awinterstale

A WINTER%27S TALE

An exploration of scenes from
The Winter’s Tale, by William Shakespeare
Directed by John Kachoyan
awinterstale
This work is supported by the Australia Council through their Opportunities for Young and Emerging Artists Initiative.

Thous met’st with things dying, I with things newborn…
You are actions are my dream…
…dreams are toys…
All’s true that is mistrusted…
I have drunk and seen the spider…
The red blood reigns in the winter’s pale…

Shakespeare’s The Winter’s Tale is a fever dream of sexual jealousy, madness, rebirth and redemption. A romance. A fantasy. A problem play.

With its echoes of childhood joy and terror, The Winter’s Tale sees one man’s jealousy subsume his entire world and only through the long passage of time, forgiveness and rebirth can he, and perhaps even his dead wife, be returned to life.

Held to be one of Shakespeare’s ‘problem plays’ The Winter’s Tale is rarely performed, famous as much for its shift of location as its miraculous but ambiguous ending – yet often in the structure of the problem is the solution itself. This is not a piece that needs to be solved, but it is one that begs to be explored.

A dark world with a mad king and a dying child and a bright world filled with laughing lovers and a dissembling thief. But they’re not as separate as you’d think; rather two sides of the same extraordinary tale – one where phantasm and fantasy drive us through the lean and hungry plot…

Through this workshop we will explore aspects of childhood, fear, death and mourning – drawing the powerful world-encompassing doubt of Leontes through the eyes of a child (Mamillius) in a workshop deeply connected to location. Our investigation will involve puppetry and site-specific techniques to explore modern resonances within the text and its connection to fairy-tale, folklore and childhood that remain powerful story-telling tools.

Our aim is to investigate the specificity of place in helping to illuminate this story and to explore how by moving an audience, rather than changing scenery, we might re-discover the power of this neglected play.

JOHN KACHOYAN john-kachoyan

John is the 2012 Director In Residence with Bell Shakespeare and was Assistant Director on the Company’s recent production of Macbeth, The Duchess Of Malfi and The School For Wives. He attended the Playwright’s Studio at the National Institute of Dramatic Art and graduated with a Master of Arts in Advanced Theatre Practice from the Central School of Speech and Drama, London in 2009. John was the 2010 Resident Assistant Director at the Finborough Theatre, directing His Greatness, The Delicate Lines and the world premiere of Ben Ellis’ The Captive (co-production with IronBark). He was Assistant Director on The Notebook Of Trigorin, The Man by James Graham and Associate Director on the subsequent UK tour. Other theatre credits include Unrestless for Old Vic New Voices, La Dispute (after Marivaux) for Edinburgh Festival Fringe, Soho Theatre and Old Red Lion and Drake The Amazing and La Dispute for the Darlinghurst Theatre. He is the recipient of an Australian Business Arts Foundation Cultural Fund Grant and attended the University of Toronto, Canada on an International Exchange Scholarship from the University of Sydney. John is a founding director of IronBark and a member of the Young Vic’s Genesis Directors programme.

HEADSHOT John Kachoyan
JOHN KACHOYAN john-kachoyan