In the past month I submitted 3 scripts for plays and sketches to a theatre company that were looking to showcase new writers at the Edinburgh Fringe Festival this August. Against all of my expectations, one of my submissions, a sketch, was accepted and shall fingers crossed, be performed. My work will feature in the Laughing Horse, free fringe programme.
Nearer the time I shall probably shamelessly publicise the event all over Mrtsblog. If anyone reading this lives nearby or was planning to visit the excellent festival, as I was anyway, I would love it if you could check out my work! But as I say, details can wait. In the meantime I will look forward to all the brilliant acts and possibilities of the festival, from comedy to drama, and touring the city with itself, with its fascinating history. I am tremendously excited about the opportunity of having my own work realised on the best of stages and platforms. I have read about famous faces in comedy and culture, from Michael McIntyre to Stephen Fry, who learnt their craft dabbling in the cuthroat thrills of the Fringe. I cannot wait.
To further wet my own appetite, and hopefully tug a little at yours, I thought I would post the two submissions that weren’t successful here. The theme was Black Shorts and a short script with minimal props was required. My first submission, The Mannequin in Black Shorts, literally features a pair of Black Shorts, whereas the other two were merely dark and snappy in tone. Clearly, as they were unsuccesful submissions, these ideas are riddled with faults that I am the first to recognise. I am still learning, constructive criticism is welcomed.
Anyway here we are then. A taste of my play/script/sketch writing skills, that I hope to develop considerably in the future after such an honour and opportunity:
The Mannequin in Black Shorts
Two men sit across from each other on chairs. One (C) holds a pen and paper but rarely uses them. The other (Adam) occasionally sips from a glass of water and avoids eye contact now and then to fiddle with it. There is a prolonged silence before anyone says anything.
Adam: See I knew she was from London cos she rode on the right.
C: Sorry? What?
Adam: I knew she was from London because she stood on the right hand side.
C: So we’re on escalators now? Am I right? What’s your tenuous link to escalators Adam?
Adam: Do you have to call me that?
C: It is your name.
Adam: My emotions are up and down, escalators ferry people up and down. How’s that for a link?
C: What makes you so certain she was from London? Anyone could choose to stand on the right.
Adam: Anyone could choose to yeah. But she didn’t choose to, it was habit.
C: How do you know?
Adam: We went up like three or four of the things and every time she’s straight there on the right, gliding like a pro. And I know.
C: She could have been…
Adam: The way she dressed was very urban, no…metropolitan, too. She wasn’t from some rural backwater, she’s used to hustle, bustle, rushing and pushing and cruising on auto pilot through crowds and up and down incidental features of the landscape like escalators.
C: She could have been anyone.
Adam: She wasn’t.
Adam: Why what?
C: Why wasn’t she just anyone? Why does she have to be from London?
Adam: Because I know what I saw.
C: You have no evidence again. People from London could just as easily stand on the left couldn’t they? In fact if you were so used to standing on the right you might just stand on the left for no reason; just because you could. She could have been breaking a habit, couldn’t she? Admit that’s a possibility.
Adam: It would be a possibility if I was wrong.
C: Which you might be.
Adam: I’m not.
C: Well I do it.
Adam: Sorry? Are we here to discuss what you do?
C: I stand on the left just to mix things up. I get tired of standing on the right on the Tube.
Adam: You just proved my point.
C: Enlighten me.
Adam: You don’t live in London.
C: I don’t. But I don’t see why someone who goes there very regularly can’t have a strong habit or inclination to follow or break a routine.
Adam: If you lived there you’d just do it naturally. Like this girl. Without a second thought. BAM. “I’ll stand on the right”. No she doesn’t even think about it, it just happens.
C: Why is it so hard for you to accept that you might be wrong? Where do you get this unfounded certainty from?
Adam: I’m not wrong.
C: But can’t you at least admit that you could be?
Adam: You just don’t understand second nature.
Adam: See! You think too much.
C: Don’t you pay me to think?
Adam: I pay you to talk.
C: Does it matter what I say?
Adam gets up and wanders out of sight, returning with a fresh glass of water. C makes a point of loudly tearing the paper he’s been using for notes, starting on a new piece.
C: (lets out a big sigh) I think we’ve strayed off the point somewhat. Why don’t you keep telling me about the dream?
Adam: What dream?
C: The recurring one.
Adam: I already told you.
C: Hardly. I think you’re avoiding the subject. What are you afraid of?
Adam: Why do you ask so many questions?
C: Why do you like answering mine with your own?
Adam: How about answering mine and I’ll consider answering yours?
C: How do you expect me to do my job if I don’t ask you things?
Adam: You have no job. And by only asking questions you don’t do any work, you’re just trying to get me to help myself. Classic shrink. If I could do that I wouldn’t be sitting here.
C: I don’t need to work if I don’t have a job. You’ve told me before I’m not your shrink.
Adam: You’re not.
C: So what exactly are we doing here Adam?
Adam: Don’t call me that!
C: I’ll call you what I like Adam, especially if you’re not my employer. If I’m not your therapist, your psychologist, your counsellor, what am I?
Adam: It’s a nightmare.
(a longer pause, Adam looks away and C reflects)
C: Ah, so are we willing to admit you were avoiding the subject now?
Adam: Shut up.
C: Fine. That won’t get us anywhere though.
Adam: You don’t need to “get anywhere”. It’s my dream.
(Adam is visibly angry. C adopts a comforting tone, as if addressing a child)
C: Quite right. It’s your dream Adam, your problem. But would you like me to help?
Adam: Of course I want your fucking help.
C: Then perhaps I best not shut up just yet.
Adam: (heavy with sarcasm) Perhaps not.
Adam downs his glass of water and stares into the empty glass. C watches and waits. There’s silence for a time.
C: Are you ready to talk about the dream again yet?
C: So you say.
Adam: What’s that supposed to mean?
C: It didn’t sound so horrific.
Adam: Why do you have to be so fucking aggressive?
C: And you’re not? I’m not aggressive.
Adam: Cruel then, you’re cruel.
C: I’m not cruel Adam. This wouldn’t do you any good if I wasn’t frank. That’s all I’m trying to do; be honest with you. So. Can you tell me about the recurring dream again? How often does it happen?
Adam: I get the nightmare every night, sometimes more than once a night these days.
C: And what happens?
(Adam grunts and says nothing for some time)
C: What happens in the nightmare Adam?
Adam: I told you. I wake up in my bed and for some reason I go to the mirror. I look at myself and I’m looking at this waxwork model, like this shop dummy thing…
C: A mannequin.
Adam: … with no real face or anything original about it. I try to move away from the mirror but I can’t. I’m just this lifeless figurine.
C: Do you remember what the mannequin was wearing? Last time you wouldn’t say what it was wearing? Are you naked as the mannequin Adam?
(Adam laughs derisively with a snort)
Adam: No. You’d have liked that wouldn’t you?
C: Go on.
Adam: I’m wearing black shorts, like the type I’d wear to football practice when I was younger.
C: Do you have any memories of that football practice? Do you regret giving up football?
Adam: No the shorts were…They…
(His voice breaks and he seems unable to go on)
Adam: The shorts were stained.
Adam: You heard me.
C: Marked with mud? Stained from playing football maybe?
Adam: No not that sort of stain.
C: Then what sort of stain?
Adam: (quietly) No
Adam: I said no. Not blood.
C: Are you sure? There’s no need to lie Adam.
Adam: Not blood ok?
C: Do you know what sort of stain it was?
Adam: Of course I do! It was my dream.
C: Well you clearly don’t know everything about it.
C: Would you rather not say what sort of stain it was?
Adam: I think…
C: You think…?
Adam: I think YOU SHOULD LET ME TALK! I don’t want to talk about it.
C: But you said…?
Adam: I don’t want to say what type of stain, ok?
C: That’s fine.
Adam: Would you like a biscuit?
Adam disappears for a while. C puts his pen and paper on the floor. He taps his hand against the side of the chair while he waits. Adam returns.
Adam: There weren’t any.
C: Don’t worry.
Adam: Do you think Doctor Who is for kids?
Adam: Answer the question.
C: Yes. Yes I do.
Adam: Was that a loaded question?
C: I wouldn’t say so no.
Adam: What is a loaded question?
Adam: Surely all questions are loaded? To an extent.
C: Perhaps they are. I think you have a point there.
Adam: Why is Doctor Who just for kids?
C: I didn’t say it was just for kids.
Adam: Just answer the question.
C: Cos you pay me to talk right?
(Adam says nothing. There’s a pause.)
C: I think we’re all kids. I like Doctor Who.
Adam: Why do you like it?
C: It can be anything. It’s original and creative escapism. And it’s about running from loneliness. Anyone can relate to that.
Adam: Can they? And who says it’s about that? Isn’t that a bit heavy for kids?
C: I say it’s about that. It isn’t about that for everyone. It’s my interpretation.
Adam: I think it’s childish.
C: Well not everything can be everyone’s cup of tea.
Adam: What does that even mean? You talk rubbish.
C: You chose this tangent. I’d rather talk about your dream.
Adam: Well I feel like ranting about the flaws of British television.
C: Adam stop this.
Adam: Stop what? Why don’t you sell me the merits of Doctor Who? You’re not even trying!
C: You should like him. He’s clever and he’s a bit like all the detectives you like.
Adam: I do not like detectives. I glean what I can for my own observational skills.
C: “Glean” is a very good word Adam.
Adam: Don’t patronise me.
C: You’re a walking dictionary.
Adam: Shut up.
(C leans forward exasperated)
C: Well listen to yourself! What are you even doing with your life? How old are you!?
The lights abruptly go down. When they slowly return Adam is no longer on stage. At the centre and towards the rear C stands next to a Mannequin in Black Shorts. At the front and to the left a security guard sits on a chair. At the front to the right a woman with a shopping bag hovers about as if browsing clothes on a rail. C’s appearance is the same as before but somehow scruffier and dishevelled.
C: (pacing around in frustration) I said listen to yourself Adam!
C: I’m sorry Adam but it’s your name. For Christ’s sake grow a pair.
(Another, lengthier, pause)
C: No, no, Adam you listen! (C turns and walks up to the Mannequin. He takes some deep breaths to calm himself before seemingly addressing it directly) Tell me about the dream. No buts or excuses this time.
(There’s a substantial spell of silence. The security guard stifles a burp and then coughs. The shopper bends down as if to feel the quality of material or inspect a price tag. She gets a text message on her phone. C tries to make eye contact with the Mannequin, occasionally looking away and nodding or shaking his head now and then.)
C: Well…I’ve never heard such self-involved, deluded bullshit…
(A brief pause)
C: Ha! It might be just my interpretation, but I can assure you that yours is further from the truth. You are not some tortured or fallen genius Adam. That dream is either a meaningless fart of activity from your brain or a yelp from your sub-conscious.
C: It means that maybe you know somewhere inside that thick head of yours that your personality is a lifeless empty shell you’re constantly trying to fill. And none of this endless madness is doing you any good.
C: (with a raised voice) Oh please! (shouting now) Last week you were insisting you were the heir to Hercule bloody Poirot!
(The browsing shopper glances round in C’s direction. As does the security guard who groans and starts to make a call on his phone.)
C: Sorry Adam but someone has to be honest with you…I’m you’re what!?…Friends don’t have an hourly rate…
(Security guard is up and walking towards C)
Guard: (in a thick masculine accent) Not you again. C’mon pal away from here…
C: You may feel you’re someone else here Adam, but I’m not going to call you anything besides your name…Are you paying by cheque this week? As usual?
Guard: (laying a hand on C’s shoulder) Listen, shut it Sigmund. People are tryin’ to shop.
C: (straining to talk to Mannequin) If that’s how you feel we needn’t meet again…(screaming at top of his voice as Guard begins to pull him away. Shopper glances anxiously repeatedly towards C and hurries off stage.)… BUT YOU MUST PAY ACCORDING TO OUR ARRANGEMENT!
(The Guard slowly guides C off stage, grappling now and then to keep him from the Mannequin. C begins to make indecipherable, animalistic noises)
Guard: Oi! Put a sock in it will ya, ya bloody loony!
They exit the stage.
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Chance and fate are like twin sisters; biologically related but far from identical. They are concepts we all know and experience day after day. Yet their effects fluctuate so wildly that no human being can define, prove or explain what exactly they are, or indeed confirm their existence with any certainty. The best, most brilliant minds throughout history have focused their attention on these beguiling, fascinating, unknowable sisters at some point. Everybody, from genius to crack addict, ponders the cruelties of chance, the favours of fate.
Was it chance that brought the girl of your dreams out onto the street in front of you? Was it just bad luck that you were spitting out your gum at the time, so that she walked head on into a potent projectile of sugared saliva and masticated goo? Or were you doomed to failure? Manipulative Miss Fate may have singled you out as her joke of the day. Then again, perhaps she was just redressing the balance after she took out the lights in the bar that time. Your powers of attraction increased tenfold in near darkness, allowing you to raise your standards considerably. That girl, let’s say Linda, barely noticed the peculiar crook of your nose, for instance, or the irrepressible leering tint to your eyes. But then again maybe there’s no balance at all, no order. Maybe it’s just Miss Chance, a bored, daydreaming secretary at her desk, absentmindedly jabbing at her keyboard.
Often the only way we can begin to explore or talk about these sisters is through storytelling. And George Nolfi’s first feature film as a director, The Adjustment Bureau, is fairly explicitly about the human relationship between our free will, each and every choice that we make, and our fate, the possible destiny that may be already determined for us, laid out beyond our control. The Adjustment Bureau is also a film that can claim to be a “sci-fi romantic thriller”; a distinctive and intriguing description of any story.
Indeed ever since I saw the trailer for The Adjustment Bureau I have been anticipating a thoroughly different blockbuster. Several of Phillip K. Dick’s stories have been taken on and adapted by Hollywood, and several more such as The Man in the High Castle (an alternative history of the Cold War), would make excellent movies. Dick had a knack for capturing fascinating science based or philosophical questions, within a captivating narrative framework that really made you think about the issue. Apparently Nolfi has expanded considerably on Dick’s short story, Adjustment Team, for this project, and that may account for some of its failings.
Numerous reviews have pointed out the plot holes in The Adjustment Bureau and lamented its implausibility. For a film marketing itself as exciting, the lack of engaging thrills has also been highlighted. It’s certainly something that requires a greater than usual suspension of disbelief to really enjoy it. However, critics have also been quick and correct to heap praise upon the performances of the two leads.
In interviews Emily Blunt and Matt Damon have talked of how they “dicked around” on set and tried to transfer some of this interaction, this genuine banter, to the screen. It’s a technique that worked tremendously well. Much of Nolfi’s dialogue in this film is good, but inevitably when trying to encompass such grand themes and deal with an issue like love at first sight, the odd passage is clunky, cliché and cheesy. These bad moments have the potential to seriously deflate the quality of a film. But Damon and Blunt’s brilliance ensures that these dances with disaster become strengths. Whenever an emotional speech is about to over step the mark, one of the characters, usually Blunt’s, makes a jokey remark to both lighten the tone and preserve the intensity of what went before. With such sensational plot components Blunt and Damon’s incredible, immense believability and appeal makes the romantic element of the story feel constantly real and affecting.
Damon in particular is excellent as the focus of the tale and adds another impressive notch to his CV. He appears to have truly arrived as a top Hollywood leading man. Here he plays up and coming senator David Norris, who concedes a mammoth lead in the polls thanks to some revelations about his wild shenanigans in the past. It was a step too far for voters, who had been willing to back the fresh faced, young and local candidate. Damon is completely convincing as a politician passionate for change but disillusioned with the system he must embrace to achieve it.
Underneath it all, Norris just wants company and affection, and this Damon portrays well too. In the Gents after his election defeat, he bumps into Elise, a contemporary ballet dancer. After an odd (but believable!) first meeting, Norris is as infected with the chemistry between them as the audience is. He abandons his conservative losing speech in favour of a frank, electrifying exposure of behind the scenes campaigning and the nature of politics as a whole. His popularity sky rockets (one of the film’s multitude of interesting ideas and points is how the public wants honesty in politics but good men are continually stifled from being themselves).
However when Norris tries to pursue his instant infatuation with Elise, he’s warned off by mysterious looking types in 1950s style period suits, wearing silly hats. This is The Adjustment Bureau; the people that make things happen according to plan. They are not all powerful, as they appear to be governed by their own set of rules and frequently require greater levels of “authorisation”, but they can flit about New York City by teleporting through doors and predict the choices you make. John Slattery, Anthony Mackie and Terrence Stamp, all give decent performances as agents of this supernatural organisation.
The dated look of the agents has come in for considerable criticism; but I rather liked it. Whilst the film could be more thrilling, it’s refreshing to watch a blockbuster that’s still exciting and engaging without being stunt heavy. The focus is not on the action but on the plot and the romance between Elise and David. As for the plot holes, especially increasingly silly ones towards the end, these are probably due to the fact that The Adjustment Bureau is ideas heavy. Sure some of these musings on such debated subjects as the limitations of free will, determinism, God, chance and love are far from subtle. But to me that doesn’t matter, especially given the convincing chemistry at the heart of the film driving it forward as the narrative focus. It’s extremely admirable, valid and bold to make a mainstream film about any of these ideas at all. The Adjustment Bureau will get you thinking and talking about them, and hopefully exploring these fascinating areas further.
Besides, in my opinion, not all of the film’s ideas are as flat and basic as some reviews would have you think. The corporation like structure of The Adjustment Bureau for example (with God referred to as The Chairman), made an extremely relevant point about the limitations of our free will today, in supposedly completely liberated western societies. We no longer realistically worry ourselves with tyrants and dictators, but money, class and big business can substantially shape our paths through life and the hold the powerful keys to turning points in our destiny.
I applaud the abundance of ideas in The Adjustment Bureau then, even if it could have been a better film. Because of all the talking points and its compelling romance, it is still a good and worthwhile watch. Perhaps the most resonant, but also cliché, point that it makes though, and chooses to conclude with, is that love is worth fighting for. Whatever uncontrollable obstacles life throws in the way, be it distance/geography, illness/injury or rivals/opponents, love can be enough and worth holding on to. No matter what.
Oh god. Did I actually just type that? Shoot me now. Yes their performances really are that good.
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This week I went all middle-class and cultural. On Wednesday I went to the Royal Albert Hall for “An Evening of Vivaldi” with violinist Nigel Kennedy. And yesterday I ambled round the Tate Modern, hoping I didn’t look as stupid as I felt. It was all certainly a far-cry from my rural roots and the working class hubbub of a football match and the intoxicating odours of warmed sausage rolls. But if I’m honest I don’t feel comfortable in either environment.
Wednesday then and the much anticipated, long awaited evening of Vivaldi. I was spirited to the venue by an irritable cabbie all the more grunty and scowly I suspect due to the additional traffic clogging the arteries of the capital’s roads, vomited up from below by the tube strike. On several occasions his grumpy state prompted less than textbook driving manoeuvres and one of these bursts prompted the howling horns of a sleek BMW pulling out into our lane, along with an un-graceful involuntary spasm from me. Not daunted in the slightest he drove on and continued occasionally with his inaudible mutterings, and I listened to Jeremy Vine on Radio 2 as he accepted calls about the change in the law allowing prisoners to vote, prompted by the EU courts. Eventually the Albert Hall crept on me from nowhere and I was out, stalking around its beautifully lit circumference, killing time until the doors were opened.
I was suitably impressed by the building from the outside and enjoyed snatching chunks of a singer that floated from a window in the Royal College of Music opposite, but was somewhat underwhelmed by the scale of the interior. I loved the deep scarlet (or crimson?) colour to everything and the history present in the antique seats, but whilst it was undoubtedly a big venue, perhaps my aforementioned working class sensibilities, used to giant football stadia, left me unmoved by the jewel in Britain’s musical crown. However I was pleased with the view from my seat and impressed by the impression that everyone’s seat must have a decent view. Still it felt smaller than it looked on the Dr.Who Proms anyway.
The only thing that mattered to my father (if I wasn’t writing would have called him Dad, but that sounded wrong and just a little too affectionate to be accurate, although father makes me sound more refined than I am) about Nigel Kennedy was that he too was an Aston Villa fan. All I really knew of him was a few performances on TV and the CD of the Four Seasons I own, played by him, that I know inside out and was my only real motivation for coming. That CD alone convinced me I loved Vivaldi and seeing as I loved his native city of Venice too it seemed like a good idea to delve deeper. But as I have said, I am a stranger to this world of cultured classical music and was therefore grateful in many ways for Nigel’s eccentric onstage behaviour with a working class twang. He honestly looked scruffy in my opinion. But he was instantly likeable. He swore frequently and strongly, to the shock of some and amusement of most; “Now I guess I have to play some shit on my own”. He bantered with audience members late because of the tube strike, pouncing on one with kisses and theatrical gestures; “You’ve only missed a few concertos but there’s loads of good stuff left”. He referred to sport when introducing his glamorous and beautiful female companions. He generally joked and entertained. And he seemed as baffled as I was at times at the ever so frequent applause. Every minor piece required a bout of praise at its finish, leaving me and by the look on his face at times, Nigel himself, wondering when they would get on with it. But then I guess it was all so wonderfully and terribly British, and why so many Germans, Irish and Italians were seated around me to enjoy the show.
I am hardly qualified to comment at length on the music itself. The first half of the show was comprised mostly of concertos I was unfamiliar with and consequently towards the end of it I found myself growing a little weary, especially during the softer sections. I confess that I enjoy the frantic and furious crescendos considerably more than the gentle, swaying parts, no matter how beautiful and intoxicating and calming they may be. I suppose the real revelation in seeing the performance live was the sheer visual spectacle of the violin. During my favourite intense moments the entire orchestra moved in energetic, synchronised slashes and jolts. All that striking swishing up and down through the air was like a chorus of swords striking at our ears, echoing the very “V” sound of Vivaldi, Venice and violin. Watching Kennedy duet with his various exotic female companions was also extraordinary for me, seeing the sort of chemistry I had only previously experienced between singers or dancers between two instruments was wonderful. The way he would undulate and stomp and stamp was so engaging at times, as if he was enjoying it then so would we I guess. Nevertheless I shamefully longed for some of the lively hip gyrations and sexy beats of Dirty Dancing which I had seen the week before as a present for my mother, at times. But of course when he finally got round to “four little unknown concertos” I was so delighted he was going to play the whole Four Seasons, and felt for a brief moment brilliantly middle-class and cultured to be in on such a joke. The striking strings tell such a story in that music and the waves of sound rising up stronger and stronger during my preferred pieces was wonderful and fantastic to hear the whole thing in one go. Admittedly by the end I was tired and keen to leave for bed, but I was privileged to have heard what I knew as tracks on a CD, treasured and enjoyed in quiet privacy, in the company of others, even if they were more than simply a casual appreciator as I was.
Mind you I am a bloody expert on Vivaldi when you compare my knowledge of his music to my knowledge of modern art. So I’m not sure why I had the urge to go and look round the Tate Modern, but go I did. I guess part of it was simply the wonderful approach and the walk past St.Pauls and over the marvellous Millennium Bridge, poised like a delicate, wobbly blade over the Thames. The walk was actually surprisingly easy and quick and I shall be doing it again. I loved the contrast of St.Pauls white marble with that of the Tate Modern building itself, beautiful in its own way. Part of my problem has always been though that I appreciate the buildings selected to store great art in more than the works themselves. Whilst I can see the value more easily in the traditional works at the National Gallery in Trafalgar Square (and I always pop in), with some pieces, such as those of the Venetian canals, blowing me away with their vibrancy and colour, I find it much easier to marvel at length at the scale and beauty of the building around me than the paintings.
Once inside the Tate Modern though the interior is nothing to marvel at. Disappointingly there was no sign of the controversial seed art installation that had made the news, but I picked up a map and set off aiming to educate myself. I was expecting to despise a lot of what I saw, as I am an ignorant, rural, traditional sceptic when it comes to “modern” art in many ways. I do not claim to know what constitutes art and what doesn’t, and would rather not get into that debate as it’s surely a subjective question, but for me a piece of canvas painted one colour, albeit a striking one, is interior design, not art. There’s no reason why it would not have been done before by someone. I’m not saying it doesn’t require skill and aesthetic appreciation, but it does not seem to be art to me. And yes there was the odd piece that I hurried past to avoid staring at it angrily and in disbelief. Even Matisse’s celebrated “the snail” which I was familiar with from a documentary and was surrounded by admirers, does nothing for me with its simple blocks of colour. For the most part however I was surprised at how engaging I found a lot of the works and generally enjoyed my couple of hours or so wandering about.
Calling the Tate Modern “modern” can be misleading in itself, as there is a lot of history to be found within the walls. Granted when you take human civilisation as a speck on the table top of world history then the twentieth century works on show are very modern indeed, but for me as a child born at the end of the century it’s a period rich in variety, close enough to be stirringly relevant but far enough away to be exotic. I stumbled across Monet’s Water Lillies for example, which seemed like a genuine progression of what the sceptic might term “real” art, as opposed to a cop out like some of the more controversial, politically motivated revolutionary pieces. I was happy to sit and lose myself in its colours for a fair few minutes and could see the value in the blend of colours expressing something true about what one actually saw in such situations. As I’ve said before on this blog, for me culture speaks to me most when it says something true and I found throughout the day that reading the brief background of a piece might help me see the meaning the artist was striving for and thus appreciate it more. Having said that some pieces were simply a visual treat I didn’t want to spoil by thinking about and dissecting, such as Jackson Pollack’s Summertime, on the opposite wall to Monet, which was a colourful splash of elongated colour.
Generally reading about and discussing the various methods of artists, especially when they produce dubious results, bores and alienates me. But when these methods are placed in the context of their times and given intellectual motivation I am more interested. I found a number of pieces by German artist Max Ernst interesting, for example. One of them, The Entire City, painted in 1934, was created using a technique called grattage or scraping. This introduced elements of chance into the work and I found this philosophical idea fascinating, especially when placed in historical context it is said to express Ernst’s pessimism at the unfolding Nazi situation in Germany. It also helped that the visual end product of The Entire City was visually intriguing as well as being not so abstract as to be unintelligible by my simple eyes.
I have always found it difficult to relate to the craft of the artist, perhaps simply because I was so utterly useless and talentless myself. I have always preferred and understood the skill of the written word and seen more value there. But in the “Poetry and Dream” section of the Tate I found some pleasing overlap that could stimulate my brain as well as my senses. A piece by Juliao Sarmento entitled Mehr Licht, meaning “more light”, is interestingly ambiguous with the image of a man holding a woman’s neck and was intended to be so, as the artist points out that such a gesture can be violent or tender. Having said this I still found that the end product of some works seemed to bare no correspondence to their descriptions lavishing praise and finding intellectual enquiries where there were none. Francis Picabia’s Handsome Pork Butcher for example just seemed grotesque and silly and perhaps that was the point, although his Otaiti was more thought provoking.
So whilst I did appreciate the different and striking pieces, especially when they had inspirational ideas behind them and connected to them, the uneducated ogre in me still preferred the pieces that resembled “real” art and exuded skill. Yes there were sculptures by Anish Kapoor and others such as a tumbling stack of felt and a circuit comprised of ordinary silver kitchen objects that held me transfixed for a while, but these seemed to belong in a different category. The realist room containing pieces by Meredith Frampton and Dod Procter, seemed to have a better blend of skill and modern ideas. Dod Procter’s Morning had a wonderful 3D quality and captured the light and imperfections of the human form as well, and better, than any camera. Frampton’s works too seemed to have mastered the fall of light as well as containing symbolic, vibrant objects that made it more modern and set it apart from a traditional portrait.
Oh dear listen to me trundling out the sort of art critic bollocks that usually makes me heave. And worse still I’m a complete amateur; at least they’ve been taught or learned the bullshit they spout inside out. If I’m honest in the vast majority of the galleries I was often distracted from the works by the superior quality of female that creativity seems to attract. I mean seriously I may have to consider cultivating a sideline in bullshit art appreciation alongside my “writer’s beard”, as a friend of mine told me I was now sporting. I have literally not seen so many attractive girls in one place at once in a very long time. Or maybe I just haven’t been looking hard enough. But anyway every other girl seemed to be a stunner, I was looking around for the gallery official whose glorious job it was to admit the beautiful and turn away those whose standards fell short. Was it always like this? I imagined that if I should ever be lucky enough to talk to any of these women, even if they churned out arty farty crap that was incomprehensible to me, I would listen, transfixed, jaw hanging in wonder and scraping the industrial floor. There was the odd creative guy type about who would clearly act as a magnet to all the budding female artists drifting aimlessly, except that a great number of them may have been gay by appearances. But then who can judge by appearances alone? Artists perhaps. Anyway needless to say I did not speak to any of these wonders, these fine specimens, these art drugged creatures. I simply marvelled and left, having enjoyed my cultural wanderings. But I remained essentially terribly ignorant.
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