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Monday, July 16, 2012

She Opened the Door - Press Release


PRESS RELEASE – Hardy play hits the pages




Acclaimed Dorset playwright Peter John Cooper has been writing and directing plays for the past 40 years. But for him writing a book is something new. With the help of local publisher Roving Press, his hugely successful play She Opened the Door, together with notes on the historical context and what inspired Peter to write the play, is now available in book form, providing a fascinating insight into the troubled relationship between Hardy and his first wife Emma.
Acclaimed Dorset playwright Peter John Cooper has been writing and directing plays for the past 40 years. But for him writing a book is something new. With the help of local publisher Roving Press, his hugely successful play She Opened the Door, together with notes on the historical context and what inspired Peter to write the play, is now available in book form, providing a fascinating insight into the troubled relationship between Hardy and his first wife Emma.




‘What’s unique about this book,’ says Julie Musk from Roving Press, ‘is that it combines the complete script of the play with Peter’s research, thoughts and inspiration – showing something of how a playwright’s mind works. Moreover, I loved seeing the play performed, but the intricacies and subtleties of plot are clearer on the page, as you have more time to digest them.’

Peter’s play is a fantasy set one afternoon in September 1895 when the manuscript for Jude the Obscure needs to be returned to the publisher. Emma is threatening to burn it in the garden of Max Gate and, but for the intervention of Thomas’s Mother, the Maid and ‘the Other Woman’, the book might be lost forever.
The play is witty, poetic and occasionally shocking, with hidden references and quotations from Hardy’s own works. Peter says, ‘I wanted to show that Hardy was truly a man of his time, a cutting-edge, contemporary writer, who was caught up in the feminist movement’. Peter’s attempt to understand something of the man by looking at the women who surrounded him is both original and ground-breaking. 
Full colour pictures of the AsOne Theatre Company performing on stage bring the play to life. The book is being launched at Max Gate on 17 August and books will be available direct from Roving Press (www.rovingpress.co.uk, tel 01300 321531) and locally, priced £7.99.
END: 26 July 2012

For information contact
Julie Musk
Roving Press
info@rovingpress.co.uk
01300 321531
www.rovingpress.co.uk

See our website for further details.
If you would like a review copy or to interview the author, or require larger or higher-resolution images please let us know.




She Opened the Door - The Book of the Play




The book of my play  "She Opened the Door" is due to be published by Roving Press in August.  A launch date is set for 17th August at Max Gate, the house in Dorchester that Thomas Hardy built and where he wrote some of his greatest works.  Launching at Max Gate is an extremely exciting prospect.  The play was written about Emma, Hardy's first wife and is set in the garden there.  There was also an emotional performance of the play last August in the very place where it was set.
The book comprises the updated text of the play plus essays about the characters and the thoughts and processes that went into the writing.
The launch is by invitation only but if you think you deserve and invitation then email Peter peterjohncooper@spyway.co.uk

Thursday, July 12, 2012

Field of Fantasy - Science 2 The Video

I have just uploaded a video of Field of Fantasy - Science 2  to YouTube. This is part of a series in which I am experimenting with poetry in visual form.  In this case I have constructed the piece on Powerpoint using only the elements that are available to any user.  I'm aiming to produce something that is both literary and visual withiout the pictures being mere illustrations of what the words are trying to say.  This is a dense piece of work.  Words layer upon layers. You are not expected to take in every word but to absorb some meaning subliminally.  Sit back and enjoy.

Monday, June 11, 2012

A Campaign for Real Theatre


I get asked what I’m trying to achieve with my work as a writer and as a director .  My belief is that theatre has a great deal more to reveal to audiences than that which is on offer today.  I also believe that technique is being lost because the majority of those teaching writing and directing do not understand the medium themselves. Many start teaching with their only experience of live theatre being what they themselves have been taught at college.  I am therefore trying to reach back into my early formative experiences watching great writers and directors at work and apply that in a contemporary context.
There is some terrific theatre being produced today but there is also a great deal more derivative dross.  I am particularly exercised by the plethora of what are erroneously called “physical theatre” companies.   Most of the work that these are producing is largely movement and effect based entertainments with no underlying psychological heart and requiring simplistic emotional responses from an audience.  Let’s get this straight, “physical theatre” in its proper sense does not need trapeze artists, jugglers, music and dance.  Physical theatre as proposed by Jerzy Grotowski is a form that relies on a deep, visceral commitment by the actor to the text.  It is really a way of understanding how to project narrative through an actor’s body and connect it to an audience. It requires vocal technique of a high order and physical strength as well. As drama schools spend more time teaching their students how to sing and dance the less time there is to understand this deep seated performance technique  and, consequently, the fewer young actors who understand how to find and project a character.
“Theatre - through the actor's technique, his art in which the living organism strives for higher motives - provides an opportunity for what could be called integration, the discarding of masks, the revealing of the real substance: a totality of physical and mental reactions.”

 Jerzy Grotowski

I do not criticise current theatre practice, I only lament that there is so much more that theatre has to offer.  If theatre could reach down and touch it’s roots then it’s strength would be recognised as the real alternative art form to film and television that it should be.  There is something that theatre and theatre alone can accomplish and this is the genuine reaching out, heart to heart, of an actor to his or her audience.
As a director I want to find these actors who can commit themselves totally to a text and to its performance.  As a writer I want to construct narratives that require this sort of performance energy.
My particular interest is dialogue.  For me the definition of theatre is the projection of a narrative through the interaction of characters on a stage.  This means dialogue.  Let film and television tell a story through images.  Let radio tell the same story through monologue and opera and musical through song and music but let live theatre unwind a thread of narrative through a continuing interaction through speech and silences between several characters.
I have written elsewhere how hard it is to write dialogue and how to project it as an actor but, for me, this is the fundamental skill of the writer and the actor and for the director, he or she must draw the audience, unspeaking, into this convolution of words.  The director must arrive at an understanding of the text in harmony with the actors.  They must agree on interpretations which the director wil then attempt to place on a stage so that the audience can become involved in the discourse.
The problem nowadays is that bookers underestimate the ability of an audience to understand theatre of this type and complexity and look for simple stories told in simple ways.  Not that that isn’t enough in some cases but theatre has so much more to offer.   Ironically, it is the publically funded venues that fear the power of this sort of theatre.  They have to reach targets and so daren’t put on anything that could challenge or, possibly, create an adverse reaction. So I urge all bookers to make room for Real Theatre and give your audiences a taste of how theatre could be.


Tuesday, May 22, 2012

The Cabinet Maker's Daughter - the Commission

However experienced you are, however long you have been practising your craft, a playwright is only as good as his or her next commission.  "The Cabinet Maker's Daughter" is the second (or third, if you count the schools version) commission I have had from AsOne Theatre and it brings my total over the past forty years to around the thirty mark.  Still a bit to go to catch up with Will Shakespeare but I'll keep bashing on.  More to the point, if I keep working, I'll keep getting better.

When Jane Mckell asked me to do a piece about Mary Anning, I had my reservations. If you want a biography, you're better off reading it in print form.  There are dozens of biographies out there which can go into much greater detail with much more factual content than a two hour play.  Besides which there have been a couple of successful novels and a film in the offing.  What can a play offer?  For me, the way in was a visit to Lyme Regis  to follow in Mary's footsteps.  Almost immediately I got a sense of the sheer slogging hard work she had to carry out, digging in the cold, glutinous, grey clay and shale, heaving heavy slabs of rock back and forth.  Hammering, hammering amid the cold spray and gales on the winter shore.  She must have been physically and mentally tough in a way we can hardly comprehend today. Against all odds she had to make a living and develop a serious science.

So the piece I wanted to write would deal with how Mary dealt with hardship especially at the end of her life when she was dying of breast cancer with no modern pain relief to make her passing easier.  It was going to be a serious piece.  Gothic and funny where it could be but challenging nonetheless.  To my delight Jane gave me her blessing and a year later the play is finished and on tour with a fabulously committed cast and crew, a wonderful, fascinating set and an evocative soundscape.



I am very proud of my work.  It's the best I've ever done and I hope it's satisfied the commission and moves audiences but now I'm moving on to the next commission which I hope will be even better.

If you want to get an idea of how I approached this commission just come to one of these performances.

 
Spring/Summer 2012 Tour
Fri 11 May (7.30pm) Whitcombe Church, Whitcombe PREVIEW – Tel: 01305 835 541

Sat 12 (7.30 pm) The Manor Pavilion Theatre, Sidmouth – Tel: 01395 514 413

Friday 18 (7.30 pm) Arts Centre, Crediton – Tel: 01363 773 260 

Friday 25 (7.30 pm) The Mowlem, Swanage – Tel: 01929 422 239

Sat 9 June (7.30 pm) The Athenaeum Theatre, Warminster – Tel: 01985 213 891

Friday 15 June (7.30 pm) The Rondo, Bath – Tel: 01225 463 362

Sat 16 June (2.30 pm & 7.30 pm) Lighthouse, Poole - Tel: 0844 406 8666

Fri 29 June (7.30 pm) Barnfield Theatre, Ignite Fest. Exeter – Tel: 01392 270891

Thurs 5th July (7.30 pm) The Playhouse, Weston Super Mare - Tel: 01934 645544

Sat 7 July (7.30 pm) Weymouth Pavilion Theatre – Tel: 01305 783 225

Autumn 2012 Tour
Thurs 4 October Regent Arts Centre, Christchurch – Tel 01202 499 148

Frid 19 Oct Swindon Arts Centre – Tel: 01793 614837.

Sat 27 Oct The Exchange, Sturminster Newton – Tel: 01258 475 137

Sat 3 Nov Shaftesbury Arts Centre – Tel: 01747 854 321

Sat 10 Nov The Wharf, Devizes – Tel: : 01380 725 944

Friday 16 Nov Bridport Art Centre – Tel: 01308 424 204
                                                                                                         
More dates to follow