Category Archives: Drama

Mr Maingot: Bio-electricity, auras and drama

On the 16th of May Mr Maingot, Chigwell School’s head of drama, gave a thought-provoking presentation on the subjects of bio-electricity, auras and drama. At first, the functioning of neurons in the brain was explained, followed by an in-depth explanation of how using peripheral vision we can notice a magnetic field around a person, commonly known as their aura. After a demonstration that involved Mr Maingot connecting his index fingers and talking us through the process, we were given time to use our eyesight differently than we do on a regular basis and hopefully notice our own, individual auras. Mr Maingot ended the magical, yet scientific Williams Project by sharing his own personal experiences with colourful auras which he was lucky to observe while working with actors in drama plays. The audience was amazed and seemed determined to use Mr Maingot’s advice and start regularly practising their aura-seeing abilities.

Halina Ravensdale

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Bernard Williams Philosophy Lecture: Professor Tim Chappell – “Tragic Dilemmas”

Tim Chappell, Professor of Philosophy at the Open University, started the year’s Williams Project meetings in style with two different but related talks on the theme of Tragic Dilemmas.

The first, aimed at younger students, was a more general discussion about what a dilemma is, and how we go about resolving them. Our thoughts centered around “Sophie’s Choice”, a novel and film based on real situations in Nazi concentration camps, where Sophie has to decide which of her two children is to be sent immediately to the gas chamber. Tim showed how absurd it is to used any kind of calculation (e.g. utilitarianism) in making this decision. He stressed the importance of empathy, of imaginative involvement in the decider’s dilemma, as an important way by which we can use these situations to think about moral choices.

The second talk, a more formal lecture aimed at older students, was a detailed examination of moral philosophy based on a scene from Aeschylus’ Agamemnon, where the Chorus describe the Greek king’s dilemma between abandoning the expedition to Troy (and thereby losing all his status among his fellow kings) and sacrificing his daughter Iphigenia. (The goddess Artemis was preventing the wind from blowing the right way, and demanded this price.) His decision, to kill his daughter, successfully gets the ships to Troy, and leads directly to military success and glory; but it also leads to his own death, as on his return his wife Clytemnestra kills him in revenge for their daughter’s life. Tim drew attention to Agamemnon’s words just after he has made his choice: “May all be well” – a desperate plea, made by one knowing it won’t be. Agamemnon was in a completely messy situation – there was no way out, and no moral system could help him. Tim’s point was that there were two contrasting ways of looking at the moral world. One, put forward by Plato and moral-system people such as utilitarians, claimed that by using such and such a system one can always find the right thing to do, that all can “be well”; the other, shared by Aeschylus, Bernard Williams and himself, was that there are lots of situations in life where this won’t work, where we are just stuck and there’s no way out. In these circumstances what might help us a little is not a moral system, but an imaginative empathy developed from our own experience of life, and our experience of literature and drama. When we watch Agamemnon on stage we in some strange way feel what it’s like to be in his shoes, and gain some moral strength and wisdom from the experience.

Mr P. Fletcher: Faustus: The Man Who Sold His Soul

Our own Mr Fletcher spoke to the WP about the stories of Dr Faustus, from the real-life prodigious scholar, and the stories his life generated in Germany, through its transition to Britain and Christopher Marlowe’s famous tragedy, to its reappropriation by the young nationalist “Sturm und Drang” movement in Germany, under their leader Goethe. Mr Fletcher showed us how, with Goethe, the story developed over his life from an innovative and powerful stage piece (Faust Part 1) to an extended meditation on life, the universe and everything (Part 2), which was completed in the year before Goethe’s death. We learnt how the man who had studied everything, but realised that he still knew nothing of importance, was corrupted by the devil Mephistopholes, ruined the life of the innocent peasant girl Gretchen, and was finally, contrary to most other versions of the tale, at the very end saved from damnation.

Censorship

Miss Barrs treated the iiiiv WP to a presentation and discussion on the extent to which people shouldn’t be allowed to use taboo words and concepts, particularly with reference to the stage. Provovative and stimulating.

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