The Playwright as Warrior

Recently a friend of mine reccomended I read a book called “Backwards and Forwards” — subtitled “A Technical Manual for Reading Plays”. The author is a man named David Ball, who seems to have the right credentials. The book is slim, at 96 pages a quick read. But I’m on my third read right now.

I’ll tell you what the book reminded me of, first sentence of the first page: Miyamoto Musashi’s “Book of Five Rings”. It was such a strong feeling I had to reread the page several times. I don’t want to get into a lengthy comparison here, so let me just sum up Mushashi’s philosophy in a few words: be 100% invested in the life around you, and be resolute in all your actions. Musashi’s axiomatic core idea was simple: death is inevitable, and the true warrior understands this. Mushasi’s writing is arachaic by our standards, and perhaps obscure, while Ball is quite transparent, but the similiarites for me were startling.

David Ball’s book has the same kind of admonition that Musashi’s book has: the truth is in the action. Plays must be read with that one fact in mind. Look for the action, and all will be clear. The trick according to Ball is to read the play backwards, which is to say to really comprehend the action you have to trace it from end to beginning. Then you will understand what the play is about. Simple enough in concept; a bit difficult in practice, at least at first try. But what struck me was the tone of his admonitions — be forthright, determined and resolute! The play is a set of actions, don’t allow yourself to be distracted.  Look for the truth: which is always in the objectives and obstacles.

For the Samaurai, the sword represents a tool and an avatar. The Samurai sword is an avatar of transformation, a living dialectic methaphor — life and death, courage and fear, truth and falsehood. The sword represents the pure action of transformation. In fact in the fictional story of Musashi’s life, there is a whole chapter on sword sharpening called “soul polishing”. Musashi called his style of swordsmanship “Two Heavens as One”.

I see theater that same way. Theater is transformational. The audience suspends disbelief, observes the actions, and internalizes a story represented by the action. The construct of the play is fictional, but represents a perspective on the real world. That perspective is real to the extent it drives action outside of the theater. Put another way, have you not encountered a work of fiction — a book, or movie, or play that altered your perspective? I believe we are all subject to the influence of art, one way or another.

Thus to the extent that theater is transformational, and to the extent the playwright seeks the opportunity for transformation, the playwright is a warrior. The play, at it’s best, offers up a special opportunity insofar as it allows us to step back and examine our beliefs. Sometimes this is fun for the audience, sometimes it’s not. My feeling is that it can be dangerous — I suppose that’s why there is censorship.

I think it’s in our best interest to understand how to really see the art. The audience is part of the story — observing, judging, censoring, acquiring perspective, rejecting perspective. The audience has the opportunity to be warrior as much as the playwright. And along with opportunity comes challenge.

Well that’s all for today.  Thanks for stopping by and have a great day!