approach to theatre - and life - has grown out of my experiences as actor,
traveller and explorer of holistic process. I was never interested in being
accepted as an actor within the conventional terms of the word. Being an actor
has always been part of a state of internal rebellion that rejects thoughts and
identities based on past experience; and for me,
being a conventional actor would mean abandoning my need to live in the present
and continue creating new selves.
I started to travel out of a desperate need for
reassurance that there was somewhere beyond the grim Calvinist Glasgow of my
childhood. Entwined with that search was my obsession with theatre. As a young
teenager I had worked in variety and music hall, experiencing the magic of
transformation that became the basis of my work and my model of existence. As
an actor I wanted to create new inner worlds through storytelling and
transformational theatre; but though there were a few artists then who
possessed that living hypnotic ability on stage - particularly my early
teacher, the iconic Lindsay Kemp - most UK theatre seemed only to be a drab
extension of the educational tradition: academic, cerebral and virtually
ignoring the embodied-emotional self.
I was 19 when I began travelling - Morocco, Central Asia, India - hoping to find clues to the
puzzle of my own dualistic nature that I felt hampered my efforts to discover
the psychology of Being Present. I discovered that some other cultures had an
intuitive existence that contrasted sharply with Scotland’s repressive
compartmentalising and self-censorship; and that though every culture has its
special taboos and restrictive mindsets, some were considerably more organic
and non-linear in their approach to everyday life. For a long time, I moved
back-and-forth between India
and my long-term artistic refuge at the Glasgow Citizens Theatre, where I was a
company member for almost twenty-five years. There at least I found a personal
and artistic freedom, translating these other-cultural experiences into my psychological
approach to drama as a living and personal expression of self.
As I grew older I wanted to be closer to those
traditional performance cultures in India
and North Africa where the living storyteller
was valued as a repository for universal wisdom and experience. In 2000, I came
to Cairo on a
Ford Foundation grant - to observe in performance the dying breed of
improvising epic improvising storytellers; but also seeking the means
to move beyond the world of the text-based actor onto the next level of
performance, as a creative improviser. Since then, I have returned to Scotland to
present the first of my unscripted autobiographical works, "And God
I am endlessly fascinated by the art of the improviser as a
physio-philosophical way in life. I liken it to an ephemeral and embodied meditation and I call it, "Writings in Space"
"Fragile, vulnerable and all but reliving past pleasures and pains, Rudic swoops nervily from moment to moment with reckless honesty, but without afflictions of confessional indulgence of the worst kind. Exposed as he is, Rudic's warts-and-all self-portrait is a thrillingly intimate experience."
Neil Cooper - The Herald
"There's no "play" here to review or criticise, just a man opening his heart to an audience, using his skill as a performer to charm us, sober us, hold our attention. The questions Rudic raises, though, are so significant, and are handled with such honesty and vividness, that the experience is intensely moving."