piece of theatre, demonstrated by Cock.
-Adrian Barila
Bibliography
N.P. Melbourne Theatre Company. Cock rehearsal blog, The set workshop - Melbourne Theatre Company. January 23, 2014. http://www.mtc.com.au/interact/blog/2014/01/cock-rehearsal-blog-the-set- workshop/ (Accessed April 1, 2014)
Bache, B. Theatre review: C--k, Melbourne Theatre Company. February 14, 2014 http://www.heraldsun.com.au/entertainment/arts/theatre-review-ck- melbourne-theatre-company/story-fni0fcgk-1226827116955 (Accessed April 4, 2014)
Bartlett, M. Cock. London: Methuen Drama. 2009.
Carnicke, Sharon. Stanislavsky in Focus: An Acting Master for the Twenty-First Century. Routle Theatre Classics, 2008. P. 224
Styan, J. L.. Modern drama in theory and practice. Cambridge: Cambridge University Press. 1981. P. 36