Article Response

"Time, money, and space are fundamental prerequisites of every new devising equation created." (page 148) In the Theory and Practice section of the article it speaks to more detailed aspects of putting on devised theatre. I find it interesting that it mentions time and money along-side space. The space you work in is very important as it informs the production one hundred percent. The space is the "sharing of experiences with others," occurs, and the space is where the "energy of those particular people" is cultivated.

I believe that our class having decided on a definite space to be room 272, and owning it - was a very important step in the process. It allowed me to start getting grounded in the stories and really see the physical relationship of the space and how it coincides with the feeling and mood of the technical and how that later informs the through-line.

"It is in the doing and making of theatre that mistakes are made, that failure occurs, and that is how one learns." (page 149) Being in a space that's comforting, that feels like a home, filled with people in your company that you're close with and have a good work ethic, is a great addition to lots of good ideas for a production. This aspect helps facilitate the best working experience of a theatrical piece in the best way possible.

Devised Theatre Response

“Plans are simply the servants of good intuition.” (page 23)

I really enjoy this short little tidbit because I think it is succinct and entirely true. In terms of our piece, planning is only a rough outline for a possible path. But the truth is that we understand these stories to sincere depth, so the immersion of our hearts and guts into these stories will guide us more than anything. We know what we want to say (at least personally) and our intuition will guide us in the courses that pay homage to that.

“While the performance team is at the center of the director’s attention, from this point forward he cannot afford to forget an invisible, yet curial, ingredient in the recipe: the audience! Before weaving all the parts together, the devising director…must work to ensure that the series of action, which constitute the story, are constructed in such a way as to provoke, amuse and intrigue an audience.” (page 25)

While not specifically applying to our project, I think that this refers to a danger that all performances pieces have – and that is becoming too self-indulgent. I don’t think that we have entirely had this issue, but it is something that we should watch out for. It is very easy to get caught up in what looks cool, what would be fun for us, or how we can use the piece to personally express ourselves. While these things can be good….the biggest focus should be on what we want the audience to feel, experience and see? What do we want to show them? Not “what do we want to do?”

“Another demand for the parameters is that they must be open to variation. i.e. these parameters can be reconstructed into different forms. This is the primary factor for the set’s flexibility. The actors will use the props parameters in rehearsal to form and reform the shape of the space. The constant alteration of position, and combinations of the different elements of the set, will create the various scenic contexts for the work. The basic elements may be realistic of abstract in style and in shape, but they must all have the dramatic potential to be changed within seconds to a new shape.” (page 41)

I think that this applies in depth to our project. Personally, I think it is imperative to use your objects and environment to create your space – not let them be visually still, like a painting. And I think that the use of our artifacts and the spaces on the vertical units is what we are using to “create the various scenic contexts for the work.”

Devising Theatre, Choice & Resolution

Central to the devising process is problem-solving. Questions are raised about form, content, or audience, whilst deciding on a preliminary structure the works. 

Devised theatre is a contemporary reflection of culture and society. It is continually addressing new theatrical forms, making original contributions out of the existing interests and considerations of the time.

I realize that we intentionally took a step back from this when I last addressed this request, but I feel as we construct this piece as a singular entity comprised of multiple facets, it would still be helpful for me to have a good idea of the single element, theme, whatever that we choose as a loose framework for incorporating this story into the 21st century culture. 

Devising allows for a constant re-definition of theatrical performance, and for work to begin from any starting point. Choice, opportunity , and infinite possibility set devised theatre apart from conventional play text production.

I don't want my request to be restrictive, and this embodies a way in which our focus on a singular theme, and its relation to society can be a very dynamic framework to embrace. Even at the most basic, loose context, exploring isolation could set a subconscious intent for each creator.

journal for 19 October 2010

I liked how the monologues were used. The improvised sound effects were nice. It would be nice to have different "stations" set up for each piece, different environments for each monologue would add to the experience. Maybe the inclusion of background music would also help, just barely audible. The choices for tonight; King Coal speech, Duel Perspectives, Number 47, Union Organizer, She said, The Anarchist, and Rally for Revenge, definitely gave the miners perspective. Now, if we could incorporate the company side, that would even out the experience, maybe we could one side and than the other or do the company side first and than the miners side? The piece by Brain, No Quarter, is what I imagine Rockefeller saying and feeling after the Congressional Hearing about Ludlow in May, 1914. Very good, something we could work from.
If we are going to use the space we are now in for the show, it can be turned into the Ludlow valley. We have built in mountains, we can throw cloth over the shelves and other areas, these can represent the mountains. We can paint and color them, also we can place cloth over the ceiling to add the feeling of being enclosed. Maybe we could raise and lower the ceiling depending on the scene?

Rockefeller stuff

go to this link, I will also bring in a print out.
http://historymatters.gmu.edu/d/5735/ look for In The Hot Seat: Rockefeller Testifies on Ludlow.

space/assign info

just to make sure - did you all get Sinjin's post or email about assignments through 10/26?
these notes are in addition to his great summary:

try to use next tuesday as a part of 3 hour required rehearsal time -

make certain to read and to respond to readings asap...Read Leroy's response (and others as they are posted) before you respond...

the "no repeats rule" is to encourage the spirit of collegial responsiveness!

also - Emily, Craig, and Brian are joining forces with me at 4:30 on Friday for pizza and to finish up rehearsal preparation of 272 - I hope you can stop by to participate, or just to check things out on your way to Friday night...

more later - I am planning to be back at 7:00 on 10/26 to see what you've developed...

best of luck! Laura C.

Assignment!!

Good morning everyone.

So that everyone is clear on the assignments our illustrious leader has given us for the next week, it's probably a good idea to post them here.

1. Read the packets of information about devising a production
2. Post on the blog about the most interesting and useful part to you (this is first come first serve and NO REPEATS - so whoever posts fastest wins...and whoever posts last...sucks - also use direct quotes from the text. For those who haven't gotten it, Laura will post it in 278 for you.
3. Go to the Western History section of the Denver Public Library and look at newspaper articles from the time period that concern us. Copy some of your favorites and bring them to class for discussion.
4. Remember that Rockefeller assignment? Bring in information concerning the Company side of things - sources, information, and perhaps performance pieces. We should still do that.
5. Log 3 hours of rehearsal time in the space - it must be documented via video, audio, or optical device (meaning cameras, not lasers...unless there's some new technology I don't know about).

"That's all there is, there isn't anymore." - Madeline