So once upon a day, not too long ago it all started with Sophie coming around for drinks, she was singing songs and I was comparing the translation of Meszoly to that of Kosztolanyi, and we had chats about how corpses were prepared for burial in the olden days, and looked at pictures and sang some more songs. Her parentes were a great help actually and than she went with the songs to some dear friend with an available piano and learned these very beautifull songs. And we talked about how and why Juliet is relevent to us, and how she might be releven to audiences in persent day.
When one starts a project like that one is literally working with endless possiblities. As a performance artist you cab decide to chop up some vegetables while reciting to be or not to be, so really you have to make some rules.
At one point I was going to translate the whole text, since in many cases the original English lines are fresher than the Hungarian translations, but than most of the times - naturally - I couldn't come up with a better version, or more suitable to our project shall I say. On rare occasions I felt that it was necessary to change the text in both languages, just to make it more understandible, or more feminim I would say, or more experimantal.
The experimental parts than could allow for dance-scenes to be introduced and also would allow the performance text to break out of the paradox situation of one-sided dialouges. When it is potery everything is possible. And Shakespeare is poetry, so it is only just that a contemporary adoptation should carry on lyrical traditions. The different layers of language would also add to the diverse texture of the performance.
We all have been very enthusiastic about Nora Kovacs to come on board and help us with some of the scenes.
She has read the script and than we talked about what scenes could benefit from her choreography the most. She also told me what ideas she had reading the lines, and we agreed she would come in to do a dance-workshop with us.
At the first meeting she was asking the girls to do excercises that allowed her to asses their skills and style of movement. I have kept two scenes entierly to her ideas. Nora was very happy to take on the challenge to choreograph a dance based on poetry as opposed to music and we hope to do more collaborative work in the future, where we could bring text-based theatre closer to physical theatre.
The balcony scene (one of the cheesiest in the play) is now a dance piece, and expresses the euphory of love in general.