Wednesday, April 20, 2005

Continuing evaluations...

Well, after our groups meeting tonight I noticed the following things...
Andrew really had some excellent blocking ideas that created a whole new realm of humor in our mini production. Along with this, all of our ideas were also heard and incorporated when they fit. We all seem to be very comfortable working with one another and are all having a great time in the process. Next week, when we are hopefully off script, things will really come together for us in finishing our performance. Overall, good job everyone and see you tomorrow!

Thursday, April 14, 2005

We are HOTTT!

Hey guys...
Just a few nice things to say here, of many of course as you are all brilliant,but you all know that.
Jaell, you amaze me with your incredible organization! It's solely because of you that we are so far ahead on our project. Thank you!
Andrew, you are full of so much passion and insight for theatre that you are really the perfect director. I have full confidence that you will guide us through all that needs to be done to make the production a success.
Lara, I think your willingness for comprimise and trying new things is delightful! You really just put yourself out there and I appreciate your dedication.
Sean, you're going to be a great Freddie! Your natural personality allows for both goofing and also staying focused on the tasks at hand. So, thanks for keeping things light and fun.
Allison, I look forward to seeing the new Leonard...you'll be the prettiest old man ever! Also, last time we met, I really thought you had some good ideas on how to stage the opening of the play.
Good job everyone and see you all on Monday!

Sunday, April 10, 2005

for our play...

After reading Clurman's "On Directing," I was first confused as to what the main theme or spine of our play might be, but when I read the words "super-problem" everything became much clearer and the thought came to me instantly. I feel that our play's spine is exposing the truth by revealing suppressed urges. I know it could be said clearer than that, but this is the best I can think of at the moment. I think this is our theme because it's constant throughout the entirety of the play and it's repeated over and over in nearly every scene.Some thoughts after Schechner... I think that our play would be best performed in a near completely transformed space. Some things I see to show where our play takes place are maybe some lawn chairs, the kiddie pool, I liked Jaell's ideas of scents, the beachwear or formalwear (whichever we decide), and I don't think we'll really need much else. As far as audience connectedness to our play, I think that it may have to be situated so that the audience sees the actors from only one side. This will make costume changes easier as well as keeping the audience on the outside, looking at the performance. Bogart's article makes me think that the best way for us to 'enter' into our performance will be to have all the actors of a particular scene on stage, just reading the lines. The director can then take notes when inspiration strikes. However, the actors should feel free to what what feels natural, what feels right for the line they are speaking. I think a combination of these made into blocking will do us well. The quote that stuck out to me in reading "To a Young Stage Designer' is "We are all too apt to substitue ingenuity for clairvoyance." I really like what this quote says. The stage designer needs to see into the play itself and not just focus on the outward, obvious settings. I feel that this could be the toughest job of all, but when it comes to our play, I have a feeling that the blocking and character interactions will lay down the groundwork for what options we will have with the scenes.And I'm excited! This is going to be so much fun!

Thursday, April 07, 2005

just a test...my comp is having issues

does this work?

Saturday, April 02, 2005

Goffman, Stanislavski and Grotowski

The first thing I noticed when I began reading Goffman, was that his central focus, the presentaion of self, was very similar to my thesis for the Laramie Project. I agree with a lot of what he says, particularly in the manner that how we are perceived is a combination of two things, what we give and what we give off. These are in fact, two seperate things and that's important to note. One is ourselves acting, while the other is the self we are trying to be seen as. I find this concept fascinating.
After reading Stanislavski, I must admit I felt a little hopeless. Those actors seemed to have put so much work into the performances and preparation, yet, nothing was ever good enough, they could always do better. I wonder if this is ever attainable or merely just "acceptable."
Grotowski's view of the actor is much different than anything I've ever thought of. I found it interesting how he focused more on the actions...almost like a dance, to control the actions and to produce clearer meaning. The video in class also made this very clear.

Wednesday, March 02, 2005

Brecht

The thing that I noticed and was most excited about regarding Brecht's style of theatre is the fact that the audience needs to be aware of the customs and traditions of the culture as well as societal mannerisms to be able to understand the play in it's full meaning. This is greatly different from western European style theatre, so it stood out to me the most. The thing that I had difficulty with, regarding the 3 plays was the character of the neighboor. I didn't understand if he/she was an actual character or if it was meant in a larger context. Let me know...

Brecht

I think a major concept of Brecht's work that was stimulating and different for me to think about was the fact that he defines this type of theatre as something that the audience must watch and think about in social context for it to make sense. Not just anyone can watch a play of this nature and understand what is going on. The audience must be well educated and informed about customs and traditions of the culture to comprehend the play. I find this fascinatingly different from modern western European theatre styles, and refreshing and exciting as well. One thing that I did have some difficulty with was understanding the role of the neighbor in both the original play and Brecht's versions. Did I miss the introduction to the character, or was it simply something to be said about culture/traditions? Let me know...

Wednesday, February 16, 2005

Stage Blood

Alright, I really hope this works this time. This is trial 3 as far as getting the blog to post, so I really hope this one works. I thought that it was very clever to show the connections between the comedy Stage Blood and Hamlet by the use of the actual play Hamlet within this play. The parallels really were very clear and that made this play work as a comedy I feel. Overall, I really enjoyed the break from tradgedy to comedy as well. It's always good to gain new perspectives and enjoy new forms of theatre.

Stage Blood Redo

Alright, this didn't really publish last time...let me try to retell my thoughts. The connections between the play of Stage Blood and Hamlet were really brought out and would not have been as apparent if the play wasn't going on in the play. Since the Stage Blood characters were performing Hamlet, the connections between their own lives and Hamlet were made very clear. I thought that this was very clever on behalf of the author/acting company. I really enjoyed this comical connection to Hamlet. It was a nice break from the tradgedies we've been focusing on in class lately.

Stage Blood

After reading Stage Blood, I was shocked at the similarities to Hamlet. This play really works with them performing Hamlet on the side. Without that included, the audience probably wouldn't connect the two plays and their extremely similar themes. I was also relieved that this play was made in the form of a comedy. Not only was it a nice break from the tradgedies that we have been focusing on lately, but it made for a very entertaining read. Overall, I think this play was very clever in the ways that the author decided make a parody of Hamlet.

Stage Blood