15 September 2010
07 September 2010
01 September 2010
Pina Bausch Das Stück mit dem Schiff 2
The quality is poor, but the content is worth it
26 August 2010
Overdue
Hi all,
This short story by Kelly Link explores the lives of the dead in a similar way to Levin's poem. The ambiguity of information (in this case, a name) is particularly resonant. I'd be interested to hear your thoughts if you have time to read it.
Martine
This short story by Kelly Link explores the lives of the dead in a similar way to Levin's poem. The ambiguity of information (in this case, a name) is particularly resonant. I'd be interested to hear your thoughts if you have time to read it.
Martine
19 August 2010
ASSIGNMENT #3 Solo
Include:
*3 of your lines from each chapter (12 lines total)
*One gesture that is repeated 12 times
*Something sung
*2 jumps
*2 drops
*10 consecutive seconds of stillness
*1 revelation of character
*2 uses of live percussion (not vocal)
*1 revelation of object
*a broken expectation
*4 musical directives applied to text (see list of musical directives below)
CRESCENDO: becoming louder
DECRESCENDO: becoming softer
PIANISSIMO: very soft
FORTISSIMO: very loud
SFORZANDO: forceful, sudden accent
MARCATO: stressed, pronounced
SOTTO VOCE: undertone (whispered or unvoiced)
MORENDO: dying away
*3 of your lines from each chapter (12 lines total)
*One gesture that is repeated 12 times
*Something sung
*2 jumps
*2 drops
*10 consecutive seconds of stillness
*1 revelation of character
*2 uses of live percussion (not vocal)
*1 revelation of object
*a broken expectation
*4 musical directives applied to text (see list of musical directives below)
CRESCENDO: becoming louder
DECRESCENDO: becoming softer
PIANISSIMO: very soft
FORTISSIMO: very loud
SFORZANDO: forceful, sudden accent
MARCATO: stressed, pronounced
SOTTO VOCE: undertone (whispered or unvoiced)
MORENDO: dying away
Sounds
silence
groan of pleasure
silently swallow
sound of bodies rotting
toilet
wild mocking laughter
gurgle
organ
sweet & crisp melting
squealing
making a mess, spit/suppurate
breath of their noses
spat out shells and crumbs
tear of newspaper
man's awful moan
choked
whispering hiss
silent fart
flautist breath
crumbling face
gradually shrank
gradually dimmed
purifying silence
innards of dead man
like a boat
peel away
wagon's siren wails
peel back their skins
little children
quarrel
silent mirth
playful gusts of sound
continually shrank
clapped together
falling apart
rubbing sound
porcelain scratching
tree's leaves
stars beaming
shine gleaming from the lower firmament
wriggling
lesser, fainter, crumbling
magnifying shame
the wind
whistle of contempt
sound of the cry of th edead man
moan
18 August 2010
05 August 2010
Fragments of questions on making and owning and viewing and changing
Absent v. Missing?
(Exclusion as choice v. Inclusion fail)
Emotion v. Intention?
WHO is responsible for filling in "missing" elements?
WHOSE need dictates style/execution/"elements under the surface"?
AN EXPERIMENT for Directors--observe performance through lens of your methodology. What worked? What didn't? AND--recall specific instruction given to performers when choreographing each element. Evaluate as if: Success=successful direction. Failure=failed direction.
(Exclusion as choice v. Inclusion fail)
Emotion v. Intention?
WHO is responsible for filling in "missing" elements?
WHOSE need dictates style/execution/"elements under the surface"?
AN EXPERIMENT for Directors--observe performance through lens of your methodology. What worked? What didn't? AND--recall specific instruction given to performers when choreographing each element. Evaluate as if: Success=successful direction. Failure=failed direction.
REHEARSAL 04 AUG: Montage Revisited PT 3
Director and Audience become Performers. Performers become audience.
10 minutes each to work. Show.
PIECE A
Director: n/a
Performers 1 & 4
Audience: 2 & 3
PIECE B
Director: n/a
Performers: 3 & 4
Audience: 1 & 2
PIECE C
Director: n/a
Performers: 1 & 4
Audience: 2 & 3
PIECE D
Director: n/a
Performers: 1 & 2
Audience: 3 & 4
10 minutes each to work. Show.
PIECE A
Director: n/a
Performers 1 & 4
Audience: 2 & 3
PIECE B
Director: n/a
Performers: 3 & 4
Audience: 1 & 2
PIECE C
Director: n/a
Performers: 1 & 4
Audience: 2 & 3
PIECE D
Director: n/a
Performers: 1 & 2
Audience: 3 & 4
REHEARSAL 04 AUG: Montage Revisited PT 2
Original director becomes audience. Audience becomes director.
10 minutes each to rework, clarify, edit, tweak, expand--while maintaining integrity of the original piece.
MONTAGE PT 2 STRUCTURE
PIECE A
Director: 4
Performers 2 & 3
Audience: 1
PIECE B
Director: 1
Performers: 3 & 4
Audience: 2
PIECE C
Director: 2
Performers: 1 & 4
Audience: 3
PIECE D
Director: 3
Performers: 1 & 2
Audience: 4
10 minutes each to rework, clarify, edit, tweak, expand--while maintaining integrity of the original piece.
MONTAGE PT 2 STRUCTURE
PIECE A
Director: 4
Performers 2 & 3
Audience: 1
PIECE B
Director: 1
Performers: 3 & 4
Audience: 2
PIECE C
Director: 2
Performers: 1 & 4
Audience: 3
PIECE D
Director: 3
Performers: 1 & 2
Audience: 4
REHEARSAL 04 AUG: Montage Revisited PT 1
Warm up with Viewpoints refresher. Shapes river and tag. Lane work.
Revisit MONTAGE PIECES:
PIECE A
Director: 1
Performers 2 & 3
Audience: 4
PIECE B
Director: 2
Performers: 3 & 4
Audience: 1
PIECE C
Director: 3
Performers: 1 & 4
Audience: 2
PIECE D
Director: 4
Performers: 1 & 2
Audience: 3
DISCUSS. Say what you saw.
How was the collaboration? Moments of ease? Moments of shut-down?
What was exciting? Surprising? What commanded attention? When did you space out?
Did you empathize? How? Why?
Were starts/stops clear? Did they have necessity? Were choices re: space, setting, shape, architecture, tempos STRONG & ACTIVE?
Strengths? Weaknesses?
Revisit MONTAGE PIECES:
PIECE A
Director: 1
Performers 2 & 3
Audience: 4
PIECE B
Director: 2
Performers: 3 & 4
Audience: 1
PIECE C
Director: 3
Performers: 1 & 4
Audience: 2
PIECE D
Director: 4
Performers: 1 & 2
Audience: 3
DISCUSS. Say what you saw.
How was the collaboration? Moments of ease? Moments of shut-down?
What was exciting? Surprising? What commanded attention? When did you space out?
Did you empathize? How? Why?
Were starts/stops clear? Did they have necessity? Were choices re: space, setting, shape, architecture, tempos STRONG & ACTIVE?
Strengths? Weaknesses?
04 August 2010
MONTAGE assignment: 03AUG
MONTAGE STRUCTURE
Katie = 1
Martine = 2
Josh = 3
Jessie = 4
PIECE A
Director: 1
Performers 2 & 3
Audience: 4
PIECE B
Director: 2
Performers: 3 & 4
Audience: 1
PIECE C
Director: 3
Performers: 1 & 4
Audience: 2
PIECE D
Director: 4
Performers: 1 & 2
Audience: 3
Katie = 1
Martine = 2
Josh = 3
Jessie = 4
PIECE A
Director: 1
Performers 2 & 3
Audience: 4
PIECE B
Director: 2
Performers: 3 & 4
Audience: 1
PIECE C
Director: 3
Performers: 1 & 4
Audience: 2
PIECE D
Director: 4
Performers: 1 & 2
Audience: 3
03 August 2010
ASSIGNMENT #2 montage
(as designed by A.Bogart, with liberties)
Four-part montage (for each of four chapters of poem)
A) review each chapter; identify a theme, or overarching idea, or moment(s) of greatest importance/interest/confusion according to YOU as of NOW (these can change!)
B) 15min to storyboard individually in space
C) 15 min for each director to stage--> FOUR shots/takes, for two performers. each max. 15 seconds. separated by blackouts (called by director)
MINIMAL props, sound, text. ONLY if absolutely necessary. to be used with EXACTITUDE
Choreograph meticulously. Attention to detail. Specificity. Brevity.
Work PHYSICALLY! Speak PHYSICALLY!
Stage EXPRESSION rather than DESCRIPTION
Use performers' idiosyncrasies, adjust if needed.
Work INTUITIVELY! With exactitude!
Concentrate on DETAILS. Keep things moving.
Make the "when" and "where" MATTER!
Four-part montage (for each of four chapters of poem)
A) review each chapter; identify a theme, or overarching idea, or moment(s) of greatest importance/interest/confusion according to YOU as of NOW (these can change!)
B) 15min to storyboard individually in space
C) 15 min for each director to stage--> FOUR shots/takes, for two performers. each max. 15 seconds. separated by blackouts (called by director)
MINIMAL props, sound, text. ONLY if absolutely necessary. to be used with EXACTITUDE
Choreograph meticulously. Attention to detail. Specificity. Brevity.
Work PHYSICALLY! Speak PHYSICALLY!
Stage EXPRESSION rather than DESCRIPTION
Use performers' idiosyncrasies, adjust if needed.
Work INTUITIVELY! With exactitude!
Concentrate on DETAILS. Keep things moving.
Make the "when" and "where" MATTER!
ASSIGNMENT #1 gathering sights.sounds (27JUL)
THREE IMAGES directly expressing or related to word/phrase from poem
ONE "DEATH SONG" that resonates with you in some way
ONE "DEATH SONG" that resonates with you in some way
REHEARSAL #1 27JUL EXERCISE
WHAT IS ELEGY?
WHEN I THINK OF DEATH...
I SEE________
I HEAR________
I SMELL________
I TASTE________
I FEEL________
I THINK________
I WONDER________
WHEN I THINK OF DEATH...
I SEE________
I HEAR________
I SMELL________
I TASTE________
I FEEL________
I THINK________
I WONDER________
THE VIEWPOINTS (as defined by Anne Bogart & paraphrased by VJ)
VIEWPOINTS (PHYSICAL)
OF TIME:
*TEMPO speed. how fast or slow.
*DURATION how long.
*KINESTHETIC RESPONSE spontaneous reaction to outside motion. timing in which you respond. movement that occurs from stimulus of senses.
*REPETITION repeating something. internal & external.
OF SPACE:
*SHAPE contour/outline. stationary or moving. body in space/body in relation to architecture/body in relation to other bodies.
A)lines B)curves C)combination
*GESTURE movement of the body. shape w/ beginning/middle/end
A)Behavioral. concrete physical world of behavior; everyday life; gives info on character, time, place, weather, etc.
B)Expressive. inner state, emotion, desire, ideal, value; abstract&symbolic; universal; timeless.
*ARCHITECTURE physical environment.
solid mass / texture / light / color / sound
*SPATIAL RELATIONSHIP distance between things. body to body. body to architecture.
*TOPOGRAPHY landscape, floor pattern, design created in movement through space. map. path.
OF TIME:
*TEMPO speed. how fast or slow.
*DURATION how long.
*KINESTHETIC RESPONSE spontaneous reaction to outside motion. timing in which you respond. movement that occurs from stimulus of senses.
*REPETITION repeating something. internal & external.
OF SPACE:
*SHAPE contour/outline. stationary or moving. body in space/body in relation to architecture/body in relation to other bodies.
A)lines B)curves C)combination
*GESTURE movement of the body. shape w/ beginning/middle/end
A)Behavioral. concrete physical world of behavior; everyday life; gives info on character, time, place, weather, etc.
B)Expressive. inner state, emotion, desire, ideal, value; abstract&symbolic; universal; timeless.
*ARCHITECTURE physical environment.
solid mass / texture / light / color / sound
*SPATIAL RELATIONSHIP distance between things. body to body. body to architecture.
*TOPOGRAPHY landscape, floor pattern, design created in movement through space. map. path.
Jewish funeral research
KERIAH (tearing) traditional tearing of outer garment, reflecting torn heart of mourner. black ribbon is often substituted
BURIAL PRAYER Tzidduk Hadin (Justification of Judgment)
MEMORIAL PRAYER El Malei Rachamim (Compassionate God)
It is traditional for mourners to walk btwn two lines of comforters as they step away from the grave. Comforters say
Hamakom Yinacheim Etchem B'tokh Sha'ar Avelei Itzion Veyerushalayim
(May G-d comfort you together with the other members of Zion and Jerusalem)
Mourner's KADDISH
http://www.jewfaq.org/prayer/kaddish.htm
BURIAL PRAYER Tzidduk Hadin (Justification of Judgment)
MEMORIAL PRAYER El Malei Rachamim (Compassionate God)
It is traditional for mourners to walk btwn two lines of comforters as they step away from the grave. Comforters say
Hamakom Yinacheim Etchem B'tokh Sha'ar Avelei Itzion Veyerushalayim
(May G-d comfort you together with the other members of Zion and Jerusalem)
Mourner's KADDISH
http://www.jewfaq.org/prayer/kaddish.htm
VOCABULARY
TEVET
10th month of Jewish calendar. 10th of Tevet is a fasting day, commemorates siege of Jerusalem (which culminated in the destruction of Solomon's Temple). Modern-day remembrance of the Holocaust.
RICTUS
1. gape or cleft of an open mouth or beak.
2. a fixed or unnatural grin or grimace, as in horror or death
3. the opening of the mouth, especially in a grimace or expression of pain
BOB'S YOUR UNCLE
concludes a set of simple instructions ("and their you have it" "you're all set")
ORDURE
1. excrement; dung
2. something morally offensive; filth
SHAH OF IRAN
Iranian Emperor 16SEP41 - 11FEB79 (overthrown)
White Revolution: economic and social reform to transform Iran into a global superpower.
Western influence.
modernization, nationalizing natural resources, extending suffrage to women.
target of two assassination attempts.
close alliance with US until 1979n Iranian Revolution (Iran Hostage Crisis)
SUPPURATE
undergo the formation of pus; fester
PRATTLE
foolish or inconsequential talk
OBSEQUIOUS
obedient or attentive to an excessive or servile degree
IGNOMINY
public shame or disgrace
KEEN
wail of grief for a dead person; an Irish funeral song accompanied by wailing in lamentation for the dead
CARRION
the decaying flesh of dead animals
MOTLEY
incongruously varied in appearance or character; disparate
CLEAVE
stick fast to; adhere strongly to; become very strongly involved with or emotionally attached to
(also means to split or sever, divide [as in a cell])
MIRTH
amusement, esp. expressed in laughter
CHORTLE
a breathy, gleeful laugh
FIRMAMENT
the heavens or the sky, esp. when regarded as a tangible thing. a sphere or world viewed as a collection of people.
PANOPLY
a complete or impressive collection of things; a splendid display
REFUSE
n. matter thrown away or rejected as worthless; trash (waste, excrement)
10th month of Jewish calendar. 10th of Tevet is a fasting day, commemorates siege of Jerusalem (which culminated in the destruction of Solomon's Temple). Modern-day remembrance of the Holocaust.
RICTUS
1. gape or cleft of an open mouth or beak.
2. a fixed or unnatural grin or grimace, as in horror or death
3. the opening of the mouth, especially in a grimace or expression of pain
BOB'S YOUR UNCLE
concludes a set of simple instructions ("and their you have it" "you're all set")
ORDURE
1. excrement; dung
2. something morally offensive; filth
SHAH OF IRAN
Iranian Emperor 16SEP41 - 11FEB79 (overthrown)
White Revolution: economic and social reform to transform Iran into a global superpower.
Western influence.
modernization, nationalizing natural resources, extending suffrage to women.
target of two assassination attempts.
close alliance with US until 1979n Iranian Revolution (Iran Hostage Crisis)
SUPPURATE
undergo the formation of pus; fester
PRATTLE
foolish or inconsequential talk
OBSEQUIOUS
obedient or attentive to an excessive or servile degree
IGNOMINY
public shame or disgrace
KEEN
wail of grief for a dead person; an Irish funeral song accompanied by wailing in lamentation for the dead
CARRION
the decaying flesh of dead animals
MOTLEY
incongruously varied in appearance or character; disparate
CLEAVE
stick fast to; adhere strongly to; become very strongly involved with or emotionally attached to
(also means to split or sever, divide [as in a cell])
MIRTH
amusement, esp. expressed in laughter
CHORTLE
a breathy, gleeful laugh
FIRMAMENT
the heavens or the sky, esp. when regarded as a tangible thing. a sphere or world viewed as a collection of people.
PANOPLY
a complete or impressive collection of things; a splendid display
REFUSE
n. matter thrown away or rejected as worthless; trash (waste, excrement)
VJ EPHEMERA
Each chapter is a stage of decomposition.
A "dance of disintegration"
white to brown, gradually soiled
ritualizing the "afterdeath"
surges of white light. end bathed in a shock of white.
torn white rags. white tights. pantyhose. draping. diaper-like bottoms. DEPENDS? white thermal shirt.
(house open to ensemble preparing...)
A "dance of disintegration"
white to brown, gradually soiled
ritualizing the "afterdeath"
surges of white light. end bathed in a shock of white.
torn white rags. white tights. pantyhose. draping. diaper-like bottoms. DEPENDS? white thermal shirt.
(house open to ensemble preparing...)
VJ RESEARCH ENTRY #2
POINT OF VIEW
whose story is it?
ARCHITECTURE
how do we use/create the space?
ROLE OF AUDIENCE
relationship/4th wall?
STORYTELLING TECHNIQUES
how do we tell? dances. ritual. conjuring. obsequies.
GENRE
greek chorus. ritual/conjuring. oration. dance. elegy. obsequies. interment.
FRAMING DEVICES
borders/edges. (boxes, paper, magazines. dirt? clothes?)
SCALE
objects and actions
LIGHT&COLOR
white. brown. bright light. shadow.
LANGUAGE
English. (Hebrew, recorded?) How is text spoken? following existing succession of poem. arrange in "fugue" structure.
CHARACTERS
how is char defined? ACTION V. DESCRIPTION. -->dance
PLAY-WORLD
Arena/landscape. Afterlife? After-death?
whose story is it?
ARCHITECTURE
how do we use/create the space?
ROLE OF AUDIENCE
relationship/4th wall?
STORYTELLING TECHNIQUES
how do we tell? dances. ritual. conjuring. obsequies.
GENRE
greek chorus. ritual/conjuring. oration. dance. elegy. obsequies. interment.
FRAMING DEVICES
borders/edges. (boxes, paper, magazines. dirt? clothes?)
SCALE
objects and actions
LIGHT&COLOR
white. brown. bright light. shadow.
LANGUAGE
English. (Hebrew, recorded?) How is text spoken? following existing succession of poem. arrange in "fugue" structure.
CHARACTERS
how is char defined? ACTION V. DESCRIPTION. -->dance
PLAY-WORLD
Arena/landscape. Afterlife? After-death?
VJ RESEARCH ENTRY #1
QUESTION: How do we (as individuals, as an ensemble) interpret poetry on the page into physical, time-based performance?
QUESTION: What happens when we die?
ANCHOR: Greek chorus / fugue / host of the dead / welcoming committee
STRUCTURE: Hanoch Levin's LIVES OF THE DEAD (translated by Atar Hadari) {FRAMEWORK}
STRUCTURE: Elegy / Decomposition
:::
KNOWNS (?):
white v. brown --> purity/antiseptic v. dirty/rotting
each chapter a stage of progression AND resignation (acceptance of something undesirable but inevitable)
EPHEMERA. materials of a life. papers/magazines/boxes (HOARDER/proof of existence)
Ritual of DEATH v. "AFTER-DEATH" (v. AFTERLIFE!)
UNKNOWNS:
Is this real?
If "nothing" happens after death, how can he sense the nothingness?
Is this HELL?
Is "the man" one of us, all of us, none of us? (some fluctuation / combination??)
Is whatever happens (or doesn't happen) after death fixed/static? Subject to/determined by variables? (quality of life lived, beliefs, values...)
QUESTION: What happens when we die?
ANCHOR: Greek chorus / fugue / host of the dead / welcoming committee
STRUCTURE: Hanoch Levin's LIVES OF THE DEAD (translated by Atar Hadari) {FRAMEWORK}
STRUCTURE: Elegy / Decomposition
:::
KNOWNS (?):
white v. brown --> purity/antiseptic v. dirty/rotting
each chapter a stage of progression AND resignation (acceptance of something undesirable but inevitable)
EPHEMERA. materials of a life. papers/magazines/boxes (HOARDER/proof of existence)
Ritual of DEATH v. "AFTER-DEATH" (v. AFTERLIFE!)
UNKNOWNS:
Is this real?
If "nothing" happens after death, how can he sense the nothingness?
Is this HELL?
Is "the man" one of us, all of us, none of us? (some fluctuation / combination??)
Is whatever happens (or doesn't happen) after death fixed/static? Subject to/determined by variables? (quality of life lived, beliefs, values...)
And so it begins...again...
More than a year since the idea was hatched, months since the initial planning stages, and weeks since we solidified dates, venue, and schedule--LIVES OF THE DEAD is officially underway!
http:// http://www.poetryfoundation.org/archive/poem.html?id=236656
http:// http://www.poetryfoundation.org/archive/poem.html?id=236722
http://http://www.poetryfoundation.org/archive/poem.html?id=236726
http:// http://www.poetryfoundation.org/archive/poem.html?id=236728
http:// http://www.poetryfoundation.org/archive/poem.html?id=236656
http:// http://www.poetryfoundation.org/archive/poem.html?id=236722
http://http://www.poetryfoundation.org/archive/poem.html?id=236726
http:// http://www.poetryfoundation.org/archive/poem.html?id=236728
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