NOTE: This was written for a final paper in my Dramatic Writing MFA Writer’s Workshop class where I was supposed to apply Anne Bogart’s book A Director Prepares to my own work. Thus the navel gazing…
In her book A Director Prepares, Anne Bogart addresses various challenging experiences theatre artists face in creating their art. In the book she confronts Memory, Violence, Eroticism, Terror, Stereotype, Embarrassment, and Resistance. Although she writes from a director’s perspective, I found them particularly helpful from a playwright/screenwriter’s point of view as well.
Having been both a director and a writer for the theater, I have found both creative processes put me in a similar place intellectually and emotionally (especially when I’ve been a director for my own work, it just seems to be a different step of the same process). Although I will write about how all of these qualities addressed by Bogart have affected my work in future posts, I would like to focus on each of them one at a time. So first on deck for this series of essays is”¦
In her book, Bogart states:
Theatre is about memory; it is an act of memory and description. There are plays and people and moments of history to revisit. Our cultural treasure trove is full to bursting. And the journeys will change us, make us better, bigger and more connected. We enjoy a rich, diverse and unique history and to celebrate it is to remember it. To remember it is to use it. To use it is to be true to who we are. A great deal of energy and imagination is demanded. And an interest in remembering and describing where we came from (p.39).
For me this statement from Bogart has resonance on so many levels. In my work, I’ve focused a great deal on historical drama, especially from my Mormon heritage. My intense interest in Mormon history has bled into a number of my works, reaching back as far as my high school juvenilia. Continue reading “Blinded by the Fire: Cultural Memory and the Response to My Mormon History Plays”