Clarity/Ambiguity

Another missive from Herr Dietz, to hold onto

Never forget the words that you generated when I asked you why this odd little play might work, why an audience of people might watch it. You spoke of “anticipation, investment, clarity, follow-thru on an action, empathy, recognition of a clear challenge or goal, a sense of inevitability, closure.”

In that list of words you have your art form.

CLARITY. Let me say one more thing about this. Clarity is this art form’s only true risk. Muddled or grey choices are cowardice. Pure and simple. And the cowardice of sloppy, “it means what you want it to mean” theatre — foisted on the public as “new” or “experimental” is gutless in the extreme. Make a clear choice. In “Viewpoints”, a decision is noted to be akin to an act of violence. This is right. Risk a decision (what a character wants, what actually happens to someone, how you want the work to affect others) — a clear one. And follow through on it.

AMBIGUITY. Isn’t great art often ambiguous? Of course it is. So where does that leave “clarity.” Here’s where: Ambiguity is not the ABSENCE of choice; it is not a state of CONFUSION. Ambiguity is the COLLISION OF TWO (or more) CHOICES. Hamlet is not saying: “I’m not sure what to do.” He is saying: “I must act.” AND “I cannot act.” Two clear choices in conflict. If you want your audience left with a level of uncertainty or unease or ambiguity, I support you, however: you must work TWICE as hard, not half as hard. You must sell them, fully, TWO (or more) CLEAR, POWERFUL, RESONANT, UNFORGETTABLE CHOICES — not just one.

Is this hard? Of course it is. Let’s keep working.