We are in charge of producing the school play next year, and it will be premiered on July, so that gives us less than a year to produce everything. It is a short time, we need to prepare very fast, that is why we are already preparing some things and getting our ideas on track.
Getting our ideas on track and synchronized for me seems to be the most important part of this project, since we need to start with the right foot, we need to get ready, and use all the artillery we have to start it out. The Heavier that starting artillery the better, because it would be a capital mistake to turn back once we start, because with such short time to get to the objective, we need to push forward with any ideas we have. Once we get all the equipment prepared and on our belts, we need to keep shooting bullets until we kill the target, because if we decide to change weaponry, we will get ambushed and the mission would have failed... so there is no turning back when you are running short on time.
If you are taking heavy fire by the enemy, you need to use whatever you have, even if it is a pistol, and shoot the driver, we can't afford big armament, so we need to tackle our problems with anything we have at hand. There is no resting in war, not at least until you win. Our wars ends in July, and we are going to win it.
“It is fatal to enter any war without the will to win it.” - Douglas MacArthur
The war is to be commenced before the enemy strikes. Get the plot as soon as possible, and make the structure of your military to the best fit. Get the concept of your strategy to strike like they have never seen. If we need to win, we need to get prepared soon, and gain as much terrain as we can before the enemy does, so we do not struggle later on.
"God fights on the side with the best artillery" - Napoleon Bonaparte
It is not going to be easy, but when we are done it is going to be a great achievement and our country will give us a medal for it. It is about making history, making the next step, making the best school play we can. But it won't be over by then, because will still have to do our independent projects, and that time, we won't have a whole army to assist us, but we will have something more valuable: experience. And experience is the best thing you can earn from a war, because there will be more battles in the future, and you need to be prepared for those too.
"Only the dead have seen the end of war" - Plato
Life is short, people never have enough time to accomplish everything they want. But if a man puts all of his efforts into one project, he will use his time wisely to make it as good as he can. Nevertheless, when the hands of the clock rust, he will look back at his work, and change some ideas. And so he will continue doing as time passes by, as his old ideas vanish with his memories and new idea come along with his age and his time. He will always change something, to find the new perfection. He will never find it, because perfection varies with time, and time kills men. Where does change and evolution stops, and a fixed trend of theatre is stablished? Or is there no end, and the changes will continue until time stops? Or does it end when time kills us, and we no longer vague through the arbitrary direction of time?
domingo, 11 de diciembre de 2011
lunes, 5 de diciembre de 2011
Super Popper
Saturday, december the third.
play: Super Popper
I arrived there and after waiting for about 20 minutes we proceeded upstairs to get into the theatre, but to my surprise, before entering the theatre, on of the actors (Brunella) appears, with a knife in her hand, blood on her clothes and arms, and with a fast, direct and strong opening of the door. my first impression was strong, and I quickly realized the intention of this preface scene, as soon as I entered the auditorium and saw the actors doing loop movements, the same as we were doing in split, and the impression of what the actors were or what the setting is was very different because of the previous event.
The stage had platforms, which allowed different levels on the stage to be used, and through the play, the use of space i though was excellent, as they used all the space, even the doctor sitting on a chair with the audience, the tower being in between the audience, the door at the back of the platform, the 2 platforms at the sides, and the big space at the centre allowed a very good and varied used of the space, which i have no complains in any way about it.
What i understood from the play is i think related to the concept, im not sure, but i can give a sense to everything i will say in the next sentence so i suppose it is right... though it is never explicit in the play. There were this kids, the "leader" was called Aguja, there was Joe, the orphan "aaa-a los huerfanos que tra-trabajan los dejan salir a los 13 veveverdad doctor veveverdad que si?" i really loved his voice work, it was extremely good (maybe im biased as i always find the voice work the hardest thing). ¿Veveverdad Roberto? ¿Veveverdad que si?
Moving on... there was a mute guy, who did speak in some moments, but to the audience, and showed some drawings. The others on stage all thought he was mute... or maybe he was mute, because we are not part of their same reality. There were man different realities taking place in this play, which i will explain in a moment... first the characters. There was also a girl that didn't take too much part in a play (i don't even remember her name) but she was tall and with a green shirt with holes, and another girl with a light blue dress.
At the start you don't notice, because it is not supposed to be said, but understood, because they have no idea of what is really happening, (the kids) but they are being held in a asylum and being tested with some drugs, or maybe being cured by them. They are kids who have grown up with no contact with the outside world, their only source of knowledge comes from comic strips and drugs and driven by the human sexual needs, which they don't fully understand. It shows how humans are not how they really show themselves on society. A individual in society shows a fake image to fit in, to seem moderate, and we have been taught since little what is good and is wrong despite our animals instincts, but in this asylum, they have grown learning from what they have and getting to a state in which they live a different reality, we just reject it because we think that is not alright according to what we know. That is what i think of the background, of the plot, but the structure is much more complicated, because it is really difficult to show this reality to us and making us understand what is going on.
The space was not very big, and the voice was really loud and clear. That is a sign of non-mediocre work. The scene changes were not wasted either, projections of very stereotipical comic strips were shot at the ceiling, and the balloons used that space too. That was the biggest hint of the comic strips, that and when Brunella starts naming people as in the comic book, and also at at the start when she said "el super popper me lo dijo" with the "comic strip" on her hand.
Naked bodies on stage do not just work by themselves... its not like a "sex sells" kind of things. If it had not worked according to the concept, i would just thought Cesar de Maria said "I will put a naked girl on stage... everyone likes seeing naked girls on stage..." But it was not like that. It did fit the concept, as a young girl in that kind of reality did not care about others and criticism, it gave the impression of the crazy person, out of her mind, which she was. She was not taking her "medicine" (drug). Joe did... and when Joe took the medicine I like how the reality on stage changes without any big change of light, scenery or anything, you just... notice it changes. That is one of the arts of the theatre, symbols that make you imagine things are there without them actually being there. He became Super popper. the english names, such as Joe, Super popper, Dr dreamer gave the impression of super heroes (Joe reminded me of viewtiful Joe) and such.
Another transformation with symbols was the right hand platform, that was part of the asylum, but when the curtains were there it looked like a bedroom, when the shemale was there, it looked like the backstage of a show, when the mother was there, the stage looked like a alley, when the librarian was there, the stage was a library. These tranformations were very fast and the activation theory takes place. It is really fascinating how a little change could completely transform the stage.
The doctor was in another reality, he was not in the mind of the kids, he did not understand them. It is a parallel to nowadays when parents hear their kids talk on and on but don't listen to them because they think their thoughts are worthless and think they are not saying anything. This frustrates kids, like Joe. Aguja also refers to this, as they say adults manipulate kids, they don't care about them. Aguja refers to how everyone wants perfect children, good behaving children, but when they turn into adults, no one cares. "they should make better parents".
This is another thing that makes me beleive they are living in a children reality. The lack of emotion from the doctor was, i think, not made for the audience, not for HIS character, but rather for Joe, so that Joe gets frustrated, so he could talk to someone that wont listen. "Pero si no me has dicho nada Joe. El cree que todos escuchan sus pensamientos, pero en verdad no dice nada". Joe's stuttering also helps for this concept.
JOE:Dededeje de conectarla doctor! Us-Usted le hizo esto! Ususted era mi amigo, peppepero ya no, ahora yo quiquiquiero a brunella Doctor!
DOCTOR: Para que me hablas si no me vas a decir nada Joe?
Joe was the outcast, and super popper was his demise.
Therefore we can see there are 3 planes of reality in the play:
1) The asylum
2) The comic strips
3) The Adult reality (which does not take part, but just contrasts, as you can't differentiate something if there is nothing different to it)
And for this 3 planes of reality, the stage was very good fit, as I stated before, because the stage was nothing real, it was in our minds, it was made so the audience can picture is as they want, and therefore the transformations happen instantly in our heads. This allowed for 3 planes to be presented in 1, but no on stage, but on our minds. The play was presented on our minds. This is because of the lack of concrete scenery on the stage. But to what point does theatre work with a stage and when does it transfer to the audiences mind? What has to be shown in order to let the audiences imagination create the scene? Or does the scenery does not matter, but the actions and plot? How do you perform on your audience's imagination and reality to let the transformations flow as smoothly?
¿Algunas palabras que desee enviar a los jóvenes que recien inician su carrera como dramaturgos o directores?
"Que hagan lo que les dé la gana. Que seàn que esto hay que hacerlo libremente. Que no se guien por ninguna norma, que imiten a lo más alto que puedan imitar, que aspiren a ser mejores que los mejores; porque sólo así van a evitar ser empleaditos de alguna telenovela o esclavo de las convenciones que les impone otra persona...eso, nada más." - Cesar de Maria
"Que indica el genero sino los sastres?" lol... in todays society.. to what extent is this true?
P.S. when i wrote split i remembered... when do we get our copy of the one act play? :D
play: Super Popper
I arrived there and after waiting for about 20 minutes we proceeded upstairs to get into the theatre, but to my surprise, before entering the theatre, on of the actors (Brunella) appears, with a knife in her hand, blood on her clothes and arms, and with a fast, direct and strong opening of the door. my first impression was strong, and I quickly realized the intention of this preface scene, as soon as I entered the auditorium and saw the actors doing loop movements, the same as we were doing in split, and the impression of what the actors were or what the setting is was very different because of the previous event.
The stage had platforms, which allowed different levels on the stage to be used, and through the play, the use of space i though was excellent, as they used all the space, even the doctor sitting on a chair with the audience, the tower being in between the audience, the door at the back of the platform, the 2 platforms at the sides, and the big space at the centre allowed a very good and varied used of the space, which i have no complains in any way about it.
What i understood from the play is i think related to the concept, im not sure, but i can give a sense to everything i will say in the next sentence so i suppose it is right... though it is never explicit in the play. There were this kids, the "leader" was called Aguja, there was Joe, the orphan "aaa-a los huerfanos que tra-trabajan los dejan salir a los 13 veveverdad doctor veveverdad que si?" i really loved his voice work, it was extremely good (maybe im biased as i always find the voice work the hardest thing). ¿Veveverdad Roberto? ¿Veveverdad que si?
Moving on... there was a mute guy, who did speak in some moments, but to the audience, and showed some drawings. The others on stage all thought he was mute... or maybe he was mute, because we are not part of their same reality. There were man different realities taking place in this play, which i will explain in a moment... first the characters. There was also a girl that didn't take too much part in a play (i don't even remember her name) but she was tall and with a green shirt with holes, and another girl with a light blue dress.
At the start you don't notice, because it is not supposed to be said, but understood, because they have no idea of what is really happening, (the kids) but they are being held in a asylum and being tested with some drugs, or maybe being cured by them. They are kids who have grown up with no contact with the outside world, their only source of knowledge comes from comic strips and drugs and driven by the human sexual needs, which they don't fully understand. It shows how humans are not how they really show themselves on society. A individual in society shows a fake image to fit in, to seem moderate, and we have been taught since little what is good and is wrong despite our animals instincts, but in this asylum, they have grown learning from what they have and getting to a state in which they live a different reality, we just reject it because we think that is not alright according to what we know. That is what i think of the background, of the plot, but the structure is much more complicated, because it is really difficult to show this reality to us and making us understand what is going on.
The space was not very big, and the voice was really loud and clear. That is a sign of non-mediocre work. The scene changes were not wasted either, projections of very stereotipical comic strips were shot at the ceiling, and the balloons used that space too. That was the biggest hint of the comic strips, that and when Brunella starts naming people as in the comic book, and also at at the start when she said "el super popper me lo dijo" with the "comic strip" on her hand.
Naked bodies on stage do not just work by themselves... its not like a "sex sells" kind of things. If it had not worked according to the concept, i would just thought Cesar de Maria said "I will put a naked girl on stage... everyone likes seeing naked girls on stage..." But it was not like that. It did fit the concept, as a young girl in that kind of reality did not care about others and criticism, it gave the impression of the crazy person, out of her mind, which she was. She was not taking her "medicine" (drug). Joe did... and when Joe took the medicine I like how the reality on stage changes without any big change of light, scenery or anything, you just... notice it changes. That is one of the arts of the theatre, symbols that make you imagine things are there without them actually being there. He became Super popper. the english names, such as Joe, Super popper, Dr dreamer gave the impression of super heroes (Joe reminded me of viewtiful Joe) and such.
Another transformation with symbols was the right hand platform, that was part of the asylum, but when the curtains were there it looked like a bedroom, when the shemale was there, it looked like the backstage of a show, when the mother was there, the stage looked like a alley, when the librarian was there, the stage was a library. These tranformations were very fast and the activation theory takes place. It is really fascinating how a little change could completely transform the stage.
The doctor was in another reality, he was not in the mind of the kids, he did not understand them. It is a parallel to nowadays when parents hear their kids talk on and on but don't listen to them because they think their thoughts are worthless and think they are not saying anything. This frustrates kids, like Joe. Aguja also refers to this, as they say adults manipulate kids, they don't care about them. Aguja refers to how everyone wants perfect children, good behaving children, but when they turn into adults, no one cares. "they should make better parents".
This is another thing that makes me beleive they are living in a children reality. The lack of emotion from the doctor was, i think, not made for the audience, not for HIS character, but rather for Joe, so that Joe gets frustrated, so he could talk to someone that wont listen. "Pero si no me has dicho nada Joe. El cree que todos escuchan sus pensamientos, pero en verdad no dice nada". Joe's stuttering also helps for this concept.
JOE:Dededeje de conectarla doctor! Us-Usted le hizo esto! Ususted era mi amigo, peppepero ya no, ahora yo quiquiquiero a brunella Doctor!
DOCTOR: Para que me hablas si no me vas a decir nada Joe?
Joe was the outcast, and super popper was his demise.
Therefore we can see there are 3 planes of reality in the play:
1) The asylum
2) The comic strips
3) The Adult reality (which does not take part, but just contrasts, as you can't differentiate something if there is nothing different to it)
And for this 3 planes of reality, the stage was very good fit, as I stated before, because the stage was nothing real, it was in our minds, it was made so the audience can picture is as they want, and therefore the transformations happen instantly in our heads. This allowed for 3 planes to be presented in 1, but no on stage, but on our minds. The play was presented on our minds. This is because of the lack of concrete scenery on the stage. But to what point does theatre work with a stage and when does it transfer to the audiences mind? What has to be shown in order to let the audiences imagination create the scene? Or does the scenery does not matter, but the actions and plot? How do you perform on your audience's imagination and reality to let the transformations flow as smoothly?
¿Algunas palabras que desee enviar a los jóvenes que recien inician su carrera como dramaturgos o directores?
"Que hagan lo que les dé la gana. Que seàn que esto hay que hacerlo libremente. Que no se guien por ninguna norma, que imiten a lo más alto que puedan imitar, que aspiren a ser mejores que los mejores; porque sólo así van a evitar ser empleaditos de alguna telenovela o esclavo de las convenciones que les impone otra persona...eso, nada más." - Cesar de Maria
"Que indica el genero sino los sastres?" lol... in todays society.. to what extent is this true?
P.S. when i wrote split i remembered... when do we get our copy of the one act play? :D
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