Well, my father in theatre is Peter Brook. I was a trainee in 1974 when he worked in France on the titled"conference of the birds" he inflicted inspiring thoughts and space in his work,also my work today is inspired by him, I even wore the blue shirts trying to be like him ,"be like your father, then kill your father" to find your own voice. My mother in theatre is Viola Spolin she wrote a book called " improvisation for the theatre" it focuses on the creativity of theatre and directorial techniques for actors I was trained by her in Los Angelos even today my work has those elements on how you create an ensemble, the book is the translation of Stanislavski methods, I as a director still use her exercises and methods.
Did you kill your mother theatre (Viola Spolin)?
With mothers you don't have to kill , they continue to be an inspiration of finding ones
voice as a director, they inspire the artist genius in me which it's still transparent in my work
When did you develop your theatre identity and do you remember the moment and the hour you decided to be a director?
Being a director was not a decision, it just happened. When I was 10 years old I always directed shows in school from small to everything I directed my classmates, my nieces, I never had the ambition to act always wanted to create my own world,I remember when I hated to be director a show was not good and I was blamed for it I had to strike(pack) alone. Finding my own voice was when I went abroad to Russia in 1994, I was far away from my theatre mother and father, I didn't care what they were thinking anymore, I trusted my creativeness and vision.
How was the production?
I think it was good. 13 years of directing helped me to find my voice and the show was called heartbeat. It takes time to find your voice, it can take 5-10 years I was very late.
Shortly describe how your identity grew?
It grows by working with a good strong scripts, working with writers helps immensely, when you find you are more of a director than a writer, then you have to use good writers, take time to direct a show give it time for the process of finding a concept.
Who did you train and influence?
I did inspire people, but you never know sometimes years after years, an actor comes to you and tells you that when you said that, you changed my life -I know I do inspire someone
What was your embarrassing moment?
Embarrassing moment was my forth show, I rush to a bookstore to get a review after the show, to my surprise the review was negative I was hurt, I cried and the actors were sad because I was embarrassed I didn't go back to the actors, actors were disappointed with me because I was not there for them. (Laugh) still i am sad when I think about that, never leave actors alone whether in good times or bad times .
What was you favorite character you created?
What comes to mind now, maybe there were more is a show about girls trafficking in Nepal , When young girls of Himalaya were abducted and brought to Bombay, the character is Bali played by Ruby Soliman Dutch /Egyptian actress, the show starts with her facing death, in order for her to reincarnate she must talk,a vey sensitive story. Another one that comes to mind is the show I did in Russia "Heartbeat" a girl trapped in a volcano eruption found by a photographer, the photographer wants help her but the young girl tell him a story and you continue tell others and the girl dies in the volcano. Ormarhia South American Spanish name. I have a connection with girls who experience a lot of pain in life I want to tell those stories
What are your expectations?
To inspire other directors, to be playful and create theatre, I don't care so much about awards and reviews anymore they not necessary and they don't drive me anymore.
Theatre now and then?
Basically it has not changed stories are still being told,actors tell it more they find the necessity and prominence to tell and Share
Any final words?
Check my website for more about who Iam, what I do which shows I'm directing www.roeltwijnstra.nl
