Dear Mr. Dalton

Dear Mr. Dalton,

Having you as my teacher has taught me so much. Not just literary techniques, analysis skills, and essay writing, but rather you taught me about myself. You taught me that asking for help and showing vulnerability when I am going through a hard time results in an outpouring of support and a willingness to understand and compromise. This will translate into my future experiences with my teachers as I am now unafraid to ask for help as I know that I will be treated like a human being, not merely a cog in the greater machine of education. You have also taught me that literature has many interpretations, indeed, life has many interpretations, and that it is much better to take a leap and be creative than to read and analyze at a surface level. Going to class was both fun and grueling. Sometimes Lit provided a respite from my other responsibilities, a time in which I was free to think and a time to engage with alternative perspectives. Other times, if a text was unmanageable or I was feeling discouraged with my abilities, the class was difficult to engage with, however, you gave it your all every lesson and I thank you for that. This time last year was tremendously difficult for me, but when I reached out for help, you reached right back.  You encouraged me to keep going and push through because you knew I was capable, and we did it! It was a tough recovery and at times my grades were disappointing, but I do believe that I have grown so much as a writer and as a person because of it and because of you. Thank you for these past two years and thank you for pushing me to achieve my best, let’s hope it translates into my exams!



P.S. I will not forget you so you better not forget me! 🙂

Persepolis: Analysis and Global Issue

(pgs 36-37)

  • How does Satrapi presents and reflect on the global issue in your selected panels?

Global Issue: Politics, power and justice

Focus on the ways in which works “explore aspects of rights and responsibilities… hierarchies of power…equality and inequality.”

In the selected pages above, Satrapi presents and focuses on the global issue of the inequality inherent in segregated social classes.

Written analysis of the panels, focusing on the following:

  • narrative perspective– narrated from Marji’s perspective (as shown through the narration boxes above the image); Mehri doesn’t even get a say in her own story.
  • characterisation– Marji expresses her anger at the unfairness of the societal rule to
    “stay within [their] own social class” (37) and finds herself questioning her father and his role in supporting social inequality. Ultimately, Marji’s grief and anger result in nothing more than her lying in bed with Mehri sharing her grief. This demonstrates both Marji’s solidarity and empathy for those around her as well as her lack of power to influence change as a child.
  • language and structure: “she told Mehri’s story to my uncle, who told it to my grandma, who told it to my mom. That is how the story reached my father” (36). The long structure within the first sentence, separated by repeating commas, in which the story is being passed along before finally reaching Marji’s father demonstrates the lack of responsibility being taken by each adult. By using a structure filled with commas, Satrapi highlights the lack of a definitive or declarative statement for any of the adults in Marji’s life. Instead, they choose to pass the information along so that they can avoid being involved in the confrontation. In doing so, Satrapi reveals that the social inequality present within this society, as well as globally, is reinforced not only by active supporters but by those who stand idly by in order to avoid responsibility.
  • aspects of the graphic novel form: Marji’s anger towards her father’s supporting role in social inequality within his own household is expressed using the jagged edges of the speech bubble in which she questions whether her father is for or against social class.

Approaches to Collaboratively Creating Theatre

Part 1: Orginal Collaborative Theatre

I did not have any personal experiences of the collaborative process, and as such, was unable to evaluate and reflect upon my own experience.

Part 2: Collaborative Theatre Companies

1st Theatre Company: Grid Iron

How do they approach collaborative creation? They approach collaborative creation professionally and are known for their taut production style.” They involve “artists and production crew from various medias” to create their theater pieces.

What guides their work? site-specific locations provide inspiration and an opportunity for innovation; they also adapt stories to fit these specific and unique locations.

How do they work? They work using a “cross-disciplinary” and collaborative structure; this allows them to draw from a diverse background of artists and production crew. They also use crew from “various media at all stages of the production process.”

What exercises do they do? I was unable to find specific exercises this company does when creating collaborative theatre.

2nd Theatre Company: Improbable

How do they approach collaborative creation? They approach collaborative creation through improvisation and with the goal to facilitate conversations.

What guides their work? Their work is guided by their desire to create theater that facilitates conversations that extend beyond the stage; they also want to prove to audiences why art matters.

How do they work? Their collaborative theater is inspired by processes such as improvisation, process orientated psychology, open space technology, and the dreamer realist critic process.

What exercises do they do? I was unable to find specific exercises this company does when creating collaborative theatre.

Theatre Profile

Here is my personal collaborative portfolio that can be used in the future as reference for my skill sets and what I can contribute to a piece of theatre:

  • What are you good at? Skills? 
    • Physical coordination: I am quite active and as a result, I am capable of most physical performances (such as but not limited to: gymnastics, running/jumping, catching and throwing, and overall stamina).
    • I believe I am adequate when it comes to art and design (if someone says I am good I will deny them), and I can effectively design and create creative aspects of theater such as scenic design.
    • I can be organized when it comes to theatre, however, it requires an active effort to maintain. Despite this, I think I am a good leader and can effectively coordinate the efforts of multiple people in creating theatre. I am also good at social skills such as listening, encouragement and owning my mistakes.
    • I am proficient with survival skills, however, I hope to never need my skills while creating theatre (something would have to be seriously wrong for me to do so).
  • What are some things areas that you are not strong in? 
    • I do not think I am strong in areas such as voice and the more performance-driven aspects of theatre, and as such, I would be looking for someone else capable of performing in this area of skills.
    • I am also not very musically inclined; I cannot sing, play an instrument, or dance. I would rely on others when this is required. To emphasize this fact, in middle school, my school offered three courses: band, choir, and music appreciation; you can guess which one I took. I still have an appreciation for music but only as a bystander.
  • What ‘hidden’ skills or talents do you have that would benefit a collaborative group?
    • When I am passionate about something, I will continuously work on something and drive others to do the same (to an extent).
    • I have what I like to call a “too-muchness gene” or my inner “try hard.” This can be frustrating for me, but beneficial for the group as I will do my job above and beyond what is required (or in some cases, sane).