One Reason Why I Love Julie Taymor

When you watch a piece of theatre, what do you notice? Most directors would agree that the goal of watching a good production should be the same as watching a movie that captures your emotions or a novel that proves impossible to be put down. Good theatre, I'm talking a production with stellar actors, sets, lighting, props, and costumes (not to mention a good script to begin with) draws in its audience. Audiences watching a solid theatre production should not be able to remember that they are at the theatre. Dramatists suggest that theatrical productions encompass a third space seperate the from both the "real world" and the world of the theatre or building staging the production. Audiences are encouraged to immerse themselves completely in a piece. If a production is too distracting in any form, audiences run the risk of losing their focus and therefore drawing away from the third world of the action onstage. This transition out of a so-called out of body experience is called metatheatre--literally meaning outside the theatre.

Metatheatre is risky. Losing focus for even a few seconds could detract an audience member from returning to the action on stage. Director, creator, costume designer, and (I would argue) philosopher Julie Taymor shows no fear when it comes to the audience having a metatheatrical experience. On the contrary, Taymor suggests that what I call the duality of reality and imagination is what makes theatre magical. As part of her commentary on her production of The Lion King in 1998, Taymor explains

“I wanted viewers to be released from their memories of the film right from the start, to take a leap of faith and imagination. The Pride Rock design also helped drive the overall style of the production. Stage mechanics would be visible. The audience, given a hint or suggestion of an idea would be ready to fill in the lines, to take it in the rest of the way. They would be participants in the entire event. Magic can be generated by blatantly showing how theatre is created rather than hiding it” (Blumenthall, 2007, 225).

She also speaks about her costume choices in relation to this concept of duality in the following YouTube:
http://www.youtube.com/watch?v=Mq_haDWFcBM

Taymor epitomizes play in all that she does. Like inqiry based learning or open ended curriculum, Taymor cannot fully script her work. It is impossible. By involving her audiences on such a deep level, she is inviting them to particpate, give feedback, and join her on her journey. This is how I view education. Taymor would agree that teachers are essential just as much as her role as director or designer. But a good director provides a clear enough vision for her actors to run with the idea and develop their own characters. Similary, good teachers use curriculum as a guideline to educate students through the best and most creative mediums available. As David Booth reminds us, the medium and the message can be one in the same if we choose an appropriate medium to deliver a wise message. We should all teach like Taymor, free to take risks while involving our students along with us in our journey together.