A new way of playmaking
“An outstanding piece of theatre created within a process of theatre making which is unique to yourself. It is an intense process that demands much of the artists with whom you collaborate and delivers performances that are deeply affecting to audiences.”
Damian Cruden, Artistic Director at York Theatre Royal on Our Share Of Tomorrow
Real Circumstance’s unique method of playmaking produces theatrical work crafted to be emotionally detailed, resonant and truthful; with a poeticised aesthetic that bridges a gap between a more conventional (narrative) theatre and a more thematic, artistic (rather than specifically theatrical) encounter – without losing the emotional accuracy of real life.
“Their performance is wholly natural and honest…acting this intimate, this committed, is rare, raw, riveting.”
Yorkshire Evening Press on LOUGH/RAIN
Real Circumstance’s process and aesthetic is influenced by a number of artists: in the theatre, Katie Mitchell, Peter Gill and Marianne Elliot; in film, Terrence Malick, David Lynch, John Cassavetes and Mike Leigh. Initially we work with actors to build fully-realised three-dimensional characters out of a resource of real people as raw material, who are then blended, mixed, and made fictional. Improvisations are subsequently set up over extended periods of time in a huge variety of different circumstances and thematic structures, to see how the characters interact; and to see what storylines develop. We then siphon those storylines, creating new improvisations out of decisions characters make, until the story that emerges is in its most rigorous form. It is then re-improvised, honed, written, re-written, and crafted aesthetically, and rehearsed into a finished piece of theatre or film. The piece always retains, however, the basis of psychological improvisation from which it was initially made; resulting in acting performances that are necessarily immediate, honest, and believable – because the actors are effectively re-improvising events from the imaginary world of the piece for the first time, again, each time it is performed.
“Rather than playing Claire, she convinces the audience she is Claire because her performance is that good…If asked Williamson would be able to recount any day in the life of Claire because this is the nature of the Real Circumstance’s theatre style – a thorough study of people and the places they inhabit.”
The Stage on LIMBO