Last night I was thinking about the play I wrote and directed my senior year of college. I was thinking about my directing process, and specifically how I approached directing the “sex scene” (I use the term “sex scene” very loosely because there was no nudity and involves the character of Boy kissing parts of Girl’s body. Sex is not simulated).
From the very beginning, before we even began rehearsals, I made it very clear to my actors that they could at any point decide they did not want to do the sex scene and I would change it to make them more comfortable. Though both were comfortable with the scene (I was honestly the one who was most uncomfortable directing it), I told them that at any point they could say, “I do not want to do that”. I would not push them to do it or ask them any questions why, and instead we would move on and I would come up with different choreography. I wanted them to know that what was in the script would be changed to make them more comfortable. Just because they were playing characters, did not mean they lost control over their bodies. They had the right to at any point change their minds, and I have a feeling that is not often stressed in rehearsal rooms.
I think people assume that once an actor signs on to play a character, they will do whatever they are told, specifically in sex scenes. I understand that sex scenes are talked about before people sign a contract (at least I hope so), but I do not see a contract as “the end all”. Like in real life, consent is an ongoing process, and as a director, I want my actors to know that they have the right to at any point say, “No.” We talk about bringing pieces of theater that show consensual sex, but we also need to bring that consent into the rehearsal room.
An example of a director violating an actress’ consent is during the filming of Last Tango in Paris. During filming of the infamous rape scene, director Bernardo Bertolucci and actor Marlon Brando, changed the scene without telling actress Maria Schneider. They only told her right before they were about to film the scene. Schneider said that she was crying real tears during the scene: “I felt humiliated and to be honest, I felt a little raped, both by Marlon and by Bertolucci” (Izadi). She said: “I should have called my agent or had my lawyer come to the set because you can’t force someone to do something that isn’t in the script, but at the time, I didn’t know that” (Izadi). This incident is incredibly disturbing and was non-consensual. It is a horrific example of a director taking advantage of an actress. Even if the scene had been in the original script, I believe that Schneider still should have had the opportunity to say no at any point.
I am very proud of how I handled my play and how my actors did not feel pressured to do anything they did not want to do. My only regret, and I realized it last night, was I should have choreographed multiple versions of the sex scene so my actors could choose at any point which version they would prefer to do. For example, if one of them did not feel comfortable acting out the “sexier” version, they could instead act out a different version that was less sexual or not sexual at all. I would have come up with a way for them to give each other a subtle signal about which version they wanted to do during each performance. It would have given them control over the situation even while performing in front of an audience. That means that even if during the first show they did the sexual scene, if by the time the second show came around and they had changed their minds, they could do a different version. They could even change their mind right before the scene was about to happen and give the other a signal. I also would have choreographed versions where they could change their mind mid-scene. Though some may say that is “too much work” and “the actors know what they are signing up for,” I do not care. My main goal as a director is to be there for my actors, so I will do what it takes for them to be comfortable.
Another thing people may say is: “But if you take out the sex scene or change it, it will ruin the play. That scene is vital to the play’s action, essence, (blah blah blah)”. To that I say:
If getting rid of a sex scene is going to ruin the play, then you are not a very good director.
It may be "harsh", but if your show cannot survive without the sex scene, then that means you are not taking the time to think it through and discover new ways of doing a scene. The rehearsal room is a process for discovery, and by trying new ways, you can end up learning things about the story and characters that you had never thought of. You can discover new ways that highlight the play’s message better than the sex scene does. There are an infinite number of possibilities, and as directors, we should discover them not only to enhance the play, but to also make our actors comfortable.
As I move forward in my career, I want to be a director that makes sure that everyone involved in the play knows their rights. I want to have a meeting right at the beginning about sexual harassment, assault, rape, etc. I want everyone to know that any inappropriate behavior will not be tolerated and if anyone at any point feels uncomfortable, to please come and tell me. I will not consider any incident “too small.” I will treat every incident with the same approach. No inappropriate behavior will be tolerated. I will always commit myself to this, and others should too.
May 4, 2019
Works Cited
Izadi, Elahe. “Why the 'Last Tango in Paris' Rape Scene Is Generating Such an Outcry Now.” The Washington Post, WP Company, 5 Dec. 2016, www.washingtonpost.com/news/arts-and-entertainment/wp/2016/12/05/why-the-last-tango-in-paris-rape-scene-is-generating-such-an-outcry-now/?utm_term=.aec962d62b0f.
Images
https://www.huffpost.com/entry/bertolucci-last-tango-rape-scene_n_584339a4e4b0c68e04813517
First photo designed by LB Playwright through Snapchat.
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