Journaling
Yeah, i've come to realize i'm a terrible journaler (journalist?). I try to record things, but i;m much better at putting them on film than on paper. I had to turn in an Arts Managment journal last week, and on Wednesday i have a Performance Lab journal due in addition to a Colage and also a short vocal quality observation from Streetcar. I feel the urge to write that last item right now, but i think i shall wait till i have seen one more performance.
If i were to write about it now, i would say how i found Mason's vocal tempo and cadence rather repetitive and bland in rehearsals throughout the show, but now, in the performance, it's turned from bland to a useful tool for establishing a saftey zone of being "Simple Stanley" to "Harsh Mechanical Stanly" to "Relentles Drunken Stanley." By either enforcing the pace or breaking it, Mason is able to use an otherwise repetetive delivery to his advantage.
Or I'd write about how I loose Blanche's words when her pitch gets too high. I saw one moment when she was having the Tarantula speech when she did a build up to a pitch where her voice went so high she was unable to go higher or come back down. I found this rather distressing both for the character who was in so great a state of panic that they were fixed at that level and also for the actress, who was either conciously or unconciously stuck. If the scene went on any longer, the ending would be comical rather than tense, with her squeeling out quiet screams.
I don't like Melody so much anymore after i just now realized we have 3 PROJECTS DUE IN ONE DAY JUST BEFORE SPRING BREAK! ARGH!
I talked to Bob Leonard about my workshop idea for "i told u i was hardcore". I am glad to say that he seemed genuinely interested and also said that it sounds like a good match for his production of Romeo and Juliet when you consider the themes of suicide, its prevention, the excesses of youth and immaturity, and real-life tragedy. Hubrus. That's what Brandon "Ripper" Vedas has. I can't quite call him a hero though, because he didn't stand up for his own independence and pay the ultimate price for his own humanity. He was inebriated beyond any control and died because his body was poisoned. I'm not going to say one way or the other if he commited suicide, but his death was not honorable by my standards. Still, it's a story worth retelling. Argh, also need to write up my proposal for that before Streetcar tomorrow. I'll get on that between classes tomorrow.
Emily Rossow is, i found out, taking her first steps in Directing, as she is coordinating a class performace of a script she translated into American English. It's "Miles" by Plautus.(I have been informed it is her term project, and is I'm sure it will work out to be worthwhile, which isn't what i can say about the script Emily Waters handed to me. Too many words in it, not enough action. It read sort of like a libretto, and reminded me too much of a beggars opera. All characters and words, no action. At least no action for the length of my attention. I fear that "I told you i was hardcore" might turn out the same way, but at least it's a study of a single action, a single unified event, which has all elements of forshadowing, build, and inevitibility.
WHile it's on my mind, i have to say this. DO NOT APPLAUDE THE RAPE SCENE IN STREETCAR! Friday night, one or two girls in the audience let out a woohoo as Stanley lay Blanche on the bed. some of the audience seemed to laugh both at the girls and at the play, then most of the audience applauded, i think mainly because the scene was well done and they got the ok from the other audience members to make noise. Saturday and Sunday's audience were with it though, and showed their concern and fear through silence. Sorta like the way CABARET should end!
Ran out of steam. Gotta get some rest before working on things tomorrow. Class, Proposal and collage work, class, meeting with SHannon, journaling, meeting with shannon again, then streetcar. Wheeeeee!
If i were to write about it now, i would say how i found Mason's vocal tempo and cadence rather repetitive and bland in rehearsals throughout the show, but now, in the performance, it's turned from bland to a useful tool for establishing a saftey zone of being "Simple Stanley" to "Harsh Mechanical Stanly" to "Relentles Drunken Stanley." By either enforcing the pace or breaking it, Mason is able to use an otherwise repetetive delivery to his advantage.
Or I'd write about how I loose Blanche's words when her pitch gets too high. I saw one moment when she was having the Tarantula speech when she did a build up to a pitch where her voice went so high she was unable to go higher or come back down. I found this rather distressing both for the character who was in so great a state of panic that they were fixed at that level and also for the actress, who was either conciously or unconciously stuck. If the scene went on any longer, the ending would be comical rather than tense, with her squeeling out quiet screams.
I don't like Melody so much anymore after i just now realized we have 3 PROJECTS DUE IN ONE DAY JUST BEFORE SPRING BREAK! ARGH!
I talked to Bob Leonard about my workshop idea for "i told u i was hardcore". I am glad to say that he seemed genuinely interested and also said that it sounds like a good match for his production of Romeo and Juliet when you consider the themes of suicide, its prevention, the excesses of youth and immaturity, and real-life tragedy. Hubrus. That's what Brandon "Ripper" Vedas has. I can't quite call him a hero though, because he didn't stand up for his own independence and pay the ultimate price for his own humanity. He was inebriated beyond any control and died because his body was poisoned. I'm not going to say one way or the other if he commited suicide, but his death was not honorable by my standards. Still, it's a story worth retelling. Argh, also need to write up my proposal for that before Streetcar tomorrow. I'll get on that between classes tomorrow.
Emily Rossow is, i found out, taking her first steps in Directing, as she is coordinating a class performace of a script she translated into American English. It's "Miles" by Plautus.(I have been informed it is her term project, and is I'm sure it will work out to be worthwhile, which isn't what i can say about the script Emily Waters handed to me. Too many words in it, not enough action. It read sort of like a libretto, and reminded me too much of a beggars opera. All characters and words, no action. At least no action for the length of my attention. I fear that "I told you i was hardcore" might turn out the same way, but at least it's a study of a single action, a single unified event, which has all elements of forshadowing, build, and inevitibility.
WHile it's on my mind, i have to say this. DO NOT APPLAUDE THE RAPE SCENE IN STREETCAR! Friday night, one or two girls in the audience let out a woohoo as Stanley lay Blanche on the bed. some of the audience seemed to laugh both at the girls and at the play, then most of the audience applauded, i think mainly because the scene was well done and they got the ok from the other audience members to make noise. Saturday and Sunday's audience were with it though, and showed their concern and fear through silence. Sorta like the way CABARET should end!
Ran out of steam. Gotta get some rest before working on things tomorrow. Class, Proposal and collage work, class, meeting with SHannon, journaling, meeting with shannon again, then streetcar. Wheeeeee!