OF SHAPES: The Dramaturg

Only three more performances for Of Shapes Transformed by Love!

It's been a wild and exciting ride, and it's not over yet! We've seen the eye of the hurricane and it looks like blue skies from here on out (well... not at night) but regardless of the weather, it's always an adventure. 

In the last installment of our Creative Team series, we bring you Suzanna Derewicz, our Production Dramaturg and Movement Coach, who sheds some light on the process she brought to rehearsals and some of the more ethereal aspects of performance. 

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From Suzanna Derewicz:

I’ve felt extremely privileged to be a part of the process on this show. It’s a project that excited me from the get go as something that I could sink my teeth into, that allowed room for interpretation, exploration and called for a less traditional approach to script analysis and to working. It called for an understanding of the physical, and physical made visceral. Turns out Kyle liked the idea of having someone coming into to the process who had experience with this, and having trained primarily in Grotowski’s methods, that made me their candidate. Quickly I became a regular at rehearsals – first as an outside eye. Soon I began working with the actors one-on-one, and in ensemble configurations to help them find their characters – bodies, mannerisms, transformations (as so many of them do), the life within the world of the play, its pulse, and where it sits within them.

I’ve felt inspired watching pennies drop and discoveries being made. Things that first felt strange in rehearsals started to make more sense once more organic approaches were introduced in tandem with the script work they were already doing. Rich imaginations started fuelling the work. I encouraged a degree of selfishness in rehearsals, to not be so polite. I asked them to offer up their discoveries, to go to the rickety places, to balance there a while, to see what happens.

I’ve been excited to find new ways into this work, and inspired by seeing others on my team doing it with gusto, not being afraid of it. As well, I’m glad to have offered at least a few more people, a couple of new tools so that when approaching the work textually – or intellectually is not working, they can try going to go other places for answers, places that are driven by impulses, and not just ideas about what a scene is, or who the character is, or what the play is, but digging underneath those surface ideas.

What resulted was an ensemble who wasn’t afraid to be ravenous for connection, who wasn’t afraid to go into the savagery of their imaginations, live there for a bit, and see what they can take from there.

Don't miss this show - tonight, tomorrow, or Sunday at 9:00 - the beauty and the magic.

Tickets available here.