I desire the wood of allabair and argatbran, between fire and wall
I get the strong sense as I try to work out what the wood of allabair may be that I have been here before and already played this game.
I’ve already decided I don’t need to know what it is in a ninth century context, the only thing I need to do is make it real a matter of fact object that I have an intamacy with.
Its being (here or elsewhere) I need, its meaning I don’t. Once I can work out its position and relationship in space to me, and I can do that by sounding it out and working out its full range of possible inflection,any sense I need will come from here.
Not quite worked out what its position in space is, it does not appear to be fully drawn and in the room for all to see. The line does not seem to be filled with drama and fire, I don’t get the sense that every object is vivdly drawn and sharing the same space as me.
It strikes me the first line is like a narration, emotion is hidden. It seems all I have to do is work out where these things are, how close or far away they are from me. I can also work out if I have made a mistake. Are any of them meant to be sharing the same space and fully drawn?
Thats a dramatic change.
Ive covered the issue of the big and the small in a somewhat wooly way. Return to where I first learnt the lessons here.
Its another issue with being in a very unatural space doing very unnatural things.
Maintining Intamacy while projecting to a vast room full of people at the same time.
The Blasted Heath: Macbeth
In this specific case the issue is technical. I have to deliver the mother of all sentances. The manner of speech is the declamitary style, which is how verse is traditionaly spoken in the U.K. Its huge, fills the room. Demands attention. I need to get lost in the sound, but I can’t loose sight of the fact I have to present someone becoming absorbed in it.
I also have the general issue the absurd nature of being Macbeth on a stage. He is ploting an act which by its very nature is private and highly intimate.
When commiting an act of murder you do not want to be overheard. yet you are doing so at high volume in very dramatic and vivid terms to a large rooom full of people and you have to ensure that everyone catches everything.
Balance between small/ big, public/ private, presenting the intimate on a vast and dramatic scale.
Its not easy or straightforward. Its not immediate on first sight and easily missed until you are confronted with the actual situation of performance.
I know I may be wrong with my interpretation of the poem. I need to be able to escape, so I need to work out other ways. They seem distinctly unnatural and counter intutive at the moment and seem certainly wrong.
But then at the end of the day they enter a world turned upside down and inside out. Its never fully predictable until you find youreself captured within its glare.
The unnatural and the absurd can seem perfectly at home and very real here. The natural can be completly out of place and unreal in such a space.
Go for a terse example next break down a small part of Macbeth. It seems very close to the first line of the poem in some ways.