"Please take ten minutes to write your response to your progress in the play thus far as an actor and designer. What is going well? Where are your struggles? How can I assist you? What questions do you have? Lay it all out there!!!"
If I were being optimistic (as my character likely would be), I would say that we are making significant progress in the time allotted for our production. If I were to be honest, I would say that I am slightly worried ><
It isn't so much the production elements - that, I trust that everyone will be able to complete their parts to the quality expected and we'll be able to create a cohesive and wonderful performance. However, (and I am in no way exempt from this myself) I feel that there is an extreme lacking in the actual... performing? I guess I could say?
I feel as if there is so much about our characters that we don't understand, and I'm not sure how many of us are actually taking the time to try and understand them. I, of all of us, have the least qualification to say such a thing, seeing as I've not participated in any school productions since the eighth grade, but in the time I have not acted on stage, I have been acting in writing - post-by-post roleplaying, and characters (understanding them, portraying them, bringing them to life) are what I love the most about acting or roleplaying. There are characters in this play that I long to see come to life - and of course, they won't be identical to my own interpretation, but that's what makes it more exciting!
However, there are very few characters I have, thus far, seen come to life. I'm no different - although I wish to, I don't think I have been able to understand my character as thoroughly as I have some of my self-devised creations.
I suppose this could be my own little obsession, but I am a strong believer that the plot is born from the characters, and understanding the characters will help us not only understand the play, but also to memorize our lines xD
Shen Te; the good soul, slightly eccentric but caring, even though poverty has left its mark on her
Shui Ta; the 'bad' soul, sharp, hard, cold, the antithesis of Shen Te yet at the same time, the same person
Wang; the water seller - what has he seen? What is his role?
The Gods; why are they in Szechuan? How powerful can they be when they have people to answer to 'up there'? What are their views of humanity, how are they different, who are they?
Shoot, time's up.
I have more to say later!!
Tuesday, January 29, 2013
Sunday, January 27, 2013
Lighting Concept Thus Far
Our basic lighting concept; might be subject to change
Play: The Good Soul of Szechuan
Lighting Designers: Kevin, Justin, Sabrina, Peter
Date: 1/24/13
”Script Page #” refers to the page in the script for quick reference
”Line” refers to the line on the page that the lighting change will take place after
”Lighting Description” refers to a short written description of what is happening with the lights.
Play: The Good Soul of Szechuan
Lighting Designers: Kevin, Justin, Sabrina, Peter
Date: 1/24/13
”Script Page #” refers to the page in the script for quick reference
”Line” refers to the line on the page that the lighting change will take place after
”Lighting Description” refers to a short written description of what is happening with the lights.
| Script Page # | Lighting Description |
| [Before the Play] |
|
| [After the audience has sat down] |
|
| Prelude |
|
| Scene 1 |
|
| Interlude |
|
| Scene 2 |
|
| Scene 3 |
|
| Interlude 1 |
|
| Scene 4 |
|
| Scene 5 |
|
| Interlude 2 |
|
| Scene 6 |
|
| Interlude 3 |
|
| Scene 7 |
|
| Interlude 4 |
|
| Scene 8 |
|
| Interlude 5 |
|
| Scene 9 |
|
Thursday, January 24, 2013
January 25th, 2013 - Set and Lighting
Set Design
- The Proscenium Stage-Picture Frame
- 4th Wall
- Rake (tilted stage)
- Orchestra (between stage and audience)
- Fly Loft (air storage)
- Apron (front of stage)
- Pit
- Traps/Revolve/Slipstage (stage tricks)
- Cyclorama - (curtain you can project onto)
- Scrim (translucent-with-light curtain)
- Thrust Stage (juts into the audience)
- Arena Stage (surrounded by the audience)
- Black Box / Found Theatre Spaces
Metaphorical/Symbolic Set Design
- Universal Condition
- Capture the symbolic / kindle the universal subconscious by using a visual metaphor
- Levels of meaning to stimulate reflection
The Aesthetic / Harmonic
- Aesthetic expectations to meet
- Ambiance to reinforce mood or style of interpretation
- Artistic: what do you want the audience to see, what mood, what style?
- Subtle and not interfere or dominate the symbolic
- ex: color, size, texture, etc.
The Practical
- Elements of time and space
- Time pacing and rhythm of dramatic environment
- Interface between sculptural (static) and live movement of actors (kinetic)
- "The rhythm and pace of movement of actors can be influenced by the practical choice of designers"
- ex: size of step or position of door
- The Proscenium Stage-Picture Frame
- 4th Wall
- Rake (tilted stage)
- Orchestra (between stage and audience)
- Fly Loft (air storage)
- Apron (front of stage)
- Pit
- Traps/Revolve/Slipstage (stage tricks)
- Cyclorama - (curtain you can project onto)
- Scrim (translucent-with-light curtain)
- Thrust Stage (juts into the audience)
- Arena Stage (surrounded by the audience)
- Black Box / Found Theatre Spaces
Metaphorical/Symbolic Set Design
- Universal Condition
- Capture the symbolic / kindle the universal subconscious by using a visual metaphor
- Levels of meaning to stimulate reflection
The Aesthetic / Harmonic
- Aesthetic expectations to meet
- Ambiance to reinforce mood or style of interpretation
- Artistic: what do you want the audience to see, what mood, what style?
- Subtle and not interfere or dominate the symbolic
- ex: color, size, texture, etc.
The Practical
- Elements of time and space
- Time pacing and rhythm of dramatic environment
- Interface between sculptural (static) and live movement of actors (kinetic)
- "The rhythm and pace of movement of actors can be influenced by the practical choice of designers"
- ex: size of step or position of door
Wednesday, January 23, 2013
The Last Days of Judas Iscariot
Words cannot express the greatest regret I harbor for not taking part in this beautiful composition of a play. I'm certain my mother has memorized my praise for it by heart for all the times I have repeated it.
I had caught glimpses of its creation, spoken with its actors, but the hints they dropped about the plot and the characters were not nearly enough for me to comprehend without seeing the production for myself. I can honestly say that had I not gone to watch this play, I would have missed an amazing experience. My lament in not trying out was just barely lessened by the fact that I was able to connect to this play as a part of the audience.
The plot of this play, the Last Days of Judas Iscariot, (as most of those reading already know) follows just that - the last days of Judas, the man infamous in Christianity for being traitor to Jesus. Set in Purgatory, the border between Heaven and Hell, at the subway/courtroom of Hope Station, Judas is put on trial. In the end, the question that remains is, what is Judas' true verdict? The answer is left to the audience.
And my, I am terrible at summaries without spoiling the plot >...>
I would first like to throw out there that of the numerous school productions I have watched, I honestly believe that I have enjoyed this play the most - I cannot say for sure whether it was some element of the production, the actors, or simply the story that sat well with me, but I can also say that I have never been so invested in watching my peers perform.
The acting was astounding, especially seeing as I knew many of the performers in real life. Their personas... it was easy to forget who they were and simply enjoy the characters they presented. However, I was mostly surprised by Judas, who, for most of the play, is motionless, trapped in a catatonic state. I have had an interest in acting for a long time, and I've read many stories about notable actors who manage to stay still as if dead for hours at a time, but I hadn't ever thought it truly, well... possible. I admit that I found myself staring at Judas for any sign of life, and to my great surprise and delight, I could find none when I looked - it just added such an atmosphere and meaning to the play that it stuck in my mind.
Edit: Crow! I had more - why didn't it upload!
I had caught glimpses of its creation, spoken with its actors, but the hints they dropped about the plot and the characters were not nearly enough for me to comprehend without seeing the production for myself. I can honestly say that had I not gone to watch this play, I would have missed an amazing experience. My lament in not trying out was just barely lessened by the fact that I was able to connect to this play as a part of the audience.
The plot of this play, the Last Days of Judas Iscariot, (as most of those reading already know) follows just that - the last days of Judas, the man infamous in Christianity for being traitor to Jesus. Set in Purgatory, the border between Heaven and Hell, at the subway/courtroom of Hope Station, Judas is put on trial. In the end, the question that remains is, what is Judas' true verdict? The answer is left to the audience.
And my, I am terrible at summaries without spoiling the plot >...>
I would first like to throw out there that of the numerous school productions I have watched, I honestly believe that I have enjoyed this play the most - I cannot say for sure whether it was some element of the production, the actors, or simply the story that sat well with me, but I can also say that I have never been so invested in watching my peers perform.
The acting was astounding, especially seeing as I knew many of the performers in real life. Their personas... it was easy to forget who they were and simply enjoy the characters they presented. However, I was mostly surprised by Judas, who, for most of the play, is motionless, trapped in a catatonic state. I have had an interest in acting for a long time, and I've read many stories about notable actors who manage to stay still as if dead for hours at a time, but I hadn't ever thought it truly, well... possible. I admit that I found myself staring at Judas for any sign of life, and to my great surprise and delight, I could find none when I looked - it just added such an atmosphere and meaning to the play that it stuck in my mind.
Edit: Crow! I had more - why didn't it upload!
The Pillowman (Presentation Take 2)
THIS WON'T UPLOAD.
I don't know why!
It shows on my posts list as 'published' but it's not appearing on my blog with the other stuff I just finished! And if it actually is posted on everywhere but my own computer, a rant would be embarrassing so I'm cutting it off here...
Edit: I think I'm just emailing it ><
I don't know why!
It shows on my posts list as 'published' but it's not appearing on my blog with the other stuff I just finished! And if it actually is posted on everywhere but my own computer, a rant would be embarrassing so I'm cutting it off here...
Edit: I think I'm just emailing it ><
Wednesday, January 16, 2013
Pitch Notes
I KEPT GETTING DISTRACTED BY THE PITCHES. I just... found myself listening and mulling over the concepts so I did not take many notes... I plan to add more but I don't have time today (midterms ><) so here is the raw form right now.
Director’s Pitch
-
Bertolt Brecht overview
o
German
o
Communism
o
Goodness
-
Why Good Soul of
Szechuan?
o
Powerful, relevant moral questions
o
Beautiful set and costume possibilities
§ Art students
o
Fitting cast size
o
Genuine interest and potential for investment in the plot
§ Exploring brechtian ideas
o
Poverty and possible modern adaptation
o
Appealing to a large demographic
-
Focus and Aims of the Performance
o
Goals for ourselves:
§ Learn about Brechtian theatre and how his style manifests itself in
different aspects of performance
§ Develop a play from scratch whilst effectively working in production groups
o
Aims:
§ Make our audience question…
·
What do we give up to “survive”… what ethical, mental,
emotional sacrifices must we make… should we make?
·
What is true “goodness”?
·
Can it even be measured?
·
What is social morality, not connected to religion,
but in the world, how does it work?
-
Issues and themes
o
Plight of morality
o
Naïveté
o
Innocence
o
Facades
o
True Love
o
Man’s inherent isolation
o
Role of Women
o
Social Darwinism
o
Quantitative/Qualitative Goodness
o
Self-interest
-
Concept Spinning
o
Grunge
o
Beauty from roughness
o
Tobacco
-
Correlation of Production Elements
o
Sound
§ Soundscapes – natural sound
o
Set
§ Utilitarian
§ Simple yet compelling
-
Production of the Play: Logistical Feasibility
o
Responsibility for Logistical Feasibility
o
Huge undertaking, huge cast, little time = one big
challenge
§ (\500,000)
§ Organization is key
§ Small budget for a large show
§ Recycled materials, thrift stores
§ Reused props
§ Maturity
Set Design
-
Interpretation of the Book
o
Loss of Innocence
o
Caring vs. Apathy
o
Conforming to Society
o
Goodness
-
Light from the windows
o
Shen Te’s shop is the focus
-
Brechtian Influence – detailed tobacco shop
-
Cheap, almost gaudy atmosphere
o
Show that a set is a set
o
‘something grand’ but it degrades
-
Keywords
o
Modern, Urban feel
o
Falling down, apart
o
Evening Time
o
Not very safe
o
Gaudy but faded colors
o
Grimy
-
((I keep getting engrossed in the presentation and
forgetting to take notes))
Costumes
-
V-effect (Alienation Effect)
o
Makes the audience not feel comfortable
o
Audience can see the performance in the new way
o
Minimalistic
o
Fragmentary Costumes; one or two items in detail and
in character
o
Make specific elements stand out or seem strange
-
Costs covered ???
-
Character Analysis <3
Audio and Visual
Aspects
-
Bamboo Forest video
o
Beginning and the end of the play
o
At the same place where you started; you didn’t really
get anywhere
o
TV screens?
§ Retro equipment (XD)
-
Music Samples:
o
Fitting and a surprising hybrid of both Brechtian and
immersive elements
-
Rain Sound Effect
o
Enclose the sound within the stage – the stage is a
separate room, separate world, a separate dimension from the audience
-
Gods Sound Plan
o
A collusion of sound effects would be fascinating and
if done well, really effective
Sunday, January 13, 2013
Directing the Design
Directing the Design is an article that touches on concepts that will be essential to the IBY1 Theater Production. (and a great way to get me back into the swing of things after my illness).
The main two points that I picked up from this article is that the directors and the production team should work together as a whole, and that there is no 'right' way to do a production. The latter especially.
I feel like that is something I struggle with - I search for a formula, a foundation, something that works to rely on because I never trust myself creatively. That is something I hope to discover and encourage in myself from this class and in this project. When I read the script, there were many images, many feelings that the words inspired in me, but I didn't think to write them down. Like this article says, I should have - and ten minutes are up, I will be back ><
The main two points that I picked up from this article is that the directors and the production team should work together as a whole, and that there is no 'right' way to do a production. The latter especially.
I feel like that is something I struggle with - I search for a formula, a foundation, something that works to rely on because I never trust myself creatively. That is something I hope to discover and encourage in myself from this class and in this project. When I read the script, there were many images, many feelings that the words inspired in me, but I didn't think to write them down. Like this article says, I should have - and ten minutes are up, I will be back ><
Tuesday, January 8, 2013
ERS
Out of all the names in this article, this name definitely stood out the most: the Elevator Repair Service. A straightforward name, eh?... Well, if you think that, you might want to click the links.
Yup.
It's a theater company. Go figure.
Although this company's legacy is rather short, this company has definitely proved itself an innovator of contemporary theater. I particularly am fascinated by their dedication to each show, from both literary works and found texts... 'found' is a very important concept for this company.
Found objects. Found furniture.
They incorporate it all into their shows.
[to be continued]
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