Wednesday, October 30, 2019

lamarie project notes

The Laramie Project
people in the town are not supportive and do not want to talk with the theatre company 
hate is not a Laramie value

farmer/faculty
- come out
- want to live in Laramie
- love the land 

Matthew 
- shy happy in the school can be important
- friendly smile want to go to university

media
- controversy

the action of the criminal is unexpected


people are not mad with Matthew 

religion / being gay

people don’t approve of homosexual 
people tried to distance themselves from the crime, but people have to acknowledge the fact

many people joined the parade 

media portrays Matthew as Saint, but some people think he actually had problems
dont understand why Matthew had been exemplified 

Sunday, October 27, 2019

moment work notes

moment work notes
antecedents
1980/90s 
  • what was possible on stage
  • a laboratory setting was the place to conduct the theatrical experiment
  • common history and common vocabulary are important
Deconstruction
  • meticulously separate form and meaning
  • how individual theatrical elements communicate 
  • text as a tyrant
  • pyramid - how different elements built up from text
  • how other elements fulfill their narrative potential
  • how to combine the elements 

approach
  • moment work-create stories based on the elements
  • playwright join the active practice
  • form and content are indivisible
  • How to tell the story on stage
  • combine theatrical narrative and dramatic narrative
  • one member make final decision 
  • everyone is theater maker (actor,designer,director or writer)

Tuesday, October 22, 2019

Beetlejuice and the weird world

Beetlejuice and the wired world
This October 10th, I saw the amazing musical Beetlejuice, written by Scott Brown & Anthony King and directed by Alex Timbers in winter garden theatre. The adapted version of the film Beetlejuice is more magnificent considering the staging. The play is about the ghost Beetlejuice who wants to be seen by others, trying to let others say his name three times. And Lydia, who just lost her mother and had to live with her father and an annoying stepmother, can actually see Beetlejuice which makes her Beetlejuice’s first option. Because of Lydia’s capability of seeing ghosts, she also meets the dead former house owners, Barbara and Adam, and they decide to kick Lydia’s father and stepmother out by scaring them and get the house back. In Act 1, the plot focuses on explaining different characters’ backgrounds and their ultimate goals like Beetlejuice who endeavors to make himself be seen by others. And because of Lydia’s aim to scare her father, she helps Beetlejuice, and in return, Beetlejuice creates chaos. In Act 2, the director focuses on the struggle inside Lydia. She can not handle her mother's death very well, so she decided to go to the Netherlands to find her mother. At last, Lydia understands her father and they start their new life. One of the themes that go through the play is attention from others. Beetlejuice and Lydia, share a characteristic in common which is that they want attention from others. Beetlejuice, as a ghost, wants to be seen by others, while Lydia, who thinks she is ignored by her family, desire warmth from her father and mother. Also, they are all viewed as “abnormal” because Lydia can see ghosts and always acts creepy, and Beetlejuice is a ghost. So both of them are not acceptable by most people which symbolizes how minority trying to seek belongings and existence in the society.
The staging of the play really creates a sense of the play which is creepy, abnormal and chaotic. The main colors used for the set are black, white, purple and green which are also the colors that Beetlejuice wears. The setting of the house is also noticeable because it shows the whole interior of the house by distorting it. It not only presents the whole perspective but also provides a tone of this world that everything is not normal but distorted. The combination of colors and setting of the house together enables the audience to sense the weird but interesting world that the director creates. The tradition of the setting is also intriguing because the house can move forward and backward on stage, so when the house move backward, the audience will focus on the characters more because they outside the house and close to the audience, which also accentuates the inner feeling of the characters instead of the plot that is going on.
Speaking of characters, the play has created many memorable characters. Beetlejuice, the most distinctive character, uses a lot of props including the huge monster, hands, and feet which surprise the audience and contribute to his character which is unexpected and crazy at the same time. The costume of Beetlejuice also makes him a special character because of the striking colors which differ profoundly from what Barbara and Adam wear. Another character that really stands out to me is Lydia. Because of her mother's death, Lydia has been continuously depressed, and the fact that her father never mentions her mother lead to her disdain towards her father. The deep depression and obsession of death makes her a wired child that is not appreciated by her father and stepmother. Her all-black costume really expresses her identity and the way that she sings is so different because her pitch is high and her tone is a little wacky.
One moment that is most outstanding to me is when Lydia is in the Netherland and her father follows her. When Lydia is singing the song “Home”, the whole setting is so simple that only has spiral frames in the background and there are only black and white on the stage. As audiences, our focus is fully on Lydia and we can really relate to her loneliness and desire to find belonging. The second time that she sings the song, the feeling is entirely different because Lydia finds out that she has misunderstood her father and they finally break the barrier between them. So her gestures become more exaggerated which expresses her joy and her tone is no longer gloomy. We can easily feel the curve of the character with the change of lighting and voices.
Overall, I really enjoy the musical Beetlejuice because of the fresh perspective that the director took to create the story. And the incorporation of lighting and sound effects surely draws the attention of the audience to the weird but novel world that is created. The moment of Lydia teaches me that the atmosphere can be created without fancy settings, as long as the emotion of the character is expressed, the scene can be memorable.

Wednesday, October 16, 2019

ISTA reflection

During the ISTA workshop, despite the limited duration, I have experienced new things and  accumulated abundant knowledge that I can apply to my future study. Also, I am the only one from CA in my group which I was worried about at first, but it actually enables me to step out of my comfort zone and socialize with people I have not met before. This also contributes to my confidence which is significant to being a successful theatre student.
We’ve done various activities in three days, one of the activities that stands out to me the most is called the relation circle. To begin with, we divide ourselves into groups of two, and one of us starts a scene without initiating the conversation; then the rest of us join the scene with conversation, deciding a relationship with the partner in advance. This activity is really intriguing because the one who starts the scene have to clarify the activity clearly with only movements and the partner have to indicate the relationship between through only a few lines so that the scene can move on smoothly. When I was doing it, I did not get the activity that my partner was doing precisely so the relationship did not quite make sense in that scene; however, because the entry of the ridiculous relationship, the scene actually became more humorous. In addition to the fun, I also understood how essential the relationship is to the scene because it determines how the characters react with each other and how the dynamic between them works even though the situation is not changed because the intention of character will be differed. 
What’s more, during the Tectonics master class, we talked about how moments contribute to the success of a play. Moments that are memorable are not related to texts, instead, they are all associated different elements of stage including gesture, lighting or even pauses. We tried to create small moments with only gestures and it was amazing to see how powerful the physical state can be. The elements of the moment are essential to the message that is going to be delivered to the audience, and different elements can change the intentions and emotions of the text profoundly. So when I perform, I can try to utilize stage elements in different ways to explore which works the best. 
Another thing that I learned from this experience is that how to give effective feedback. Giving and receiving feedback is extremely important to theatre works because it not only helps others to improve, but also enables ourselves to analyze work pieces objectively which is beneficial. Feedback can be categorized as interpretative feedback and structural feedback. Interpretative feedback means opinions about what message we receive from the play which is vital to determine whether the way that director or actor delivers the message effectively or not. And structural feedback is about how the stage image is presented to the audience. 
Overall, it is really beneficial for me to attend such a workshop and I hope to corporate the experience to my future theatre journey.

Thursday, October 3, 2019

viewpoints reflection

During this week, we did the viewpoints with different activities.Firstly, I remember, we were introduced soft focus which means paying attention to what others are doing even though you are not looking at them directly. To achieve soft focus, we have to open our senses including hearing, smell, touch, but barely sight to feel what’s happening around us. As a group, we have to jump, turn or stop spontaneously at the same time. At first, we always initiated the movement by someone leading it, but after several days’ effort, we can finish it without distinguishing who starts the movement. This activity really remind me of how important it is to use the soft focus on stage. Because as an actor, we can’t always see what’s going on stage every minute so we have to pay attention and try to cooperate with others in order to make the performance natural and fluent, or it will feel like actors are just reading their own line without interaction and consensus between characters. 
As we moved on, we were also introduced more vocabulary including tempo, duration, level, kinesthetic response, repetition, spatial relationships, topography and gestures etc. And we have to incorporate those elements when we are walking. The most interesting part to me is the kinesthetic response, which means how you react based on other people’s movements. As a performer, when I am walking, I have to really use my soft focus to grasp the existence of others around me. I remember once when I was face the wall, standing still, I sensed that someone is approaching me with a high tempo, so I decided to turn around and started to walk at a high speed as soon as that people stopped. It is also intriguing to see the kinesthetic response between others as an observer. Once when Caroline and Mao were walking together, maintaining a high tempo, then Caroline suddenly started following Maddie, and Mao chose to stop immediately. I can really feel the dynamics between people because the reaction is immediate and strong. This technique is useful on stage because it creates a natural relationship between characters which will enable the audience to believe what’s happening.  Another element that I am interested in is special relationship, meaning the space between people which can be really close or far away. The space between people can build the atmosphere right away. When I was watching another group performing, I remember that at last, there was a huge distance between four of them which creates a sense of conflict and alienation between them. Also, the direction where they were facing also builds on the tension: one person was facing the other while the other turns her back to that person, showing that one is explicitly aggressive and the other is trying to avoid the confrontation. 
During the viewpoints activities, as a performer, I not only challenge my physical limits by exploring different movements that require different parts of my body to be involved, but also understand how to incorporate various elements in actions, even if it's just walking. In addition, as a director, it is also essential to apply the elements to blocking because it can help to create atmosphere and build relationships effectively.