Many of us have experienced unforgettable — even transformative — moments at the theatre. These can provide audiences with unexpected insight, even making us gasp out aloud.
In Will Weigler’s new book, The Alchemy of Astonishment: Engaging the Power of Theatre, the Victoria director, actor and writer analyses what makes such moments so memorable.
While completing a Ph.D. in theatre at the University Victoria, Weigler wrote letters to hundreds of theatre professionals: Critics, directors, producers, playwrights, teachers. He asked a single question: Had they ever had a single unforgettable experience at the theatre?
The 100 responses he received formed the basis of his doctoral dissertation. This, in turn, has been adapted into The Alchemyof Astonishment, published by the University of Victoria. The 222-page book (which comes with a deck of teaching cards) is intended for those who facilitate community theatre projects. However, Weigler believes it will interest a much wider audience.
“It’s for anybody who loves theatre, to be able to see why that stuff works,” he said. “I’m hoping anyone who reads this will start to go to the theatre and say, ‘Why, that’s why I love that so much.’ ”
One of Weigler’s theories revolves around what calls the “gest,” that is, a physical manifestation in performance of a character’s relationship, emotional state, social circumstances or experience.
Here’s an example: In a production of Shakespeare’s Merchant of Venice, the actor playing Shylock’s daughter, Jessica, enacts a gest that conveys her innocence and social status. At one point, Jessica is thanked by Portia, a rich heiress. Filled with girlish gratitude, Jessica bounds across the stage and throws her arms around Portia. Courtiers looking on smirk at such gauche behaviour; however, Portia accepts the gesture with courtly grace and humanity. Within seconds, their personalities and the difference between their social stations are portrayed.
“It completely shows in the way [Jessica] greets her that she’s way out of her league socially. It’s like in society. You give someone a little kiss on the cheek, you don’t give them a big bear hug,” Weigler said.
In analyzing what makes unforgettable theatre, Weigler came up with another category he calls “shocking.” This describes imagery, action or behaviour that pushes our notion of traditional social norms. This, in turn, can trigger a visceral reaction from the audience.
In The Alchemy of Astonishment Weigler relates a 1998 reunion show staged by Monty Python. At one point, John Cleese produced an urn which he explained contained the ashes of deceased member Graham Chapman.
The urn was “accidentally” knocked over, spilling the contents and sending the members of Python scrambling. Initially shocked, the audience began laughing after realizing it was a gag (at one point Cleese licked a bit of the ash from his fingers).
“Different gifts” is another of Weigler’s categories. This refers to a loving act when a “gift” requires the giver to make a big personal sacrifice.
Weigler’s example of this is taken from sports, not theatre. In 2008, Sara Tucholsky, playing softball for Western Oregon College, was at bat. She hit the ball out of the park. However, while rounding first base, she tore a knee ligament and fell to the ground, unable to walk or run.
Her teammates wanted to help, but the umpire explained the run would be disqualified if they touched her. In a gesture of unusual generosity, members of the opposing team carried her all around the bases, allowing her to complete the home run with their help. Nothing in the rulebook prohibited this. For onlookers, many of them in tears, it was an unforgettable sight. “It had such an impact,” Weigler said. “This little story about women’s softball game rippled across the country.”
Weigler has been an applied theatre director, teacher and playwright for more than 25 years. One of his community play-building projects was transforming an empty 14,000-foot space at Uptown mall into a theatre labyrinth.
That project, called From the Heart: Enter Into the Journey of Reconciliation, delved into the relationships between non-indigenous and First Nations peoples. Thirty volunteers, mostly non-actors, performed self-created vignettes within a huge maze-like set.
Weigler believes The Alchemy of Astonishment will be useful as a tool for such community play-building — for him a life-long passion.
“It’s been transformative in my life. And what I’ve done with this book, I’ve found a way to enact it.”
Note: Weigler will speak at the Vancouver launch for The Alchemy of Astonishment on Tuesday. The free event runs 7 p.m. to 9 p.m. at Simon Fraser University’s Djavad Mowafaghian World Art Centre, Goldcorp Centre for the Arts, 149 West Hastings St.The book is available at the University of Victoria’s book and Sorensen Books, 1048 Fort St.