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Will Hudson
Date of Birth: 21/05/1982
Previous training:
European Theatre Arts (BA Hons) – Rose Bruford College of Speech and Drama.
Swindon School Of Performing Arts (Sep 1998 – Jun 2000) : Grade “A” Drama.
L’Institut Del Teatre, Barcelona (Jan – Apr, 2002).
Currently working:
Zecora Ura Theatre Company
Work for Zecora Ura includes:
- The Kingdom of Ubu, Oct 2001 (Performed in a site specific location at RBC). A short piece inspired by Alfred Jarry’s Ubu Rex.
- Don’t Feed The Lions, Nov 2001(Performed in the gentlemen’s toilet, RBC). A collection of absurdist scenes by Hudson/Ramos.
- A Pornographic Fatality, May 2002 and Aug 2002 (Performed in The Barn Theatre (RBC) and The Gateway Theatre Studio, Edinburgh).
Other work:
- “Stanley Kowalski” in A Streetcar Named Desire by Tennessee Williams, Mar 1999 (Performed at Swindon College) by Swindon School of Performing Arts.
- “Lear” in an adaptation of King Lear by William Shakespeare, May 2000 (Performed at Greendown School, Swindon). Part of Swindon Shakespeare Festival, 2000.
- A devised piece based on The Song Of The Scarecrow by Peter Weiss, Mar 2002 (Performed at L’Institut Del Teatre, Barcelona). Performed by theatre students of RBC.
Personal:
The forefront of my ambition and my dreams has always been to be a performer, even though I can find a vice for my expression through writing. I find it amazing how a performer can communicate a concept to an audience through his body in a visceral and intellectual way.
Apart from the sheer thrill of performing to an audience, I find a deeper beauty in a discovery of the solitary actor and the self on stage. I found this particularly noticeable in forms such as clown and mask, where it decreases the risk of potential superficiality because you cannot force a clown to be funny, or Pantalone to be a money-grabbing pervert. At least, in my experience of the stage, I have found the essence of performance – myself. No matter what character you are playing, you are always deriving it from your own experiences and your own body – it can never be somebody else’s, and if you force a performance this is visible and theatre fails.
Stage clown is important for me for me because it strips away a ‘performance persona’. It is very difficult to be on stage and not fall into a convention of ‘having to do something’ and the clown teaches this very well in a very strict discipline. We should entertain – this is what theatre is for me, but we cannot entertain we ‘try’ to be clown-like.
In turn, this is something emulated in my writing, where I often draw on the expertise of authors such as Beckett for inspiration. “Waiting For Godot” is my favourite because it shows two men alone in a wilderness with only each other and the audience to react with. Everything it stripped down to the essentials – there isn’t even anything in the set that denotes a meaning. This is up to the actors and this is where the real skill of acting comes, for me, and something that I am constantly striving for.
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