5 Comments

5 Comments

1. http://wellhithereyou.blogspot.com/2013/11/the-glass-of-water.html?showComment=1383777239912#c5057373310501019620 

2. http://scriptanalysisbymadalyn.blogspot.com/2013/11/show-and-tell-post-2.html?showComment=1383777484972#c894944289875165342

3. http://kamrink.blogspot.com/2013/11/eurydice.html?showComment=1383777624513#c6732878554653962205

4. http://themoniquemccain.blogspot.com/2013/11/the-childrens-hour.html?showComment=1383777791355#c7399743700693873667

5. http://morgansthtr2130blog.blogspot.com/2013/11/show-and-tell-post-fur.html?showComment=1383778003222#c5876003272221108915 

Show & Tell - 100

Show & Tell - 100 by: Neil Monaghan, Diene Petterle, Christopher Heimann 

For my show & tell post I chose, 100,  a play that we recently produced here. I wanted to talk about this play because not many people know the way this play came into production or what the meaning of it was. I had a lot of audience members who asked after the show what the main idea of the play was supposed to be. Hence why I would like to give everyone a little insight on this play because it is a truly amazing work of art that has great potential. 

100 was first original published in Great Britain in 2003 by Nick Hern Books Limited in association with theimaginarybody. The playwrights Diene Petterlie, Neil Monaghan, and Christopher Heinmann were offered the opportunity to put on a play as part of the Arcola theater's Short Cut season of short plays. Instead of looking for a play, they thought about creating a play based on themes they felt most strongly about. One idea that really struck all of them as important was the question of what may be essential to life. The idea was  if they could take a step out of their lives to stop, look, and reconsider the choices they made. An underlying theme was that most people run around and miss out on some kind of balance on everyday life. The most important question struck; "what was really important to us?" The theme of death and dying had been an interest. One often hears stories of 'near death experiences' and how that can make people completely reevaluate their lives and often make changes for the better. Of course this idea gave off the impression of Judgment Day or Purgatory; but the writers described the theme as a different form and to not be misunderstood that it was Purgatory. This play created a more dream like world or better known as "the void." 

After developing this idea of making a choice after death, they presented this play at the Arcola theatre as a work-in-progress piece. The audience response was very strong and positive where then they took this play to the Edinburgh festival. At Edinbrough, the play sold out every night and won a Fringe First award for 'innovation in theatre and outstanding new production'. Since then this play, 100, has taken on an extensive international and national tour. 

Five characters who have died at some point in their lives are gathered together in this "void". Their journey begins when the main character of the five, the guide so to speak, introduces them all to death. Each character goes through memories holding on to a point in their lives that they find to be the most important. However, as we encountered in the play, some of the memories did not have a significance or impact in their lifetime. The realization that there is more to life and satisfaction that meets the eye finally occurs with the characters creating a change in their presence in the "void." These moments often found or associated with the point of moving on. Left standing are two characters counting down the time left to make a choice from their life that made sense to them and impacted. 

The first dramaturgical choice I found within this play was why didn't they have a transition of time for the countdown. The whole purpose in the beginning of the play I found was that Ketu counted out of reason to help him think. Further as we carry on in the play, the guide picks up the counting and makes the counting an ominous urgency to chose a memory. The idea of counting down was such a basic thought that kept the tension and suspense in the play. My opinion was why not have some form of change throughout the play to show the countdown. For example, a clock, or light change? 

The second dramaturgical choice I discovered was the playing space. First when I went through the rehearsal process and understood we were playing on a blank stage completely clothed in white, I thought that was crazy. But as the play continued and the idea of the "void" was developed rather than a playing space I understood what the playwrights were trying to achieve. Sometimes the simpler the better. 

I enjoyed reading, watching, and working on this play a lot. If anyone has an questions or concerns that they feel the need to ask; ask away! I would be happy to discuss this play better in depth. 

Glass of Water

Responding to Dr. Fletcher's Post on Glass of Water 

This particular play Glass of Water by: Eugene Scribe fits fine with the well made play structure. I didn't particularly like reading this play. It was lengthy and a battle against sleep.  Although, all the pieces seemed to fit within this play’s story. If I had to pick one moment where I thought the pieces did not fully match up I may have to say the scene where at the very end of the play the discourse between the Duchess and Bolingbroke. I honestly was very confused reading this scene. I had to go back and reread half the play to see if I missed something. The character’s relationship was so bizarre and I had thought they just didn't see eye-to-eye the entire play till the very end. Also the way they had to speak about what they were doing before kissing and slapping each other was so out of place for me. Especially since the characters are already married to others. I’d say Glass of Water is a different play in general; even though it presents the idea of a well made play structure. 

Children's Hour

Responding to Dr. Fletcher's Post on Children's Hour by: Lillian Hellman 

Hellman created a well made play structure for The Children’s Hour. There was a lot of drama and irony that kept me in suspense. A great deal of tension was also introduced several times through the plot. The exposition, however, was a little different than an expected well made play structure. I felt that the point of attack came earlier in the play rather than the ideal later. The idea of keeping secrets making that the rising action of the play was genius. Although the rising action built up a lot, it seemed to be a drawn out process of events. In the play many times Mary’s lies ruin the lives of others and she is not punished for her actions. Usually the secret being revealed as a part of a well made play structure brings out a logical resolution. The Children’s Hour did not end the way most would think; a surprise twist was a good idea but caused a lot of tension left after the conclusion. 

Eurydice

Responding to Dr. Fletcher's Post on Eurydice by: Sarah Ruhl 

These quotes chosen for this production are both equally tangible to the heart. Presenting these quotes on a poster would entice the viewer to come see the play to learn more about why those quotes were chosen to advertise this play. Eurydice’s character goes through several hardships that relate to real world situations.

“Forget the names - the names make you remember” would be an excellent quote because it discusses the idea of moving on. Life after death shown through a mythological perspective helps to console the idea of an obstacle or defeated challenge. The stones told this to Eurydice’s father on principle that he would not have contentment once the name is known. Same with the relationship between Orpheus and Eurydice, they could not fathom the idea of not being together. Letting go was the overall message to achieve.  

However, the second quote I've chosen reaches deeper in a family relative humanistic perspective. “Do you understand the love a father has for his daughter?” The Father tried and wanted to connect his daughter that even though the idea of learning her name would not be enough in the end. Seeing such determination the father had to remember was sweet and sorrowful. The real world idea that gives love between a father and a daughter a deeper connection for viewers. 

Also just saying apart from this response; I thoroughly enjoyed this play. The modernization of Greek mythology was a clever idea and a good read.  

Love! Valour! Compassion!

Responding to Dr. Fletcher's Post on Love! Valour! Compassion! by: Terrence McNally

After reading over Love! Valour! Compassion! and relating it to our discussion about what capital T-Truth is, I've noticed that McNally illustrates how the truth is exposed through the characters decisions. The capital truth focuses on the idea of human perception and what it should represent. The character's relationships and decisions were not thought out ahead of time. The actions the characters made were based on reactions to their opinions and nature. If a historian were to read this play they might be confused at first because of the non-linear play style and the breaking of the 4^th wall. The cause-and-effect actions take place in order of plot but do not follow the story line in order. Breaking down of the fourth wall at random times throughout the play may take away from the story but gives the reality that the information being told is important. All the actions made reflect towards the bigger and greater conclusion which does come at the end tying all the loose ends together. The worldview with this play being a well made play structure aims interest towards those who view this play more than once.