Wednesday, May 1, 2013
Wednesday, April 3, 2013
Interpretations and Phases
In giving Not I another go, I am thinking a lot about the pacing that I had in relation to the pacing of others. In originally going into this work, I thought that the sentences were more slow and methodical, which is why I talked about the need to tell the story as being the force that is driving She to speak, to continue despite the noise and despite the implications that she is opening herself up to. I think that having been present for the original conversation might have really helped me in my interpretation of the text, as my pacing was so different from all of the others. I'd also like to explore further how the mouth works with the body despite the body's inability to move. I think that wile She may not be able to move her body, it should still be an active participant in the performance, even if it is just the intent to move that I have mentally. I know that if I actively think it, and try to instill it physically, it will read in my face and, hopefully, then read in my mouth and in my vocation.
On another note, I felt that the phasing in and out of speakers was beautiful. I thought that it really created a chaotic environment for the performer in that you had to really focus and be concrete in your knowledge of the text yet for the observer it was reminiscent of a symphony; words flowing in and out of each other, syncing and un-syncing as the performers went on. This was very intriguing as an observer.
One thing that I did not get to address in our conversation that day that I was really curious about was the religious aspect of it. I'm not sure if Beckett was talking about one religion in particular or if he was targeting experiences with a particular sect of believers. I think that we get hints in his choice of dress and in the nature of his speak about the religious, but I have not found a truly definitive answer as to what religion this is. I'd like to talk more about it today.
On another note, I felt that the phasing in and out of speakers was beautiful. I thought that it really created a chaotic environment for the performer in that you had to really focus and be concrete in your knowledge of the text yet for the observer it was reminiscent of a symphony; words flowing in and out of each other, syncing and un-syncing as the performers went on. This was very intriguing as an observer.
One thing that I did not get to address in our conversation that day that I was really curious about was the religious aspect of it. I'm not sure if Beckett was talking about one religion in particular or if he was targeting experiences with a particular sect of believers. I think that we get hints in his choice of dress and in the nature of his speak about the religious, but I have not found a truly definitive answer as to what religion this is. I'd like to talk more about it today.
Not I process and progress
As far as where we are as a collective, it is really on a spectrum. Putting the pieces together was an interesting experience due to the fact that (a) half of the class was not present for the initial discussion of the text and (b) everyone was at different stages in their process for the piece. It was interesting watching the different interpretations of the piece from those of us who were not present for the initial discussion of the text, because it brought a different flow and a different energy to the piece...some of which fit beautifully with the conversation we had had about the text, and some of which did not fit at all. Additionally, the different levels of comfortability with the text brought an interesting rhythm and feel to the piece. Ironically, I could feel the nervous/anxious tension in the room, in addition to this "need" to get the piece over with and get your particular part over with and out and move on to the next person. I thought it added tremendously to the piece. I'll be interested to see what the piece feels like when/if that sense of uncertainty is not as present in the presentations.
As far as how I am individually in the process, I feel a little disjointed. I'm still finding it difficult to pick up in the middle and fade out in the middle. I wish there were more opportunities to rehearse with everyone in the group, purely to get a better flow of the piece and to see/feel/hear everyone else and use that energy and incorporate it into my own work. My piece itself, though, is feeling much more solid than it was last week. I've tried different tactics to get it into my body (such as standing, sitting, walking around, lying on the floor, going upside down), which helped me concentrate more on the physical things and less on the words, which helped with being able to rapid-fire spit out the text without thinking about it. Additionally, the more I do the piece, the more I feel as though I'm on a rollercoaster. The lead in is the rickity climb to the top of the hill, and then I pick up speed very quickly in the middle, and the end stays fast, but it slows down significantly towards the end. It is an interesting feeling when your mouth seems to be a half second ahead of your brain...almost like it is detached. Can't say I enjoy it, but I did find the not-thinking-about-it-and-just-doing-it part liberating.
As far as how I am individually in the process, I feel a little disjointed. I'm still finding it difficult to pick up in the middle and fade out in the middle. I wish there were more opportunities to rehearse with everyone in the group, purely to get a better flow of the piece and to see/feel/hear everyone else and use that energy and incorporate it into my own work. My piece itself, though, is feeling much more solid than it was last week. I've tried different tactics to get it into my body (such as standing, sitting, walking around, lying on the floor, going upside down), which helped me concentrate more on the physical things and less on the words, which helped with being able to rapid-fire spit out the text without thinking about it. Additionally, the more I do the piece, the more I feel as though I'm on a rollercoaster. The lead in is the rickity climb to the top of the hill, and then I pick up speed very quickly in the middle, and the end stays fast, but it slows down significantly towards the end. It is an interesting feeling when your mouth seems to be a half second ahead of your brain...almost like it is detached. Can't say I enjoy it, but I did find the not-thinking-about-it-and-just-doing-it part liberating.
Tuesday, April 2, 2013
Not I... Again
After our rehearsal last week, I felt a bit selfish. In my memorization, I had sort of forgotten that Jackie was layering her text over mine--so when the time came for Jackie to layer over me, I was a bit thrown, and wondered if I should adjust my speed to flow with hers. As I've been rehearsing, I've tried to keep that layering in mind. I wonder if it would be helpful for us to do a sort of line read round robin before we prop up our performance, so that we can get used to layering on top of each other.
The layering has raised some curiosities for me, though: about the multiplicity of the Mouth's identity/memories... different voices over different occasions... tracking the changes, the layerings... There's probably no time for this, but are there occasions of choral speech? When all of our voices come together? How does spreading the Mouth over all of us change the Mouth? Does it crack her/it into different aspects of the same thing? Does it make the Mouth the Mouth of many different people?
I also agree with Tania about how the "best" Mouth is a mix of everything we brought to class. I know I've found myself trying to focus on my mouth's physicality, as Joe did, while also trying to track some of the lovely interior work a few other people did, all while not losing my speed (which I quite like).
I'm still trying to negotiate those moments of what I see as dialogue. I feel the impulse to pause for a breath and listen in those moments, and to register the inaudible input in the speech that follows. For instance, in mine, there's a moment when I say, "what? ... girl? .... yes.... tiny little girl" and I feel the impulse to register this as a correction. Later, when I say "what? ... seventy? ... good God... coming up to seventy..." I register this as a correction and as a moment of... humor? Similar to Krapp's "Nine? Good God."
In my examination of the Mouth's text, I find my text fairly easy to track, because it adheres closely to a timeline: birth... childhood... a sudden focus on a single moment in her seventies... present day. The amount of focus--pretty detailed, sensory focus--on single moments (ie. the early April morning wandering in a field; being in the dark, suspended between buzzing) also helps me to clutch my text, because of how vivid they are. I've found it helpful to divide my text into sections.
I also can't help but notice how... sassy? Wrong word. But biting/sarcastic/witty the Mouth is. I'm thinking of phrases like "no love such as normally vented on the speechless infant," "eight months later almost to the tick..." Crude phrases, harsh phrases, but so juicy, so sharp. I like sinking my mouth into them.
The layering has raised some curiosities for me, though: about the multiplicity of the Mouth's identity/memories... different voices over different occasions... tracking the changes, the layerings... There's probably no time for this, but are there occasions of choral speech? When all of our voices come together? How does spreading the Mouth over all of us change the Mouth? Does it crack her/it into different aspects of the same thing? Does it make the Mouth the Mouth of many different people?
I also agree with Tania about how the "best" Mouth is a mix of everything we brought to class. I know I've found myself trying to focus on my mouth's physicality, as Joe did, while also trying to track some of the lovely interior work a few other people did, all while not losing my speed (which I quite like).
I'm still trying to negotiate those moments of what I see as dialogue. I feel the impulse to pause for a breath and listen in those moments, and to register the inaudible input in the speech that follows. For instance, in mine, there's a moment when I say, "what? ... girl? .... yes.... tiny little girl" and I feel the impulse to register this as a correction. Later, when I say "what? ... seventy? ... good God... coming up to seventy..." I register this as a correction and as a moment of... humor? Similar to Krapp's "Nine? Good God."
In my examination of the Mouth's text, I find my text fairly easy to track, because it adheres closely to a timeline: birth... childhood... a sudden focus on a single moment in her seventies... present day. The amount of focus--pretty detailed, sensory focus--on single moments (ie. the early April morning wandering in a field; being in the dark, suspended between buzzing) also helps me to clutch my text, because of how vivid they are. I've found it helpful to divide my text into sections.
I also can't help but notice how... sassy? Wrong word. But biting/sarcastic/witty the Mouth is. I'm thinking of phrases like "no love such as normally vented on the speechless infant," "eight months later almost to the tick..." Crude phrases, harsh phrases, but so juicy, so sharp. I like sinking my mouth into them.
NOT I TAKE 2
I also had the text memorized before last class, but once people started saying their lines around me I lost track of my own since I did not have them as pinned down as I thought. I am making sure to memorize them this time with the speed and intesity that is required of Mouth.
I was struck by the differences in our approaches to Mouth last class. Jackie's Mouth was more internal first-sphere, and Jo focused primarily on the physicality of Mouth. I witnessed different approaches to the character that I would like to incorporate into my piece, and I think the "best" version of Mouth is a mix of Erin's intensity, Jackie's interiority, Jo's physicality, etc, etc. I am trying to absorb the highlilghts of each of our pieces to make Mouth a fuller character.
I am trying to find relationships between the different threads that Mouth juggles and I am finding that concrete images are more helpful for transitioning into a different train of thought. Although I imagine Mouth to function primarily in the second sphere I am also trying to find different flavors of this mental space. Some parts seem more directed towards herself, while others seem very externalized (what? who? No! SHE! SHE!)
I was struck by the differences in our approaches to Mouth last class. Jackie's Mouth was more internal first-sphere, and Jo focused primarily on the physicality of Mouth. I witnessed different approaches to the character that I would like to incorporate into my piece, and I think the "best" version of Mouth is a mix of Erin's intensity, Jackie's interiority, Jo's physicality, etc, etc. I am trying to absorb the highlilghts of each of our pieces to make Mouth a fuller character.
I am trying to find relationships between the different threads that Mouth juggles and I am finding that concrete images are more helpful for transitioning into a different train of thought. Although I imagine Mouth to function primarily in the second sphere I am also trying to find different flavors of this mental space. Some parts seem more directed towards herself, while others seem very externalized (what? who? No! SHE! SHE!)
Saturday, March 30, 2013
First Performance
As Mark said throughout our exercises, performing our "Not I" piece was very different in the space of our classroom than in the comfort of our respective bedrooms. Although I had run through my part many times, I found that I has spent too much time trying to master the material rather than stop and meditate on the formation of the words and the depth of the text as a whole. I enjoyed our exercises where we had to explore different ways of communicating our text, yet oftentimes I found myself lost in the delivery and would forget certain lines. Echoing what Jo has posted, I believe there cannot be true mastery of the performance technique unless the lines themselves are mastered. I suppose my nervousness in my own performance also detracted from this experience quite a bit as well.
I feel like one way we can all move forward in our respective pieces is by focusing more on our mouths. It's uncomfortable to remain deadpan and have our mouths do all the work of expressing emotion and meaning. I know I have to remind myself not to move my hands or furrow my eyebrows to convey the tone, but rather allow my mouth to accentuate and define it. I really feel like our discussions and exercises did bring this to light, but I have to continue practicing.
I feel like one way we can all move forward in our respective pieces is by focusing more on our mouths. It's uncomfortable to remain deadpan and have our mouths do all the work of expressing emotion and meaning. I know I have to remind myself not to move my hands or furrow my eyebrows to convey the tone, but rather allow my mouth to accentuate and define it. I really feel like our discussions and exercises did bring this to light, but I have to continue practicing.
Friday, March 29, 2013
Research topics for presentations
For Presentations:
The theater after Beckett
Check these out. Use your resources. If you are confused, want guidance, or have a different idea you'd like to run past me, please be in touch. Use the blog to share with each other what you are interested in--hopefully we can negotiate topics and settle things before next class.
Mac Wellman -- american playwright. (also influenced by Stein)
Maria Irene Fornes -- cuban-american playwright/teacher.
Elizabeth LeCompte (The Wooster Group) -- american company/collective)
Stuart Sherman -- american performance artist, creator of "spectacles" of manipulated obects
Spalding Gray -- american monologuist (associated w The Wooster Group)
Ping Chong -- chinese-american creator/designer/playwright
Heiner Muller -- german playwright of harsh poetic texts often directed by robert wilson
Robert Wilson -- american director, "theater of images".
David Greenspan -- american playwright
Thomas Bernhard -- austrian playwright. brought attention to austria's nazi past, lived a tortured relationship to his country.
Peter Handke -- austrian playwright, novelist, wrote screenplay with wim wenders for wings of desire.
Athol Fugard -- south african playwright, author of Boesman and Lena, a post-beckett anti-apartheid play
Lee Breuer -- american director/writer, member of mabou mines. early work on beckett as a director then became a writer (theater of images) and creator.
Squat Theater -- collective in exile. important work in the 70s/80s.
Elfriede Jelinek -- nobel winning playwright, novelist. new model of womens' writing? new ideas about author/director relationship...JACKIE currently in NYC
Suzan-Lori Parks -- african-american seven sisters educated writer,also inspired by Stein
Franz Xaver Kroetz -- German writer of political plays
Sam Shepherd -- American movie star playwright also influenced by open theater, beat writing, american geography
Richard Foreman -- American post-modern theory influenced writer/designer
Karen Finley -- American monologuist of the 1980s, denounced by right-wing politicians for her obscene material
Naomi Iizuka -- American writer of new plays
Charles Mee -- collage plays, American
The theater after Beckett
Check these out. Use your resources. If you are confused, want guidance, or have a different idea you'd like to run past me, please be in touch. Use the blog to share with each other what you are interested in--hopefully we can negotiate topics and settle things before next class.
Mac Wellman -- american playwright. (also influenced by Stein)
Maria Irene Fornes -- cuban-american playwright/teacher.
Elizabeth LeCompte (The Wooster Group) -- american company/collective)
Stuart Sherman -- american performance artist, creator of "spectacles" of manipulated obects
Spalding Gray -- american monologuist (associated w The Wooster Group)
Ping Chong -- chinese-american creator/designer/playwright
Heiner Muller -- german playwright of harsh poetic texts often directed by robert wilson
Robert Wilson -- american director, "theater of images".
David Greenspan -- american playwright
Thomas Bernhard -- austrian playwright. brought attention to austria's nazi past, lived a tortured relationship to his country.
Peter Handke -- austrian playwright, novelist, wrote screenplay with wim wenders for wings of desire.
Athol Fugard -- south african playwright, author of Boesman and Lena, a post-beckett anti-apartheid play
Lee Breuer -- american director/writer, member of mabou mines. early work on beckett as a director then became a writer (theater of images) and creator.
Squat Theater -- collective in exile. important work in the 70s/80s.
Elfriede Jelinek -- nobel winning playwright, novelist. new model of womens' writing? new ideas about author/director relationship...JACKIE currently in NYC
Suzan-Lori Parks -- african-american seven sisters educated writer,also inspired by Stein
Franz Xaver Kroetz -- German writer of political plays
Sam Shepherd -- American movie star playwright also influenced by open theater, beat writing, american geography
Richard Foreman -- American post-modern theory influenced writer/designer
Karen Finley -- American monologuist of the 1980s, denounced by right-wing politicians for her obscene material
Naomi Iizuka -- American writer of new plays
Charles Mee -- collage plays, American
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