Artistic Directors Liz Fitzgerald-Taylor & Lisa O'Hanlon

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Ruth
 
A Devising Scrap Book
 
Commission to create a piece of work based on the Old Testament Book of Ruth. 
Not so simple for a non-faith based organisation!
 
Research
In January 2008 Liz & Lisa run a weeklong series of arts-based workshops with women of non-British origin exploring their stories and relating them to the themes of RUTH.  From this research the directors drive up to The Lanternhouse International, working in THE BARN and spend a further two weeks researching the story, paying particular attention to the politics, its relevance to a modern audience and why the Old Testament story of Ruth needs to be told in the 21st Century. 
 
THE BARN, LANTERNHOUSE
   

 

In August, the directors together with a musician/performer take the findings from January and lock themselves away inside The Lanternhouse International, sharing food, ideas and experiences.  They explore the biblical tale, take a trip to The Jewish Museum in Manchester, read books, research, then emerge from THE BARN with a loose structure ready to rehearse.  For four of the six weeks, a very imaginative designer joins the team.  The WATERSIDE ARTS CENTRE in Trafford partner No Nonsense Theatre Company throughout this process and host the launch of RUTH.  

 

Designing the production

 

The design process begins very early in the six weeks.  It was decided during the research phase that an installation in the Waterside gallery would be mounted – this style of work introduces the characters to the audience before they have entered the performance space.  We also want to “set the scene” and give the audience a flavour of the environment that Ruth finds herself in.    It is also important that the installation is a sensory-led experience for our target audience and that it has the ability to link the exhibition to the performance.

 

A tent-like structure was proposed for the show.  We wanted to create an intimate setting for the story and this seems an excellent idea.  A model of the design is created. This was made from white card and is used to work out if the design is workable.  This is a vital tool which helps everyone from performers to director and lighting designer to visualise the team’s vision of the piece.

 

 

A visit to The Waterside with the model was an important breakthrough.  There was much discussion about whether the tent-like structure would be possible and whether seating would be something the company could source from local schools. An agreement was made  to go ahead with this very exciting design.

 

Music

The initial ideas for the music composed for ‘Ruth’ came from a combination of discussion within the devising company including elements from the original workshop research and development, and ideas that developed from improvisations within the devising process

 

Research also informed the choice of instrumentation that we use; starting with traditions of music of the Middle East in Biblical times we make reference to some of the instruments that were used in the Temple Orchestra. You will hear an Oboe ( a double reeded flute called the Abbuv),  Large and Small Flutes (Halil and Ugav), Bell Trees (Timbrel), a small Drum (Tof), and a Harp (Nevel), among others. Also you will hear recorded voices – the voice was always an important part of ancient music, and often supported by a Drone; a long single note produced by another voice or instrument.

 

We also use a particular musical scale called ‘The Mode of Ruth’ as a starting point, which has different ‘accidentals’ (Sharp or Flat Notes – the Black Keys on a Keyboard) to Western music. This helps us to aurally place ‘Ruth’ in a different land.

 

 

The purpose of Music within the piece varies; sometimes it is there to provide atmosphere, sometimes it ‘informs’ the action and provides it’s own narrative (like the Goat Bells when Mahlon and Chilleon are in Moab), and sometimes it supports the movement and Mask work.

 

 

 

Why Puppets?

 

We decided to use puppets for a couple of reasons.  Practically, there are over a dozen characters in the story and with only three performers, it makes sense to use puppets for several of the characters. We also wanted to create an “epic” journey and this can be done by using small scale puppets that can travel across a large expance of the stage, thereby giving the illusion of distance.    

The Company was inspired by its environment.  Spending six weeks in a beautiful BARN in Cumbria really helped to inform what decisions the company made, so we wanted to give a rural feel to the whole piece. 

We wanted this rural feel to flow through the whole design element, therefore we decided to make our puppets out of natural materials.  We also use Hessian sacking as a platform for them to be manipulated on.  

 

 

Masks – To speak or not to speak

 

This was an extremely difficult time during the devising process.  The company explored the story using a combination of improvisation and narrative.  However after much experimentation, we felt that the dialogue was “weak..”  The team then explored telling the story visually – using a combination of masks, puppets, shadow and fabric. 

 

After much debate, it was decided that the story should be told visually, with very little dialogue.  We wanted to make the piece accessible to both an English and non-English speaking audience.  We are also very aware of our ethos as a Company to make all our work accessible to young people of all abilities.

 

The decision to use half mask for certain characters was a breakthrough for the company.  These half mask characters are able to utter single words that are important for giving vital information in a single word. We also wanted a “gossip” commenting on the action – the character of Bethlehem is society’s voice – the comments are cutting and cruel.  Many of these comments have been lifted directly from headlines in today’s tabloid press.