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Every act is an act of self-definition.

I Give You Permission

By Rosalind Church

I really don’t know how to tell you this

But I think you already suspect

That life is rarely all happiness

And sometimes you get upset.

That soon in  your future you will become

Depressed.

That you’ll have to force yourself, through another day

‘pull yourself together’, they will say,

‘you are so lucky!!!’

You fall apart and bang your head against the wall,

Turn your face against it all.

Rally and race

Shout ‘I don’t wish to live another day.’

I give you my permission to be

Depressed.

It’s okay.

Perfectly understandable that you feel this way.

It’s okay to take tranquilizers,

Talk to your CPN for hours.

To grieve and feel bereaved of feeling

As long as you get better.

Rise above the rest

Like a phoenix rising from the ashes,

One day you might smile again,

Feel the sun upon your face.

An enigmatic smile meets your lips.

You may even know the secret

It is okay for you to smile,

I would like to see you hold it for a while.

It is OKAY, I give you my permission.

Out of Character this week took another step into the autobiographical work, taking a more direct approach to story telling. The art of storytelling, as well as being around for hundreds of years, is a natural way of documenting life, experiences within it, and in many ways emphasise key points. The starting point showed how the group can have presence on stage and delivery of said context. The variety gave every piece not only a personal stamp on the piece but a completely new concept to the piece.

One of the pieces that came to mind was that of Christian’s. At first it was delivered as a typical ‘normal’ literature and secondly in a more melodramatic method. Both seemed to have excellent presence and both gave some sort of unique quality to it, and brought debates about contemporary works and what would be classed as conventional and their part in the poems.

Other such examples followed. Sharon showed a more Tim Etchells fragmented reading with an absurd theatre etc., much resembling a Pinter or Brecht approach, which built the essence throughout the poem. This essence was to be continued and manipulated into a physical movement/tableaux piece. Each trying to recreate the individuals essence and presence within their work, without or using very little story-telling, with fragments of text and movement. The physicality of the piece seems to not only act as the sceptical but as narrative aswell as the movement in turn, seemed to tell its own story.

A final closing point on the work shop was a statement made by one of the group:

‘what’s the difference between being mad and being eccentric?’

From my understanding, very little. However,  I believe that the answer lies somewhere between serenity and madness, which I can take from this weeks session.

Adam