Freedom Fighter//Terrorist
Old War//New War
do with them what you will!
Tuesday, April 7, 2009
Notes on Monologues
Hey Guys,
These are my stream of consciousness notes on how I like to write monologues. A good prompt for thinking about this monologue might be "If only I had known..." You don't have to use it, but it might help.
Essential parts of a monologue:
The hook: Do not tell the story, start in the story. It is probably better to start ahead of the climax or point of tension, however, because of the length of monologues this stretch should not be long. You can hook in a variety of ways, not always starting in the action, startling the reader through vernacular, vocabulary, through character or plot. Remember, as “different” or “incomprehensible” to a point the opening is, the more effective it will be towards drawing people in.
The heart: develop your character through showing, not telling. Details are key here, try to make them as least cliché as you can and as authentic as you can muster. A bouquet of roses brought to a lover. Sure. A gallon of milk brought as the object of love…that’s something I’d be interested in.
The color: do not omit details, those are the things that draw people in.
Tension, climax: Because tension, in Spencer’s traditional sense, cannot be created by just one character, we must re-envision it. Perhaps it is something climactic happening in the plot, although this isn’t often the most interesting part. Most often, and most effectively, it is a whole-hearted change of perspective. (I don't love you, I don't love you, I don't love you, I do! OR We all like you, we all like you, we all like you, now we don't)
End: in my beginning is my end.
Notes:
**Stream of consciousness helps in first draft, definitively does not help in editing.
**Movement: Sometimes its helpful to envision yourself saying your monologue onstage. Some stories are very physical, how would you add physical theatre and drama to your piece?
** try to keep to: 1000 words
These are my stream of consciousness notes on how I like to write monologues. A good prompt for thinking about this monologue might be "If only I had known..." You don't have to use it, but it might help.
Essential parts of a monologue:
The hook: Do not tell the story, start in the story. It is probably better to start ahead of the climax or point of tension, however, because of the length of monologues this stretch should not be long. You can hook in a variety of ways, not always starting in the action, startling the reader through vernacular, vocabulary, through character or plot. Remember, as “different” or “incomprehensible” to a point the opening is, the more effective it will be towards drawing people in.
The heart: develop your character through showing, not telling. Details are key here, try to make them as least cliché as you can and as authentic as you can muster. A bouquet of roses brought to a lover. Sure. A gallon of milk brought as the object of love…that’s something I’d be interested in.
The color: do not omit details, those are the things that draw people in.
Tension, climax: Because tension, in Spencer’s traditional sense, cannot be created by just one character, we must re-envision it. Perhaps it is something climactic happening in the plot, although this isn’t often the most interesting part. Most often, and most effectively, it is a whole-hearted change of perspective. (I don't love you, I don't love you, I don't love you, I do! OR We all like you, we all like you, we all like you, now we don't)
End: in my beginning is my end.
Notes:
**Stream of consciousness helps in first draft, definitively does not help in editing.
**Movement: Sometimes its helpful to envision yourself saying your monologue onstage. Some stories are very physical, how would you add physical theatre and drama to your piece?
** try to keep to: 1000 words
How is babby formed?
As promised, here is the video I have been referencing. Please don't think less of me after watching this.
Thursday, April 2, 2009
kiddos
alrighty, here's my one act. it's super long. just try not to fall asleep while reading it (if you can).
Scene I
(A big room full of rows of cot-like beds. Jean, Gus, and Lizzy are standing in front of two empty beds. On each bed, there is a pillow sitting on top of a folded sheet and blanket. There are duffle bag, and two children’s backpacks on the floor.)
Jean: Alright now kiddos, it’s time to get out of those clothes and get ready for bed.
(Lizzy and Gus sit down on the floor and start to take off their shoes. Jean starts to unfold the covers and make the beds.)
Lizzy: I can’t get mine off. It’s stuck.
Gus: I’ll do it. (Lizzy puts her feet on Gus’ lap. Gus unties the laces and takes off her shoes.) See Lizzy, you have to untie your shoes first. That makes it easier.
Lizzy: But I don’t know how to tie it back. And if it’s not tied, my shoes will fall off.
Gus: I can teach you how to tie your shoes.
Lizzy: Uh uhn. I can’t tie my shoes.
Gus: Yes you can. I’ll show you how.
Lizzy: But it’s too hard. Mama, tell him I can’t do it.
Jean: That’s what you said when Gus taught you how to swing by yourself. But you learned, didn’t you? And now, no one has to push you when you swing.
Lizzy: But it’s different.
Jean: That’s right, it is different. Now, you’re bigger, and stronger, and smarter. So learning to tie your shoes will be a piece of cake. (Finishing making the beds) All finished. Lizzy, you’re sleeping with me, and Gus, you get a bed all to yourself. I want you both to practice your math for a little while, then I’ll read you a story before you go to sleep.
Gus: Mama? How come we don’t go to school?
Jean: You do have school. With me.
Gus: I mean real school. With real teachers. I miss my friends from my old school. How come I had to leave?
Jean: I know you miss your friends and your old school. But you have to have home schooling with me for a little while. Just until…things get settled.
Gus: I’m tired of moving. When do we get to go back home?
Jean: We’re not going back home, not to that home. We’re going to find a new one.
Gus: But we’ve been to a bunch of places already. Why can’t we stay in one of those?
Jean: Because those…they weren’t good enough. We’re looking for the perfect house. And when we find it, I promise, you’ll be back with your friends, in real school, with a real teacher. And you’ll have lots of real homework to do.
Lizzy: Mama. Where is Daddy? How come he doesn’t have to move like we do?
Jean: (slightly hesitant) Daddy is moving, too. He’s looking for the perfect house just like we are. He’s just looking in different places. If we split up, we can cover more ground, look at more houses.
Lizzy: How come we have to look with you? I wanna look for a house with Daddy.
(Jean is hurt. She doesn’t know what to say.)
Gus: Mama’s better than Daddy. Mama is nice. Daddy is mean. He’s always yelling at us. And ‘member that time I broke the plate? It was a accident, but Daddy got mad anyway and—
Jean: (Cutting off Gus, changing the subject) You know what, kiddos, you don’t have to practice math tonight if you don’t want to. Why don’t I just read you the story?
Gus: I don’t want you to read.
Jean: Alright. How about you read it? Lizzy likes that voices you do better than mine anyway.
Gus: I don’t want to. I want to go to bed.
Jean: Ok…Let just go to bed then.
Lizzy: Nooo. I want a story.
Jean: Lizzy, you’re brother’s right. We should get to sleep. We have to get up early tomorrow. Gus: Come on, Lizzy. Let’s go brush our teeth. (They both dig in their backpacks searching for their toothbrushes.)
Jean: Do you remember where the bathroom is? I can take you.
Gus: You don’t have to. I know where it is.
Jean: Okay. Make sure you brush well. I don’t want you getting any cavities.
Gus and Lizzy stand. Before they walk away…
Jean: Gus. Come here, kiddo. (Pause. Reaching for his arm, gently.) How’s your arm?
Gus: It’s fine.
Jean: All better? (He nods “yes”) Good. Good. Bet you’re glad to have that cast off. (Pause) Alright, go ahead and get your teeth brushed.
Gus: Mama.
Jean: Yeah, kiddo?
Gus: You can read us a story if you want.
Scene II
Some time has passed since the previous scene. It’s morning. Jean is holding Gus and Lizzy’s hands. The children have on their backpacks on. Jean is walking quickly, and the children are trying their best to keep up.
Lizzy: Why are we walking so fast?
Jean: I don’t want you to be late.
Gus: Late to what? Where are we going?
Jean: It’s a surprise.
Lizzy: Are we going to see the doctor? Last time when we went, I got a shot, and I didn’t even cry. And the doctor, he gave me a sticker because I was a big girl. Remember that Gus? And they took your cast off. And you got a sticker, too.
Gus: We’re not going to the doctor. This isn’t where the doctor is. (Pause. He looks around and realizes where they are). We’re by my school! Mama, are we going to school?
Jean: (smiling) Maybe.
Gus: We are! Lizzy, we’re going to school!
They reach the front of the school and stop walking. Jean kneels to speak the Lizzy and Gus. She fixed their clothes, hair, etc. as she speaks.
Jean: Alright, kiddos. You two be good at school. I talked to your teachers. So they know why you’ve been absent, and they know you’ll be back today. After school, meet me in our old meeting place. Do you remember where that is?
Gus: At the bench by the front door.
Jean: That’s right. The bench by the front door. I’ll be waiting there when you get out.
Gus: Mama, since we’re back in real school, does that mean you found the perfect house?
Jean: Not yet, kiddo, but we’re close. Hopefully, we won’t have to move around as much anymore, though.
Lizzy: What about Daddy? When do we get to see him?
Jean: You will. You’ll get to see Daddy again. Just, not yet.
Gus: Do we have to live with Daddy? Can’t we find our own house? And Daddy find his own?
Jean: We’ll talk about it later. Okay? You should get inside before the bell rings. (She kisses them both on the forehead) Be nice. Learn a lot. Have fun. I’ll see you later, kiddos.
Scene III
The following take place simultaneously on different parts of the stage. Jean is sitting across a table or desk from Phoebe. Gus and Simian are sitting in chairs facing each other. Phoebe and Simian both have a notepad, a folder, and a pen. During their conversations, they occasionally take notes.
Simian: Hi Gus. My name is Simian. Do you know why you’re here with me? (Gus shakes his head “no”). I want to ask you some questions about things at home.
Phoebe: La Casa de las Madres is different from other women’s shelters. We allow you to live here for up to four months. We offer services that help you find permanent housing. We also have workshops for women like yourself who’ve been out of the workforce for some time and are trying to re-enter. We also help you enroll your children in schools in the area. Let’s see, you said you’ve been homeless for four months? Have your children been out of school that whole time?
Jean: They have been, but I took them to school today. It’s their first day back.
Gus: The last time me and Lizzy went to school before today was before winter break. I remember because on the last day of school my teacher let us have a party. Then it was break time. And then, a little bit after Christmas, we moved from our old house.
Simian: And where did you go when you moved?
Jean: I left my husband just after Christmas. We’d been married eleven years. It was great at first, but then…I just couldn’t do it anymore. I had to get my children away from him.
Phoebe: Do you plan on returning to your husband?
Gus: We’re going to live with my Daddy again. Mama said that when she finds the perfect house, we’re gonna live with Daddy again.
Simian: Tell me about your dad. Do he and your mom get along?
Jean: I just want to get away from him. Take Gus and Lizzy and start over.
Simian: What about you and your sister? Do the two of you get along with your dad?
Gus: Sometimes. Lizzy likes him. But sometimes he’s mean to me.
Simian: How is he mean to you?
Gus: I don’t know…Like this one time, I was helping Mama with the dishes, and I dropped a plate. It was a accident. I said I was sorry. Mama said it was okay. Daddy got mad at me anyway.
Simian: Did you get in trouble?
Gus: Yeah. He hurt my arm. Mama told him to let me go, but he didn’t listen. I had to get a cast. It was a green one. Green is my favorite color. The only people that signed it were Mama and Lizzy, though. I was gonna have my friends at school sign it, too. But we didn’t go back school.
Jean: That was the last time he was going to hurt any of us. I packed our bags, and we left the next day.
Phoebe: Leaving is always the hardest part, and you’ve done that. You and your children want to start over. That’s exactly what we’re here to help you do.
Jean: Thank you so much. The past few months have been so hard. It’s such a relief not to have to worry about where we’re going to sleep the next night.
Phoebe: It’s no problem, really. We’re here to help. If you’re ready, I can show you to your room.
Scene IV
School office. There is a counter but no one behind it. It is after school, a while after the final bell has rung. Jean enters worried, impatient, and slightly irritated.
Jean: Excuse me! Is anyone here? (A secretary walks out.) Excuse me, sir. I’m looking for my son and daughter. They were supposed to meet me outside after school. I waited, but they never came out. I checked with their teachers, and apparently they were both called to the office and never went back to class.
Secretary: What are your children’s names?
Jean: Lizzy and Gus.
Secretary: (Looks through papers, finds their names) Gus and Lizzy Brooks? Is that them?
Jean: Yes. That’s them. Where are they?
Secretary: Just a moment ma’am. (The Secretary exits and then returns) Someone will be out in a second to talk to you.
The Secretary exits. Simian enters. Reaches to shake Jean’s hand.
Simian: Hi. Are you Jean Brooks, Gus and Lizzy’s mother?
Jean: Yes. Who are you?
Simian: I’m Simian. I’m with Child Protective Services. Do you have a moment to talk?
Jean: Where are Gus and Lizzy?
Simian: We can talk about Gus and Lizzy. If you’d like to sit— (she doesn’t sit)
Jean: Tell me where they are.
Simian: Mrs. Brooks, some things have been brought to our attention, and we’re concerned about the welfare of your children.
Jean: They’re fine. I take care of my children. I don’t need anyone checking up on me.
Simian: You’ve been homeless for the past few months. Is that true?
Jean: Yes… I left my husband. Since then we’ve been moving around a lot. But I’ve found a place for us to stay.
Simian: Will you be staying with your husband?
Jean: No! I’m not going back to him.
Simian: You children seem to be under the impression that you are.
Jean: I’m not. I just haven’t told them yet. I mean, how do you tell your children that they’re never going to see their father again? (pause) The place we’re staying is called La Casa de las Madres. It’s a shelter. They’re going to help me find a house. And I’m going to find a job.
Simian: You’re unemployed?
Jean: Well, yes. After I had Gus, I took time off work, and then Lizzy was born. I always planned on going back to work. I just haven’t yet.
Simian: (sensing Jean’s uneasiness) Mrs. Brooks. You can relax. Maybe you’d like to sit now. (Simian goes to a chair and sits. Jean hesitates and then sits in a chair next to Simian.) It’s not my job to scare you. I can see that you care about Gus and Lizzy and that you’re looking out for their best interest. I talked to them, and they’re both bright kids. I just wonder what this kind of life will do to them.
Jean: What do you mean? I told you already, I’ve found a place for us to stay.
Simian: Another shelter.
Jean: (getting angry) So what if it’s another shelter? It’s better than living in the streets or with their father.
Simian: All I’m saying is that kids need a home, a stable environment where they can grow up.
Jean: I know what my children need. And I think I can handle raising them.
Simian: I’m sure you can. But it’s important that your children be safe—
Jean: Do you have children?
Simian: I have a nephew.
Jean: I didn’t ask that. I asked if you had children. A son? A daughter?
Simian: No.
Jean: I didn’t think so. And I don’t expect you to understand, well, anything. Do you think I wanted this? I left my husband with nothing and with nowhere to go. I didn’t plan it out. We just left. I thought it would be easier. I’m a mother with two children. Who would deny me help? Well, I quickly found out the answer to that question: friends, family. So we went from shelter to shelter. Most of them were no place for women and children, but we had no choice. Sometimes I held Gus and Lizzy’s hands while they slept. It was like I didn’t want them get away. Other times, I’d stay awake and watch them as they slept, just to make sure nothing happened to them. (Pause) I don’t want this for them.
Simian: Mrs. Brooks, I’ve heard a lot about La Casa. Apparently it’s a really good place. I’m sure they’ll help you get your life together. Lizzy and Gus will be fine, and it seems like they’re in good hands. I asked them to wait in an office in the back. It’s always better if I can talk to parents without the children around. I’ll go get them.
Jean: Don’t get them. They’re not coming with me.
Simian: (realizing what she means) Mrs. Brooks, I’m not here to take your children from you.
Jean: No. You were right. This kind of life isn’t for them. They deserve better.
Simian: I can only imagine how difficult life must be right now, but things will get better as soon as you’re settled.
Jean: And as soon as I’m settled I’ll take them back. I want to make sure I can provide for them the way that I want to. Until then, just tell them I’m still looking for the perfect house.
Scene I
(A big room full of rows of cot-like beds. Jean, Gus, and Lizzy are standing in front of two empty beds. On each bed, there is a pillow sitting on top of a folded sheet and blanket. There are duffle bag, and two children’s backpacks on the floor.)
Jean: Alright now kiddos, it’s time to get out of those clothes and get ready for bed.
(Lizzy and Gus sit down on the floor and start to take off their shoes. Jean starts to unfold the covers and make the beds.)
Lizzy: I can’t get mine off. It’s stuck.
Gus: I’ll do it. (Lizzy puts her feet on Gus’ lap. Gus unties the laces and takes off her shoes.) See Lizzy, you have to untie your shoes first. That makes it easier.
Lizzy: But I don’t know how to tie it back. And if it’s not tied, my shoes will fall off.
Gus: I can teach you how to tie your shoes.
Lizzy: Uh uhn. I can’t tie my shoes.
Gus: Yes you can. I’ll show you how.
Lizzy: But it’s too hard. Mama, tell him I can’t do it.
Jean: That’s what you said when Gus taught you how to swing by yourself. But you learned, didn’t you? And now, no one has to push you when you swing.
Lizzy: But it’s different.
Jean: That’s right, it is different. Now, you’re bigger, and stronger, and smarter. So learning to tie your shoes will be a piece of cake. (Finishing making the beds) All finished. Lizzy, you’re sleeping with me, and Gus, you get a bed all to yourself. I want you both to practice your math for a little while, then I’ll read you a story before you go to sleep.
Gus: Mama? How come we don’t go to school?
Jean: You do have school. With me.
Gus: I mean real school. With real teachers. I miss my friends from my old school. How come I had to leave?
Jean: I know you miss your friends and your old school. But you have to have home schooling with me for a little while. Just until…things get settled.
Gus: I’m tired of moving. When do we get to go back home?
Jean: We’re not going back home, not to that home. We’re going to find a new one.
Gus: But we’ve been to a bunch of places already. Why can’t we stay in one of those?
Jean: Because those…they weren’t good enough. We’re looking for the perfect house. And when we find it, I promise, you’ll be back with your friends, in real school, with a real teacher. And you’ll have lots of real homework to do.
Lizzy: Mama. Where is Daddy? How come he doesn’t have to move like we do?
Jean: (slightly hesitant) Daddy is moving, too. He’s looking for the perfect house just like we are. He’s just looking in different places. If we split up, we can cover more ground, look at more houses.
Lizzy: How come we have to look with you? I wanna look for a house with Daddy.
(Jean is hurt. She doesn’t know what to say.)
Gus: Mama’s better than Daddy. Mama is nice. Daddy is mean. He’s always yelling at us. And ‘member that time I broke the plate? It was a accident, but Daddy got mad anyway and—
Jean: (Cutting off Gus, changing the subject) You know what, kiddos, you don’t have to practice math tonight if you don’t want to. Why don’t I just read you the story?
Gus: I don’t want you to read.
Jean: Alright. How about you read it? Lizzy likes that voices you do better than mine anyway.
Gus: I don’t want to. I want to go to bed.
Jean: Ok…Let just go to bed then.
Lizzy: Nooo. I want a story.
Jean: Lizzy, you’re brother’s right. We should get to sleep. We have to get up early tomorrow. Gus: Come on, Lizzy. Let’s go brush our teeth. (They both dig in their backpacks searching for their toothbrushes.)
Jean: Do you remember where the bathroom is? I can take you.
Gus: You don’t have to. I know where it is.
Jean: Okay. Make sure you brush well. I don’t want you getting any cavities.
Gus and Lizzy stand. Before they walk away…
Jean: Gus. Come here, kiddo. (Pause. Reaching for his arm, gently.) How’s your arm?
Gus: It’s fine.
Jean: All better? (He nods “yes”) Good. Good. Bet you’re glad to have that cast off. (Pause) Alright, go ahead and get your teeth brushed.
Gus: Mama.
Jean: Yeah, kiddo?
Gus: You can read us a story if you want.
Scene II
Some time has passed since the previous scene. It’s morning. Jean is holding Gus and Lizzy’s hands. The children have on their backpacks on. Jean is walking quickly, and the children are trying their best to keep up.
Lizzy: Why are we walking so fast?
Jean: I don’t want you to be late.
Gus: Late to what? Where are we going?
Jean: It’s a surprise.
Lizzy: Are we going to see the doctor? Last time when we went, I got a shot, and I didn’t even cry. And the doctor, he gave me a sticker because I was a big girl. Remember that Gus? And they took your cast off. And you got a sticker, too.
Gus: We’re not going to the doctor. This isn’t where the doctor is. (Pause. He looks around and realizes where they are). We’re by my school! Mama, are we going to school?
Jean: (smiling) Maybe.
Gus: We are! Lizzy, we’re going to school!
They reach the front of the school and stop walking. Jean kneels to speak the Lizzy and Gus. She fixed their clothes, hair, etc. as she speaks.
Jean: Alright, kiddos. You two be good at school. I talked to your teachers. So they know why you’ve been absent, and they know you’ll be back today. After school, meet me in our old meeting place. Do you remember where that is?
Gus: At the bench by the front door.
Jean: That’s right. The bench by the front door. I’ll be waiting there when you get out.
Gus: Mama, since we’re back in real school, does that mean you found the perfect house?
Jean: Not yet, kiddo, but we’re close. Hopefully, we won’t have to move around as much anymore, though.
Lizzy: What about Daddy? When do we get to see him?
Jean: You will. You’ll get to see Daddy again. Just, not yet.
Gus: Do we have to live with Daddy? Can’t we find our own house? And Daddy find his own?
Jean: We’ll talk about it later. Okay? You should get inside before the bell rings. (She kisses them both on the forehead) Be nice. Learn a lot. Have fun. I’ll see you later, kiddos.
Scene III
The following take place simultaneously on different parts of the stage. Jean is sitting across a table or desk from Phoebe. Gus and Simian are sitting in chairs facing each other. Phoebe and Simian both have a notepad, a folder, and a pen. During their conversations, they occasionally take notes.
Simian: Hi Gus. My name is Simian. Do you know why you’re here with me? (Gus shakes his head “no”). I want to ask you some questions about things at home.
Phoebe: La Casa de las Madres is different from other women’s shelters. We allow you to live here for up to four months. We offer services that help you find permanent housing. We also have workshops for women like yourself who’ve been out of the workforce for some time and are trying to re-enter. We also help you enroll your children in schools in the area. Let’s see, you said you’ve been homeless for four months? Have your children been out of school that whole time?
Jean: They have been, but I took them to school today. It’s their first day back.
Gus: The last time me and Lizzy went to school before today was before winter break. I remember because on the last day of school my teacher let us have a party. Then it was break time. And then, a little bit after Christmas, we moved from our old house.
Simian: And where did you go when you moved?
Jean: I left my husband just after Christmas. We’d been married eleven years. It was great at first, but then…I just couldn’t do it anymore. I had to get my children away from him.
Phoebe: Do you plan on returning to your husband?
Gus: We’re going to live with my Daddy again. Mama said that when she finds the perfect house, we’re gonna live with Daddy again.
Simian: Tell me about your dad. Do he and your mom get along?
Jean: I just want to get away from him. Take Gus and Lizzy and start over.
Simian: What about you and your sister? Do the two of you get along with your dad?
Gus: Sometimes. Lizzy likes him. But sometimes he’s mean to me.
Simian: How is he mean to you?
Gus: I don’t know…Like this one time, I was helping Mama with the dishes, and I dropped a plate. It was a accident. I said I was sorry. Mama said it was okay. Daddy got mad at me anyway.
Simian: Did you get in trouble?
Gus: Yeah. He hurt my arm. Mama told him to let me go, but he didn’t listen. I had to get a cast. It was a green one. Green is my favorite color. The only people that signed it were Mama and Lizzy, though. I was gonna have my friends at school sign it, too. But we didn’t go back school.
Jean: That was the last time he was going to hurt any of us. I packed our bags, and we left the next day.
Phoebe: Leaving is always the hardest part, and you’ve done that. You and your children want to start over. That’s exactly what we’re here to help you do.
Jean: Thank you so much. The past few months have been so hard. It’s such a relief not to have to worry about where we’re going to sleep the next night.
Phoebe: It’s no problem, really. We’re here to help. If you’re ready, I can show you to your room.
Scene IV
School office. There is a counter but no one behind it. It is after school, a while after the final bell has rung. Jean enters worried, impatient, and slightly irritated.
Jean: Excuse me! Is anyone here? (A secretary walks out.) Excuse me, sir. I’m looking for my son and daughter. They were supposed to meet me outside after school. I waited, but they never came out. I checked with their teachers, and apparently they were both called to the office and never went back to class.
Secretary: What are your children’s names?
Jean: Lizzy and Gus.
Secretary: (Looks through papers, finds their names) Gus and Lizzy Brooks? Is that them?
Jean: Yes. That’s them. Where are they?
Secretary: Just a moment ma’am. (The Secretary exits and then returns) Someone will be out in a second to talk to you.
The Secretary exits. Simian enters. Reaches to shake Jean’s hand.
Simian: Hi. Are you Jean Brooks, Gus and Lizzy’s mother?
Jean: Yes. Who are you?
Simian: I’m Simian. I’m with Child Protective Services. Do you have a moment to talk?
Jean: Where are Gus and Lizzy?
Simian: We can talk about Gus and Lizzy. If you’d like to sit— (she doesn’t sit)
Jean: Tell me where they are.
Simian: Mrs. Brooks, some things have been brought to our attention, and we’re concerned about the welfare of your children.
Jean: They’re fine. I take care of my children. I don’t need anyone checking up on me.
Simian: You’ve been homeless for the past few months. Is that true?
Jean: Yes… I left my husband. Since then we’ve been moving around a lot. But I’ve found a place for us to stay.
Simian: Will you be staying with your husband?
Jean: No! I’m not going back to him.
Simian: You children seem to be under the impression that you are.
Jean: I’m not. I just haven’t told them yet. I mean, how do you tell your children that they’re never going to see their father again? (pause) The place we’re staying is called La Casa de las Madres. It’s a shelter. They’re going to help me find a house. And I’m going to find a job.
Simian: You’re unemployed?
Jean: Well, yes. After I had Gus, I took time off work, and then Lizzy was born. I always planned on going back to work. I just haven’t yet.
Simian: (sensing Jean’s uneasiness) Mrs. Brooks. You can relax. Maybe you’d like to sit now. (Simian goes to a chair and sits. Jean hesitates and then sits in a chair next to Simian.) It’s not my job to scare you. I can see that you care about Gus and Lizzy and that you’re looking out for their best interest. I talked to them, and they’re both bright kids. I just wonder what this kind of life will do to them.
Jean: What do you mean? I told you already, I’ve found a place for us to stay.
Simian: Another shelter.
Jean: (getting angry) So what if it’s another shelter? It’s better than living in the streets or with their father.
Simian: All I’m saying is that kids need a home, a stable environment where they can grow up.
Jean: I know what my children need. And I think I can handle raising them.
Simian: I’m sure you can. But it’s important that your children be safe—
Jean: Do you have children?
Simian: I have a nephew.
Jean: I didn’t ask that. I asked if you had children. A son? A daughter?
Simian: No.
Jean: I didn’t think so. And I don’t expect you to understand, well, anything. Do you think I wanted this? I left my husband with nothing and with nowhere to go. I didn’t plan it out. We just left. I thought it would be easier. I’m a mother with two children. Who would deny me help? Well, I quickly found out the answer to that question: friends, family. So we went from shelter to shelter. Most of them were no place for women and children, but we had no choice. Sometimes I held Gus and Lizzy’s hands while they slept. It was like I didn’t want them get away. Other times, I’d stay awake and watch them as they slept, just to make sure nothing happened to them. (Pause) I don’t want this for them.
Simian: Mrs. Brooks, I’ve heard a lot about La Casa. Apparently it’s a really good place. I’m sure they’ll help you get your life together. Lizzy and Gus will be fine, and it seems like they’re in good hands. I asked them to wait in an office in the back. It’s always better if I can talk to parents without the children around. I’ll go get them.
Jean: Don’t get them. They’re not coming with me.
Simian: (realizing what she means) Mrs. Brooks, I’m not here to take your children from you.
Jean: No. You were right. This kind of life isn’t for them. They deserve better.
Simian: I can only imagine how difficult life must be right now, but things will get better as soon as you’re settled.
Jean: And as soon as I’m settled I’ll take them back. I want to make sure I can provide for them the way that I want to. Until then, just tell them I’m still looking for the perfect house.
Wednesday, April 1, 2009
Of Honeybees and Tractors...
Well, here it is. It isn't perfect; it's still a little too talky and not actiony enough, but oh well.
Two honeybees are flying around near an orchard in California. They stop at a hive and, noticing there isn't any activity around it, decide to peek in; it’s deserted, except for the queen, who glances up at them weakly.
Queen: Gone. They’re all gone. All… gone.
Bee #1: What… what are you doing here all alone? Not even a single bee around to care for you! Is this how we’re treating our queens nowadays?
Queen: They all left.
Bee #1: Left?
Queen: Left, died. They’re gone, at any rate. And soon I will be too.
Bee #2: What? They left? They left you to die?
Queen: Effectively, yes. They were… sick, I think. And they left. Our colony has… collapsed.
Bee #1: There was a colony near us, back home, that just, one day it just… they were all gone.
Queen: Then it isn’t only us. I fear for the whole bee population, tired and overworked as we are!
Bee #2: Your majesty, is there anything—anything at all—we can do?
Queen: I’m afraid I’m nearing the end. No—it’s no use now, you won’t be able to help me.
Silence.
Queen: Well, if maybe… you know, if you were willing to… wait with me, until… until…
Bee #1: Of course!
Short silence.
Queen: Where are you all from?
Bee #2: Somewhere far away, I think. Every month, it seems, we’re taken to a new land.
Bee #1: New land with new plants. But always just one type of plant. One type of plant as far as the eye can see…
Bee #2: And when that plant stops flowering, we move on. I’m so tired, so weak. This winter, they woke us up out of hibernation so we could be trucked somewhere far, far away. And the food they gave us was terrible!
Queen: Yes, it is rather… jarring, being picked up after just three weeks in one place, then brought to another for maybe a month, then brought to another—
They hear two men walk by, talking.
Bee #1: Shhh!
Man #1: One hundred forty a box? Yeesh! Those are some expensive bees.
Man #2: These aren’t just any bees. These bees are more productive than any of the competition’s bees! It’s true! They’ll make you a huge profit.
Man #1: Well, I dunno..
Man #2: Of course, there are always other places I can take my bees if you don’t want them...
Man #1 (hastily): No, no. If that’s what you all are charging nowadays, then I suppose I got no choice… (they walk out of hearing range)
Queen shudders.
Queen: It makes one feel so… used. It’s so tiring.
silence
Queen gasps audibly.
Bee #2: Your majesty!
Bee #1: Is everything all right?
Queen (visibly weakening): I’m… it’s the end. Go now, and figure out what’s causing this problem we have. For the sake of our species and all the plants we pollinate, you must… figure… this out. I… have faith in you. (Her eyes shut, and she falls gently forward).
Bee #2: No! Your majesty!
Bee #1 (pulling him away): Quickly, we have no time to lose!
They emerge from the hive into an almond orchard, with rows and rows of almond trees running off to the horizon. All around them, bees are buzzing from tree to tree in a mechanized way, all in sync. A farmer walks by, inspecting.
Bee #2: How will we ever figure this out?
Bee #1: I don’t have any clue, but I know we must! There could be hundreds of hives in danger.
Bee #2: Don’t you think you’re exaggerating just a bit?
A bee flies past, clearly not healthy. She isn’t flying straight, and almost runs into them.
Bee: Oh! I’m sorry, I’m just… not feeling so well. Oh, God… She falls over.
Bee #2: Oh no! She’s… is she dead?
A few other bees come wobbling past.
One of the bees: It’s got the whole hive!
Bee #1 (very interested): What’s got the whole hive?
The same bee: This… sickness. We’re all dying. We had to leave our queen.
Another bee: I’ve heard it’s happening all over! More and more bees are falling ill and their whole colonies are collapsing!
They fly off. Bee #1 looks at Bee #2.
Bee #2: Ok, ok. But I still don’t see what WE can do. We’re just two little bees, and this is such a big problem!
They hear many, many bees flying past, chanting. They find themselves in the midst of a giant swarm of bees, wearing t-shirts and holding signs with anti-monoculture, anti-industrial farming slogans.
They approach one of the bees, who’s wearing a shirt that says “Monoculture killed my children”
Bee: Howdy. What are you up to?
Bee #1: We’re… well… we’re…
Bee #2: What’s all the protest about?
Bee in the shirt: I’m tired; I’m overworked; I haven’t been able to stay in one home more than a month for my whole life. I’m fed up, so I’m doing something about it.
Bee #1: Tired, overworked. Yes, we’re tired and overworked and we’re getting sick because of it!
Another bee: Those humans think they can get us to do whatever they want us to!
Bee #2: But what can we do about it? They’re so powerful. The rest of us are… well, we’re just inferior!
The same bee: That’s what they want you to think, my friend. Stand up for yourself! Refuse to work! Refuse to leave when they try to pack you up to travel to yet another new land! Do something, and they won’t know how to handle it. What they want is for you to obey, and not even think about it.
Bee #1: We certainly need to do something before we’re all wiped out.
The bee in the shirt: We need to make them realize how much they need us. We may be small, but we give them food. Unfortunately, it may take us dying off in huge numbers for them to quit taking us for granted.
Bee #2: How will we eat if we don’t work?
Another bee, who’s been listening: We find food on farms that don’t use monoculture.
Bee #1: What’s… monoculture?
The same bee: These rows and rows of the same plant, that’s monoculture. Come, clearly you both have much to learn. There are some extra signs over there, if you want…
They fly off, talking.
The farmer passes by again, this time on his cell phone.
Farmer: Yeah. Yeah, one little bolt fell off and the whole durn machine stopped working. The whole tractor. Yeah, it’s sure a pain in MY neck…
He continues walking out of earshot.
End.
Two honeybees are flying around near an orchard in California. They stop at a hive and, noticing there isn't any activity around it, decide to peek in; it’s deserted, except for the queen, who glances up at them weakly.
Queen: Gone. They’re all gone. All… gone.
Bee #1: What… what are you doing here all alone? Not even a single bee around to care for you! Is this how we’re treating our queens nowadays?
Queen: They all left.
Bee #1: Left?
Queen: Left, died. They’re gone, at any rate. And soon I will be too.
Bee #2: What? They left? They left you to die?
Queen: Effectively, yes. They were… sick, I think. And they left. Our colony has… collapsed.
Bee #1: There was a colony near us, back home, that just, one day it just… they were all gone.
Queen: Then it isn’t only us. I fear for the whole bee population, tired and overworked as we are!
Bee #2: Your majesty, is there anything—anything at all—we can do?
Queen: I’m afraid I’m nearing the end. No—it’s no use now, you won’t be able to help me.
Silence.
Queen: Well, if maybe… you know, if you were willing to… wait with me, until… until…
Bee #1: Of course!
Short silence.
Queen: Where are you all from?
Bee #2: Somewhere far away, I think. Every month, it seems, we’re taken to a new land.
Bee #1: New land with new plants. But always just one type of plant. One type of plant as far as the eye can see…
Bee #2: And when that plant stops flowering, we move on. I’m so tired, so weak. This winter, they woke us up out of hibernation so we could be trucked somewhere far, far away. And the food they gave us was terrible!
Queen: Yes, it is rather… jarring, being picked up after just three weeks in one place, then brought to another for maybe a month, then brought to another—
They hear two men walk by, talking.
Bee #1: Shhh!
Man #1: One hundred forty a box? Yeesh! Those are some expensive bees.
Man #2: These aren’t just any bees. These bees are more productive than any of the competition’s bees! It’s true! They’ll make you a huge profit.
Man #1: Well, I dunno..
Man #2: Of course, there are always other places I can take my bees if you don’t want them...
Man #1 (hastily): No, no. If that’s what you all are charging nowadays, then I suppose I got no choice… (they walk out of hearing range)
Queen shudders.
Queen: It makes one feel so… used. It’s so tiring.
silence
Queen gasps audibly.
Bee #2: Your majesty!
Bee #1: Is everything all right?
Queen (visibly weakening): I’m… it’s the end. Go now, and figure out what’s causing this problem we have. For the sake of our species and all the plants we pollinate, you must… figure… this out. I… have faith in you. (Her eyes shut, and she falls gently forward).
Bee #2: No! Your majesty!
Bee #1 (pulling him away): Quickly, we have no time to lose!
They emerge from the hive into an almond orchard, with rows and rows of almond trees running off to the horizon. All around them, bees are buzzing from tree to tree in a mechanized way, all in sync. A farmer walks by, inspecting.
Bee #2: How will we ever figure this out?
Bee #1: I don’t have any clue, but I know we must! There could be hundreds of hives in danger.
Bee #2: Don’t you think you’re exaggerating just a bit?
A bee flies past, clearly not healthy. She isn’t flying straight, and almost runs into them.
Bee: Oh! I’m sorry, I’m just… not feeling so well. Oh, God… She falls over.
Bee #2: Oh no! She’s… is she dead?
A few other bees come wobbling past.
One of the bees: It’s got the whole hive!
Bee #1 (very interested): What’s got the whole hive?
The same bee: This… sickness. We’re all dying. We had to leave our queen.
Another bee: I’ve heard it’s happening all over! More and more bees are falling ill and their whole colonies are collapsing!
They fly off. Bee #1 looks at Bee #2.
Bee #2: Ok, ok. But I still don’t see what WE can do. We’re just two little bees, and this is such a big problem!
They hear many, many bees flying past, chanting. They find themselves in the midst of a giant swarm of bees, wearing t-shirts and holding signs with anti-monoculture, anti-industrial farming slogans.
They approach one of the bees, who’s wearing a shirt that says “Monoculture killed my children”
Bee: Howdy. What are you up to?
Bee #1: We’re… well… we’re…
Bee #2: What’s all the protest about?
Bee in the shirt: I’m tired; I’m overworked; I haven’t been able to stay in one home more than a month for my whole life. I’m fed up, so I’m doing something about it.
Bee #1: Tired, overworked. Yes, we’re tired and overworked and we’re getting sick because of it!
Another bee: Those humans think they can get us to do whatever they want us to!
Bee #2: But what can we do about it? They’re so powerful. The rest of us are… well, we’re just inferior!
The same bee: That’s what they want you to think, my friend. Stand up for yourself! Refuse to work! Refuse to leave when they try to pack you up to travel to yet another new land! Do something, and they won’t know how to handle it. What they want is for you to obey, and not even think about it.
Bee #1: We certainly need to do something before we’re all wiped out.
The bee in the shirt: We need to make them realize how much they need us. We may be small, but we give them food. Unfortunately, it may take us dying off in huge numbers for them to quit taking us for granted.
Bee #2: How will we eat if we don’t work?
Another bee, who’s been listening: We find food on farms that don’t use monoculture.
Bee #1: What’s… monoculture?
The same bee: These rows and rows of the same plant, that’s monoculture. Come, clearly you both have much to learn. There are some extra signs over there, if you want…
They fly off, talking.
The farmer passes by again, this time on his cell phone.
Farmer: Yeah. Yeah, one little bolt fell off and the whole durn machine stopped working. The whole tractor. Yeah, it’s sure a pain in MY neck…
He continues walking out of earshot.
End.
David's Continual Blog-Use Failing Is Not Suffered Alone!
You see! You see! It's not my incompetence, it's the blog! I hope this goes as proof that I would be able to perform basic computer functions if only this website didn't have it out to get me (and now apparently Abby too) (looking in Alexa's direction challengingly. I'd like to see you go up against BlogSpot and win - it's not so easy! haha)
Abby fails at posting her script
For some reason, I am unable to copy the text from my Word document to post my script on the blog - my post just shows up blank. So instead, I have emailed you all the file so you can read it that way. Sorry for the inconvenience.
Tuesday, March 31, 2009
It's Official: Sexual Assault Awareness Month is here at Oberlin
Hey Guys,
We're off and running for SAAM (Sexual Assault Awareness Month). I hope you all can come to the kick-off event tomorrow in the Atrium of the Science Center. Things start at 4:30 and there will be yummy things and drinks, plus other motivated people to talk to about related activism on on the Oberlin campus. Please attend if you can.
First, our wordpress blog that you can choose to be administrators on if you contact me. It has a great calendar and I'm hoping to post some of our testimonials online
http://oberlinsaam.wordpress.com/
Second, our Testimonial Project and One Campaign will only work if we get people to participate, and a lot of people at that. Personal contact is the best way to get people to come to action, so please take a moment to ask your friends. Also, while you're at it, get them excited about our workshop :)
I will post our Facebook group later. This is going to be a very productive month, I'm excited.
Monday, March 30, 2009
Common Cause
Scene 1
Two trees have a casual conversation in the heart of a lush forest.
LEAFRED: Hey there Leafrank.
LEAFRANK: Hey there Leafred.
LEAFRED: How've you been? I hear you lost some branches in the big storm a couple days back. That gale sure was nasty.
LEAFRANK: Oh man, I'm still coming to terms with it. I haven't felt this weak since I was a sapling.
LEAFRED: Wow. I'm sorry Frank, it was a real rough storm for all of us big old trees.
LEAFRANK: I just hope those darn deer do their jobs better this year.
LEAFRED: How do you mean?
LEAFRANK: Well they're supposed to be spreading our seeds, but the stupid gits don't always eat my fruit like they're friggin' supposed to.
LEAFRED: Stupid deer.
LEAFRANK: Yeah. If it weren't for them, I'd probably have many more offspring. And that's pretty important when you get to be our age.
LEAFRED: Damn straight. I really do hate those deer sometimes. They can get to be so snooty and all.
LEAFRANK: Let's just hope they do a better job this year... little dweebs they are.
Scene 2
A few minutes later, elsewhere in the woods, two deer get righteously indignant.
DEERDRA: Uch, Deerie, can you believe those obnoxious old trees?
DEERIE: No! They are so mean to us. They should at least make sure that we aren't within earshot when they go and bad mouth us.
DEERDRA: Seriously. Why do they think we don't always eat their fruit? If they weren't such jerks about it, I'd feel more inclined to spread their seeds.
DEERIE: Yeah. I don't like how they think we are here just for the purpose of helping to spread their seeds. We're here to eat fruit and enjoy the landscape. We don't need to help them to propagate.
DEERDRA: True. True.
DEERIE: Geesh. I'm so sick of it... (PAUSE)... Maybe we could... Do a... (THINKING)
DEERDRA: Do a ... what?
DEERIE: Boycott.
DEERDRA: What?!?! How on Earth would we do that?
DEERIE: Simple. We just stop eating those guys' fruit and tell our friends to do the same.
DEERDA: So then they have to change their behavior?
DEERIE: Yeah, I think it will work. Next time the forest council meets we should be able to reach an agreement with them, either that or we keep boycotting and keeping the pressure up on them.
DEERDRA: Alright, let's give it a shot.
Scene 3
Forest council meeting, with a Deer , Tree, and various other creatures of the woods.
LION: (Serious talker, Grandiose mannerisms) Welcome everyone, and thank you for coming to our gathering for the month of August. We gather in a time of great peril, for our forest is under threat. Representative Rabbit, would you like to give your report?
RABBIT: I was scouting around the edges of our forest, when I heard unfamiliar noises. Strange ones, sounds that do not belong in our humble forest.
LEAFRANK: What was it??
RABBIT: Sounds of something different. I dared not leave and track them down, for doing so would require that I leave our part of the forest. But I was curious, incredibly curious, and remained at the edge of our forest to listen for three days. And the sounds grew louder.
LEAFRANK: How much louder?
RABBIT: Well, slowly and gradually the noises grew. Sometimes they would stop. And often when they started it sounded closer. I began to hear... falling trees.
LEAFRANK: You began to hear what?!
RABBIT: Falling trees. That was the only sound I could make out from the din. And I have come to say we must act, we must do something. There is something wrong going on out there, and it's getting nearer.
LION: (Solemn) Thank you Rabbit. We must all put our heads together and plan how we can take precautions. Who here is in disagreement?
DEERIE: I. The old trees are in great peril it seems. However, they have been cruel and degrading towards the deer of these woods for a long time now. I do not propose that we let harm come to them, but I won't help until I know that they will begin to treat us Deer properly.
LEAFRANK: You are just one more threat to us! You won't spread our seeds, trying to put us in harms way!
DEERIE: Only due to your disrespect towards our gender and species. You brought it upon yourselves.
Tree gets angrier, about to holler back, when Lion cuts them off
LEAFRANK: YOU -
LION: QUIET! Do you not understand the severity of our dilemma? We find ourselves threatened by an unknown terror, and you bicker of little things. What will you do if this threat comes to our home? Whine about disrespect or look on in terror as something terrible happens? Trees: you must respect the other creatures that inhabit these woods. Deer: I hope you will end your boycott and once again help our threatened trees. With trees falling, many other crises may come.
Tree and Deer look down in shame, in clear agreement with Lion's decree.
LION: Now, how will we confront this unknown threat that looms closer every day? We must protect ourselves in defense of our habitat, but we have no knowledge of what is actually happenning out there.
RABBIT: It may be time for me to venture out from our part of the woods, to see what is afoot. If I may be so bold.
LION: I hate to ask such a task of you, but the time to organize has indeed come. I have heard stories of other lands, and fear for our home. God speed, Representative Rabbit, god speed.
LEAFRANK: God speed.
DEER: Good luck.
Rabbit nods, turns, scampers off into the woods.
End of play.
Tuesday, March 17, 2009
creative piece #1
This is kind of silly and I don't even know if it perfectly fits the requirements, but here:
A mother and her child are walking in the park. The child holds his mother's hand in one hand and a teddy bear in the other.
Child (whining, holding out his teddy bear): Mommyyy, Teddy wants a smack.
Mother ignores him.
Child: Momm—
Mother (slightly exasperated): What now?
Child (Pointing to his teddy bear and then to a nearby snack cart): Teddy wants a smack! He’s hungry!
Mother (distractedly): Snack. A snack.
Child: Snnnnack. He wants a snnnack!
Mother (barely paying attention): That’s nice.
Child: Mommyyyy!
Mother stops walking, rolls eyes and gives an exasperated grunt, then puts on a big smile
Mother (stooping to child’s level; sighs) (in a very clearly forced voice): Which snack does Teddy want?
Child: All the smacks.
Mother: Snacks
Child: Snnacks.
Mother: Well Teddy can’t possibly eat all the snacks, can he? He should just choose one.
Child: A humongous pretzel!
Mother: All right, all right. (she pays for the pretzel and hands it to the child)
Child eats the pretzel as they continue walking. Mother answers her ringing cell phone and carries on a conversation.
Mother (into phone): Oh, that sounds lovely. Absolutely lovely. Family time is just the best time, isn’t it?
Child (pulling on mother’s hand): Mommy?
Mother puts finger to lips and shakes head at child. Child pouts. Conversation continues for a while, then
Child: Mommy?
Mother: Hold on, Beth, Mark wants something. (Looks down at child) What is it?
Child: Mommy, Teddy wants to go play with the duckies!
Mother: Not now, Mark, I’m on the phone. It’s rude to interrupt people when they’re talking on the phone.
Child (on the verge of tears): But, mommy!
Mother (into phone; very exasperated): Look, Beth, I’ll have to call you back. All right. Bye now. (closes phone, sighs) All right, where are the ducks?
Child (tugging mother towards pond): Over here!
Child plays with ducks while mother again extracts phone from purse. She dials a number, waits for it to ring, and starts talking again, staring absentmindedly at child. Child continues to play for a while, then runs back over.
Child (again tugging at mother’s hand): Mommy mommy mommy.
Mother (to child, somewhat angry): Just a minute. (into phone) All right Beth, well I’ll call you about the b-i-r-t-h-d-a-y p-a-r-t-y. Yes, yes. All right. Take care. Buhbye. (closes phone, puts it in purse.) (addressing child) What is it now?
Child: Mommy, Teddy’s… Teddy’s lonely.
Mother: Lonely? Why is he lonely? Aren’t you Teddy’s friend?
Child: He doesn’t have a mommy.
Mother: Doesn’t have a mommy? That’s very sad. (phone rings) Come on, Mark, we should be getting home. (Pulling child behind her, she answers phone and begins talking again).
A mother and her child are walking in the park. The child holds his mother's hand in one hand and a teddy bear in the other.
Child (whining, holding out his teddy bear): Mommyyy, Teddy wants a smack.
Mother ignores him.
Child: Momm—
Mother (slightly exasperated): What now?
Child (Pointing to his teddy bear and then to a nearby snack cart): Teddy wants a smack! He’s hungry!
Mother (distractedly): Snack. A snack.
Child: Snnnnack. He wants a snnnack!
Mother (barely paying attention): That’s nice.
Child: Mommyyyy!
Mother stops walking, rolls eyes and gives an exasperated grunt, then puts on a big smile
Mother (stooping to child’s level; sighs) (in a very clearly forced voice): Which snack does Teddy want?
Child: All the smacks.
Mother: Snacks
Child: Snnacks.
Mother: Well Teddy can’t possibly eat all the snacks, can he? He should just choose one.
Child: A humongous pretzel!
Mother: All right, all right. (she pays for the pretzel and hands it to the child)
Child eats the pretzel as they continue walking. Mother answers her ringing cell phone and carries on a conversation.
Mother (into phone): Oh, that sounds lovely. Absolutely lovely. Family time is just the best time, isn’t it?
Child (pulling on mother’s hand): Mommy?
Mother puts finger to lips and shakes head at child. Child pouts. Conversation continues for a while, then
Child: Mommy?
Mother: Hold on, Beth, Mark wants something. (Looks down at child) What is it?
Child: Mommy, Teddy wants to go play with the duckies!
Mother: Not now, Mark, I’m on the phone. It’s rude to interrupt people when they’re talking on the phone.
Child (on the verge of tears): But, mommy!
Mother (into phone; very exasperated): Look, Beth, I’ll have to call you back. All right. Bye now. (closes phone, sighs) All right, where are the ducks?
Child (tugging mother towards pond): Over here!
Child plays with ducks while mother again extracts phone from purse. She dials a number, waits for it to ring, and starts talking again, staring absentmindedly at child. Child continues to play for a while, then runs back over.
Child (again tugging at mother’s hand): Mommy mommy mommy.
Mother (to child, somewhat angry): Just a minute. (into phone) All right Beth, well I’ll call you about the b-i-r-t-h-d-a-y p-a-r-t-y. Yes, yes. All right. Take care. Buhbye. (closes phone, puts it in purse.) (addressing child) What is it now?
Child: Mommy, Teddy’s… Teddy’s lonely.
Mother: Lonely? Why is he lonely? Aren’t you Teddy’s friend?
Child: He doesn’t have a mommy.
Mother: Doesn’t have a mommy? That’s very sad. (phone rings) Come on, Mark, we should be getting home. (Pulling child behind her, she answers phone and begins talking again).
Monday, March 16, 2009
Jessica: What did you get on the midterm?
Ellen: B.
Jessica: Nice. I got a C-. I think I only got that because the professor likes me.
Ellen: C-? How’d you get a C-? You spent the entire week studying.
Jessica: I don’t know. I understand the material…or at least I thought I did. I guess I’ve just been distracted lately. Long week, you know.
Ellen: At least it’s Friday. What are you doing tonight?
Jessica: I don’t know. I really need to do work.
Ellen: On a Friday night?
Jessica: Yes, on a Friday night. I have a ton of work…
Ellen: That’s what you said last weekend. And the weekend before that. You just spent an entire week stressing yourself out over a test. You deserve a break. There’s a party tonight on Trent St. I’m going and you’re coming with me.
Jessica: I really shouldn’t. I can’t afford another C-.
Ellen: Come on. Alan will be there. And I’m sure after 40 oz. of social skills you won’t be so scared to talk to him. Who knows what could happen? It’s a night of possibilities.
Jessica: stop it, please.
Ellen: what?
Jessica: I don’t want to hook up with Alan. With or without 40 oz. of whatever you just said.
Ellen: But I thought you liked Alan.
Jessica: I do, but still…you know…I mean…I don’t know. (pause.) It’s 2:35.
Ellen: I didn’t ask what time it is. You’re trying to change the subject.
Jessica: No. I’m trying to tell you that you’re 5 minutes late for your next class.
Ellen: Dammit! I have to go. Where are you on your way to?
Jessica: Nowhere. Here. I’m going to find a spot to study for a couple hours.
Ellen: Alright. I’ll find you after class. Will you come to the party? Please, please, please.
Jessica: Maybe.
Ellen: I’ll take that “maybe” as a “yes.”
Jessica: Fine, I’ll go.
Ellen: Good. I’ll stop by your room later. We can pick out something for you to wear.
Ellen hurries off. Jessica has a slight smile on her as she makes her way down the hall in the opposite direction. She notices Tommy walking toward her. Her smile fades. She drops her head in an attempt to hide her face and avoid eye contact. She fails. They are both awkward.
Tommy: Hey Jessica.
Jessica: Oh…hi Tommy.
(they stop to talk)
Tommy: How are you?
Jessica: Fine. How about you?
Tommy: Good. I’m Good.
(Silence. Neither knows what to say or do.)
Tommy: It’s been a while. I haven’t seen you in a few weeks.
Jessica: I’ve been busy.
Tommy: Yeah. Me too.
(silence)
Tommy: So…what does your weekend look like?
Jessica: Umm, well tonight I’m going to…
(a girl walks up next to Tommy, kisses him on the cheek, and puts her arm around him. Tommy and Jessica are even more awkward. They make eye contact occasionally and quickly break it)
Girl: Hey Tommy.
Tommy: Lauren! Um…uh…hi. Jessica, this is Lauren. Lauren, this is my…uh…this is Jessica.
Girl: (to Jessica. Friendly.) Hi. Nice to meet you
Jessica: Hi.
(Tommy and Jessica avoid eye contact with each other)
Girl: Tommy, are you going to the party on Trent St. tonight?
Tommy: Yeah. I’m going.
Girl: Great! Want to get together before? Do a little pre-gaming?
Tommy: sure.
Girl: Are you going to the party Jessica?
Jessica: Uh…no. I have a ton of work to do tonight. I need to study.
Girl: that’s too bad. I know what you mean though. Tommy and I are about to find a table and study for a little while, if you want to join us.
Jessica: I’m on my way out, actually. I have somewhere to go. But thanks. Um…I’ll see you later, I guess.
Girl: Bye. It was nice to meet you.
Jessica: yeah…bye.
(Jessica and Tommy exchange glances but say nothing. Jessica leaves.)
Ellen: B.
Jessica: Nice. I got a C-. I think I only got that because the professor likes me.
Ellen: C-? How’d you get a C-? You spent the entire week studying.
Jessica: I don’t know. I understand the material…or at least I thought I did. I guess I’ve just been distracted lately. Long week, you know.
Ellen: At least it’s Friday. What are you doing tonight?
Jessica: I don’t know. I really need to do work.
Ellen: On a Friday night?
Jessica: Yes, on a Friday night. I have a ton of work…
Ellen: That’s what you said last weekend. And the weekend before that. You just spent an entire week stressing yourself out over a test. You deserve a break. There’s a party tonight on Trent St. I’m going and you’re coming with me.
Jessica: I really shouldn’t. I can’t afford another C-.
Ellen: Come on. Alan will be there. And I’m sure after 40 oz. of social skills you won’t be so scared to talk to him. Who knows what could happen? It’s a night of possibilities.
Jessica: stop it, please.
Ellen: what?
Jessica: I don’t want to hook up with Alan. With or without 40 oz. of whatever you just said.
Ellen: But I thought you liked Alan.
Jessica: I do, but still…you know…I mean…I don’t know. (pause.) It’s 2:35.
Ellen: I didn’t ask what time it is. You’re trying to change the subject.
Jessica: No. I’m trying to tell you that you’re 5 minutes late for your next class.
Ellen: Dammit! I have to go. Where are you on your way to?
Jessica: Nowhere. Here. I’m going to find a spot to study for a couple hours.
Ellen: Alright. I’ll find you after class. Will you come to the party? Please, please, please.
Jessica: Maybe.
Ellen: I’ll take that “maybe” as a “yes.”
Jessica: Fine, I’ll go.
Ellen: Good. I’ll stop by your room later. We can pick out something for you to wear.
Ellen hurries off. Jessica has a slight smile on her as she makes her way down the hall in the opposite direction. She notices Tommy walking toward her. Her smile fades. She drops her head in an attempt to hide her face and avoid eye contact. She fails. They are both awkward.
Tommy: Hey Jessica.
Jessica: Oh…hi Tommy.
(they stop to talk)
Tommy: How are you?
Jessica: Fine. How about you?
Tommy: Good. I’m Good.
(Silence. Neither knows what to say or do.)
Tommy: It’s been a while. I haven’t seen you in a few weeks.
Jessica: I’ve been busy.
Tommy: Yeah. Me too.
(silence)
Tommy: So…what does your weekend look like?
Jessica: Umm, well tonight I’m going to…
(a girl walks up next to Tommy, kisses him on the cheek, and puts her arm around him. Tommy and Jessica are even more awkward. They make eye contact occasionally and quickly break it)
Girl: Hey Tommy.
Tommy: Lauren! Um…uh…hi. Jessica, this is Lauren. Lauren, this is my…uh…this is Jessica.
Girl: (to Jessica. Friendly.) Hi. Nice to meet you
Jessica: Hi.
(Tommy and Jessica avoid eye contact with each other)
Girl: Tommy, are you going to the party on Trent St. tonight?
Tommy: Yeah. I’m going.
Girl: Great! Want to get together before? Do a little pre-gaming?
Tommy: sure.
Girl: Are you going to the party Jessica?
Jessica: Uh…no. I have a ton of work to do tonight. I need to study.
Girl: that’s too bad. I know what you mean though. Tommy and I are about to find a table and study for a little while, if you want to join us.
Jessica: I’m on my way out, actually. I have somewhere to go. But thanks. Um…I’ll see you later, I guess.
Girl: Bye. It was nice to meet you.
Jessica: yeah…bye.
(Jessica and Tommy exchange glances but say nothing. Jessica leaves.)
Sunday, March 15, 2009
Mid-Term Proposals: Due 3/15 at Midnight
A typed paragraph of your concept and workable thesis (if you are doing an analytical piece) should be in my inbox by midnight.
Action, Motivation, Sub-text, and Conflict
Blog Post Option: Create a cohesive two-three character scene which demonstrates clear motivation on the part of one or more characters.
I like to think about action, motivation, and subtext on similar terms to Freud’s theory of the conscious and subconscious. In Freud’s context, there are three components to our waking mind: our superego, our ego and our id. The ego is the “face” of the mind that is shown to the external world, moderated by social codes. The superego is the underlying reasons for these actions, often more emotionally honest and less socially moderated. Finally, the id is where all of our most essential reactions and desires comes from, but it is reaction and desire that are socially uncontrolled and therefore must be restrained in everyday action and life. Now think about the mind as an iceberg. The superego is the 20% floating on top of the water, what can be seen (the action.) The superego is floating mostly below the water, but every once in a while it bobs up and is visible (the motivation.) Finally, the id is always below the water, never shown or exposed (the sub-context.)
For example: A man runs to get coffee every time his boss calls, even though that is not part of his job and he feels humiliated by the treatment.
Action (what is shown to the audience): A man going to fetch a cup of coffee
Motivation (what the audience knows about the character’s thoughts): A man is going to fetch a cup of coffee and mildly demean himself because he is afraid of losing his job
Sub-text (what the audience does not know or only suspects about the character’s more private thoughts or motivations): A man is going to fetch a cup of coffee and demean himself so that he does not have to feel emasculated by his wife when he returns home without a job.
The important thing to remember is this: The action cannot change, it is what you see on the stage. The motivation is also relatively immobile, it can only shift in slight degrees around the context of the action; what will really add dimension to your scene is to play with the subtext. Often, in finding creative solutions to your sub-text you might go ahead and change your motivation and action to “fit” if the concept drives you enough.
Conflict is a very easy concept to get a handle on, especially once you get the hang of identifying action, as conflict is another simply “action driven” device: conflict is whatever prevents the character from getting what they want. It can play off the motivation and subtext, but it doesn’t have to. Like Spencer notes, conflict can even come from an inanimate object that prevents the character from gaining their goal (this is often the case in slapstick and silent forms of comedy.) At the same time conflict CAN actively engage with motivation or subtext (eg: A man is compelled to go and fetch a cup of coffee and demean himself so that he doesn’t lose his job, however he is compelled to stay where he is because he knows a co-worker is a good friend of his wife’s, and is afraid he will suffer the same humiliation at home for denigrating himself at work.) From a rope to a desire to not be emasculated, conflict can come from almost anything.
I like to think about action, motivation, and subtext on similar terms to Freud’s theory of the conscious and subconscious. In Freud’s context, there are three components to our waking mind: our superego, our ego and our id. The ego is the “face” of the mind that is shown to the external world, moderated by social codes. The superego is the underlying reasons for these actions, often more emotionally honest and less socially moderated. Finally, the id is where all of our most essential reactions and desires comes from, but it is reaction and desire that are socially uncontrolled and therefore must be restrained in everyday action and life. Now think about the mind as an iceberg. The superego is the 20% floating on top of the water, what can be seen (the action.) The superego is floating mostly below the water, but every once in a while it bobs up and is visible (the motivation.) Finally, the id is always below the water, never shown or exposed (the sub-context.)
For example: A man runs to get coffee every time his boss calls, even though that is not part of his job and he feels humiliated by the treatment.
Action (what is shown to the audience): A man going to fetch a cup of coffee
Motivation (what the audience knows about the character’s thoughts): A man is going to fetch a cup of coffee and mildly demean himself because he is afraid of losing his job
Sub-text (what the audience does not know or only suspects about the character’s more private thoughts or motivations): A man is going to fetch a cup of coffee and demean himself so that he does not have to feel emasculated by his wife when he returns home without a job.
The important thing to remember is this: The action cannot change, it is what you see on the stage. The motivation is also relatively immobile, it can only shift in slight degrees around the context of the action; what will really add dimension to your scene is to play with the subtext. Often, in finding creative solutions to your sub-text you might go ahead and change your motivation and action to “fit” if the concept drives you enough.
Conflict is a very easy concept to get a handle on, especially once you get the hang of identifying action, as conflict is another simply “action driven” device: conflict is whatever prevents the character from getting what they want. It can play off the motivation and subtext, but it doesn’t have to. Like Spencer notes, conflict can even come from an inanimate object that prevents the character from gaining their goal (this is often the case in slapstick and silent forms of comedy.) At the same time conflict CAN actively engage with motivation or subtext (eg: A man is compelled to go and fetch a cup of coffee and demean himself so that he doesn’t lose his job, however he is compelled to stay where he is because he knows a co-worker is a good friend of his wife’s, and is afraid he will suffer the same humiliation at home for denigrating himself at work.) From a rope to a desire to not be emasculated, conflict can come from almost anything.
Thursday, March 12, 2009
Mid Term Prompts
YOU DO NOT NEED TO USE THESE PROMPTS
You are encouraged to create your own. However, if you are stuck, perhaps these might help.
Analytical:
Intimately engaging with Boal’s text, discuss the progression of the spectator/actor from the initial dithyramb to the contemporary state of theatre as it is today, as defined by you.
Using concrete examples from Boal’s text and from cultural history, examine the concept of the spectacle and its relation to power politics and economic stability.
What is Boal’s most effective theatrical technique, theatre as language (Forum, Image etc.) or theatre as rehearsal (newspaper, invisible etc.)? What would Aristotle and Hegel argue against these techniques?
Creative:
Assuming the role of set and costume design, describe in detail for your “director” how you would represent both Hegel and Brecht’s idealization of theatre in two isolated scenes of the same dialogue. You must choose scenes that are common to a contemporary audience, such as Hamlet’s grave digging scene or Faust’s laboratory. A response paper is necessary.
Choose a topic of social import (sexual assault, gender equality, biodiversity etc.), choose an audience, choose a space, and choose a time period. Write two different “one act plays” using the embedded theories of Aristotle, Hegel, Brecht and Boal using class and outside texts. In a response paper engage with both of these scripts, and form an argument as to why one method is more or less effective in addressing said topic.
The last day I will look at drafts is: Tuesday the 17th
You are STRONGLY ENCOURAGED to at least start an email conversation with me on your topic. It's unfortunate, but sadly once the papers are turned in misunderstandings cannot be worked out. I've seen many students, good students at that, taken by surprise when they did not go and meet with their professor. It's great to learn that early.
You are encouraged to create your own. However, if you are stuck, perhaps these might help.
Analytical:
Intimately engaging with Boal’s text, discuss the progression of the spectator/actor from the initial dithyramb to the contemporary state of theatre as it is today, as defined by you.
Using concrete examples from Boal’s text and from cultural history, examine the concept of the spectacle and its relation to power politics and economic stability.
What is Boal’s most effective theatrical technique, theatre as language (Forum, Image etc.) or theatre as rehearsal (newspaper, invisible etc.)? What would Aristotle and Hegel argue against these techniques?
Creative:
Assuming the role of set and costume design, describe in detail for your “director” how you would represent both Hegel and Brecht’s idealization of theatre in two isolated scenes of the same dialogue. You must choose scenes that are common to a contemporary audience, such as Hamlet’s grave digging scene or Faust’s laboratory. A response paper is necessary.
Choose a topic of social import (sexual assault, gender equality, biodiversity etc.), choose an audience, choose a space, and choose a time period. Write two different “one act plays” using the embedded theories of Aristotle, Hegel, Brecht and Boal using class and outside texts. In a response paper engage with both of these scripts, and form an argument as to why one method is more or less effective in addressing said topic.
The last day I will look at drafts is: Tuesday the 17th
You are STRONGLY ENCOURAGED to at least start an email conversation with me on your topic. It's unfortunate, but sadly once the papers are turned in misunderstandings cannot be worked out. I've seen many students, good students at that, taken by surprise when they did not go and meet with their professor. It's great to learn that early.
Theory Moment: Guy Debord's Society of the Spectacle
Hey Guys,
I know that we have actively engaged with the idea of the separation that is caused when a set and a stage is inserted between the spectator and the actor, and the inherent social inequity that this separation suggests. While we have rigorously examined this concept in relation to theatre (our obvious pick) I realize that it might be interesting for you to examine it in the context of cinema. Guy Debord was a marxist theorist, as with Boal, who worked in film, narrative and theory. Society of the Spectacle is acually a "filmic retelling" of his work of theory by the same title, and engages with many of Boal's concepts, in particular the voyeuristic and priviledged view of the spectator *at* the spectacle. You can watch the whole of Debord's Society of the Spectacle on YouTube, I have attached the first segment here:
WARNING: if you have any aversions to images that are midly pornographic or insinuate violence then you should not view this.
Guy Debord's Society of the Spectacle
I know that we have actively engaged with the idea of the separation that is caused when a set and a stage is inserted between the spectator and the actor, and the inherent social inequity that this separation suggests. While we have rigorously examined this concept in relation to theatre (our obvious pick) I realize that it might be interesting for you to examine it in the context of cinema. Guy Debord was a marxist theorist, as with Boal, who worked in film, narrative and theory. Society of the Spectacle is acually a "filmic retelling" of his work of theory by the same title, and engages with many of Boal's concepts, in particular the voyeuristic and priviledged view of the spectator *at* the spectacle. You can watch the whole of Debord's Society of the Spectacle on YouTube, I have attached the first segment here:
WARNING: if you have any aversions to images that are midly pornographic or insinuate violence then you should not view this.
Guy Debord's Society of the Spectacle
Monday, March 9, 2009
my blog...sorry it's late =(
i found boal's descriptions of the different exercises, games, and theatrical pieces very interesting. it was the first time i've enjoyed reading boal. the restaurant piece was especially interesting, and fun. many people got involved; there were all kinds of varying reactions from the customers; and in the end the waiter, whose been having to deal with this incredibly annoying customer, gets a huge tip. it's like a reward for his participation when he didn't even know he was involved. after reading about some of boal's invisible theatre pieces, i like the idea of doing our own invisible theatre piece even more now. i don't know how everybody else feels about it, but i think it would be cool. if we focused the piece and wrote it well, we could totally pull it off and have an effect without just being annoying. given our time constraints and everyone's super busy schedules, i don't know how possible it would be to pull something like this off in terms of planning and such.
Late as usual! I don't feel like I have tons to say. I really thought the photograph exercise Boal was talking about (the one the literacy people did) was cool. I don't know why. A picture's worth a thousand words? I don't know. I how it tied directly into image theater, though. I like the idea of expressing, through media other than spoken or written word, difficult topics or even simple questions with difficult answers. I also really like his anecdotes! Some of them get a little tedious, but on the whole his personal experiences are really interesting because it's his philosophy in action. Using theater to free people from the confines of society and from their oppression is just such a neat and different idea. I feel like a book of his experiences doing socially relevant and even liberating theater would be way more meaningful than his attempts to find a philosophical and historical foundation for theater as oppression. Theater as a tool of liberation is inspiring and, with his stories to back it up, sounds much less radical and feels like much less of a stretch intellectually. That's just me though. At any rate, I look forward to writing our own pieces and trying to figure out how what he and Spencer are writing about can apply to our own lives and our society's problems.
Sunday, March 8, 2009
Creative blog: Action exercise
I chose to do the creative exercise mentioned in The Playwtight's Guidebook of writing a scene about a person who wants a book. It's not very well thought out, but I thought it would be a nice change from the usual reflections on the reading. Then I got on the blog and saw the latest entries, and I wish I had chosen to comment on the image theatre pictures and further plans for Sexual Assault Awareness month. Oh well.
-----
A WOMAN is sitting on a bench at a train station reading a book. With her eyes on the book, the WOMAN fumbles in her jacket pocket and retreives a pack of gum. She pokes around inside and comes out empty.
WOMAN: Great. Out of gum.
The WOMAN places the book absent-mindedly on the bench, stands and exits. A MAN then enters, walks to the same bench and sits. He notices the book, picks it up and starts reading. The WOMAN re-enters, placing a piece of gum in her mouth and tucking the rest of the package in her pocket. She notices the MAN with her book, pauses, then sits down next to him.
WOMAN: (clearing throught quietly) Uhh...
The MAN remains engrossed in the book. The WOMAN fidgets and shoots the MAN several looks.
WOMAN: (slightly louder) Um...er...
The MAN glances over, apparently annoyed at being disturbed, and shifts away from the WOMAN. As he does so, he puts on a pair of headphones.
WOMAN: Excuse me...
No response. The WOMAN makes to tap the MAN's shoulder, but withdraws her hand.
WOMAN: (louder) Excuse me.
The MAN looks at her, but doesn't remove his headphones.
WOMAN: Um, that's my book.
MAN: (removing headphones) What?
WOMAN: It's just...uh...er...
The MAN fixes her with a cool stare and raises his eyebrow.
WOMAN: Well, that book, it's -
MAN: (Going back to reading) Quite good, I know.
Beat. The WOMAN sighs and stares at the book. She leans slowly across and attempts to read over the MAN's shoulder. He notices.
WOMAN: Um, I don't think you understand. I -
MAN: I don't think you uderstand. I'm trying to read.
WOMAN: (mutters) So was I.
MAN: What was that?
WOMAN: So was I!
MAN: Okay. So read, then.
WOMAN: I can't!
MAN: And why is that?
WOMAN: Because that's my book! You stole it!
MAN: Oh. (Beat) This is yours?
WOMAN: (exasperated) Yes! I left it on the bench.
MAN: Oh. Sorry about that.
He hands her the book.
WOMAN: Thank you.
The WOMAN opens the book and begins reading. The MAN glances over at her, than faces forward and puts his hands on his thighs. Beat.
MAN: (still facing forward) Could I borrow it sometime?
The WOMAN looks at him. End of scene.
-----
A WOMAN is sitting on a bench at a train station reading a book. With her eyes on the book, the WOMAN fumbles in her jacket pocket and retreives a pack of gum. She pokes around inside and comes out empty.
WOMAN: Great. Out of gum.
The WOMAN places the book absent-mindedly on the bench, stands and exits. A MAN then enters, walks to the same bench and sits. He notices the book, picks it up and starts reading. The WOMAN re-enters, placing a piece of gum in her mouth and tucking the rest of the package in her pocket. She notices the MAN with her book, pauses, then sits down next to him.
WOMAN: (clearing throught quietly) Uhh...
The MAN remains engrossed in the book. The WOMAN fidgets and shoots the MAN several looks.
WOMAN: (slightly louder) Um...er...
The MAN glances over, apparently annoyed at being disturbed, and shifts away from the WOMAN. As he does so, he puts on a pair of headphones.
WOMAN: Excuse me...
No response. The WOMAN makes to tap the MAN's shoulder, but withdraws her hand.
WOMAN: (louder) Excuse me.
The MAN looks at her, but doesn't remove his headphones.
WOMAN: Um, that's my book.
MAN: (removing headphones) What?
WOMAN: It's just...uh...er...
The MAN fixes her with a cool stare and raises his eyebrow.
WOMAN: Well, that book, it's -
MAN: (Going back to reading) Quite good, I know.
Beat. The WOMAN sighs and stares at the book. She leans slowly across and attempts to read over the MAN's shoulder. He notices.
WOMAN: Um, I don't think you understand. I -
MAN: I don't think you uderstand. I'm trying to read.
WOMAN: (mutters) So was I.
MAN: What was that?
WOMAN: So was I!
MAN: Okay. So read, then.
WOMAN: I can't!
MAN: And why is that?
WOMAN: Because that's my book! You stole it!
MAN: Oh. (Beat) This is yours?
WOMAN: (exasperated) Yes! I left it on the bench.
MAN: Oh. Sorry about that.
He hands her the book.
WOMAN: Thank you.
The WOMAN opens the book and begins reading. The MAN glances over at her, than faces forward and puts his hands on his thighs. Beat.
MAN: (still facing forward) Could I borrow it sometime?
The WOMAN looks at him. End of scene.
I am really enjoying moving into these new books. Specifically, I found a lot of connections between TOTO and PG. I very much enjoyed Boal's fascinating description of an invisible theatre piece in a restaurant where pauper-customers begin making various social statements about class privilege/oppression. This relates clearly to Spencer's central point that structure must be simple, and actions clearly defined. Boal's structure evolves in a distinct way, involving the "audience" with great control over the situation remaining in the hands of the actors. Furthermore, the actor's have an extremely clear objective: convincing their audience that they (the actors) have been treated unjustly (and conveying a broader picture of societal injustice from which this specific incident arises).
Between Boal and Spencer, I feel that I am getting a very good intellectual foundation in how to create powerful and socially relevant theatre. The challenge will be in putting this into practice. I look forward to our next exploration of Boal's exercises, and hope that it helps to think about how to write skits/plays as well as generally practice the form of theatre Boal is writing about.
Saturday, March 7, 2009
Blogging for Sunday 8/3/09
Hey Guys,
You have 3 options for blogging on Sunday evening. Your first is to write about our fabulous run in with image theatre from Thursday's class. The photos of our sculptures (all of positive and negative representations of families) are below with the sculptor's name below them. I think that these are very interesting, some more obtuse to me than others. We will be doing image theatre again next thursday, but this time using more political themes, such as unemployment.
The other two topics you can write your blog post on are: our reading and our plans for SAAM (sexual assault awareness month.) To jog your memory, here are our proposals for SAAM:
We are definitely doing:
A workshop in Image Theatre on the Oberlin Campus
We are interested in doing (in order of perceived interest):
A workshop in Image Theatre for the Oberlin High Campus
Ghostly/Moving Testimonials
A "One" T-shirt/Poster Week-Long Campaign
Staionary Testimonials
Library Conversations
Staged Performance
Here are your pictures:
David: Negative
David: Positive
Ebony: Negative (Invisible Props: Chinese food, chopsticks, tv in perspective of camera)
Ebony: Positive (Invisible Props: Book)
Sarah: Negative
Sarah: Positive
You have 3 options for blogging on Sunday evening. Your first is to write about our fabulous run in with image theatre from Thursday's class. The photos of our sculptures (all of positive and negative representations of families) are below with the sculptor's name below them. I think that these are very interesting, some more obtuse to me than others. We will be doing image theatre again next thursday, but this time using more political themes, such as unemployment.
The other two topics you can write your blog post on are: our reading and our plans for SAAM (sexual assault awareness month.) To jog your memory, here are our proposals for SAAM:
We are definitely doing:
A workshop in Image Theatre on the Oberlin Campus
We are interested in doing (in order of perceived interest):
A workshop in Image Theatre for the Oberlin High Campus
Ghostly/Moving Testimonials
A "One" T-shirt/Poster Week-Long Campaign
Staionary Testimonials
Library Conversations
Staged Performance
Here are your pictures:
David: Negative
David: Positive
Ebony: Negative (Invisible Props: Chinese food, chopsticks, tv in perspective of camera)
Ebony: Positive (Invisible Props: Book)
Sarah: Negative
Sarah: Positive
Thursday, March 5, 2009
Sorry!
I also agree with the idea of this line between invisible and guerrilla theater. Even the invisible theater, though, needs to be something that catches the attention of people even though they don't realize it's theater. I'm not sure if a conversation in the library will catch people's attention, because of what we talked about in class and also because even if people choose to eavesdrop only a few people in the near vicinity will hear it. I agree with David that if we could find an effective way to pull off guerrilla theater, that would be good. If it's a topic we really care about and we want to be sure people hear what we have to say, we'll have to be a bit more overt. I'm wary of this type of theater because it's hard to get right but I think I still like the idea of invisible theater transforming into guerrilla theater.
I guess that leaves the hard part, namely how to pull off something like this without turning people off. Especially if it's repeated, we don't want people to catch on and start avoiding us if they don't like it. If it's something engaging and interesting, though, having a loop could be good reinforcement, kind of like, "these issues aren't going away, so neither are we". I think for getting that point across, repeating the exact same thing would be most effective, but this of course is open to debate. Maybe building intensity throughout the week would work too.
I like the idea of the hidden, ghostly testimonies a LOT. We'd just need to find an effective way to set it up and make sure no one stole our speakers :P. And, as David said, we'd have to choose what content we wanted.
My opinion on the shirts is, because there are so many statistics out there, some greater than and some less than the 1 in 4 statistic, there would be no way to represent all of them and as such we need to pick one and run with it if we want a visual representation. I feel like the 1 in 4 one is the most well-known, too, and people would pick up on it because they've probably seen the statistic before.
I guess I'm done for now.See you at 3:30!
I also agree with the idea of this line between invisible and guerrilla theater. Even the invisible theater, though, needs to be something that catches the attention of people even though they don't realize it's theater. I'm not sure if a conversation in the library will catch people's attention, because of what we talked about in class and also because even if people choose to eavesdrop only a few people in the near vicinity will hear it. I agree with David that if we could find an effective way to pull off guerrilla theater, that would be good. If it's a topic we really care about and we want to be sure people hear what we have to say, we'll have to be a bit more overt. I'm wary of this type of theater because it's hard to get right but I think I still like the idea of invisible theater transforming into guerrilla theater.
I guess that leaves the hard part, namely how to pull off something like this without turning people off. Especially if it's repeated, we don't want people to catch on and start avoiding us if they don't like it. If it's something engaging and interesting, though, having a loop could be good reinforcement, kind of like, "these issues aren't going away, so neither are we". I think for getting that point across, repeating the exact same thing would be most effective, but this of course is open to debate. Maybe building intensity throughout the week would work too.
I like the idea of the hidden, ghostly testimonies a LOT. We'd just need to find an effective way to set it up and make sure no one stole our speakers :P. And, as David said, we'd have to choose what content we wanted.
My opinion on the shirts is, because there are so many statistics out there, some greater than and some less than the 1 in 4 statistic, there would be no way to represent all of them and as such we need to pick one and run with it if we want a visual representation. I feel like the 1 in 4 one is the most well-known, too, and people would pick up on it because they've probably seen the statistic before.
I guess I'm done for now.See you at 3:30!
this is the blog monster
and I am up at 1:00 in the morning and your post was due at midnight.
remember, invisible theater, not invisible blogging.
remember, invisible theater, not invisible blogging.
Wednesday, March 4, 2009
I really like the idea of a workshop. Are we still considering going to local school's eventually? I think that a workshop at Oberlin will be vital if we are going to bring our work into the broader community.
About Abby's comment regarding the line between Invisible and Guerilla theatre:
I DEFINITELY AGREE. We need to know when it changes, and if we cross it then we should do so decisively. On this point, I have been thinking about how best to portray the ideas I've mentioned about international conflict. In order to demonstrate connections regarding global issues, I think Guerilla theatre would be the way to go. This would allow us to snag folks' attention, in an attempt to communicate a complex and extremely heated message. Is this making any sense?
I'm not saying that we should run around yelling about genocide and global warming with big microphones; I just think that it should be clear that we want attention. That's where I'd draw the line between invisible and guerilla theatre - making it clear that we want attention.
I am also still interested in the recorder/phantom speakers concept. I've been kicking this one around in my head, but am having trouble pulling it forward. Do you guys have more ideas? Would we go with anecdotes only? Or would we also be able to use it to give voice to how we feel about certain issues?
Posting Reminders
Hey Ebony, David and Sarah, I want to hear your ideas by midnight, k? :)
As a reminder we have agreed upon one idea:
A workshop in image theatre around our classtime. TBA space.
Although we have agreed that we want to do this, feel free to throw out comments that might help us think about how to make it great.
Here are the ideas that we are still considering:
a) Conversation invisible theatre in the library.
b) Recorded testimonials in a stationary spot.
c) Recorded testimonials in a moving location.
d) T-shirt 1 in 4 or other statistics...or all statistics campaign? (Red X or some unifying symbol, getting people of all groups to "identify")
e) A staged performance of some sort.
f)you toss it out!
If we can come up with a solid solution to this question tomorrow we should have a good half hour to play games with one another. Yay!
As a reminder we have agreed upon one idea:
A workshop in image theatre around our classtime. TBA space.
Although we have agreed that we want to do this, feel free to throw out comments that might help us think about how to make it great.
Here are the ideas that we are still considering:
a) Conversation invisible theatre in the library.
b) Recorded testimonials in a stationary spot.
c) Recorded testimonials in a moving location.
d) T-shirt 1 in 4 or other statistics...or all statistics campaign? (Red X or some unifying symbol, getting people of all groups to "identify")
e) A staged performance of some sort.
f)you toss it out!
If we can come up with a solid solution to this question tomorrow we should have a good half hour to play games with one another. Yay!
Monday, March 2, 2009
Sexual Assault Awareness ideas
I'm not sure how helpful this blog post will be, as it is basically reiterating the views already expressed in class; however, here are my two cents on an invisible or guerrilla theatre piece in Mudd and an image theatre workshop.
On invisible vs. guerrilla theatre:
I feel as if the line between these two types of theatre is a very fine but important one, and if we cross the line it must be done deliberately. By this I mean that if the piece starts off as "invisible," and we go with the idea of a conversation between two people and joined by a third, the audience (spect-actors in this case) cannot be aware that they are watching/participating an a piece of invisible theatre. The dialogue must be natural and not overtly political. This could be a really interesting way of placing the topic of sexual assault in people's subconscious and hopefully provoking thought and discussion, which is the purpose of invisible theatre.
Furthering this concept by creating a daily loop to be repeated at the same time in the same place also sounds exciting. It begs the question, however, of whether as people become aware of the piece we are stepping into the realm of guerrilla theatre, and what this means for our presentation of the material. As the week goes on, do we become steadily more politically overt until we reach a full-on message with statistics, or do we remain "invisible" as actors? I'd like to know everyone's opinions. I think both ways have distinct advantages; it all depends on whether we want to metaphorically hit people in the face with the topic of sexual assault or whisper it in their ear so that they aren't fully aware of the thought being placed there.
On image theatre:
Since we can't organize a staged piece (according to the previous blog post), perhaps we might consider leading a workshop on image theatre pertaining to sexual assault. This could involve a brief explanation of Boal's theory of image theatre, warm-up exercises (such as they hypnosis we did in class) to make participants aware of their bodies, and a series of group created images, facilitated by us but driven by participants.
This could be a very educational experience, both for us as theatrical educators and participants. However, the problem with this is that only a small group of people will be involved, and will likely only be people with a previous interest in/concern about sexual assault. This means that we are not educating the general community, though there will be other events throughout the month that will reach a broader audience, I'm sure.
CLHP involvement in SAAM theatre
Hell Guys,
We will be discussing this in class, of course, but I wanted to let yo know as soon as I found out that the Center for Leadership in Health Promotion has over committed itself this semester and cannot participate in any staged pieces with us (any pieces that would require a significant time commitment.) In light of this I think that we should focus tomorrow on pieces on a more invisible or guerilla theatre level, pieces that can be performed quickly or through costuming/spectacle. We will talk about this in greater detail tomorrow, I just wanted to keep you in the loop. Remember to come prepared to discuss the reading tomorrow, we will touch on it as well.
--Alexa
We will be discussing this in class, of course, but I wanted to let yo know as soon as I found out that the Center for Leadership in Health Promotion has over committed itself this semester and cannot participate in any staged pieces with us (any pieces that would require a significant time commitment.) In light of this I think that we should focus tomorrow on pieces on a more invisible or guerilla theatre level, pieces that can be performed quickly or through costuming/spectacle. We will talk about this in greater detail tomorrow, I just wanted to keep you in the loop. Remember to come prepared to discuss the reading tomorrow, we will touch on it as well.
--Alexa
Wednesday, February 25, 2009
staged plot thingy
so, an idea i had was someone's story being told by another person or by multiple people (i was thinking an abusive relationship, but it could work for anything really). one thought was inspired by the color purple (the book not the movie or the play). in case anyone hasn't read it, it's written as a series of letters from the protagonist to god.
i was thinking that the protagonist of the skit keeps a journal/diary about his/her experiences in the relationship. a friend, family member, or a combination read the entries as if they were the protagonist. as the skit goes on the entries slowly reveal that this is an abusive relationship. in the end we find out something big. something has happened. this should probably be something bad that shows the consequences of remaining silent and in an abusive relationship. after that, the protagonist would address the audience him/herself. he/she could talk openly and give a retrospective look at the relationship. the protagonist and/or other people could offer statistics and/or information on how you can get help in this kind of situation.
the whole journal thing may not be completely necessary, depending on how the skit is written. i was thinking that, since a person is willing to write what he/she is not willing to say, that journal entries would be appropriate. maybe the relationship isn't something that the protagonist was willing/able to talk to friends/family about. also, writing in a journal is kind of like a conversation with oneself. maybe the protagonist is trying to convince him/herself that there is nothing wrong in the relationship, and this is evident in the journal entries. so yeah...
i was thinking that the protagonist of the skit keeps a journal/diary about his/her experiences in the relationship. a friend, family member, or a combination read the entries as if they were the protagonist. as the skit goes on the entries slowly reveal that this is an abusive relationship. in the end we find out something big. something has happened. this should probably be something bad that shows the consequences of remaining silent and in an abusive relationship. after that, the protagonist would address the audience him/herself. he/she could talk openly and give a retrospective look at the relationship. the protagonist and/or other people could offer statistics and/or information on how you can get help in this kind of situation.
the whole journal thing may not be completely necessary, depending on how the skit is written. i was thinking that, since a person is willing to write what he/she is not willing to say, that journal entries would be appropriate. maybe the relationship isn't something that the protagonist was willing/able to talk to friends/family about. also, writing in a journal is kind of like a conversation with oneself. maybe the protagonist is trying to convince him/herself that there is nothing wrong in the relationship, and this is evident in the journal entries. so yeah...
Image theatre: Sexual assault
As of yet, I do not have a concrete idea of how we can work with image theatre dealing with sexual assault; however, I can describe some ways in which I've been involved in image theatre as a possible springboard for new ideas. This type of theatre has interested me since eleventh grade, and if used properly, I think it can be an effective way of social education.
Note: I have never performed a piece of image theatre for a group outside of my theatre class, and I'm not sure how image theatre is framed for a public viewing - to me, the power of image theatre lies in the active process of creating it, not in passively watching it "performed." Leading a workshop on image theatre and sexual assualt with a small group of students isn't really an option (or is it?), but I'll take you through the method I've used so that we have something to base our own piece on.
First, the group must decide on a topic/issue - in our case, sexual assault. Then, one person volunteers to be the initial "sculptor." He/she physically forms the rest of the group into a tableau that represents his/her idea of the topic. After this, the next volunteer jumps out of the image to be the next sculptor, and the old one takes his/her place in the tableau. This new sculptor modifies the image, and this process continues until the group has reached a consensus about their representation of the issue. This image can be realistic or abstract, but is usually most effective if it evokes an emotional/reflective response in the viewer. Once the "real world" image is created, the group then alters the tableau to show an idealized version or solution to the problem presented in the first image.
Note: I have never performed a piece of image theatre for a group outside of my theatre class, and I'm not sure how image theatre is framed for a public viewing - to me, the power of image theatre lies in the active process of creating it, not in passively watching it "performed." Leading a workshop on image theatre and sexual assualt with a small group of students isn't really an option (or is it?), but I'll take you through the method I've used so that we have something to base our own piece on.
First, the group must decide on a topic/issue - in our case, sexual assault. Then, one person volunteers to be the initial "sculptor." He/she physically forms the rest of the group into a tableau that represents his/her idea of the topic. After this, the next volunteer jumps out of the image to be the next sculptor, and the old one takes his/her place in the tableau. This new sculptor modifies the image, and this process continues until the group has reached a consensus about their representation of the issue. This image can be realistic or abstract, but is usually most effective if it evokes an emotional/reflective response in the viewer. Once the "real world" image is created, the group then alters the tableau to show an idealized version or solution to the problem presented in the first image.
If we were to use this kind of theatre during Sexual Assault Awareness Week, we could go through the devising stage as a class, come up with two images and "perform" them silently or with music in a public space or in a performance. Perhaps it might also be interesting to integrate images with film clips or projections, like Alexa suggested; however, that might distract from the impact of the image.
Sample Sexual Assault Awareness Month Proposal
Hey guys!
I thought a sample proposal of a possible theatrical program might help you design or come up with your own. Feel free to add your own suggestion to this, and to your other classmates ideas as they add them.
Type of Theatrical Engagement:
Staged and Image
Continuum of behaviors:
Physically violent relationship, rape, emotionally violent relationship, harassment
Methods of Reaching spectators/spectator population:
Personal testament/ally population
Proposal:
Setting: A quiet space that students often frequent but do not socialize in, for example wilder main or perhaps the inner atrium on the first level of the library
Scenario:
(STAGED) Testimonials of male bodied individuals who identify with the male gender are collected and digitally recorded. Testimonials range on a variety of topics, but generally come back to two main points: the knowledge of male and gendered based violence against women, the pain that this gendered violence causes to men who are allies against violence, focusing on their close bond with women in their lives. Narratives are broken abruptly, and do not follow a narrative flow. Audience members are encouraged to to hear the voices as one large testimonial.
(IMAGE)
At scheduled intervals, actors or dancers (as the action is silent) move with the ambient sound of the testimonials, responding to the words on a moment-by-moment basis, in metaphoric and exaggerated ways. They gradually recede and return, allowing the testimonial to become an accepted and expected sound in the space.
I thought a sample proposal of a possible theatrical program might help you design or come up with your own. Feel free to add your own suggestion to this, and to your other classmates ideas as they add them.
Type of Theatrical Engagement:
Staged and Image
Continuum of behaviors:
Physically violent relationship, rape, emotionally violent relationship, harassment
Methods of Reaching spectators/spectator population:
Personal testament/ally population
Proposal:
Setting: A quiet space that students often frequent but do not socialize in, for example wilder main or perhaps the inner atrium on the first level of the library
Scenario:
(STAGED) Testimonials of male bodied individuals who identify with the male gender are collected and digitally recorded. Testimonials range on a variety of topics, but generally come back to two main points: the knowledge of male and gendered based violence against women, the pain that this gendered violence causes to men who are allies against violence, focusing on their close bond with women in their lives. Narratives are broken abruptly, and do not follow a narrative flow. Audience members are encouraged to to hear the voices as one large testimonial.
(IMAGE)
At scheduled intervals, actors or dancers (as the action is silent) move with the ambient sound of the testimonials, responding to the words on a moment-by-moment basis, in metaphoric and exaggerated ways. They gradually recede and return, allowing the testimonial to become an accepted and expected sound in the space.
Tuesday, February 24, 2009
Skit Ideas
I really like the idea of working with Sexual Assault Awareness Month, and think that the immediacy of the issue in our lives makes it a good choice for a skit.
However, I've also been thinking about something Alexa mentioned on day 1 of class - that Oberlin students would be really into something that combined sexual health/gender roles with environmental stewardship. Bear with me for a minute:
-In Darfur, countless women have been raped, and sexualized violence has become a systematic tool of the Janjaweed militia and Sudanese army
-The conflict is largely fueled by environmental scarcity, specifically water scarcity
-Al Gore points out, in an Inconvenient Truth, that this is largely due to the drying up of Lake Chad. And, he continues, these kinds of conflicts will inevitably be more common if the worst affects of global warming take hold and drought increases worldwide.
Thus, individual choices, carbon footprints, and environmental stewardship clearly connect with human rights, gender roles, and sexualized violence. This is a connection that I've been very interested in for a long time, and have done a lot of work on in the past. Could we give it a try? I'd be willing to write the skit, and think it would be a very good challenge.
Monday, February 23, 2009
a third blog post
Once again, I'm sorry I'm always the last to post these things! I also apologize in advance for any incoherence in my writing, as I'm quite exhausted...
I too enjoyed Boal’s history of the changing nature of theater and its relation to society. It made sense to me except where he attacked individual playwrights. I mostly understand where he’s coming from when talks about the development of theater as a method of defining the place of the individual in society, and how it reflected and influenced the social norms of the day. It made sense that overall theater might have a dehumanizing effect—what I don’t understand is, as David said, how Ionesco can be classified as “[overshadowing] the achievements of all his fellow playwrights in the enormous task of dehumanizing man.”
It’s like Boal switched from arguing that theater works to oppress people, as in the audience, to arguing that a certain character in a certain play was somehow restricted and “oppressed” because he was constructed as an “[abstraction] of a psychological, moral, or metaphysical nature”. This is a difficult leap for me to make, especially when I feel like Ionesco’s characters are created very precisely for the purpose of social commentary. The only explanation I can think of is that perhaps Boal is suggesting that this increased denigration of the individual came about without Ionesco’s noticing it; that maybe Boal is saying that though Ionesco’s intentions were good, he unknowingly perpetuated this sequence of dehumanization Boal sees in theater.
On a different note, I found his characterization of the influence Hollywood has interesting, especially because of the nature of the influence. I’ve always found that it’s not the didactic, Aristotelian plays that influence people the most, but rather the subtly manipulative ones. In this sense, if we extend Boal’s “theater” to the media today, we see how people are no longer following prescribed outcomes, ie “you should feel this after watching this play;” instead we find audiences influenced by, as in his example, what characters are wearing and doing, how they’re talking, etc.
I too enjoyed Boal’s history of the changing nature of theater and its relation to society. It made sense to me except where he attacked individual playwrights. I mostly understand where he’s coming from when talks about the development of theater as a method of defining the place of the individual in society, and how it reflected and influenced the social norms of the day. It made sense that overall theater might have a dehumanizing effect—what I don’t understand is, as David said, how Ionesco can be classified as “[overshadowing] the achievements of all his fellow playwrights in the enormous task of dehumanizing man.”
It’s like Boal switched from arguing that theater works to oppress people, as in the audience, to arguing that a certain character in a certain play was somehow restricted and “oppressed” because he was constructed as an “[abstraction] of a psychological, moral, or metaphysical nature”. This is a difficult leap for me to make, especially when I feel like Ionesco’s characters are created very precisely for the purpose of social commentary. The only explanation I can think of is that perhaps Boal is suggesting that this increased denigration of the individual came about without Ionesco’s noticing it; that maybe Boal is saying that though Ionesco’s intentions were good, he unknowingly perpetuated this sequence of dehumanization Boal sees in theater.
On a different note, I found his characterization of the influence Hollywood has interesting, especially because of the nature of the influence. I’ve always found that it’s not the didactic, Aristotelian plays that influence people the most, but rather the subtly manipulative ones. In this sense, if we extend Boal’s “theater” to the media today, we see how people are no longer following prescribed outcomes, ie “you should feel this after watching this play;” instead we find audiences influenced by, as in his example, what characters are wearing and doing, how they’re talking, etc.
Sunday, February 22, 2009
blog!!!
i think i finally understand what boal means when he says that the masses/audience is oppressed by the aristocracy (i still find the use of the word "oppression" questionable, however). anyhoo, certain parts of the reading really clarified the idea for me. before, i was thinking of theatre as mostly plays and musicals and how that kind of theatre is more associated with the upper classes. so, i couldn't understand how any and everyone else was being oppressed. but thinking of theatre in a more general sense of the word and including more than just such-and-such-kind-of-play in such-and-such-kind-of-venue, i see how it has the potential to reach a much wider audience. boal also mentions television (even though he doesn't consider it art) and how dominant forms found in theatre can also be found in television shows. and of course theatre reaches a very wide audience. also, when boal talks about the "aristocracy" i no longer think of the aristocracy (i.e. fancy-pants, old-money, etc. kind of people). i think he just means the ruling class, those with the power and money. and since these people are the "dominant class," their art will be the "dominant art." i get it now.
I like how Boal has traced the development of Theatre through history, crafting a clear vision of how it has adapted with various periods and remained powerful. However, I am skeptical and slightly confused by his concluding examples that refer almost exclusively to Ionesco. He talks about Ionesco creating a new kind of theatre, and that he "overshadows the achievements of all his fellow playwrights in the enormous task of dehumanizing man." Sounds negative to me!
Indeed, Ionesco did work on the cutting edge of absurd theatre, depicting humans rediculously. However, it is no coincidence that he was also writing socially relevant plays. Further, it is no coincidence that these two characteristics of the man's work go hand-in-hand. Indeed, if one wants to make a political statement, it may be best to do so in an artistically radical fashion in order to engender deep emotions and make a strong impression.
Is there a reason that Boal does not mention the social revelance of Rhinoceros, which is far from an attempt at dehumanization? Indeed, the play is largely interpreted as a response to Fascism, Nazism and Communism before WW2, shedding light on individual identity, culture, philosophy and ethics. Maybe I am misinterpreting Boal, but I wonder why he ignores the social importance of his concluding example...
Indeed, Ionesco did work on the cutting edge of absurd theatre, depicting humans rediculously. However, it is no coincidence that he was also writing socially relevant plays. Further, it is no coincidence that these two characteristics of the man's work go hand-in-hand. Indeed, if one wants to make a political statement, it may be best to do so in an artistically radical fashion in order to engender deep emotions and make a strong impression.
Is there a reason that Boal does not mention the social revelance of Rhinoceros, which is far from an attempt at dehumanization? Indeed, the play is largely interpreted as a response to Fascism, Nazism and Communism before WW2, shedding light on individual identity, culture, philosophy and ethics. Maybe I am misinterpreting Boal, but I wonder why he ignores the social importance of his concluding example...
Blog #3: Character development
I thought it was interesting how Augusto Boal traced the function and presentation of the character with respect to political/religious agendas in theatre. The portrayal of characters and how they are played by actors has always fascinated me, as it is incredibly influential in terms of the style of the performance and effect on the audience.
I had not realized before that the development of the character in relation to realism vs. abstraction over time seems to form a bell curve parabola. This curve traces the political character from its feudal origin as an abstraction of moral values/object acting as a representative of the value it symbolized, to Shakespeare’s multidimensional portrayal of a character in possession of exceptional qualities e.g. virtù, where the character becomes a bourgeois conception, to the character as a concrete embodiment of an ethical principle à la Hegel, to realism, to the new abstractions of Bertolt Brecht and Eugène Ionesco.
In case the above paragraph was not clear, here's a general outline in diagram form.
I had not realized before that the development of the character in relation to realism vs. abstraction over time seems to form a bell curve parabola. This curve traces the political character from its feudal origin as an abstraction of moral values/object acting as a representative of the value it symbolized, to Shakespeare’s multidimensional portrayal of a character in possession of exceptional qualities e.g. virtù, where the character becomes a bourgeois conception, to the character as a concrete embodiment of an ethical principle à la Hegel, to realism, to the new abstractions of Bertolt Brecht and Eugène Ionesco.
In case the above paragraph was not clear, here's a general outline in diagram form.
Monday, February 16, 2009
Blog post #2! I have no witty byline..
I am dreadfully sorry to post this so late. I finished it last night (or, rather, early this morning) but since I refuse to publicly display just how late I stayed up, I decided to post it later this morning.
I think the use of coerciveness in Aristotle’s plays was very well explained, personally, and it made sense to me. Where I have trouble following is how the structure of Aristotle’s plays, which set out a very clear series of emotions he means for the spectator to experience, relates to the structure of modern plays (and movies and what have you) in general. I certainly agree that theater, like any art form, can be used in a coercive fashion. But I would not go so far as to say that Aristotle’s didactic structure applies to much of what I see today.
I also find Plato fascinating despite relatively little knowledge of his works. The idea of nature tending to, if not perfection (at this point the term perfection has so many connotations I don’t feel right using it because of the necessary explanations involved), then at least some end, makes sense. I like the way Aristotle extends this to say that art and science intervene where nature isn’t reaching its ends. I don’t agree that theater as a method of correction for the “mistakes” nature makes is necessarily a bad thing; simply that it depends who it is doing the correcting. It bears keeping in mind that the person writing the play will have certain aims in doing so, and it is certainly right to question those aims and, as Boal says, to try to figure out “what does [catharsis] correct… and what does it purify? (TOTO p. 27).
I think the use of coerciveness in Aristotle’s plays was very well explained, personally, and it made sense to me. Where I have trouble following is how the structure of Aristotle’s plays, which set out a very clear series of emotions he means for the spectator to experience, relates to the structure of modern plays (and movies and what have you) in general. I certainly agree that theater, like any art form, can be used in a coercive fashion. But I would not go so far as to say that Aristotle’s didactic structure applies to much of what I see today.
I also find Plato fascinating despite relatively little knowledge of his works. The idea of nature tending to, if not perfection (at this point the term perfection has so many connotations I don’t feel right using it because of the necessary explanations involved), then at least some end, makes sense. I like the way Aristotle extends this to say that art and science intervene where nature isn’t reaching its ends. I don’t agree that theater as a method of correction for the “mistakes” nature makes is necessarily a bad thing; simply that it depends who it is doing the correcting. It bears keeping in mind that the person writing the play will have certain aims in doing so, and it is certainly right to question those aims and, as Boal says, to try to figure out “what does [catharsis] correct… and what does it purify? (TOTO p. 27).
Blog #2: Zeno is... not deserving of modern readership (but I liked Plato's ideas)
Prior to this class, I had spent great amounts of time and energy meditating on theatre as a medium for activism, so I find it fascinating to see Boal connect this theme to ancient philosophers. While I don't see the connection/importance of all of these sages, the connections to Plato made a great deal of sense to me.
I've never studied Plato in great depth, but have always found his ideas fascinating when I hear them - and the connection to theatre as a medium for social change (or suppression of such change) makes great sense to me. If only ideas are perfect (as plato postulates), then portrayals of human faults and real-life departures from perfection certainly have potential for catharsis - especially when structured as Boal explains (in terms of plot progression in tragedies, leading up to the cathartic moment/catastrophe. And, in controlling an audiences emotions, I can see how Aristotle may have engaged in subtle manipulation. If humans are aware of their imperfections and the imperfections of the world, then tapping into those realities has great potential for both art and manipulation.
That said - I do not at all understand the point of talking about many of the other sages mentioned. Even Boal clearly understands that they were largely nutty! He even mocks them rather openly - specifically Zeno, - and with good cause. Giving context to Aristotle might require Plato, but do you guys see the connection between Boal's critique of Aristotle and the odd concept that having a bow shot at you is entirely safe because an arrow in motion can't possibly exist?
Sunday, February 15, 2009
my blog #2
after this week's reading, i don't really have much to say. i agree with abby that the word "coercion" has a too strong of a negative connotation, and i'm not sure if it's appropriate in describing theatre.
so, about coercion...who is theatre coercing? i'm pretty sure that boal believes it's aristotle's system that coerces the audience. but is it also supposed to be that aristotle's system of tragedy coerces theatrical artists to create theatre that follows his rules? then i can't help but think of what kind of audience theatre reaches. of course this isn't always the case, but theatre is usually associated with people of higher social statuses. the poor aren't as likely to take an interest in theatre. so is it that upper middle class theatre-goers are being coerced into behaving in a socially acceptable manner? and then, of course, there's the cultural aspect of this whole thing.
when boal says that aristotles system cannot be used during times of revolution, i wasn't sure whether he was saying "ok this system makes sense, but we can't use it during revolution" or "this system doesn't work for this reason." he defines cultural revolution as a time in which "all values are being formed or questioned." going from his definition, life is one giant cultural revolution. people aren't constantly going out of their way to change the world, but questioning of values is pretty constant. it's something we do everyday, even if it's on a smaller scale. and that means that this system of tragedy is never appropriate. i wonder if that's the point boal is trying to make.
(sorry if my blog makes absolutely no sense. my thought process is weird, and i'm sleepy. so...yeah...)
so, about coercion...who is theatre coercing? i'm pretty sure that boal believes it's aristotle's system that coerces the audience. but is it also supposed to be that aristotle's system of tragedy coerces theatrical artists to create theatre that follows his rules? then i can't help but think of what kind of audience theatre reaches. of course this isn't always the case, but theatre is usually associated with people of higher social statuses. the poor aren't as likely to take an interest in theatre. so is it that upper middle class theatre-goers are being coerced into behaving in a socially acceptable manner? and then, of course, there's the cultural aspect of this whole thing.
when boal says that aristotles system cannot be used during times of revolution, i wasn't sure whether he was saying "ok this system makes sense, but we can't use it during revolution" or "this system doesn't work for this reason." he defines cultural revolution as a time in which "all values are being formed or questioned." going from his definition, life is one giant cultural revolution. people aren't constantly going out of their way to change the world, but questioning of values is pretty constant. it's something we do everyday, even if it's on a smaller scale. and that means that this system of tragedy is never appropriate. i wonder if that's the point boal is trying to make.
(sorry if my blog makes absolutely no sense. my thought process is weird, and i'm sleepy. so...yeah...)
Blog #2: "Aristotle's coersive system of tragedy" response
I must admit, this week's reading was not what I expected. I had already read some writings by Augusto Boal on his experiments with invisible theatre, which were much more oriented towards the practical applications of theatre of the oppressed, and I expected this to be similarly written. As it is, I am unsure as to how Boal will tie this theory of Greek tragedy into theatre of the oppressed.
On a more focused note, I thought I'd comment on two points that Boal makes in this chapter. The first is the statement, "Theatre is the most perfect artistic form of coercion." This is a radical opinion, and I do not wholly agree with it. I do agree that theatre is a powerful force for influencing others, and that because of its immediacy and use of empathy, theatre has more sway than literature, visual art, or even film. However, I dislike the strong negative connotations of the word "coercion," and think that Boal makes theatre seem overly manipulated and abused by those in power.
The other statement that stuck out to me was, "Theatre is change." This I agree with wholeheartedly. I think it encapsulates the positive side of theatre's influence, and I am excited to see how Boal expands on this idea in realtion to theatre as a social and theraputic force.
On a more focused note, I thought I'd comment on two points that Boal makes in this chapter. The first is the statement, "Theatre is the most perfect artistic form of coercion." This is a radical opinion, and I do not wholly agree with it. I do agree that theatre is a powerful force for influencing others, and that because of its immediacy and use of empathy, theatre has more sway than literature, visual art, or even film. However, I dislike the strong negative connotations of the word "coercion," and think that Boal makes theatre seem overly manipulated and abused by those in power.
The other statement that stuck out to me was, "Theatre is change." This I agree with wholeheartedly. I think it encapsulates the positive side of theatre's influence, and I am excited to see how Boal expands on this idea in realtion to theatre as a social and theraputic force.
Thursday, February 12, 2009
Wednesday, February 11, 2009
my blog
So...I don't really agree that theatre is necessarily political. I believe that it can be created or interpreted in a way that makes it political, but I don't think that theatre has to be or always is political. I also question Boal's argument that "those who try to separate theater from politics try to lead us into error -- and this is a political attitude." Not taking a political stance on everything, whether in art of in life in general, doesn't make one wrong. And sometimes art is just art. It doesn't always mean something. Maybe Boal will change my mind. We'll see.
I don't understand why Boal is blaming the aristocracy for the introduction of the actor. I don't know the circumstances surrounding Thespis and his decision to step out of the chorus, but I doubt it was because of some plot on behalf of the aristocracy.
I agree with Boal in that I think it's important for an audience to be more than passive observers. An audience should be allowed to participate in a theatrical piece. But I don't fully understand/agree with Boal's view on the dithyrambic song and the aristocracy creating divisions. Boal didn't draw a distinction between ritual and theatre. Even though rituals like the dithyrambic song later evolved into "theatre," I'm not quite sure it was there yet at the point Boal is referencing. So what he's saying about people participating freely doesn't really apply. Maybe he's implying that the aristocracy somehow brought about the evolution of theatre. I view the change in the form/function and introduction of the actor as natural processes in the transformation of ritual to theatre. In my mind, it just happened. SO I'm interested in how Boal will explain the aristocratic involvement in these changes.
I don't understand why Boal is blaming the aristocracy for the introduction of the actor. I don't know the circumstances surrounding Thespis and his decision to step out of the chorus, but I doubt it was because of some plot on behalf of the aristocracy.
I agree with Boal in that I think it's important for an audience to be more than passive observers. An audience should be allowed to participate in a theatrical piece. But I don't fully understand/agree with Boal's view on the dithyrambic song and the aristocracy creating divisions. Boal didn't draw a distinction between ritual and theatre. Even though rituals like the dithyrambic song later evolved into "theatre," I'm not quite sure it was there yet at the point Boal is referencing. So what he's saying about people participating freely doesn't really apply. Maybe he's implying that the aristocracy somehow brought about the evolution of theatre. I view the change in the form/function and introduction of the actor as natural processes in the transformation of ritual to theatre. In my mind, it just happened. SO I'm interested in how Boal will explain the aristocratic involvement in these changes.
Tuesday, February 10, 2009
I read the preface, but I checked and though it's in the Google Books version of the book, it appears not to exist in the hard copy that everyone has (and which I have yet to receive). That being said, I'll comment on what I read because I found it fairly interesting despite some disagreements I had.
The preface details the story of Thespis, who rebels against the classic Greek chorus structure and, by separating himself from the group and speaking his mind on stage, creates the first protagonist. I guess it was interesting to see how Boal seemingly approved of this move that Thespis made, but wished, I suppose, that ALL chorus members rather than just one had done it. This, of course, goes against the structure we’ve come to associate with Western theater, where there are some protagonists and then, often, lots of supporting roles and the equivalent of chorus members.
I agree with the others in that I don’t, inherently, find this to be oppressive. Boal also speaks to how the stage is the sole territory of the playwright (and the director too I suppose), and once again, perhaps because I’ve been so “indoctrinated”, I can’t see why someone who has a vision to get across shouldn’t be allowed to write a play, have others act it, and get his or her message out to the masses. I understand the appeal of having everyone be an actor, and the freeing power that can have. Indeed, having done some Theater of the Oppressed workshops while Hector was here, I know firsthand that the work he did with us creating images of oppression or of problems we saw, and then having us construct our ideal images and images of our “antidotes” to the problems, was a really interesting and powerful experience. I feel, though, that this idea calls into question the whole idea of performance art, whether it be music or theater or what have you. There is validity in saying that everyone should be a musician or an actor of equal value, and yet I enjoy listening to or watching someone else’s creation put into action by those who are capable of both comprehending it and doing it justice. Calling the spectator-actor divide oppressive is not something I feel ready to do just yet.
The preface details the story of Thespis, who rebels against the classic Greek chorus structure and, by separating himself from the group and speaking his mind on stage, creates the first protagonist. I guess it was interesting to see how Boal seemingly approved of this move that Thespis made, but wished, I suppose, that ALL chorus members rather than just one had done it. This, of course, goes against the structure we’ve come to associate with Western theater, where there are some protagonists and then, often, lots of supporting roles and the equivalent of chorus members.
I agree with the others in that I don’t, inherently, find this to be oppressive. Boal also speaks to how the stage is the sole territory of the playwright (and the director too I suppose), and once again, perhaps because I’ve been so “indoctrinated”, I can’t see why someone who has a vision to get across shouldn’t be allowed to write a play, have others act it, and get his or her message out to the masses. I understand the appeal of having everyone be an actor, and the freeing power that can have. Indeed, having done some Theater of the Oppressed workshops while Hector was here, I know firsthand that the work he did with us creating images of oppression or of problems we saw, and then having us construct our ideal images and images of our “antidotes” to the problems, was a really interesting and powerful experience. I feel, though, that this idea calls into question the whole idea of performance art, whether it be music or theater or what have you. There is validity in saying that everyone should be a musician or an actor of equal value, and yet I enjoy listening to or watching someone else’s creation put into action by those who are capable of both comprehending it and doing it justice. Calling the spectator-actor divide oppressive is not something I feel ready to do just yet.
Monday, February 9, 2009
Blog #1: Image theatre workshop
Since this is my first blog entry and the reading wasn’t very long, I thought I’d take this opportunity to expound on my limited background with Theatre of the Oppressed. I was first introduced to Augusto Boal and his ideas during my eleventh grade IB Theatre class, in a unit that covered predominantly invisible theatre and image theatre. I was asked to participate in a small invisible theatre piece within the class to start the unit, but what most interested me was a workshop we did on image theatre.
For this activity we broke off into pairs: one person was the sculptor, and the other person acted as the clay. In silence, the sculptor had to physically “mold” their partner into a position that represented a time when they felt oppressed, and the emotions associated with this situation. When the sculptors were finished, they moved around the room to view the images. Then, the sculptors had to alter their image of oppression to show how they might have resisted said oppression, and the group surveyed the sculptures again. Partners switched roles, and the activity was repeated.
I was strongly affected by this workshop, both as a sculptor and a model. It was helpful to represent my emotions using another person, as I could view my model objectively and present a better image of repression than if I had been sculpting myself. It was also freeing to be sculpted. My oppressed position was very cramped and low to the ground, whereas my resistance position was much more open. Through physical representations of repression I came to empathize greatly with my partner and the rest of the class.
For this activity we broke off into pairs: one person was the sculptor, and the other person acted as the clay. In silence, the sculptor had to physically “mold” their partner into a position that represented a time when they felt oppressed, and the emotions associated with this situation. When the sculptors were finished, they moved around the room to view the images. Then, the sculptors had to alter their image of oppression to show how they might have resisted said oppression, and the group surveyed the sculptures again. Partners switched roles, and the activity was repeated.
I was strongly affected by this workshop, both as a sculptor and a model. It was helpful to represent my emotions using another person, as I could view my model objectively and present a better image of repression than if I had been sculpting myself. It was also freeing to be sculpted. My oppressed position was very cramped and low to the ground, whereas my resistance position was much more open. Through physical representations of repression I came to empathize greatly with my partner and the rest of the class.
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