Last week I attended a little performance in the garage of Arwen Wilder and Heidi Eckwall's house. A work in progress, it was conceived by Arwen and co-created by Emily Zimmer and Arwen and Heidi's daughter, Ea (I'm not sure how old she is- maybe 4?) The topic for the play centered on a group of queer women- artists, writers, intellectuals, actresses- who were all weirdly obsessed by the guru Gurdjieff. The night I saw it Corrie Zoll was also in it, although there were other performers on different nights.
I first heard about Gurdjieff maybe 10 years ago when I knew a guy who was really into the teachings- he'd be on these Gurdjieff forums all the time and even went to a conference. Gurdjeff's main thing was that everyone was asleep, and he was all about being more aware of everything you do. He had several schools at various times and one of them was with a group of lesbian women who, at least according to one author, called themselves "the rope". You can read more about the group of women here.
Arwen played the Baroness Elsa Von Freytag Loringhoven, a Dadist and all-around eccentric who wore crazy outfits and allegedly gave Duchamp the urinal he used for his famous piece. Emily played an American writer who belonged to the group (unfortunately I can't remember the name- apparently she was famous enough to have a feminist bookstore named after her, which she resented).
When I asked Arwen how she came upon the topic, she said she was fascinated by this idea of this group of brilliant, strong women under the tutelage of this rather authoritarian man who was constantly insulting them and calling them idiots. Today I was doing a little google searching about the women, and it turns out that Margeret Anderson, who along with along with her lover of one time Jane Heap, formed The Little Review, which incidentally was the first magazine to serialize Ulysses by James Joyce.
Also in the piece was a performance of Macbeth, performed by Ea and Emily. Arwen said the idea for that is that she is fascinated watching her daughter "play" and how that activity is so different that "acting", because when Ea plays, she believes what she is doing 100 percent. Apparently in Gurdjieff's teachings he talked about performance not as theatre really, but as a way of being.
There was also a section where Ea interviewed Emily about her character, which was very delightful. There have been several living room performances in Arwen and Heidi's living room, and there is always an interview section, which sometimes are short but can also go on and on forever, depending on Ea's mood.
Anyway I really enjoyed the performance. I hope that they continue working on it- I'd love to see what becomes of the ideas.
Saturday, October 2, 2010
Wednesday, July 21, 2010
Techiti Tech
Oh my goodness The Keys Experiment opens at Artery 2010 in one week. Ah! Getting a bit nervous to say the least. Trying to keep cool about it. I had a good meeting today with Dixie Treichel at The Soap Factory working on the sound design. There were like a million people there working on their Artery pieces, which is great. There's this amazing energy in that space. Fiona MacNeill, the curator, says this year has an A List of artists, and she's not wrong. I'm honored to share the bill with the likes of Annie Rollins, Jaime Carrera, and Kats Kats D Fukasawa, who I met for the first time today, and many other very talented artists. I kind of think of Artery as the fringe alternative. Like the Fringe Festival, there's a sense of the eclectic, but I think audience members are more guaranteed to see some performance that is really pushing the boundaries in terms of form and content (I speak of my fellow artists, not myself- I obviously can't be the judge of whether what I'm doing is worth seeing or not).
I've decided, as I did when I did the show at the Red Eye, to err on the side of simplicity. I've decided against the video projection idea, even though I have images and archive footage to use, because I would rather spend my energy working on the movement and text, and choreographing the piece in the very unique space (I'm performing in the Video rooms toward the back of the gallery). Dixie brought me some sound mixes for one of the new scenes, which I'm really excited about although she hasn't quite finished with it yet. The new movement sequence is the largest new section, although there are also a few new monologues (one by a girlfriend of one of the Conscientious Objectors, and a couple of new Ancel Keys monologues). There are a couple of aspects of the space that are challenging- probably the main difficulty being that there are limited outlets and we can't hang the sound speakers. But I trust Dixie completely and I think she has the thing figured out (in all tech matters I must defer decisions to my collaborators who actually know what they are talking about). Another difficulty is finding the time to rehearse. While the nice thing about doing a one woman show is that I don't have to coordinate schedules with other actors, I have found it's stressful to coordinate rehearsal times with my team of artists helping me (director, choreographer, and sound designer) plus the Soap isn't always available, and often there is a lot of commotion going on.) I think we've nailed some times down to meet in there, though, so hopefully I'll feel a bit better once we hammer out the details of how I'm going to do this thing.
I've decided, as I did when I did the show at the Red Eye, to err on the side of simplicity. I've decided against the video projection idea, even though I have images and archive footage to use, because I would rather spend my energy working on the movement and text, and choreographing the piece in the very unique space (I'm performing in the Video rooms toward the back of the gallery). Dixie brought me some sound mixes for one of the new scenes, which I'm really excited about although she hasn't quite finished with it yet. The new movement sequence is the largest new section, although there are also a few new monologues (one by a girlfriend of one of the Conscientious Objectors, and a couple of new Ancel Keys monologues). There are a couple of aspects of the space that are challenging- probably the main difficulty being that there are limited outlets and we can't hang the sound speakers. But I trust Dixie completely and I think she has the thing figured out (in all tech matters I must defer decisions to my collaborators who actually know what they are talking about). Another difficulty is finding the time to rehearse. While the nice thing about doing a one woman show is that I don't have to coordinate schedules with other actors, I have found it's stressful to coordinate rehearsal times with my team of artists helping me (director, choreographer, and sound designer) plus the Soap isn't always available, and often there is a lot of commotion going on.) I think we've nailed some times down to meet in there, though, so hopefully I'll feel a bit better once we hammer out the details of how I'm going to do this thing.
Monday, July 19, 2010
Soap, Camp and Bedlam
Well last week I kind of got back to the real world following my month-long hiatus during the World Cup. It's been a brutal wake up call to reality, but I managed to get some writing done and work on my show.
Here's a piece I wrote for MN Artists about The Mystery of Irma Vep. I decided that since I had the time, I wanted to instead of just writing a review go a little bit more in depth about the style of the piece. I look at the Camp Style, and how the play exemplifies the goofiness of the genre while at the same time offers layers of deeper meaning through its many literary and cultural references.
While I was working on the MN Artists piece, I was greatly saddened to learn that Bedlam has been given notice to move from their current space. The Star Tribune broke the story, and I then I spent last Thursday and Friday morning madly completing an article containing little bit of the backstory of Bedlam's history, and tried to write also about the situation right now. I'm really sad to be losing one of my favorite venues in town to see shows and hang out (I would argue the building has the best deck for having a drink in summer), but hopefully the theater itself will survive and keep its multifaceted programming.
In the meantime, work continues with my one-woman-show, the Keys Experiment, which I'll be performing at the Soap Factory on July 30. I'm very grateful for having had the experience workshopping the piece at Red Eye, and I've been working lately on adding a few scenes. I met with my sound designer Dixie Treichel on Saturday and she's concocting a new soundscape for a movement section I'm going to work on this week. Also, there's an article in Lavender Magazine about the show, written by John Townsend, which I really appreciate him writing.
Here's a piece I wrote for MN Artists about The Mystery of Irma Vep. I decided that since I had the time, I wanted to instead of just writing a review go a little bit more in depth about the style of the piece. I look at the Camp Style, and how the play exemplifies the goofiness of the genre while at the same time offers layers of deeper meaning through its many literary and cultural references.
While I was working on the MN Artists piece, I was greatly saddened to learn that Bedlam has been given notice to move from their current space. The Star Tribune broke the story, and I then I spent last Thursday and Friday morning madly completing an article containing little bit of the backstory of Bedlam's history, and tried to write also about the situation right now. I'm really sad to be losing one of my favorite venues in town to see shows and hang out (I would argue the building has the best deck for having a drink in summer), but hopefully the theater itself will survive and keep its multifaceted programming.
In the meantime, work continues with my one-woman-show, the Keys Experiment, which I'll be performing at the Soap Factory on July 30. I'm very grateful for having had the experience workshopping the piece at Red Eye, and I've been working lately on adding a few scenes. I met with my sound designer Dixie Treichel on Saturday and she's concocting a new soundscape for a movement section I'm going to work on this week. Also, there's an article in Lavender Magazine about the show, written by John Townsend, which I really appreciate him writing.
Monday, June 28, 2010
Andy Warhol the Catholic
So I recently finished a fantastic book by Eleanor Heartney called Postmodern Heretics: The Catholic Imagination in Contemporary Art. In it, she talks about some of the most controversial contemporary artists being either Catholics themselves or at least highly influenced by Catholicism. It's a fascinating read, and Heartney's style is very conversational and accessible.
One of the things I learned from the book is that Andy Warhol was a practicing Catholic. Heartney makes the argument that indeed not only was he Catholic, but his faith predominated his work if you look at it closely. He was obsessed with death, according to Heartney, as evidenced by his Death and Disaster paintings, and his "transormation of ordinatry objects with icons with multiple resonances."
Most of all, Heartney writes that Warhol's Catholic tendicies are seen in his exploration of the conflict between the Church's official teachings and Cathoicism's subliminal messages
Case in point- see the dyptich Last Supper/Be Somebody with a Body for a clear image of what she's talking about.
Heartney notes that Warhol, though he went to church several times a week, never went to confession or took communion. As a gay man, Warhol was both censured in his church, but was also provided a whole host (no pun intended) of images depicting homoerotic and male desire. The Catholic Church, she writes, while it officialy abhors homosexuality, contains in its history of art and literature a series of conflicts "that emerge in an outlaw sensibility and sensuality". Thus, in the Dyptich linked to above, Warhol sexualizes the Christ figure.
The chapter made me want to reexamine the Warhol pieces I'm familiar with, and look at some new ones. It definitely got me thinking about his art in a new way.
One of the things I learned from the book is that Andy Warhol was a practicing Catholic. Heartney makes the argument that indeed not only was he Catholic, but his faith predominated his work if you look at it closely. He was obsessed with death, according to Heartney, as evidenced by his Death and Disaster paintings, and his "transormation of ordinatry objects with icons with multiple resonances."
Most of all, Heartney writes that Warhol's Catholic tendicies are seen in his exploration of the conflict between the Church's official teachings and Cathoicism's subliminal messages
Case in point- see the dyptich Last Supper/Be Somebody with a Body for a clear image of what she's talking about.
Heartney notes that Warhol, though he went to church several times a week, never went to confession or took communion. As a gay man, Warhol was both censured in his church, but was also provided a whole host (no pun intended) of images depicting homoerotic and male desire. The Catholic Church, she writes, while it officialy abhors homosexuality, contains in its history of art and literature a series of conflicts "that emerge in an outlaw sensibility and sensuality". Thus, in the Dyptich linked to above, Warhol sexualizes the Christ figure.
The chapter made me want to reexamine the Warhol pieces I'm familiar with, and look at some new ones. It definitely got me thinking about his art in a new way.
Wednesday, June 9, 2010
The Keys Experiment
Well, I performed The Keys Experiment at the Red Eye last weekend. I think it went pretty well. It ended up being a lot simpler than I intended, but I think it did resonate with people, from the feedback that I got. For the transitions between the characters, I found that if I took a pause and moved into the next person, I didn't need anything too clever to make the audience understand it was the next scene. We ended up not using any blackouts at all.
One thing that quite a few people said to me is that they were very drawn to the scenes that weren't just monologues. Barbra called them the "treated" scenes. For instance, when I eat my hands, or in my "assembly line" scene where I show time lapsing by repeating actions that the volunteers went through, warping the movements as the voiceover got continually more abstract.
When I do the piece at the Soap Factory next month, I'm hoping to add another movement sequence- this time focusing on what happens to the body in a state of starvation. I'll have to do some exploring about what that means. I also want to add another Keys monologue, speaking with wife toward the end of the experiment, and I want to do the scene which i didn't have time to do for the Redeye between one of the CO's and his girlfriend (played by a puppet). So that is quite a bit of work in less than two months but I'm pretty excited about it. I think three new scenes is a reasonable goal. I'd also like to add video, but that would be icing on the cake at this point- and i'm not positive it would work.
One thing that quite a few people said to me is that they were very drawn to the scenes that weren't just monologues. Barbra called them the "treated" scenes. For instance, when I eat my hands, or in my "assembly line" scene where I show time lapsing by repeating actions that the volunteers went through, warping the movements as the voiceover got continually more abstract.
When I do the piece at the Soap Factory next month, I'm hoping to add another movement sequence- this time focusing on what happens to the body in a state of starvation. I'll have to do some exploring about what that means. I also want to add another Keys monologue, speaking with wife toward the end of the experiment, and I want to do the scene which i didn't have time to do for the Redeye between one of the CO's and his girlfriend (played by a puppet). So that is quite a bit of work in less than two months but I'm pretty excited about it. I think three new scenes is a reasonable goal. I'd also like to add video, but that would be icing on the cake at this point- and i'm not positive it would work.
Sunday, May 23, 2010
Sonnets
Last night I went and checked out The Complete Sonnets Festival, put on by the newly formed Classical Actors Ensemble at Intermedia Arts. The performance I saw was the second half of the two-part festival showcasing all 154 of Shakespeare's Sonnets. Filled with cameos from local favorite performers such as Jennifer Baldwin Peden, Barbra Berlovitz, Bruce A. Young, Sasha Andreev, Karla Grotting, Joe Chvala and Bain Boehlke, the performance was intended to be a fundraiser for the company, although unfortunately the night I went to see the show the house was only moderately attended.
At two and a half hours, the evening ran a little long, although there were definitely some gems. Jennifer Baldwin Peden's lovely sung performance of Sonnet #43 and Sasha Andreev's sung performance of Sonnet #27, (both directed by John Miller-Stephany and composed by Andrew Cooke) were among my favorite moments of the evening. Also, Joe Chvala and Karla Grotting danced a sweet interpretation of Sonnet #60.
For the most part, though, I preferred the performances of sonnets that weren't too "acted". In a number of scenes, sonnets were strung together and turned into a script of sorts. I didn't like these scenes as much because I felt that first of all I wasn't able to really listen to the words of the poem because I was too busy following the action of the scene, and also I felt that in a number of instances the words were misinterpreted in order to fit the put-upon circumstances of the scene.
In fact, by far the most rewarding performance was that of Bain Boehlke, who went on at the very end and just sat in a chair and read his sonnet. More than any of the other versions, Boehlke made me hear the words of the poem, and allowed me to appreciate the beauty of Shakespeare's language.
At two and a half hours, the evening ran a little long, although there were definitely some gems. Jennifer Baldwin Peden's lovely sung performance of Sonnet #43 and Sasha Andreev's sung performance of Sonnet #27, (both directed by John Miller-Stephany and composed by Andrew Cooke) were among my favorite moments of the evening. Also, Joe Chvala and Karla Grotting danced a sweet interpretation of Sonnet #60.
For the most part, though, I preferred the performances of sonnets that weren't too "acted". In a number of scenes, sonnets were strung together and turned into a script of sorts. I didn't like these scenes as much because I felt that first of all I wasn't able to really listen to the words of the poem because I was too busy following the action of the scene, and also I felt that in a number of instances the words were misinterpreted in order to fit the put-upon circumstances of the scene.
In fact, by far the most rewarding performance was that of Bain Boehlke, who went on at the very end and just sat in a chair and read his sonnet. More than any of the other versions, Boehlke made me hear the words of the poem, and allowed me to appreciate the beauty of Shakespeare's language.
Wednesday, May 19, 2010
Trip to the University Archives
Well, I finally made it over to the University Archives to research for The Keys Experiment play. There was much new information that wasn't available to me online or in the books I've read so far. The librarians there were extremely helpful, and nice. They also seemed interested in my play, and want to come see it. Hooray.
Watching the footage from the experiment was extremely helpful, although it is so frustrating that I have limited movement right now. Some of the experiments that the CO's had to go through are such excellent fodder for intesting movement choices. Ah well, I go back into rehearsal tomorrow, so we'll see what I can incorporate.
I'm also thinking of using the video footage itself- perhaps not for the Redeye version, but at a later date. I need to find a video artist to collaborate with who will be able to help me.
Here's the link to find out more information about Redeye Theatre, where I'll be presenting 15 minutes of the solo performance on June 3-6.
Watching the footage from the experiment was extremely helpful, although it is so frustrating that I have limited movement right now. Some of the experiments that the CO's had to go through are such excellent fodder for intesting movement choices. Ah well, I go back into rehearsal tomorrow, so we'll see what I can incorporate.
I'm also thinking of using the video footage itself- perhaps not for the Redeye version, but at a later date. I need to find a video artist to collaborate with who will be able to help me.
Here's the link to find out more information about Redeye Theatre, where I'll be presenting 15 minutes of the solo performance on June 3-6.
Monday, May 10, 2010
by the way
In case you missed it, I wrote a bunch of blog posts for Minnesota Playlist last month on ways that theatre can change the world. They can be found here.
I'm excited because tomorrow I get to interview Caitlin Karolczak and preview her pieces she is showing at Rogue Buddha which opens this weekend. It's for my first article for MNArtists, and I'm pretty excited about it.
In other news, someone wrote a really nasty comment about my review of TTT's My Fair Lady. I guess it kind of goes with the territory that when you write reviews you are going to piss people off and they will say not very nice things about you. Ah well, one of these days I suppose I will have to develop a thicker skin. If I'm going to dish it out, I better learn to take it.
I'm excited because tomorrow I get to interview Caitlin Karolczak and preview her pieces she is showing at Rogue Buddha which opens this weekend. It's for my first article for MNArtists, and I'm pretty excited about it.
In other news, someone wrote a really nasty comment about my review of TTT's My Fair Lady. I guess it kind of goes with the territory that when you write reviews you are going to piss people off and they will say not very nice things about you. Ah well, one of these days I suppose I will have to develop a thicker skin. If I'm going to dish it out, I better learn to take it.
And then everything changed
Well things were going swimmingly with my Redeye piece a couple of weeks ago. I had a showing with Steve and Mirium and my fellow Works in Progress artists, and got some really great feedback about the work that I've been doing. I felt like I was finding some really cool movement with Romina and Maggie was helping me find the shape of the piece.
But a week ago, suddenly, my arm swelled to three times its normal size. I spent about a week in the hospital, had several procedures, and one major operation, and the long and the short of it is- I am currently in absolutely no physical condition to realize the piece as it had been progressing.
I'm going to have to rethink things. Currently, I can barely sit up, let alone roll around on the floor and balance on my shoulder and do various other things I was planning on doing. I'm going to have to go back to the text, go back to the ideas I want to convey, and figure out how to realize those ideas in a way that my body can handle at this time.
It's hard, emotionally. While I know that I could certainly revisit the piece at a later time when my body is healthier, I am sad to find myself with these limitations. This has happened twice in my life before. Once, when I was in college. I was going to be playing Medea and I lost my voice. I went to see a voice therapist and had to figure out a way to play the part without shouting, growling, or doing anything extreme with my voice. In a way it was a great thing to have happened, because I found all kinds of colors to the character that I might not have otherwise found. Another similar experience was when I played Puck, and I had to have knee surgery a couple weeks before opening night. For that performance, I did feel that I lost some of my original character, although I guess I did have to figure out how to act the role without the use of acrobatics.
I emailed Mirium today and told her what happened, and she was very encouraging. She said exactly what I was already thinking: that perhaps this is a good thing, because it will force me to re-examine the piece almost from scratch. Sometimes limitations can be good things.
I'm going to probably take a few days off from thinking about it. I have to get caught up with work, and I still have a lot of resting to do. Hopefully by next week I can begin again. We'll see what happens.
But a week ago, suddenly, my arm swelled to three times its normal size. I spent about a week in the hospital, had several procedures, and one major operation, and the long and the short of it is- I am currently in absolutely no physical condition to realize the piece as it had been progressing.
I'm going to have to rethink things. Currently, I can barely sit up, let alone roll around on the floor and balance on my shoulder and do various other things I was planning on doing. I'm going to have to go back to the text, go back to the ideas I want to convey, and figure out how to realize those ideas in a way that my body can handle at this time.
It's hard, emotionally. While I know that I could certainly revisit the piece at a later time when my body is healthier, I am sad to find myself with these limitations. This has happened twice in my life before. Once, when I was in college. I was going to be playing Medea and I lost my voice. I went to see a voice therapist and had to figure out a way to play the part without shouting, growling, or doing anything extreme with my voice. In a way it was a great thing to have happened, because I found all kinds of colors to the character that I might not have otherwise found. Another similar experience was when I played Puck, and I had to have knee surgery a couple weeks before opening night. For that performance, I did feel that I lost some of my original character, although I guess I did have to figure out how to act the role without the use of acrobatics.
I emailed Mirium today and told her what happened, and she was very encouraging. She said exactly what I was already thinking: that perhaps this is a good thing, because it will force me to re-examine the piece almost from scratch. Sometimes limitations can be good things.
I'm going to probably take a few days off from thinking about it. I have to get caught up with work, and I still have a lot of resting to do. Hopefully by next week I can begin again. We'll see what happens.
Sunday, April 4, 2010
Brief Encounter- Kneehigh Theatre
I'm going to make a confession. A lot of times, I don't really like going to see plays. So often, the experience ends up be a trial just to sit through. I get bored. I am overly critical of the acting, the script, - everything. I can't go and just enjoy something. A lot of times I'd really rather just watch a movie- because there's a higher chance I'd enjoy myself and usually movies are cheaper.
Now, I'd heard about Brief Encounter probably a couple months ago. I'd heard there was this British company called Kneehigh and they were really physical and awesome and they had this show that was coming to the Guthrie and if I had a chance I should go see it. But the thing is I never have time to do anything and I'm broke and I really don't like slapping down $25 bucks for rush tickets for something that I might enjoy.
But then a couple of days ago I was in rehearsal for my Redeye works in progress piece, where I'm working juxtaposing realism with abstract movement. Maggie Scanlan, my director said that I really ought to go see Brief Encounter, because stylistically it was doing some of the things that I was trying to do in my piece. She told me she had already seen it a couple times and was planning on seeing it again. "Just see it," she said. "You really need to see it."
So I rallied my friend to come with me, and we went last night. While we were in line we ran in to Maren Warde and George McConnell from Bedlam and they said they heard the same thing we had- that this was a show that was not to be missed. Even as we were walking down to our seats (front row rush seats- awesome) the usher told Maren that it was his favorite show that he's seen this season.
I was completely floored by the production. I kind of hate when people use the phrase "the magic of theatre" but that's what it was. Magical. I was literally swept away from my seat and carried with the actors on their gloriously imaginative story.
What I loved about the play was how simple it was- it created these surprising moments with impeccable detail. And for the most part these moments weren't created with hugely complicated set pieces or technical feats. A crumpled piece of paper became a rolling dust ball, for example. Or suddenly all of the actors would begin shaking and we knew that the train outside had arrived. (There were a couple of technically awesome things too- like the movie screen made up of slats that actors could disappear into which was pretty rad.)
I just loved the actors- particularly in the ensemble. So physically alive, so fearless, they were all so... specific is the best word I can think of. There wasn't a moment that wasn't meticulously planned out- and I don't mean that in a bad way. I appreciated Annette McLaughlin and Beverly Rudd's comic abilities. It's so rare that women get to play roles with such comic opportunities, and both of them were hilarious. I was also really impressed with Stuart McLoughlin who played multiple characters and I didn't realize till the end that all his parts were played by the same person.
As for Hannah Yelland who played Laura- there were things I didn't like about her performance. She had a certain tension that I found unbelievable- particularly in contrast to Milo Twomey's Alec, but what i did appreciate was that she shifted effortlessly between straight acting and abstract movement. She would embody emotions physically. Swept away in a metaphor of water- she was a beautiful mover and really drew me in.
It's not like the play is about anything super profound. It's just a love story after all. It's a story about infidelity. (In director Emma Rice's program notes- she says that Noel Coward in writing about this forbidden love affair was speaking to his own experiences as a gay man, which I thought was interesting.) But it was the way that Kneehigh told the story that got me. I'm not exaggerating to say it gave me hope in theatre again. It made me want to strive to work harder- so that I can create as original, imaginative work as this company has done.
Now, I'd heard about Brief Encounter probably a couple months ago. I'd heard there was this British company called Kneehigh and they were really physical and awesome and they had this show that was coming to the Guthrie and if I had a chance I should go see it. But the thing is I never have time to do anything and I'm broke and I really don't like slapping down $25 bucks for rush tickets for something that I might enjoy.
But then a couple of days ago I was in rehearsal for my Redeye works in progress piece, where I'm working juxtaposing realism with abstract movement. Maggie Scanlan, my director said that I really ought to go see Brief Encounter, because stylistically it was doing some of the things that I was trying to do in my piece. She told me she had already seen it a couple times and was planning on seeing it again. "Just see it," she said. "You really need to see it."
So I rallied my friend to come with me, and we went last night. While we were in line we ran in to Maren Warde and George McConnell from Bedlam and they said they heard the same thing we had- that this was a show that was not to be missed. Even as we were walking down to our seats (front row rush seats- awesome) the usher told Maren that it was his favorite show that he's seen this season.
I was completely floored by the production. I kind of hate when people use the phrase "the magic of theatre" but that's what it was. Magical. I was literally swept away from my seat and carried with the actors on their gloriously imaginative story.
What I loved about the play was how simple it was- it created these surprising moments with impeccable detail. And for the most part these moments weren't created with hugely complicated set pieces or technical feats. A crumpled piece of paper became a rolling dust ball, for example. Or suddenly all of the actors would begin shaking and we knew that the train outside had arrived. (There were a couple of technically awesome things too- like the movie screen made up of slats that actors could disappear into which was pretty rad.)
I just loved the actors- particularly in the ensemble. So physically alive, so fearless, they were all so... specific is the best word I can think of. There wasn't a moment that wasn't meticulously planned out- and I don't mean that in a bad way. I appreciated Annette McLaughlin and Beverly Rudd's comic abilities. It's so rare that women get to play roles with such comic opportunities, and both of them were hilarious. I was also really impressed with Stuart McLoughlin who played multiple characters and I didn't realize till the end that all his parts were played by the same person.
As for Hannah Yelland who played Laura- there were things I didn't like about her performance. She had a certain tension that I found unbelievable- particularly in contrast to Milo Twomey's Alec, but what i did appreciate was that she shifted effortlessly between straight acting and abstract movement. She would embody emotions physically. Swept away in a metaphor of water- she was a beautiful mover and really drew me in.
It's not like the play is about anything super profound. It's just a love story after all. It's a story about infidelity. (In director Emma Rice's program notes- she says that Noel Coward in writing about this forbidden love affair was speaking to his own experiences as a gay man, which I thought was interesting.) But it was the way that Kneehigh told the story that got me. I'm not exaggerating to say it gave me hope in theatre again. It made me want to strive to work harder- so that I can create as original, imaginative work as this company has done.
Wednesday, March 24, 2010
Plugging away on starvation play
I've been doing a little bit more research about the Minnesota Starvation Experiment. There are still a few historical questions that I still need to find out. Did all of the men sleep in the dorms, for example? Did any of them live off campus? How many hours per day did they have to stay at the lab? I think I may need to go to the University of Minnesota Archive. That's the source of the above film footage. I've been thinking lately about using some video projection in my piece. The only problem is that I don't have a projector, and have absolutely no knowledge about how to set something like that up. However, as my boyfriend said to me the other day: "if your play needs to have projections, you'll figure out a way to have projections." Certainly it seems possibly easier than my other idea of acquiring a treadmill, a vintage scale, and other vintage labratory items to be used or a montage sequence. I could instead of the real objects use projections juxtaposed with movement. So we'll see.
In any case, here are a couple of other links I was reading today:
http://americanradioworks.publicradio.org/features/wwii/a2.html
http://junkfoodscience.blogspot.com/2008/02/how-weve-came-to-believe-that.html
Saturday, March 13, 2010
Just Do It
Okay, so I've been mildly freaking out about my Redeye Works in Progress Show. I'm finding that having six months to create a piece can actually be a difficult thing because it's so easy to procrastinate. It's not like I haven't been doing anything at all, but I do seem to put off working on it in favor of more pressing projects and assignments.
The good news is that I'm happy about my team. I've got Maggie Scanlan directing, and she is someone I trust and who I can rely on to be honest with me and to push myself. I've got Dixie Treichel helping me out with the Sound Design, and I know she's going to do a great job, and now I have Romina Tokimoto helping me out with movement.
I'm very excited to have Romina on board because I think she really connects with me (although we haven't worked artistically together before) and I'm really excited about some of the ideas she is bringing to the piece. She lead the group in an authentic movement session a couple weeks ago which was very helpful in generating some movement vocabulary for the piece, and the last time she met she said she was going to work on some choreography for the movement sections so we'll be able to play with that.
The thing I'm stuck on about right now is the text itself. Originally written as a traditional stage play, I'm re-imagining the work as a solo performance piece, and putting my own experience into it. This has been very scary, and I feel a bit stuck. I sort of know generally what the themes are that I'm working with: isolation, starvation, war, and altruism, but I need to hone in on what it is I'm trying to say more specifically.
Right now, it's difficult to begin working on the staging of it because I don't feel the script is ready. Or Rather, I'm having a moment of doubt about it. Last night, I had a very good conversation with the person whose opinion I respect above all others and he told me that I need to stop fretting about it and just do it. It's true, this momentary drop in confidence needs to be overcome if I'm going to be able to finish this project. I need to find my literary bad-ass gene, as he said, if I have one, and just write the play that has been in my head for over two years.
He also suggested that I re-think the title, and I'm considering changing it from The Minnesota Starvation Experiment to The Keys Experiment (Keys is the lead scientist in the Study).
Oh, and a bit of good news, and also more incentive to get my butt in gear: I've been accepted into Artery at The Soap Factory this summer, so that means that I'll be able to further explore the material following my presentation at the Redeye. So. Time to get to work.
The good news is that I'm happy about my team. I've got Maggie Scanlan directing, and she is someone I trust and who I can rely on to be honest with me and to push myself. I've got Dixie Treichel helping me out with the Sound Design, and I know she's going to do a great job, and now I have Romina Tokimoto helping me out with movement.
I'm very excited to have Romina on board because I think she really connects with me (although we haven't worked artistically together before) and I'm really excited about some of the ideas she is bringing to the piece. She lead the group in an authentic movement session a couple weeks ago which was very helpful in generating some movement vocabulary for the piece, and the last time she met she said she was going to work on some choreography for the movement sections so we'll be able to play with that.
The thing I'm stuck on about right now is the text itself. Originally written as a traditional stage play, I'm re-imagining the work as a solo performance piece, and putting my own experience into it. This has been very scary, and I feel a bit stuck. I sort of know generally what the themes are that I'm working with: isolation, starvation, war, and altruism, but I need to hone in on what it is I'm trying to say more specifically.
Right now, it's difficult to begin working on the staging of it because I don't feel the script is ready. Or Rather, I'm having a moment of doubt about it. Last night, I had a very good conversation with the person whose opinion I respect above all others and he told me that I need to stop fretting about it and just do it. It's true, this momentary drop in confidence needs to be overcome if I'm going to be able to finish this project. I need to find my literary bad-ass gene, as he said, if I have one, and just write the play that has been in my head for over two years.
He also suggested that I re-think the title, and I'm considering changing it from The Minnesota Starvation Experiment to The Keys Experiment (Keys is the lead scientist in the Study).
Oh, and a bit of good news, and also more incentive to get my butt in gear: I've been accepted into Artery at The Soap Factory this summer, so that means that I'll be able to further explore the material following my presentation at the Redeye. So. Time to get to work.
Friday, February 26, 2010
Women and Water Rights
I stopped by the Nash Gallery at the University of Minnesota to see Women and Water Rights: Rivers of Regeneration which looks to "examine how the inclusion of women in management of local and global water resources improves social, economic and environmental results," according to the U of M website.
Tonight there were several speakers, including Marilyn Cuneo, from the Women's International League for Peace and Freedom, Liz Dodson from Women's Caucus for Art, Clarence Morgan, a U of M professor, and Diane Katsiaficas, another U of M professor and co-coordinator of the exhibit.
Also at the opening was a Native American Ritual by the Keepers of the Water. Lisa Bellanger, also known as Bizhiwens, said of the ceremony: "We do not come to perform this as a play, but to share our ceremony with you."
The pieces in the exhibit are varied, from a sculpture of a canoe to a video of an urban farming project. I noticed there were a number of textile pieces, including Barbara Riegel Bend's Women and the Watershed, a scupture made of fiber and other elements, which symbolized the important role that women play in the life source, used women as a metaphor for the life blood of the watershed. In Bend's sculpture, which is a figure of a woman holding many people in her embrace, depicts a river with zippers.
Another piece that I was drawn to was Kimber Olson's Point Zero, a triptych quilt calling for awareness of the decline of artic ice. Like Bend's piece, I was interested in the use of textiles to create a statement. I've never been drawn to any kind of textile work myself, but I realize that it is traditionally known as a womans' art form. I feel that the use of that kind of art form added to the message of the whole exhibit, which was to empower women in the struggle for water rights.
Sandy Spieler, Artistic Director of Heart of the Beast, also has a piece in the exhibit, called Cabinet of Water Curiosities, which is a series of boxes with messages like "A Watershed Runs Through You" on the outside, and depictions of the life water brings on the inside. Spieler is really the brainchild of the water awareness movement in Minneapolis. The issue has been addressed at Heart of the Beast, but she has also gained support of the Mayor as well, and was very influencial in the Public Water fountain project.
Tonight there were several speakers, including Marilyn Cuneo, from the Women's International League for Peace and Freedom, Liz Dodson from Women's Caucus for Art, Clarence Morgan, a U of M professor, and Diane Katsiaficas, another U of M professor and co-coordinator of the exhibit.
Also at the opening was a Native American Ritual by the Keepers of the Water. Lisa Bellanger, also known as Bizhiwens, said of the ceremony: "We do not come to perform this as a play, but to share our ceremony with you." 
The pieces in the exhibit are varied, from a sculpture of a canoe to a video of an urban farming project. I noticed there were a number of textile pieces, including Barbara Riegel Bend's Women and the Watershed, a scupture made of fiber and other elements, which symbolized the important role that women play in the life source, used women as a metaphor for the life blood of the watershed. In Bend's sculpture, which is a figure of a woman holding many people in her embrace, depicts a river with zippers.
Another piece that I was drawn to was Kimber Olson's Point Zero, a triptych quilt calling for awareness of the decline of artic ice. Like Bend's piece, I was interested in the use of textiles to create a statement. I've never been drawn to any kind of textile work myself, but I realize that it is traditionally known as a womans' art form. I feel that the use of that kind of art form added to the message of the whole exhibit, which was to empower women in the struggle for water rights. Sandy Spieler, Artistic Director of Heart of the Beast, also has a piece in the exhibit, called Cabinet of Water Curiosities, which is a series of boxes with messages like "A Watershed Runs Through You" on the outside, and depictions of the life water brings on the inside. Spieler is really the brainchild of the water awareness movement in Minneapolis. The issue has been addressed at Heart of the Beast, but she has also gained support of the Mayor as well, and was very influencial in the Public Water fountain project.
Annnd.... we're open
Well, Lamb Lays With Lion Vs. Katie Mitchell's The Seagull is officially open, and not surprisingly, the reviews are mixed! We've had two write-ups, thus far. Lightsey Darst, writing for MnArtists, came to a rehearsal and wrote "I can't tell whether Lamb Lays with Lion vs. Katie Mitchell's The Seagull is a train wreck or a stroke of genius; I can't even tell where the performances stop or start." In a similar befuddled review, my friend and editor Jay Gabler wrote:
At first, I thought I really did like it. Then, I thought I didn't. Then, I did like it again—and finally, I realized that one of the things I like most about it is that what I thought changed so many times over the course of the show's hourlong running time. When you often write about theater, it's really refreshing when a piece is half-over and you still have no idea what you're going to say about it.
The reason I'm not surprised that both reviewers were so back and forth on their opinions of the piece is because the work itself is so different than the usual theatre fare, which I think is a compliment to Jeremey Cotterton, our director. What's interesting is that the "Lamb's" side isn't all that "avant garde", but the whole idea of the piece, to put the two sides against each other, is something so unusual and so ballsy that you have to give him credit just for that.
Does it work? Well, I have no idea. My friend Ben Kreilkamp asked me what I thought of the piece, and I honestly really can't say. I'm in the piece, and my job is to live the circumstances of my character as truthfully and as honestly as I can. I'm still figuring it out, honestly, even though we already opened. There are moments that I don't think I've nailed yet- particularly at the end of the first act. I also got some feedback that I was coming across as "bitter" when that was not my intention at all, so I'm working to make Masha more vulnerable while pursuing her objectives. As for how well the piece works, I have to rely on people who see the piece and can relay their experience. Ultimately, that's all any artist can do. You can never really know if something works or not if you are involved in the project. So come see it, and tell me what you think.
At first, I thought I really did like it. Then, I thought I didn't. Then, I did like it again—and finally, I realized that one of the things I like most about it is that what I thought changed so many times over the course of the show's hourlong running time. When you often write about theater, it's really refreshing when a piece is half-over and you still have no idea what you're going to say about it.
The reason I'm not surprised that both reviewers were so back and forth on their opinions of the piece is because the work itself is so different than the usual theatre fare, which I think is a compliment to Jeremey Cotterton, our director. What's interesting is that the "Lamb's" side isn't all that "avant garde", but the whole idea of the piece, to put the two sides against each other, is something so unusual and so ballsy that you have to give him credit just for that.
Does it work? Well, I have no idea. My friend Ben Kreilkamp asked me what I thought of the piece, and I honestly really can't say. I'm in the piece, and my job is to live the circumstances of my character as truthfully and as honestly as I can. I'm still figuring it out, honestly, even though we already opened. There are moments that I don't think I've nailed yet- particularly at the end of the first act. I also got some feedback that I was coming across as "bitter" when that was not my intention at all, so I'm working to make Masha more vulnerable while pursuing her objectives. As for how well the piece works, I have to rely on people who see the piece and can relay their experience. Ultimately, that's all any artist can do. You can never really know if something works or not if you are involved in the project. So come see it, and tell me what you think.
Tuesday, February 16, 2010
Masha
Unfortunately I have the annoying habit of letting characters I play pervade into the rest of my life. When I was in Marat/Sade, playing a patient in the asylum, I would have to do yoga after every performance just to get back into reality. When I played Thyona in Big Love, I lifted weights and became very bitchy in my personal life. Playing Masha has similar problems. Her melancholy seeps into my life like a leaking pen. Lines in the play, such as "I am in mourning for my life" or "My life drags behind me endlessly like an unraveling scarf," come into my head throughout my day. They are unwanted. I don't want to be a love-starved depressed alchoholic!But I do the work. And try to maintain some distance, but not too much. I partially enjoy the pleasure of losing myself in the role- enough so that I feel like Masha sometimes even when I am not acting. I know some actors- including the great Stanislavski, would say that is a big no-no, but that is how I do it. I act in juicy parts like this so rarely that I have to relish in it.
In the particular production that I'm doing right now, I have the added challenge, besides playing the part, of also playing the part while someone else is playing it on the other side of the stage. This causes some difficulty, as concessions need to be made about timing and such. But the cast from the other side have been really fantastic, and are great about negotiating what will work best.
We're working on having everything sync up together, and at the same time I still have to do the work of realizing this character of Masha. I pretty much have used method acting in my process, using substitutions from my own life to fit the circumstances of the play. Maybe that's why I have such a hard time separating theatre from reality. But I've found that drawing on my personal experience for a role is the most effective way to create believable actions on stage. At least for a realistic play. And even though the sum total of two casts performing Seagull will be not realism at all, the fact is that the side that I'm on is definitely doing the play as naturalistically as possible.
In any case, I'm really enjoying playing Masha. I'm really going to miss her, if she ever leaves me.
Thursday, February 11, 2010
Synchronicity
This week, the two casts for Lamb Lays with Lion vs. Katie Mitchell's The Seagull have been meeting together after spending the first two weeks of the rehearsal process working separately. It's pretty intense. Since my side, the Katie Mitchell "realism" side, is performing at the same time as the other cast, I haven't had that much opportunity to watch the other half perform, although it seems to be, from what I can tell, an almost cinematic take, full of irony, using microphones and lighting as tools to alienate and disrupt the audience and performance.
One aspect of performing at the same time as the other cast is how difficult it is to speak in synchronicity with them. While sometimes there are intentional moments of discord, when the actors speak at different paces, for the most part we are supposed to speak as one voice, while our movements, characterizations, and actions are very different.
I'm finding that I have a tendency to be fairly creative with my lines, which I simply cannot do in this production. I have to speak them absolutely verbatum from the script. The process also requires communication with the actor on the other side in terms of when to take pauses and things like that. It can be a bit frustrating, but in the moments when I'm not not acting, and instead watching the performance, it really is a pretty cool effect.
One little perk that I quite enjoy is that the Katie Mitchell cast gets to drink tea and eat biscuits between acts. I can't believe how much more civilized this makes the whole experience! Why have I not been drinking tea and eating biscuits for every show I've ever been in? It's fantastic.
One aspect of performing at the same time as the other cast is how difficult it is to speak in synchronicity with them. While sometimes there are intentional moments of discord, when the actors speak at different paces, for the most part we are supposed to speak as one voice, while our movements, characterizations, and actions are very different.
I'm finding that I have a tendency to be fairly creative with my lines, which I simply cannot do in this production. I have to speak them absolutely verbatum from the script. The process also requires communication with the actor on the other side in terms of when to take pauses and things like that. It can be a bit frustrating, but in the moments when I'm not not acting, and instead watching the performance, it really is a pretty cool effect.
One little perk that I quite enjoy is that the Katie Mitchell cast gets to drink tea and eat biscuits between acts. I can't believe how much more civilized this makes the whole experience! Why have I not been drinking tea and eating biscuits for every show I've ever been in? It's fantastic.
Wednesday, February 10, 2010
Fiddlin'
I met famous Joel Bremer, Swedish fiddler extraordinaire last night, which was pretty exciting. He was playing with The Bitter Spills for Cyn Collins' 2nd Tuesday program at the 501 club.
I asked Joel what the difference is between a fiddler and a violin player. "The air," he replied. There's more breath, more empty space, I guess when a fiddler plays his/her instrument.
I played the violin for a number of years, but never considered myself a fiddler. There's something so loose, so confident, so free about fiddle music. I was always very intimidated by it. I felt a lot safer with Bach. I think in order to be a fiddle player you have to have no fear, and when you listen to Joel play, he clearly has none.
He very kindly let me have a copy of his solo CD, and I've been listening to it in the car. It transports me to a place of green grass and running water. The playing is skillful, and complex, but also has an extemporaneous quality and a playfulness that is strangely peaceful.
Sunday, February 7, 2010
Art Shanties!
I had a great time going to the Art Shanties today with Amelia and Paul. On our way there, Amelia said she thought that since it was the last day, there would be a healthy non-super bowl watching contingent. She was right! I saw tons of people that I knew, which was very fun, and I was very happy that I finally got a chance to go out to Medicine Lake to see the spectacle. 
The place was packed, and the weather was not too bad. It started snowing about an hour after we got there, which Amelia pointed out made everything more beautiful, if slightly more miserable. 
My favorite shanty was probably the Ace Stellar Shanty, which was the warmest shanty, and had a planetarium inside. I also had fun at the Dance Shanty, which was blasting "Love Shack" as dancers shook their booties in enthusiastic jubilee.
There was a fantastic moment, too, when the people at the Shop Shanty said I could get the vintage "soul searchin" record I had my eye on if I got six strangers to dance outside. This was not difficult. In no time a whole group of people were dancing to no music in the snow and I got my record, which unfortunately I can't play because I don't have a record player. I was hoping to see Michael Sommers perform in the FantaShanty but we didn't time things quite right. Ah, well. Next year. The Shanty itself was very neat looking, with beautiful bright colors and magical objects hiding in Sommers' trunk.
All in all, it was a very fun afternoon discovering all the creations that Minnesota artists came up with. I actually applied to be in the shanties this year, and my group wasn't accepted. Secretly I was kind of glad that I could just go and enjoy one day of the experience, rather than having to do all the work of setting a shanty up in the cold of winter. Indeed, a few of the artists I talked to said the funnest part was just thinking up an idea, and there was not a few tears shed trying to get the darn things built on the frozen Lake. Still, I might consider applying again next year. We'll see if I can get a good team together.
Sunday, January 31, 2010
Physics/ Movement
I liked Body Cartography Project's 1/2 Life so much that I decided to go the their workshop at the Southern yesterday. I wasn't sure what to expect- all I knew was that it somehow had to do with dance and physics.
The first exercise was something called "Authentic Movement" which I had heard of before but never really delved into it. We got into pairs, and one person moved through the space while the other witnessed. The person moving was supposed to listen to how their body wanted to move. I found that when it was my turn, I had a hard time not judging what I was doing. I kept on reprimanding myself for not being authentic enough, even though that was precisely what Otto Ramstad told us not to do. I also was very aware of being watched, even though I had my eyes closed. Still, I was able to tap into listening a little bit to what I felt my body was telling me. I ended up moving very much in a crouched, fetal position, with most of my movements generating from my core. I'd like to try more of this kind of exercise on my own.
In the second exercise, we again worked in pairs, and this time one person was supposed to be the scientist and the other the organism- or some sort of phenomenon that could be studied. A person could be a tree, or a cell, or a rock, or something like that. I started out being smoke, dissipating at first, and then entering the lungs, scraping at the blood vessels. This turned into me being a person dying of emphysema. I found it a lot more difficult to portray the scientist, because I wasn't very good at guessing what the other person was supposed to be. In the end, though I decided it was okay not to know, and to just be open to the other person and play. It was a lot more fun that way, anyway.
Then Bryce Beverlin gave a lecture on physics, and explained how hydrogen in the sun gets sucked toward the center via gravity and turns into helium. He also discussed black holes. We got into groups and were supposed to come up with a phrase based on Bryce's lecture. Our group decided to enact the hydrogen traveling toward the center of the sun via a folk-like dance, followed by dissipation. We joined hands, and made our way closer together, becoming more dense as we traveled, and then when we reached the center, transformed into helium, which was a much more peaceful, groovy state.
After the workshop, I've been thinking more and more about black holes. It might be kind of fun to use that as a starting point for a piece- either a poem or a play perhaps. I'll have to think about it a little more.
The first exercise was something called "Authentic Movement" which I had heard of before but never really delved into it. We got into pairs, and one person moved through the space while the other witnessed. The person moving was supposed to listen to how their body wanted to move. I found that when it was my turn, I had a hard time not judging what I was doing. I kept on reprimanding myself for not being authentic enough, even though that was precisely what Otto Ramstad told us not to do. I also was very aware of being watched, even though I had my eyes closed. Still, I was able to tap into listening a little bit to what I felt my body was telling me. I ended up moving very much in a crouched, fetal position, with most of my movements generating from my core. I'd like to try more of this kind of exercise on my own.
In the second exercise, we again worked in pairs, and this time one person was supposed to be the scientist and the other the organism- or some sort of phenomenon that could be studied. A person could be a tree, or a cell, or a rock, or something like that. I started out being smoke, dissipating at first, and then entering the lungs, scraping at the blood vessels. This turned into me being a person dying of emphysema. I found it a lot more difficult to portray the scientist, because I wasn't very good at guessing what the other person was supposed to be. In the end, though I decided it was okay not to know, and to just be open to the other person and play. It was a lot more fun that way, anyway.
Then Bryce Beverlin gave a lecture on physics, and explained how hydrogen in the sun gets sucked toward the center via gravity and turns into helium. He also discussed black holes. We got into groups and were supposed to come up with a phrase based on Bryce's lecture. Our group decided to enact the hydrogen traveling toward the center of the sun via a folk-like dance, followed by dissipation. We joined hands, and made our way closer together, becoming more dense as we traveled, and then when we reached the center, transformed into helium, which was a much more peaceful, groovy state.
After the workshop, I've been thinking more and more about black holes. It might be kind of fun to use that as a starting point for a piece- either a poem or a play perhaps. I'll have to think about it a little more.
Friday, January 29, 2010
Dreams
Taja Will, who is also participating in Works In Progress at the Redeye with me, emailed me a survey about dreams that she is collecting as research for her piece. This was more than a week ago, but it has taken me this long to actually have a dream to write about.
I very rarely dream, but last night's dream was very vivid. It involved biological experiments, a triptych of rotting cloth on particle board, and more than a little anxiety. I wish that I was better at tapping into my dreams and using them for writing. They can be so rich in symbolism and imagery, it seems that artists who are able to channel that side of their brain can create work that is far beyond normal boundaries of the imagination. Artists that come to mind- obviously the surrealists- Dali, Magritte, I would say Garcia Marquez's writings are heavily influenced by dreams, as is Carlos Fuentes and of course David Lynch's work.
I am a very literal person, actually. Concrete. I like a + b = c. I get flummoxed when in art or books things don't make sense. Lynch drives me mad, actually. Which is not to say that I am not also fascinated by that kind of work. It intrigues me. There's a wrestling in my head as I try to make sense of it, a continual conversation between me and the text or image that goes on for infinity. It's something that I should play with, I think in my own writing. Just to try, mind you. What's the worse that could happen? I could simply decide that it doesn't work for me and move on.
In the past I've found that if I tell myself that I'll remember my dreams, I have a better chance of doing so. I'm going to make a concerted effort to make this happen.
I very rarely dream, but last night's dream was very vivid. It involved biological experiments, a triptych of rotting cloth on particle board, and more than a little anxiety. I wish that I was better at tapping into my dreams and using them for writing. They can be so rich in symbolism and imagery, it seems that artists who are able to channel that side of their brain can create work that is far beyond normal boundaries of the imagination. Artists that come to mind- obviously the surrealists- Dali, Magritte, I would say Garcia Marquez's writings are heavily influenced by dreams, as is Carlos Fuentes and of course David Lynch's work.
I am a very literal person, actually. Concrete. I like a + b = c. I get flummoxed when in art or books things don't make sense. Lynch drives me mad, actually. Which is not to say that I am not also fascinated by that kind of work. It intrigues me. There's a wrestling in my head as I try to make sense of it, a continual conversation between me and the text or image that goes on for infinity. It's something that I should play with, I think in my own writing. Just to try, mind you. What's the worse that could happen? I could simply decide that it doesn't work for me and move on.
In the past I've found that if I tell myself that I'll remember my dreams, I have a better chance of doing so. I'm going to make a concerted effort to make this happen.
Wednesday, January 27, 2010
Starvation Update
I met with Maggie Scanlan yesterday to discuss my Redeye solo show about the Minnesota Starvation Experiment. Last week we had a workshop session with the other Works in Progress participants and I got some good feedback about the first five minutes.
As we presented it last week, it starts out with a person crawling very slowly, painfully slowly from the back of the stage to the front. Then there's a transition, and the second scene is Ancel Keys delivering a monologue, perhaps to a group of fellow doctors, about how they were going to be able to succeed with the experiment.
I got some good feedback. People seemed engaged with the physical energy that I was working with, although Steve Busa suggested that I might look into incorporating some Butoh movement. He also suggested that I start to think about differentiating the characters in the story.
So when I met with Maggie today we watched some Butoh youtube videos, which do indeed inspire me. I think incorporating that style of movement, or at least being influenced by it, is something I'd like to play with.
I also talked to Maggie about really taking a look at the main characters and try to develop a separate physical language, and vocal language for each. We're planning to do that on Friday.
I woke up very early this morning and started thinking about the visual aspect of the show. When I first thought of the piece, I had this idea that there would be projected images of the starving conscientious objectors at various points in the show. I scrapped that idea pretty quickly because it sounds technically difficult to pull that off, but lately I'm reconsidering the possibility, although I'm thinking more abstract images.
Last night I had an interesting conversation about how this piece is an attempt to intersect, or juxtapose, images of war, starvation, altruism, and patriotism. So this morning, when I got up early, I was kind of on the hunt for some images that might inspire me.
I haven't really found what I'm looking for, but it's a start. Below are a number of mostly pro-American propaganda images that for some reason or another drew me in. I'm hoping now to find more pieces of photojournalism from the war, from the starvation experiment itself, and of starvation generally. I'd also really like to find some abstract images that somehow relate to the themes. I most likely won't use these images in the show, but I'm thinking more that they could be a starting point for working on the piece visually and theatrically.
From WW2 in Color
http://www.ww2incolor.com/d/315891-2/life_245
From the Franklin D. Roosevelt Library
Title: Disabled Veteren
http://docs.fdrlibrary.marist.edu/images/photodb/23-0318a.gif
From the Franklin D. Roosevelt Library
Title: A record of Boeing-Witchita's 1,000th B-29 moving through the production lines.
http://docs.fdrlibrary.marist.edu/images/photodb/23-0475a.gif
From Northwester University's WWII Poster Collection
Title: Millions now don't get the food they need.
Publisher: [Washington, D.C.] : U.S. G.P.O.,
Date: 1941.
Format: 1 poster : b & w ; 64 x 51 cm.
Series: Make America strong series ; no. 2
Notes: "Dept. of Agriculture, Extension Service"--Monthly catalog 1941, p. 782.
http://www.library.northwestern.edu/govinfo/collections/wwii-posters/img/ww1645-67.jpg
From Northwestern University's Poster Collection
Title: These breed danger : meals that are too meager, meals poorly prepared, meals low in protective foods.
Publisher: [Washington, D.C.] : U.S. G.P.O.,
Date: 1941.
Format: 1 poster : b & w ; 64 x 51 cm.
Series: Make America strong series ; no. 5
Notes: "Dept. of Agriculture, Extension Service"--Monthly catalog 1941, p. 782
http://www.library.northwestern.edu/govinfo/collections/wwii-posters/img/ww1645-72.jpg
Title: Some can't buy : some don't know, some don't try.
Publisher: [Washington, D.C.] : U.S. G.P.O.,
Date: 1941.
Format: 1 poster : b & w ; 64 x 51 cm.
Series: Make America strong series ; no. 3
Notes: "Agriculture Department, Extension Service"--Monthly catalog 1941, p. 781.
http://www.library.northwestern.edu/govinfo/collections/wwii-posters/img/ww1645-71.jpg
From Northwestern University's WWII Poster Collection
Title: 1 pound sugar allowance coupon /
Publisher: [Washington, D.C.] : U.S. G.P.O.,
Date: [194-?]
Format: 1 sheet : b & w ; 22 x 22 cm.
Notes: Sheet of 8 coupons. / "OPA form no. R-327"
http://www.library.northwestern.edu/govinfo/collections/wwii-posters/img/ww1647-62.jpg
From Northwestern University's WWI Poster Collection
Title: We French workers warn you : --defeat means slavery, starvation, death
Artist: Ben Shahn
http://www.library.northwestern.edu/govinfo/collections/wwii-posters/img/ww0207-05.jpg
As we presented it last week, it starts out with a person crawling very slowly, painfully slowly from the back of the stage to the front. Then there's a transition, and the second scene is Ancel Keys delivering a monologue, perhaps to a group of fellow doctors, about how they were going to be able to succeed with the experiment.
I got some good feedback. People seemed engaged with the physical energy that I was working with, although Steve Busa suggested that I might look into incorporating some Butoh movement. He also suggested that I start to think about differentiating the characters in the story.
So when I met with Maggie today we watched some Butoh youtube videos, which do indeed inspire me. I think incorporating that style of movement, or at least being influenced by it, is something I'd like to play with.
I also talked to Maggie about really taking a look at the main characters and try to develop a separate physical language, and vocal language for each. We're planning to do that on Friday.
I woke up very early this morning and started thinking about the visual aspect of the show. When I first thought of the piece, I had this idea that there would be projected images of the starving conscientious objectors at various points in the show. I scrapped that idea pretty quickly because it sounds technically difficult to pull that off, but lately I'm reconsidering the possibility, although I'm thinking more abstract images.
Last night I had an interesting conversation about how this piece is an attempt to intersect, or juxtapose, images of war, starvation, altruism, and patriotism. So this morning, when I got up early, I was kind of on the hunt for some images that might inspire me.
I haven't really found what I'm looking for, but it's a start. Below are a number of mostly pro-American propaganda images that for some reason or another drew me in. I'm hoping now to find more pieces of photojournalism from the war, from the starvation experiment itself, and of starvation generally. I'd also really like to find some abstract images that somehow relate to the themes. I most likely won't use these images in the show, but I'm thinking more that they could be a starting point for working on the piece visually and theatrically.
From WW2 in Color
http://www.ww2incolor.com/d/315891-2/life_245
From the Franklin D. Roosevelt Library
Title: Disabled Veteren
http://docs.fdrlibrary.marist.edu/images/photodb/23-0318a.gif
From the Franklin D. Roosevelt Library
Title: A record of Boeing-Witchita's 1,000th B-29 moving through the production lines.
http://docs.fdrlibrary.marist.edu/images/photodb/23-0475a.gif
From Northwester University's WWII Poster Collection
Title: Millions now don't get the food they need.
Publisher: [Washington, D.C.] : U.S. G.P.O.,
Date: 1941.
Format: 1 poster : b & w ; 64 x 51 cm.
Series: Make America strong series ; no. 2
Notes: "Dept. of Agriculture, Extension Service"--Monthly catalog 1941, p. 782.
http://www.library.northwestern.edu/govinfo/collections/wwii-posters/img/ww1645-67.jpg
From Northwestern University's Poster Collection
Title: These breed danger : meals that are too meager, meals poorly prepared, meals low in protective foods.
Publisher: [Washington, D.C.] : U.S. G.P.O.,
Date: 1941.
Format: 1 poster : b & w ; 64 x 51 cm.
Series: Make America strong series ; no. 5
Notes: "Dept. of Agriculture, Extension Service"--Monthly catalog 1941, p. 782
http://www.library.northwestern.edu/govinfo/collections/wwii-posters/img/ww1645-72.jpg
Title: Some can't buy : some don't know, some don't try.
Publisher: [Washington, D.C.] : U.S. G.P.O.,
Date: 1941.
Format: 1 poster : b & w ; 64 x 51 cm.
Series: Make America strong series ; no. 3
Notes: "Agriculture Department, Extension Service"--Monthly catalog 1941, p. 781.
http://www.library.northwestern.edu/govinfo/collections/wwii-posters/img/ww1645-71.jpg
From Northwestern University's WWII Poster Collection
Title: 1 pound sugar allowance coupon /
Publisher: [Washington, D.C.] : U.S. G.P.O.,
Date: [194-?]
Format: 1 sheet : b & w ; 22 x 22 cm.
Notes: Sheet of 8 coupons. / "OPA form no. R-327"
http://www.library.northwestern.edu/govinfo/collections/wwii-posters/img/ww1647-62.jpg
From Northwestern University's WWI Poster Collection
Title: We French workers warn you : --defeat means slavery, starvation, death
Artist: Ben Shahn
http://www.library.northwestern.edu/govinfo/collections/wwii-posters/img/ww0207-05.jpg
Tuesday, January 19, 2010
Theatre of Disruption
There has been a change of plan. I went to the first meeting with the Seagull cast(s) tonight and learned that because of extenuating circumstances the original schedule for Lamb Lays with Lion Vs. Katie Mitchell's The Seagull has changed. Before, we were going to do a preview of the show at The Southern Theater's New Breed Festival followed by a full run of the entire show at the Fallout Center. When we were all gathered in a circle at the Fallout Center, Jeremy Catterton told us that he has made the decision to cancel the Fallout presentation and focus totally on what we are going to do at The Southern.
I honestly am happy with his decision. I feel that this gives us a narrower focus and an opportunity to really push the limits of what we can do with the piece. Jeremey said that in his conversation with Jon Ferguson, he asked "Do I have a right to spill blood onstage?" and Jon replied "Yes." (Note: I don't think we actually are going to be spilling blood onstage."
Jeremey said that he wasn't sure which sections of the script we are going to do yet in the 30-45 minutes we're allotted, but he knows definitely we'll be doing Nina's soliloquy, the play within the play, and the Horse scene. He said we could email him if their were certain moments that we really wanted to be kept in the new cut, but i don't think I'll do that. I haven't been with the project long enough to be married to any one line. I'm really happy to be part of something that is really groundbreaking as opposed to focused on my individual role. I mean, sure, I love the character of Masha, and I will work very hard to create a full and nuanced characterization within the context of Jeremey's concept.
We talked a little bit in the meeting about how things are actually going to work, which may change as we work through the process. The actors will be playing their characters and also themselves as actors. So there is a dual superobjective for each character/performer. The actor has a through-line in terms of the play's text, but meanwhile the character has a through-line in terms of the competition between the two casts. The way Jeremey demonstrated it, it seemed as if we might actually physically step in and out of the character and actor roles.
Some of the other techniques we'll be playing with are synchronicity and repetition. Nina's soliloquy may be delivered twice, for example, or the two casts may speak the same lines at the same time.
There also may be some interaction between the two casts. For example, if an actor is playing a scene, and is missing a prop, he may steal one from the other cast.
Because the actor from the Katie Mitchell cast has dropped out, Jeremy has decided not to recast him and instead his absence might actually be remarked upon and maybe the Katie Mitchell cast might even need to steal an actor from the Lamb Lays with Lion cast. This all will need to be worked out as we rehearse it.
Jeremey said that he didn't believe that ultimately there would be a "winner" in terms of the competition between the two casts. "I love all my children equally," he said. He added: "I want to stack the deck so that as much shit can go wrong as possible."
Huzzah. This is going to be fun.
I honestly am happy with his decision. I feel that this gives us a narrower focus and an opportunity to really push the limits of what we can do with the piece. Jeremey said that in his conversation with Jon Ferguson, he asked "Do I have a right to spill blood onstage?" and Jon replied "Yes." (Note: I don't think we actually are going to be spilling blood onstage."
Jeremey said that he wasn't sure which sections of the script we are going to do yet in the 30-45 minutes we're allotted, but he knows definitely we'll be doing Nina's soliloquy, the play within the play, and the Horse scene. He said we could email him if their were certain moments that we really wanted to be kept in the new cut, but i don't think I'll do that. I haven't been with the project long enough to be married to any one line. I'm really happy to be part of something that is really groundbreaking as opposed to focused on my individual role. I mean, sure, I love the character of Masha, and I will work very hard to create a full and nuanced characterization within the context of Jeremey's concept.
We talked a little bit in the meeting about how things are actually going to work, which may change as we work through the process. The actors will be playing their characters and also themselves as actors. So there is a dual superobjective for each character/performer. The actor has a through-line in terms of the play's text, but meanwhile the character has a through-line in terms of the competition between the two casts. The way Jeremey demonstrated it, it seemed as if we might actually physically step in and out of the character and actor roles.
Some of the other techniques we'll be playing with are synchronicity and repetition. Nina's soliloquy may be delivered twice, for example, or the two casts may speak the same lines at the same time.
There also may be some interaction between the two casts. For example, if an actor is playing a scene, and is missing a prop, he may steal one from the other cast.
Because the actor from the Katie Mitchell cast has dropped out, Jeremy has decided not to recast him and instead his absence might actually be remarked upon and maybe the Katie Mitchell cast might even need to steal an actor from the Lamb Lays with Lion cast. This all will need to be worked out as we rehearse it.
Jeremey said that he didn't believe that ultimately there would be a "winner" in terms of the competition between the two casts. "I love all my children equally," he said. He added: "I want to stack the deck so that as much shit can go wrong as possible."
Huzzah. This is going to be fun.
Saturday, January 16, 2010
Jane Gordon at the Northern Clay Center
I was really excited to see my high school friend Jane Gordon's work on display at the Northern Clay Center last night. This year, Jane was chosen to receive one of the Jerome fellowships, and she has been working on Gather/Disperse I and Gather/Disperse II for the last year. Today she leaves for Arizona where she's going to grad school.
Jane's work in recent years has predominantly been outdoor installations. A couple years ago she had a neato piece on Lake Calhoun called Migration which consisted of small ceramic objects assembled together in a pattern on top of the frozen lake. She's done other similar outdoor work as well, incorporating her ceramic work into the plant and animal life of the outdoors. 
When I spoke to Jane yesterday, she said since she had the opportunity to present at a gallery through the Jerome Fellowship, she wanted to embrace the opportunity, and decided to create an indoor/outdoor exhibit. So outside of the Center you can see Jane's ceramic buds and flowers attached to the trees. Inside, along the walls, with the same color palette, there are fungal spore looking growths along the walls, and then large blossoms hanging from the ceilings. The blossoms themselves, gigantic and beautiful, seem to be the end of the progression started by the buds on the trees outside. Jane said that originally she thought the walls were going to be white, but when she learned they would be green, she adjusted the color scheme of the entire piece to blend into the gallery space. I think I might go back today to take another look at the outdoor portion of the piece, since it was a bit hard to see last night.
Thursday, January 14, 2010
Training
I've been immersed in some theater classes both last week and this week at Studio 206, in the Ivy Building, with two of my favorite people: Bob Rosen and Barbra Berlovitz. The classes are very affordable, as part of the studio's mission, and I felt that as I wasn't in rehearsal, I needed to take the opportunity to work on my craft.
I feel a little pretentious using the word craft, but really that's what it is. Actors, generally are fairly lazy. We learn our lines, and that's usually about it. How often do we exercise our technique when not in rehearsal? For me, not very often, especially since I've been out of school. So I felt I owed it to myself to spend two weeks of working on my practice.
Last week I took Barbra's Shakespeare class. I've taken it before, when I was doing the Deception at the Jeune Lune, but it was good to take it again. Barbra has a unique approach to Shakespeare. Her first training was with Jaque Leqoc, which was mainly physical work. With the Jeune Lune, she worked on many Shakespearean and Classical texts, and in recent years has studied with voice guru Patsy Rodenberg. So her approach is both very physical and breath oriented, which I like.
What's interesting is that while she approaches the work physically, she also encourages her students to simplify. So much of what young actors do is extraneous. She asks: Why are you making that gesture? Can you get rid of the tension in your face? Because just moving your hand, or raising your eyebrows, doesn't do anything: it's not connected to the text, or to the emotion. One of the most difficult exercises for me was to try and do my monologue only with movements in my torso. I realized how much I rely on my arm movements to speak.
This week I've been taking Bob's devising class, which is something that I could do for every play that I'm in. Instead of simply performing a play, it's about creating a piece of theater using multiple sources- text, music, an image, and simply creating an idea using play and improvisation. It takes an incredible amount of trust and courage, but I find it a lot more rewarding in the end. If I had my way, I'd be in a theater company that worked in this way for months at a time before ever performing something on stage. Hahaha. I know this will never happen in this country.
I feel a little pretentious using the word craft, but really that's what it is. Actors, generally are fairly lazy. We learn our lines, and that's usually about it. How often do we exercise our technique when not in rehearsal? For me, not very often, especially since I've been out of school. So I felt I owed it to myself to spend two weeks of working on my practice.
Last week I took Barbra's Shakespeare class. I've taken it before, when I was doing the Deception at the Jeune Lune, but it was good to take it again. Barbra has a unique approach to Shakespeare. Her first training was with Jaque Leqoc, which was mainly physical work. With the Jeune Lune, she worked on many Shakespearean and Classical texts, and in recent years has studied with voice guru Patsy Rodenberg. So her approach is both very physical and breath oriented, which I like.
What's interesting is that while she approaches the work physically, she also encourages her students to simplify. So much of what young actors do is extraneous. She asks: Why are you making that gesture? Can you get rid of the tension in your face? Because just moving your hand, or raising your eyebrows, doesn't do anything: it's not connected to the text, or to the emotion. One of the most difficult exercises for me was to try and do my monologue only with movements in my torso. I realized how much I rely on my arm movements to speak.
This week I've been taking Bob's devising class, which is something that I could do for every play that I'm in. Instead of simply performing a play, it's about creating a piece of theater using multiple sources- text, music, an image, and simply creating an idea using play and improvisation. It takes an incredible amount of trust and courage, but I find it a lot more rewarding in the end. If I had my way, I'd be in a theater company that worked in this way for months at a time before ever performing something on stage. Hahaha. I know this will never happen in this country.
Saturday, January 9, 2010
Mumma Mummies
I happened to be at the Bloomington Arts Center yesterday and I checked out The Mummy Paradox, a rather bizarre collection of clay multicolored mummies.
The first thing you notice when you enter the gallery is a group of 50 mummified cats all facing one direction. They stand upright, and in front of them is a little mouse that I almost stepped on because I didn't notice it. It's a whimsical piece, almost cartoonish. Like much of the exhibit, I felt like the artists were playing and having fun with their theme. Many of the pieces consist of miniature clay mummies housed inside of "reworked vintage printer trays" (as the artists say in their notes on the piece).
Denise Rouleauf and Mark D. Roberts seem to be playing with the idea of pattern. The mummy figures, configured in their drawers, or lined up on pillars, seem to be waiting for the afterlife as if that moment will occur in a very categorical and organized way. There is something quite unnerving about all the little embalmed figures grouped together, even when the figures are bright blue or some other vibrant color. In some of the pieces, such as "Crucifix", Christian images are juxtaposed with the Egyptian motif. Similarly, some of the mummies take the shape of Catholic cardinals or monks. Perhaps the artists are trying to point to the universality of death- that while beliefs and rituals surrounding death vary from one belief system/ culture to another, we all ultimately end up in the same place.
While the mummies often made me go "aw!" with how cute they were,
there was also something frightening about them all lined up together. The program notes indicate that the artists were attempting to explore "the magnitude of generations; the significance of ritual; and the notion of individual identity within the broader scope of the human condition." I think they carried off their goal fairly well- there definitely was a feeling of a sacred space in the gallery. However, at the same time, I felt that the comedy evident in some of the pieces (the mummy gumball machine, for example) took away from more serious questions that the artists seem to be asking.
Wednesday, January 6, 2010
Collaboration
I've asked Maggie Scanlan to help me with The Minnesota Starvation Project. I should say that I've asked her to direct it, although I haven't used that word yet, to her or to myself until just now. I asked her to collaborate with me on it, to help me shape it, to give me feedback, etc. But to ask her to direct it- implies a certain relinquishing of power that I know I need to do but am scared to.
This play is my baby. It has been percolating in my head for years, and I've written several versions of it. It takes a certain amount of humility to be able to say: I need help with this, I can't do it by myself.
As an actor, it's a lot easier for me to work with a director. I think of myself as a hired gun: I do my job, as I know how to do it, in order to carry out the vision of the director and/or writer (if that person is alive). I feel very confident in my abilities, and it doesn't hurt my feelings if I'm told that I made the wrong choice. Perhaps this comes from spending three years of grad school being constantly torn apart- I developed a thick skin.
With writing it's different. I feel a lot more possessive of the work, and a lot more insecure. I have had horrible experiences letting other people direct my work, so much so that for years I absolutely refused to allow anyone direct it but myself. But there is a certain limitation to this approach. This fall, for the first time in nearly eight years that I allowed someone else to direct something I wrote. It was a ten minute play I wrote for Commedia Beauregard's Masterworks: The Goya Plays. I feel like it was a good exercise in letting my work go. It was good practice, and the fact that I wrote the play specifically for the project helped, because I wasn't uncontrollably invested in it.
Also this fall I was in a play that I think was a good example of what a healthy collaboration can be. I had the opportunity to perform with Barbra Berlovitz in her play Stories as Told in a Bed which was directed by her longtime friend and collaborator Bob Rosen. The two had a shorthand form of communication, from their 30 years of working at Theatre de la Jeune Lune together, that was so fun to watch. In a way the dynamic they developed between writer/author and director is one that I would like to use in my own work. While clearly the play was Barbra's vision, she let Bob take charge the artistic direction of the piece once rehearsals started. It was a beautiful balancing act of listening, communication, and play.
I hope that Maggie and I can find a similar fruitful way of working. I know it's possible. We've done a number of shows together and I consider her a great friend. I feel some of my best acting work was done with her as a director. With that knowledge, I plunge ahead, trying to keep my eyes open, trying to keep breathing.
This play is my baby. It has been percolating in my head for years, and I've written several versions of it. It takes a certain amount of humility to be able to say: I need help with this, I can't do it by myself.
As an actor, it's a lot easier for me to work with a director. I think of myself as a hired gun: I do my job, as I know how to do it, in order to carry out the vision of the director and/or writer (if that person is alive). I feel very confident in my abilities, and it doesn't hurt my feelings if I'm told that I made the wrong choice. Perhaps this comes from spending three years of grad school being constantly torn apart- I developed a thick skin.
With writing it's different. I feel a lot more possessive of the work, and a lot more insecure. I have had horrible experiences letting other people direct my work, so much so that for years I absolutely refused to allow anyone direct it but myself. But there is a certain limitation to this approach. This fall, for the first time in nearly eight years that I allowed someone else to direct something I wrote. It was a ten minute play I wrote for Commedia Beauregard's Masterworks: The Goya Plays. I feel like it was a good exercise in letting my work go. It was good practice, and the fact that I wrote the play specifically for the project helped, because I wasn't uncontrollably invested in it.
Also this fall I was in a play that I think was a good example of what a healthy collaboration can be. I had the opportunity to perform with Barbra Berlovitz in her play Stories as Told in a Bed which was directed by her longtime friend and collaborator Bob Rosen. The two had a shorthand form of communication, from their 30 years of working at Theatre de la Jeune Lune together, that was so fun to watch. In a way the dynamic they developed between writer/author and director is one that I would like to use in my own work. While clearly the play was Barbra's vision, she let Bob take charge the artistic direction of the piece once rehearsals started. It was a beautiful balancing act of listening, communication, and play.
I hope that Maggie and I can find a similar fruitful way of working. I know it's possible. We've done a number of shows together and I consider her a great friend. I feel some of my best acting work was done with her as a director. With that knowledge, I plunge ahead, trying to keep my eyes open, trying to keep breathing.
Monday, January 4, 2010
A tale of two Seagulls.
I'm starting to think about the next play I'm going to be in. I'm playing Masha in Lamb Lays With Lion Vs. Katie Mitchell's The Seagull. It's a part I've always wanted to play, and I'm thrilled that my first venture in performing Chekov outside of school will be this daring conceptual production.
I studied Chekov in school, both in undergraduate and graduate school, and there is definitely a mystique about it. Everyone has their ideas about the "right" way to perform Chekov's plays. While some "experts" say that humor must be part of any Chekov production, other says that playing the subtext is the most important thing. The result of erring too far on one side of the other is either a very shallow play or a very drab one.
The concept for Lamb Lays With Lion's production is that there are two casts performing The Seagull. One cast, inspired by British auteaur-director Katie Mitchell will interpret the play with period costumes and set, and "naturalistic yet simultaneously symbolic" acting, as one critic described Mitchell's style. (sidenote: Ms. Mitchell did give her permission for the project).
The other cast will employ only four actors, and it will be set in modern day, with a very different interpretation (I'm unclear about what that interpretation is at the moment, but I'm sure it will be a bold choice).
The two casts will rehearse separately, and come together toward the opening. Jeremy wrote me today, and used the analogy of Two-Face from Batman to describe the technique. "One face, one play. Different halves, co-existing but vying for control." Excellent.
So it should be a fun experience. Now I just need to start working on my lines so I can be off book for the first day of rehearsal, and start thinking about my character. More on that later.
I studied Chekov in school, both in undergraduate and graduate school, and there is definitely a mystique about it. Everyone has their ideas about the "right" way to perform Chekov's plays. While some "experts" say that humor must be part of any Chekov production, other says that playing the subtext is the most important thing. The result of erring too far on one side of the other is either a very shallow play or a very drab one.
The concept for Lamb Lays With Lion's production is that there are two casts performing The Seagull. One cast, inspired by British auteaur-director Katie Mitchell will interpret the play with period costumes and set, and "naturalistic yet simultaneously symbolic" acting, as one critic described Mitchell's style. (sidenote: Ms. Mitchell did give her permission for the project).
The other cast will employ only four actors, and it will be set in modern day, with a very different interpretation (I'm unclear about what that interpretation is at the moment, but I'm sure it will be a bold choice).
The two casts will rehearse separately, and come together toward the opening. Jeremy wrote me today, and used the analogy of Two-Face from Batman to describe the technique. "One face, one play. Different halves, co-existing but vying for control." Excellent.
So it should be a fun experience. Now I just need to start working on my lines so I can be off book for the first day of rehearsal, and start thinking about my character. More on that later.
Friday, January 1, 2010
"Origins to Endings" at Altered Esthetics
Tonight I went to the gallery opening for Origins to Endings at Altered Esthetics. I've been wanting to make it to the gallery for years now, but this was my first time there.
AE has been around since 2004, and I learn from their website that they are entirely volunteer-run. Their website states: "Altered Esthetics provides a venue where artists can create "art for art's sake" - not because it will match somebody's couch." So, pretty noble aspirations. I appreciate the love of art that goes into an organization like this. It takes a lot to ask people to volunteer their time. I think people do it because they are compelled to, from deep down. They know that what they do deserves payment but they will do it anyway, for free, because they don't know how they would exist without it. That's the beauty of an artist- run organization. It's also why so many are just holding on by their teeth. I hope the best for AE- they seem to be a little organization with a lot of heart.
As for the show, there was very little description in the program notes, or in their publicity. The publicity blurb reads: "An exhibit that examines the mysteries of life. From creation to the afterlife, evolution to the flood, artists explore the stories and legends of how things were, have been and will be." What I found this to mean was art that depicted ghosts, gods and saints, with the occassional scary clown and skeleton.
While the some of the works delve deep into the macabre, such as Patrick Vincent's eerie prints of skulls and bones and Gail Kern's grotesque political "horseman of the apocalypse" paintings, other works offer images of mythic and spiritual symbolism. I was entranced by Melody Williams's ceramic sculpture decorated with glass beads "The Seduction of the Innocent", based on C.S. Lewis's "Perelandra" and her "Guaia", a magnificent depiction of the earth mother goddess made with clay and twigs.
Jennifer LaCasse offers a completely different spin on the theme, critiquing the role that extreme religion plays in society. Her large, realistically painted nightmares show the horrors of religion when it controls people's lives.
I'm definitely glad I took the time to stop by the exhibit. Hopefully I'll be able to see future shows at Altered Esthetic as well.
Here are a few of the works that can be seen on the artists' mnartist pages:
Promethea, by Erika Tenjack, Intaglio
Martyr by Jennifer LaCasse, Acrylic, charcoal and mylar on canvas, 30 x 48.
Baptism, by Jennifer LaCasse, Acrylic, charcoal and mylar on canvas, 36 x 48.
That Old Time Religion, by Jennifer LaCasse Acrylic, charcoal and mylar on canvas, 48 X 96.
1st, 3rd, 3rd, and 4th Horseman of the Apocalypse
Old Testament Mosaic, by Julie Reeve Stained glass and beads
Cowboy Crow Rides the Pale Horse of the Apocalypse by Patrick Vincent
AE has been around since 2004, and I learn from their website that they are entirely volunteer-run. Their website states: "Altered Esthetics provides a venue where artists can create "art for art's sake" - not because it will match somebody's couch." So, pretty noble aspirations. I appreciate the love of art that goes into an organization like this. It takes a lot to ask people to volunteer their time. I think people do it because they are compelled to, from deep down. They know that what they do deserves payment but they will do it anyway, for free, because they don't know how they would exist without it. That's the beauty of an artist- run organization. It's also why so many are just holding on by their teeth. I hope the best for AE- they seem to be a little organization with a lot of heart.
As for the show, there was very little description in the program notes, or in their publicity. The publicity blurb reads: "An exhibit that examines the mysteries of life. From creation to the afterlife, evolution to the flood, artists explore the stories and legends of how things were, have been and will be." What I found this to mean was art that depicted ghosts, gods and saints, with the occassional scary clown and skeleton.
While the some of the works delve deep into the macabre, such as Patrick Vincent's eerie prints of skulls and bones and Gail Kern's grotesque political "horseman of the apocalypse" paintings, other works offer images of mythic and spiritual symbolism. I was entranced by Melody Williams's ceramic sculpture decorated with glass beads "The Seduction of the Innocent", based on C.S. Lewis's "Perelandra" and her "Guaia", a magnificent depiction of the earth mother goddess made with clay and twigs.
Jennifer LaCasse offers a completely different spin on the theme, critiquing the role that extreme religion plays in society. Her large, realistically painted nightmares show the horrors of religion when it controls people's lives.
I'm definitely glad I took the time to stop by the exhibit. Hopefully I'll be able to see future shows at Altered Esthetic as well.
Here are a few of the works that can be seen on the artists' mnartist pages:
Promethea, by Erika Tenjack, Intaglio
Martyr by Jennifer LaCasse, Acrylic, charcoal and mylar on canvas, 30 x 48.
Baptism, by Jennifer LaCasse, Acrylic, charcoal and mylar on canvas, 36 x 48.
That Old Time Religion, by Jennifer LaCasse Acrylic, charcoal and mylar on canvas, 48 X 96.
1st, 3rd, 3rd, and 4th Horseman of the Apocalypse
Old Testament Mosaic, by Julie Reeve Stained glass and beads
Cowboy Crow Rides the Pale Horse of the Apocalypse by Patrick Vincent
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