Anna's Blog

Artistic Vision for Final

2007-12-06T11:02:00.000-05:00

Being an actor in our ten minute play has me limited to a definite artistic vision, although I do think that every actor should have a definite vision for their individual character and how they fit into the scene. Our play is somewhat disjointed, as it shows three separate conversations with one, very dysfunctional, awkward male character. However I think that our designer, Kat has set the stage so that even if all of the action and attention should be directed at the two-person conversation, it is very easy for the audience to feel that all four actors belong in the gym-scene. Because we were severely limited with budget, we could not pull off an extremely well-dressed "gym", but I think that the choices that were made regarding the exercise bicycles upon which the conversations happen were a good choice, although they are simply stools, we actors mime and act as if we are walking around, and hopping up onto bikes. The only major problem I have with the artistic vision which was finally decided upon was that the three stations or separate areas of the stage are set at odd angles. While it is important to make sure that a stage doesn't appear static or boring by being at all similar angles, I don't feel that the stage is set in the correct way to draw attention to the speakers. In addition, because the decision was made to set our scene in a proscenium, there are multiple places in the scene in which from either side of the audience one of the actors faces is completely obscured, because of the drastic angles.

My artistic vision for my character was difficult to formulate, because the character is so different from myself. She is angry and unwilling to open up, which is just about the opposite of myself, however it was a positive acting challenge. I wanted to make the character seem very polar, in that at the beginning of the scene, the audience may see a very one-dimensional character, but by the end of the scene, realize that there are many sides to "Mary". It was very important to show the ebb and flow of her character as the scene went on, as it can become easy to portray a caricature when a scene is so short, and stage time for the character is static. Overall, I am pleased with the character, her smallest movements have been thought out, which will hopefully say something to the audience and help them understand the scene with greater ease.

Reactions to "For Colored Girls"

2007-11-14T11:22:00.000-05:00

I can honestly say I haven't seen a collegiate theatre production as moving as IPAX's production of "For Colored Girls Who Have Considered Suicide When the Rainbow Is Enuf". Going into the production, I had heard that the show was incredibly moving and had read up a bit on the author herself, Ntozake Shange. I knew that it wasn't going to be a piece which I was used to, or had seen in countless other productions before, in fact I was beginning to feel a little uncomfortable with the idea of the show itself, a self-prescribed "Choreo-poem", I think everyone has a hard time giving up the stereotypical idea of a "new age" theatre performance in which nonsensical poetry is chanted in the dark to a rhythmic drummer. Not only was my presupposition completely incorrect (I'd be rich if I got a dollar for every time I was incorrect about a stereotype), but the production was completely accessible, for I would imagine, almost everyone in the audience.

I'd say that one of the most impressive aspects of the production was the relative inexperience of the actresses in contrast to the extremely difficult subjects and emotions they were required to portray and explore. Not many college women have experienced the trauma and emotional strife of having an abortion, or being raped, or being a victim of domestic violence, (and may those who have had to deal with such traumas so early in life find peace and support) and it is therefore very difficult to express those emotions well enough to incite a reaction from the audience. It is important to note however, that it can be very easy to make these emotions seem non-human, and luckily the actresses in this production were mature enough to know when to draw the line.

I was moved on several occasions throughout the production. While most of these experiences came from the gripping stories Shange writes, it was also the emotions the actresses brought to the stage. One of the most moving aspects, at least for myself, was the beauty of the stories being told and the ways each actress chose to express the emotion. The actress who portrayed the Lady in Purple was a favorite of mine. Not only does she have incredible presence, she is very aware of her breath and her voice, her tone and volume throughout her pieces were well-thought out and helped bring her performance to a new level. Our fellow classmate Syreeta (the Lady in Blue) did an incredible job as well, while she was definitely aware of her vocal quality, it was Syreeta's movement and distinct choices in position which brought her performance to a new level. One movement in particular really struck me, as she gave her piece on abortion she reached down, with clenched fists and spread her legs just barely. If this wasn't a conscious decision it could've become vulgar, but Syreeta's choice made her portrayal all the more grounded in reality. I also felt the use of various levels by the cast as a whole made the production appear to be very much a complete and whole stage picture, something very necessary when a set is not used.

I don't think I could stress how important it is for everyone to see this play. Some might be put off by it's title, and say "oh, it couldn't possibly apply to me" (something very easy to do in our class-conscious society, but nonetheless a travesty), however the themes and images in this production not only resonate with women of color, but women in general, and even our male counterparts. There is something magical about Shange's literary work, and when it is done well, is a very moving piece of art to experience.

Anna's Glorious Return to Blogging or post-op on midterm show

2007-10-22T14:05:00.000-04:00

It has been a really long time since I've blogged, but I am glad to be returning and will be posting twice a week until the end of the semester.

I have to say that our midterm show went extremely well. For the small amount of time we had to work on it, coupled with general confusion about our directions (partially our faults for not asking questions) we put on a well planned, meaningful show. I would say that my favorite part about the show was not necessarily the individual performances but the show as a whole. I think that our stage picture was very convincing, however many crescent moon jokes we threw at it. In all seriousness, the stage picture made sense with the words we presented. The freezes kept the focus on the individual presenter, but also acted as a well thought-out backdrop for the performer. Our costumes, black shirts and jeans, acted as another unifying motif which furthered the unity of the piece. I also feel that the addition of our final movement, that is moving to surround Rebecca after her monologue, added to the unity of the piece, without it seeming forced or cheesy.

The only thing I was semi-disappointed in was my individual performance. I feel as if there was little to no pursuit of character. That could be because the piece was so short, or because I was uncomfortable or unwilling to delve deep down and recreate a very painful experience and set of memories. I feel as if I really do want to tell the story of my brother and our playmates, but I can't figure out a way to tell the story by jumping into a character who isn't myself. I guess that's the difficulty of being a writer, we have to let go of our selfishness for long enough to the creative juices flow. I recently rewrote the piece, but I dislike it just as much. I think a complete overhaul will be in order in time for the final performance.

Over all I'd just like to say how proud of our group I am. We really pulled off a nice piece of work, and we did it ALL by ourselves. We all deserve a pat on the back for that one.

On a side note, I'd just like to say Rest In Peace to a great reggae artist, Lucky Dube, who was killed in South Africa four days ago.

Week Four, #1

2007-09-25T17:42:00.000-04:00

"Describe a performance that you have seen in which you were moved by a vivid scenic image. What elements of the image make it memorable for you? How did they enhance the meaning of the play (or film) for you? Do you think the image fit the director's interpretation of the play (or film)? How did it help convey the mood? When describing the image, incorporate terminology from the text and ideas discussed in lab."

Modern theatre producers and scenic designers have an extreme wealth of possibilities in set design, especially to convey an overall message that the audience should receive in watching the show. While I have seen many theatre productions over the years, the grandest and most recent was a production of the musical Wicked in London's West End. The stage was set in the popular proscenium set-up, however instead of the traditional teasers, a huge mechanical dragon of sorts was attached to the top of the theatre. Not only was this addition to the stage HUGE, but at certain, more dramatic moments in the show, the dragon moved its head, spout smoke and moved huge, red mechanical eyes. I can only imagine that a child in the front row would've been quite terrified by the sight. On a subjective note, I absolutely adore Wicked, especially it's music. I had heard the music before seeing the show and it was very interesting to see how the show fit together. I won't say that the addition of the dragon necessarily "made" or "broke" the show for me. While it was obviously a huge design decision, I think it would've made more sense in a dinner theatre setting, or something of the like. It seemed almost too fantastic. In some of the more modern shows that I've seen, it's as if the director and designer couldn't decide on a particular theme or mood, so they included a great variety, this generally puts the audience member off, as it can be distracting. The dragon's intense movement made it more difficult to focus on the story being portrayed onstage.

The rest of the show was well designed, at least in my opinion. It is the essence of a modern production, (See link, courtesy of google, http://www.wickedwestend.co.uk/images/time-dragon-wicked-stage.jpg) an elaborate, non-moving set characterized by many levels through which the characters moved through planes and time. A chase scene might involve the actors climbing one set of stairs, racing across a wobbly bridge across the stage, and down another elaborate set of stairs on the opposite side. The effect was to make the stage appear much larger than it was. A favorite scene of mine was that in which the main character, at the climax of the most epic song of the show, is hoisted, upon broom to an extremely high height at center stage. While the dragon still annoyed me, as it dwarfed the character of Elphaba, it did a nice job of framing the scene.

Week Three, #1

2007-09-18T17:29:00.000-04:00

Monday's movement lab was different than expected. I found it interesting even though I had already done many of the activities for warm-ups in my high school theatre classes. I even emailed my High School drama teacher to tell him that his "finding the empty spaces" exercise wasn't completely foreign. I felt a little awkward at times, being completely free in the space, since the only classmates I know are those in my lab. It would've been much easier to be in our small lab groups, since we've begun to bond.

My favorite part of the activity was the stretching. I find that any amount of stress can go away if you focus on breathing and the connection between mind and body.

I really hope that we discuss Roar in class tomorrow, I was surprised to find that I enjoyed the play so much. It definitely pulls majorly from A Raisin in the Sun, with an unstable family dynamic and being set in a difficult time period for the family that is portrayed. I was dissatisfied with the ending however, I felt like it was too happy-ending-esque, very Hollywood.

Week Two, #3

2007-09-16T16:47:00.000-04:00

Sorry for the long absence since Friday's lab, but I left right after class for DC to attend a March on Washington to protest the war in Iraq. I think it was a great success.

I have to admit that going into class on Friday I was not excited. The idea of doing my monodrama in front of relative strangers was not appealing. I felt (and still feel) that my monodrama is more of a traditional monologue. The writer in me is extremely visible in the piece, as it seems much more like a piece of narrative than a multi dimensional piece. While it is definitely straight from the soul, it is not what I would imagine a "monodrama". I hope that my troupemates will be able to help me either mold the piece or help to rewrite it entirely. Needless to say, I was very relieved to find that we did a completely different exercise in class...

What follows is my journal entry during the class, "From the beginning I was unsure, not the typical improv from high school theatre class. Stuck with the idea of an elephant who couldn't roar, but only whistle. Next, my arm out, feeing of energy and connectedness with the circle-unknown who would I touch, who would touch me? What sort of configuration would we make? Feeling uncomfortable, so we opened our eyes to move, standing with a heavy weight on my fingers, movement towards each other, giggling because of experiencing uncomfortable feeling of closeness. Next finding myself being comfortable and ok with the idea of the unknown." At that point professor ended our journaling session and we began a discussion about the configuration we ended up in. It was extremely interesting to hear everyones experiences during the session as well as having classmates open up about how they felt being both inside and outside of our circle. I feel that our class sharing this common experience will now allow us to open up to each other in a way which was not possible before. Although the exercise may have seemed strange at first, it obviously opened the class up to experience without judgment or inhibitions.

Week Two, #2

2007-09-12T11:21:00.000-04:00

Professor Taglao's lecture this morning was highly engaging. Before this mornings class I felt as if I didn't or couldn't understand why Prof would want to allow countless numbers of people to know the disturbing experiences of his past. It was as if I couldn't get past the vulgarities and intricacies of the writing and understand the experiences which tie us all the the background story. The description of the milieu was probably the most important part of the lecture for me this morning. Although I knew that the United States, following Spain, had impressed their views, and governmental style, upon the people of the Philippines I was unaware of the extreme oppression placed upon the indigenous people. This not only reminds me of our current governmental situation, that is the war in Iraq, and occupation of Afghanistan, but also the British colonial empire, most importantly India. The Indian people were "savages" according to the British, they were only capable of manual labor jobs which would help build infrastructure. For nearly 100 years (until two years after Philippino independence, 1945) Indians were taught that they were being cultured by the British Raj. Not until 1947 could the people of India claim to be free. I am positive that much of the same oppression went on in the Philippines. Although it is difficult for many of us (American students, raised in a society which praises our often oppressive past) to understand the milieu of Prof. Tanglao's play, it is something that we must stretch to comprehend.

Yesterday as I walked home from my film class, around 9 pm, I felt compelled to stop by the Sunken Gardens and take in the sight of hundreds of American flags illuminated by two flood lights. I had walked by them earlier in the day and felt moved by the work, however something about the eerieness of night struck me. Not only did those American flags represent thousands of people killed six years ago, they represent all the killing and hatred that comes out of blind self interest. While I think it is necessary to remember those who lost their lives to hatred and blind belief, I feel that the symbol would have been much more moving, had the flags been white, or some other representative color, instead of a symbol (the American flag) which has come to mean much more than just an easy way to identify our country. I understand that everyone needs a way to grief, but why make it about nationalism, instead of simply the massive loss of life experienced when a single human being dies. It does not cease to haunt me that the media reports thousands of people dead in Iraq in a single month, but we do not stop to take the time to ponder or question the state which our government is in. Until we recognize the rapid overhaul of society and governmental foreign policy change that the world is in need of we will continue to have to place flags of rememberance in the Sunken Gardens and other places of public interest.

Week Two, #1

2007-09-11T17:15:00.000-04:00

What impression did the play make on you that caused you to see the connection between the characters and your own lives? If that is a simple as abuse, or as complex as colonization, or anything in between?

The idea and genre that Prof. Tanglao introduced in lecture, that is Brectianism, the imprint that a play leaves in your memory because it directly corresponds to something in your life, is a very important idea and style of theatre for our generation. Interestingly enough, my film professor brought up the idea of Brectianism in class today in response to the most recent film we viewed, The Cabinet of Doctor Caligari. The film writers intended the movie to a be a response to the idea of the faceless government which sent countless men into World War I as killing machines. It was meant to instill a deep weariness of our government but also to remind us of instances in our past which are mirrored in the film.

Although I did not feel a connection with the play upon first read, I can understand how it would effect those of us who have had tramautic or simply telling moments which we internalize and oftentimes do not let the world see. While I completely believe the story which Prof. Tanglao portrays, I have never experienced, or at least been notified of moments like these in my past. The character who impressed upon me the most, as I would imagine, most people would say, was Junior. His pain, and complete repression of the past speaks the most clearly. It is almost impossible for me to make a connection with a father who tortures or a he-nun who is clearly a sexual fiend, so Junior, the playwright in a playwright, is the most accessible character.

Week One, #3

2007-09-08T12:50:00.000-04:00

Below please find my monodrama. After watching a few of my classmates' works I realized that mine was much more narrative and prose-like, as opposed to more appealing direct actions of some of their works. I was very impressed with the work thus far, it takes an extreme amount of courage to volunteer judgment of your work in front of complete strangers. I was also interested to find that the three shown thus far were not of a more melancholic sentiment. I felt that every time I touched a new object I was reminded of a particular sad moment in my past. Maybe there is something in the tactile memory that allows our mind to easily access our sadder memories.

My monodrama:
Looking back on the past is always and easy task, but not necessarily a pleasant one. It never ceases to amaze me that touch can bring back such difficult moments from the past.
(beat)
Playing wiffel ball in our front yard with all the neighbors was a nightly ordeal. My brother and I were the northerners plopped down in definite southern land, but to kids of 8 and 10 family backgrounds were left on the sidewalk. Our bases were spread at odd angles, first base, a dying bush (always the same), second, the closest root in our oak tree, third, the fire hydrant, and home, always the same spidery crack in the walkway to the front of the house. We played for hours, often having to run into the next yard to retrieve the plastic, worn ball before grumpy Mr. Webster came out in a storm of curses. The summer was always our high season, my mother would rush Daniel and I in, always preaching the importance of reading and finishing our homework. I remember staring longingly out the front window as Rod and Chad ran around their front yard, playing cops and robbers with reckless abandon.
(beat)
I don't think I could exactly pinpoint the summer that we stopped playing. Rod and Chad, four and two years older, went to high school and got into cars and alcohol, something my mother wouldn't let us touch. Time passed quickly, neither of them decided to go onto college, something we all lamented.
(beat)
Chad died in a car accident my junior year of high school, he had just signed up for the army and was driving home, way too quickly for the stormy night. I will always remember the moment I opened my first college acceptance letter. It was with a pang that the grief came back and I remembered a friend and playmate that because of different sets of circumstances, wouldn't travel the same path as I have come to know.

Week One, #2

2007-09-06T20:40:00.000-04:00

Professor Fusi's lecture Wednesday was illuminating as well as engaging. I was previously unaware of Agusto Boal's work, Theatre of the Oppressed, and the idea of the "spectactor". However, upon more pondering, I have definitely experienced this newer trend in theatre. My hometown of Charlottesville, Virginia has always had an abundance of both community theatre productions and more professional touring groups. As a lover of classical theatre, think the lofty ideal stage, i.e. Shakespeare, I've been put off in the past because of shifts in the way "classic" shows have been put on. For example, in a recent production of Ovid's Metamorphoses, the characters lazed in a built-in pool and broke the fourth wall repeatedly by splashing the audience. It's not that I necessarily wanted to see a whole bunch of chiseled men in flowing, white togas, it was that I was not ready to see an actor in board shorts, wearing aviators and floating in a plastic tube while reciting Ovid's words, written between 2 and 8 AD.

Recently I experienced a more direct example of the changing face of exchange between the audience and the actor, the closest way I can find to describe the show would be a demented circus of sorts. The show was based on the idea of a gypsy roving theatre company and yet took many aspects from traditional chinese theatre. The experience basically stripped the show down from everything that would make it classic theatre. There was no mainstage, in fact, the audience was given a schedule of events of sorts, in which nothing was required viewing. The actors roamed the warehouse-like building and interacted, often explicitly, with the patrons. In various locations one could hear "sexy talk," or be entertained by tap dancers who instructed the patrons to visit the corporate sponsors of the show. In the largest ring, harping upon circus imagery, the "show" culminated in a 30 minute fire dance spectacle. By the end of the "journey" of being a part of the show it was relieving to sit down and be actually entertained, or rather, mesmerized by the dancers in front of us. Although I proclaim to be a "classic" theatre lover, I will say that I was entertained by the show, it certainly wasn't theatre as I had imagined it played upon a stage. There is something to be said about a theatre troup who is willing to go beyond what is considered safe and accepted. Indeed, haven't many positive changes come out of things that people were unsure of at first. If Bola is preaching a new style of theatre which can effect people's lives in a positive manner than I am certainly more than willing to promote it.

Week One, #1

2007-09-03T11:22:00.000-04:00

Seeing as this was my second time reading the Wilson play Fences, I noticed a great deal more than I did in my first reading in my American Lit class. Our discussion this morning prompted me to think about the play in a number of different ways, in particular, the sports symbols, which our classmate pointed out (the point regarding marriage to Rose as a home run and not just a single). While I think that the sporting references are key to a layer of understanding the story of Troy and his family, and the rejection of the City, the character of Rose made a much heavier imprint on me. Although none of the characters, in my opinion, could be described as fully developed, Rose's humanity is easily recognizable and near impossible to not connect with. While reading the play, what I most often highlighted were Rose's lines, in particular, Act II. Although I wouldn't call Troy a cruel character, it is difficult as a woman to allow Troy the transgression of infidelity, even if it is an expression of him fighting back, against the City. As Troy attempts to explain his actions in the final minutes of Act II, Scene I, Rose's counterarguments speak much more strongly. Troy argues, "It's not easy for me to admit that I been standing in the same place for eighteen years." Rose's comeback is much more poignant, "I been standing with you! I been right with you, Troy...I gave eighteen years of my life to stand in the same spot with you...Don't you think I had dreams and hopes? What about my life? What about me." Rose has obviously given up a great deal, or at least settled for the life she currently lives. In the 1950s women still had the obligation to live as housewife and mother, although some women ventured into the workforce, especially in World War II, many lost their jobs as GIs returned from combat abroad. For eighteen years Rose has settled and obviously is astounded at Troy's confession. There is nothing more for her to give to her husband, and yet she continues giving. In a strange twist of fate, Troy's mistress dies giving birth, and Rose realizes that the child must have a home. Rose basically ends her relationship with Troy with one line, "From right now...this child got a mother. But you a womanless man." It is almost impossible for me to imagine striving towards the strength of Rose and her courage in life. Is it intentional that Wilson leaves her with no negative character traits? Probably, seeing as she is the extreme foil to Troy's very blinded view of the world. We can also look at Wilson's use of fences as a main symbol. Rose asks Troy to build a fence around their yard with the definite intention of keeping her family and child in. She is angered by the fact that Troy would betray her and bring an illegitimate child into the family, she laments the fact that her entire family is "half". Thus, building a fence would keep her "whole" family complete and disjointed from the hectic world beyond her comfortable world. Rose is the passionate female character that Wilson uses to show the strength of family and also unconditional love.