Black Watch: form

Verbatim Theatre

Black Watch is considered verbatim theatre, where the script is created from interviews and testimonies of those directly involved with the subject matter.
Playwright Gregory Burke conducted numerous interviews with former soldiers of the Black Watch regiment to present an authentic depiction of their experiences.
The use of real-life dialogue and testimonies provides a sense of authenticity, capturing the raw emotions and experiences of the soldiers.

Physical theatre is a significant feature of Black Watch, with stylised movements and choreography incorporated into the production.
The Campo Santo sequence, a choreographed physical piece set in a graveyard, stands out as a poignant commentary on war and bereavement.
Physical theatre elements elevate the intensity of the script, augment the theatricality and contribute to the narrative in a visually impactful manner.

The form of Black Watch has been described as ‘poetic realism’, merging naturalistic dialogues with heightened theatrical elements.
The soldiers’ language is filled with profanity, local slang, and authentic idioms, contributing to the sense of realism.
The ‘poetic’ aspects come through in the stage design, costumes, multimedia elements, and the inclusion of songs and dances, adding dramatic aesthetics and emotional depth to the narrative.

Black Watch integrates multimedia techniques, including projections, film sequences and soundscapes, to enhance the theatrical experience.
These multimedia elements bridge the gap between different locations, time frames and levels of reality.
By immersing the audience in multiple sensory experiences, these techniques enhance the emotional resonance and lend a cinematic quality to the live performance.

The use of metatheatrical elements in Black Watch, such as theatre-making process within the play, provides an additional narrative layer.
The character of the Writer acts as a semi-autobiographical figure, mirroring the playwright’s experience of researching and developing the play.
This metatheatricality draws the audience’s attention to the constructed nature of the performance, deepening their understanding of the playwright’s process and intentions.