DunsPlayFest takes a simplistic approach to the so-called “Culture War” which is apparently now raging. We are concerned with art, with performance, with the best possible theatrical expressions of the human spirit, the deepest exploration, the most delightful exposition. The age, gender, sexuality, physical capability, shape, colour, race, origin, accent, hair colour or fashion sense of the actor standing in front of us on the stage or of the playwright who came up with the words … none of that is in any way important or relevant to the task in hand. How could it be? Racism, sexism and homophobia are – let’s be frank - manifestations of stupidity based on ignorance and sometimes fear, and are especially idiotic – nonsensical - in the realm of art. If it is “woke” to say such things, DunsPlayFest is, indeed, terribly “woke”.
While we are as likely to exclude someone from participation on account of the size of their nose as their sexual preference, we know that an ever-changing line-up of societal issues is of great concern to the playwrights of today, living in and engaging with the real world as they do. The plays put on at DunsPlayFest are as new-minted as could be – some of them are being written as we listen to them being read – and any good playwright (even one writing historical drama) is acutely aware of the here and now.
We have, thus, featured plays which focus on, for example, dementia, suicide, disability, depression, chronic fatigue, homophobia, alcoholism, religion, politics, murder, bullying, cancer and sexism; just some of the issues covered in recent years by plays at DunsPlayFest.
The writer is, of course, a ruthless creature with, as Graham Greene said, “a splinter of ice” in her heart. Drama is not journalism and the issue, however much it drives the story, can never take precedence over the play itself. It might be said that Hamlet is a play about inter-generational strife, bad sex and suicide – but “the play’s the thing”: the story, the acting, the emotion, the music, the spectacle are what we remember from a play, not the issues. We are, after all, in the story-telling business and festival audiences do not come to the Volunteer Hall for a lecture.
However, our common humanity is what drives the drama. Never changing but always flashing new facets, the human has an infinite capacity to inspire stories. There will always be drama because everyone is the same, everyone different, because make-believe comes naturally to the human animal, and because there will always be renewed pressure on the human spirit. That pressure will often take the form of a topical issue and a festival devoted to new drama will always find itself concerned with what some people might think of as “wokery”.
Mental health matters are prominent among the issues mentioned above, and the ability or otherwise of people to maintain psychic equilibrium will always feature strongly in playwrights’ list of preoccupations. (It has been argued, for instance, that King Lear has arterio-sclerosis, Iago narcissitic personality disorder, Macbeth PTSD and Ophelia schizophrenia.) This is partly because psychological crises provide ample dramatic possibilities but also because these situations need to be constantly re-examined.
Mental health also tends to be of particular interest to theatrical folk because we all know how wonderfully beneficial participation in theatre is for our own inner calm, and peace, and sense of fulfilment. The Artistic Director and the Producer of DunsPlayFest, to give just two examples, would happily confess that involvement in the theatre saved their lives.
Every parent should rejoice when a child expresses a wish to get into theatre. Discipline, emotional intelligence, physical fitness, a professional attitude, sociability, attention to detail – all these are mightily enhanced by being in a play, or by helping out backstage. Theatre people need to get on with each other, need to understand differences, appreciate others’ strengths and pull their own weight. Theatre will always shimmer with a certain glamour but it is at heart a downright practical business, concerned with problem-solving, the art of the possible and basics like sightlines and audibility. Actors do tend to be somewhat emotional and do indeed call each other “Darling!” but this is because the work is so rigorous, the courage required so immense – they deserve to be adored and to fall into one another’s arms at the end of the day.
Putting on a play requires bravery and kindness (the two essential human qualities, some say). To propose a new understanding of the human condition - and embody that understanding, and make it presentable - is bold. It also cannot help but be helpful to the rest of us. Of course, art is good for mental health. Theatre, in which so many individuals are inevitably implicated, is especially beneficial to the universe; so we believe.
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