Process Journal – Under

I really connected with this post when I saw it for the first time, though I wasn’t sure why. I think it’s a mixture of colours and flowers. I initially assumed that they were just regular flowers, such as daisies, but I realised it was coral when I looked closer, as was stated in the piece. Coral reminds me of the ocean, which is one of my favourite places in the world, especially in Australia. The other thing that caught my eye was seeing the position the person was painted in. The funeral pose almost brings an essence of sadness to the painting and gives the colours another meaning. The salamander is also amazing, but it wasn’t really something I saw until I looked closer. All in all, I think it was the colour scheme and coral that really made me turn to look at it. I’m not sure what else could be incorporated to make a story out of it, but I really love this oil canvas.

 

Process Journal: Robin Hood – Off Balance

During today’s class, we were tasked with watching two videos on Off Balance’s performance of Robin Hood from the Stockholm Mime Festival. This performance contained three constraints; a time constraint, a space constraint, and a technical constraint. With these three constraints, it made it hard for the actors to move around and perform, but despite these three constraints, the way the show came together was amazing.

During the performance, there were a couple of things that I found really cool about this performance. For example, the way that dialogue and interactions were shown. Instead of two actors looking at each other and talking, the dialogue was sometimes portrayed through the audience. Two people, or two groups, would both look towards the audience, and react to the other’s messages. This was cool because it showed how much practice had been done in order for this to happen. Not being able to see somebody when they perform an action can sometimes mean that you don’t know how to react. However, the six actors made this work incredibly well, and it made the audience feel as if we were actually part of the performance with them.

The actors also used sound effects to show certain movements, like banging on a door, or the clutter of horse hooves on the floor. These movements were mainly done by one or two actors hiding behind somebody else so that the audience felt like these sounds were being recorded or taped, as they were extremely authentic sounding. Something else that really made the audience feel as though it was really authentic was the abrupt changes that the actors performed to symbolise a change in character or emotion. These quick changes generally involved everybody turning around for a brief second, before coming back around to show a character change, making it seem as if there were completely new actors standing in front of us. While the movement was quite simplistic, it was very easy for the audience to understand what had happened without any explanation needed.

Another thing that I really liked seeing was the way that they showed certain movements that were impossible within the confined space. One scene was a combat one, which was performed on the leg of an actor using the other actor’s fingers to show the fight happening and to show who was winning and losing. It was an interesting way to use the space and other actors in the fight scene and was extremely entertaining to watch as an audience member.

Finally, the last thing that I really enjoyed seeing was the final combat scene, where everybody united to take down the sheriff. When Robin was just about to fire the final arrow, one of his teammates grabbed the sheriff by the shoulder. Then the next person did, and then the next, until everybody but Robin grabbed the sheriff. Afterwards, all together, they brought the Sheriff down, almost symbolising their unity and hatred for the sheriff as a group. I thought it was a really cool scene because it invoked a sense of pathos from the audience, and was visually appealing to watch. Even though there was a really limited space, everyone was able to extend out and do this. Simple movements often are the ones that are the best to watch, whether that be making it funnier, or making a scene more serious. The simple aspect of grabbing someone’s shoulders doesn’t seem extremely emotional, but when four people repeat the same motion with the knowledge that they had been shot down or dying on the floor, it makes the scene so much more powerful, letting it work brilliantly.

I thought that the three constraints of the theatre were really interesting to think about, especially at this time of the pandemic, as they were all valid constraints that I had during hotel quarantine. The constraints challenged the actors to think more about things that we generally take for granted in productions (a massive theatre, lighting, etc.), and also forced them to cooperate more. I think that doing something like this would be a fun challenge, especially if we were also tasked to make it a devising piece. I really think that most stories would work, so long as we’re all focused and doing our best to overcome the difficulties.

The Neutral Mask (PJ January 26th)

Over the past couple of lessons, we’ve been experiencing and learning about the neutral masks, the 9 neutral poses, sculptures, and how to be a great ensemble. Today specifically, we worked on exploring characters through neutral masks and creating a character that reflected the music of the workshop as well as the space around us. I thought that it was both fun and interesting experience, especially because we’re all in unique spaces, each with limited factors.

I felt like the work that I’ve been doing over the last couple of classes has been pretty good. Today, we were tasked with creating a character, before bonding with a specific object. We then went through different phases with this object, exploring what it did as a näive neutral mask wearer, and how we could use it. Then, we interacted with other objects with this object, as well as changing our emotions depending on the way the music went. We had to protect our object from a challenge, before reuniting with the object and letting it live it’s life (“life”). Beforehand, in the previous classes, we were working on bonding with the ensemble, and exploring the space of the theatre room. We also looked at Rodan’s sculpture poses, and tried to mimic some of them along with personal transitions. Additionally, we worked on the 9 neutral poses, and committed their physicality to memory, before using them to create a story.

Today, I learned that drama can really be performed in any space, with anybody watching. I was in my mom’s bike room, and although there was limited space with lots of obstacles, I still had fun moving around and exploring the things I hadn’t previously noticed as my new character. I also learned that focusing on one object and trying to figure out what to do with it is extremely hard, especially without being able to watch other people and gain inspiration from them. Even though there were some times that I found to be quite difficult, I still was able to finish the exercise and enjoy it as I did so.

I think that one thing that has really been challenging me theatre wise has been the neutral masks. The entire point of this course is using your physicality in order to tell a story, and I think not being able to use my facial expressions has really been making me work harder to be in tune with my body. In previous theater experiences, I generally rely on my facial features to explain to the audience how I feel, meaning that transitioning from my facial expressions to the rest of my body has been difficult.

I think one of the major strengths of this exercise was that all of us in the ensemble were able to adapt to our environment and carry out the requirements without much trouble. This is definitely a strength, because we’ve returned to online learning, and have to do everything at home. While I was here two weeks ago, everyone else wasn’t, so I think that for all of us to be able to perform in these different environments is definitely commendable. One weakness of this exercise for me was constantly staying in character – there were some portions where I began singing into my mask, or thinking about lunch, and other things that my character with the neutral mask didn’t have. Therefore, I need to continuously focus on the task at hand, and make that I don’t stray too far from what I’m supposed to be doing.

I think the work that we did in today’s class will not only help us prepare a piece (hopefully these new developments don’t change this part) for the Fringe festival, as well as learn more about the way I move my body and am able to express myself through those movements. The more practice that I get, the easier it becomes to slip into another character, and convey the things I want to say through my physicality.

Drowning Whilst Scuba Diving – and how it came to be (PJ January 8th)

Today during class, we participated in a physical theater exercise. The exercise itself was creating a tableau or a still picture, in order to explain or create a scene with. Our context was to create a tableau of us scuba diving and running out of air. We were then instructed to create an image before and after the original tableau. THEN, we had to perform the tableau while standing on a confined space, limiting our movements and forcing us to think about how to change and edit the tableau so that we could perform it. Once in our confined spaces, we had to link all three images together, in order of before, during, and after we found out our air was running out. You can view my tableau (on a quarantine chair) here:

https://web.microsoftstream.com/video/d40c3791-4955-48d4-a5eb-8929c9d1450b

Additionally, as an ensemble, we individually created a skills inventory, to see what each member could do. This way we can learn about everybody else’s strengths and weaknesses, so that if we need somebody to do something specific in a show (such as flips, whistling, unicycling, juggling, imitating people, etc.) we can see who can and can’t do that.

I felt alright about the work that we did today. I thought that although it was a little bit hard to move around the space in my hotel room, I had fun, and enjoyed the exercises. I’m still kind of shy and embarrassed to watch myself (or to have anybody else watch me) do anything, which is a skill that I’m always going to be working on. However, during the theatre exercises, I let go and had fun, and enjoyed what we did overall. I do feel like I can get a bit more in sync with my body so that I can move it more fluidly and easier, but that takes practice and I’ll definitely get a lot of that for the rest of the year.

In class, I think that I learned that no matter what you do, anything can be considered a skill set. For example, on our Skills Inventory List, that we filled out to see our strengths and weaknesses, some skills listed were “Baton Twirling” (I can’t do that), “Can you read a map?” (nope), “Cutting wood” (also can’t do) and “Unicylce” (ALSO a no). These different skill sets can be applied anywhere, including physical theater, and I wonder what other unique skills can be used for us to devise a piece at the end of the unit!

I’ve had a little bit of experience with tableaus and physical theater. When I was in middle school (which seems SO long ago now), I participated in the play “Not A Box”, where we used devising and physical theaters to tell a story. We created tableaus, and practiced tableaus, which was confirmed as part of physical theater today. Additionally, something that was new to me was the skills inventory. While I had particpated in pre-unit things to see if I already knew what math module we were going to be doing (I never do), I had never done a check on my skills. This was fascinating, because as I mentioned before, I didn’t realize the magnitude and scale that a skill for physical theater is. This extended my view on what’s possible, and I think this will be beneficial for later in the year.

Based on my strengths and weaknesses with physical theater, I think my major strength in class might be my ability to adjust to the environment. I’m in a hotel quarantine room, which does make life a little bit more difficult. However, after some quick thinking, I was able to confine my space to a chair and still finish the product, which was what I wanted to do. However, a weakness I think that I have is my creativity. Many times, the first thing my brain thinks to do is what I do. However, if I start to think about my poses, and how they tell a story, I’ll be able to create something deeper and more meaningful, which (hopefully) the audience will be able to connect with.

This class’s work allowed me to really understand what high school physical theater is, and what we’re going to be doing. Because of this, I can use today’s work to better understand tableaus, and how to paint a scene by using them. Finally, this will influence my later work, as being confined to a smaller space really challenged me (and my balance skills) to edit and refine my work. Therefore, this process of refining can be used when needed in later classes, and my drowning poses will come in handy when I start swimming again.

Time Capsule For Covid19

For our final task in Asia, we had to create a digital time capsule that represented some of our memories and struggles that we had during this period of time. These are my artifacts below:

I chose to create this photo, because it showed just how long people were in spread out locations around the world, thus showing my personal story. Additionally, this is like what you see people do in movies at prison, where they mark how long they’ve been there. Coronavirus could potentially symbolize this prison, as during quarantine we were stuck inside all day, unable to leave (but not as bad as prison, I would think). This is 122 days of 2020 spent in Australia, last updated on June 2nd. This list is going to get longer and longer, and it’ll be interesting to see the final outcome. Moreover, this relates to historians, as they might see the displacement that occurred during this pandemic.

 

This is a graph of number of cases per capita, red being 1 in 333 people, dark orange 1 in 500, light orange 1 in 1000 and yellow below that. I chose this graph because it shows the status of the world as of updated on June 5th 2020, but I think that this could represent the different places that are doing better than others, which could have meaning to geographers or historians, as the worst hit places.

I think that this is a worldwide phenomenon, as tourism spikes down across the globe. However, I thought that I might put this in my time capsule, because it shows the economic blow that everyone is suffering, just to show what’s happening in our lives right now. It may have meaning to future economists, as it explains the dip in the economy.

Because of the bad quality, I’m not sure if you can read the headline, so I’ll repeat it again here. “Apocalyptic Scenes in Australia as Fires Turn Skies Blood Red. Thousands of people fled from their homes as wildlife fires raged on the last day of the warmest decade in Australia.” The fires were incredibly damaging to Australia, and some believe that because the pandemic is going on right now, that the victims of fires may be forgotten, and water will not be distributed in areas that are still in drought. This fire was something that nearly burned down my grandparents beach house, and we drove through a red sky that was filled with smoke to get to Canberra, which was actually pretty scary. I think that this may have meaning to geographers and political scientists, as it represents climate change. It also shows how bad the damage was in different locations, and nature is still trying to recover from it.

Interview with my sisters

Q: Did you enjoy e-Learning?

A: No

A: Yes

Q: Why or why not?

A: I enjoy face to face learning better. [This is because] I can see people in real life, and I can see my friends. I can’t see my friends if I’m doing eLearning, as there is no social interaction.

A: Because I got to stay home.

Q: How did e-Learning go?

A: It went fine, took a while to get the hang of though.

A: Good. [stopped answering questions to get to get back to the YouTube video, in their pajamas :)]

This interview would have meaning to historians, as it shows the feelings that those stuck in places other than home have felt. It could also show that there is diversity in the way that people learn, and that although some enjoyed this process, others didn’t. This could have meaning to historians, as it shows that all people learn differently and feel differently during this pandemic.

 

 

English 9 Humor Reflective Blog Post

During this English 9 Humor unit, I think that I met the brief of the assignment and did my best to complete activities and the work given, despite challenges that were thrown in my direction. I do feel that there is a long way to go in retrospect to my capability as a learner, but I think that this unit as whole allowed me to extend and learn about myself.

During this unit, we were tasked to complete several major tasks, and work individually and efficiently to complete these selected tasks. I found some of the tasks were much easier than others and struggled with some of them. For example, during the poetry section, I found that the CER really pushed me to think hard about what I thought the theme of the poem was, with evidence to back it up. I chose the poem “Bliss Point or What Can Best Be Achieved by Cheese” by Benjamin Garcia, because I thought it was a funny poem overall. To be honest, I didn’t quite understand part of the second page of the poem, and really struggled to come up with a theme. But after reading the poem over and over and over again, I slowly began to see words and the way that they were structured differently, before coming up with an idea. During this task, I also struggled in confidence, as I wasn’t sure if the theme was right, if my evidence was right, if anything that I chose was right. This is one skill that I think I want to work on, because I constantly obsess about whether what I’ve done is correct, and that’s a habit I need to get out of, especially regarding school. I think that this is just going to take time though, and it’s a goal that I want to achieve later in life.

Overall, I’ve learned quite a bit during this unit, mostly regarding how writers use language to create a humorous effect. I think my favorite video was when we watched the different types of British humor, as I thought that the woman doing it was just hilarious. She introduced the different types of humor, and the one that stuck with me most was the double entendre. I think that lots of language is used in a double entendre, to mean a second thing, which creates lots of humorous effect on the audience. I may be wrong, but I found that this technique was the one which I regarded the funniest. Moreover, I think that I struggle with finding ideas and techniques, which is something that I need to work on for later. I would also like to learn more about humor and meaning through specific techniques, such as alliteration and rhyming, as I found it hard to analyze these specific techniques.

A success that I had during the poetry unit was that I was able to complete each of the assignments on time, although I wouldn’t go as far to say that I nailed everything. My SMART goal for this unit was to “complete this unit and submit all of my work on time, as well as making sure that I understand all of the topics and can take away the main ideas.” I think I’ve mostly done this, and I’m really glad that I was able to work hard and take things out of it. Additionally, I think that this meets the responsibility criteria, as I was prepared for the days in which we had English, constantly mobbed Ms. Maloney for feedback (another habit I need to get out of), and finished tasks on time every time. For the attitude criteria of Student as a Learner, I also feel like I met the standards, as I took initiative for my own learning, remained (mostly!) focused on tasked all the time, and took in the challenges and persevered to finish them. I do think that because of the different learning environment, it was difficult to find motive to get out of bed everyday in the morning (for the past 2 weeks at least), and that is one thing I need to work on. However, the stressful environment of the past two weeks has really distracted and frazzled me, which is another thing I need to work on – calming down and stopping myself from stressing about everything and anything.

My final goals for English 10 are to be able to analyze a poem or text confidently and be willing to speak about my ideas. To conclude, I had lots of fun and stress during this English 9 humor unit, and I can’t wait for the day in which I can go back to school and have a normal day of classes :).

—-On a side note, another goal that I have is to write within the perimeters of a word limit, because I have no shame in writing 300 words more then what was asked for, as situated here. However, I will eventually reach this goal (definitely not there yet), and I can’t wait to try this again next year.

Scene Work – Almost Maine

For a number of classes, we’ve been tasked with answering questions so that we can better understand our scene, and what we need to do to make it more realistic and better overall.

Q#1: What is the STASIS of the world of the characters in your scene right before the scene starts?

I think that the stasis (the state) of the characters at the start of the scene is just vague knowing. Through the blurb of Marvalyn’s actions, we can understand that she most likely doesn’t actually care for the man, as she crumples up his shirt and throws it in the basket. Steve, as an inference, seems to be in love with Marvalyn, deep down, and exhibits this through his knowledge of her as the scene progresses. However, I feel like they already kind of knew each other before they met at this scene, and start to talk to each other.

Q#2: What is the relationship between the two characters in the scene? Who are they to each other?

At the start of the scene they aren’t really anything to each other – as I mentioned earlier, they might have bumped into each other in the hallways, but they don’t really know who the other is. Steve seems to kind of know who Marvalyn is a bit more than Marvalyn to Steve, but as I said they really aren’t much to each other at the start.

Q#3: What happens first – what is the first event? And then what happens next, then next, then next, then next?

The scene starts with a man on a bench in the laundry room, and a woman ironing and folding up a man’s shirt. She starts to fold it up bet then chucks it into the basket, but in the process of doing so accidentally burns herself on the iron. She then tries to put the board back as well, but the wallops the man in the head with the ironing board. However, despite what would have normally been a potentially damaging injury, the man is unfazed by what happens, instead telling her that he can’t feel pain. He offers her to trial and to hit him with his book labelled “Things that can hurt you”, but she tells him no. They both start to walk in their opposite directions, before Marvalyn turns around and wacks him in the head with the book. He’s still unfazed, and tells her that he can’t feel anything still. Marvalyn then asks him why he has that book, and he explains to her that he needs the book, essentially because he can’t feel pain at all, which means he won’t know his limits, and could really potentially accidentally kill himself because there’s nothing that tells him when to stop. He writes what can hurt him, such as daggers, bears, irons and other things. The two of them tell each other that they both live in the same building, Marvalyn with her boyfriend and Steve with his brother. Steve points out to Marvalyn that they’re very loud, and that there’s lots of shouting and banging that occurs in they’re room, but Marvalyn, a little bit flustered, tells him that it’s nothing really. Marvalyn then comes in and kisses Steve, and Steve doesn’t really know what to do, but then kisses her back. He then tells Marvalyn that she kissed him, even though she has a boyfriend, and Marvalyn (definitely flustered now), says that he shouldn’t tell anybody, especially not his brother Paul. The scene comes to an end when Marvalyn picks up the ironing board and prepares to put it away, smashing Steve at the back of his head again. Steve then shouts “OW”, with Marvalyn then apologizing profusely. They then both look at each other again, before the scene fades to the next one.

Q#4: What does your character WANT from the other character or this situation?

Steve kind of wants to get to know Marvalyn a bit more, and to keep talking. He keeps adding more and more to the conversation, and tells her his room number. But to be honest, I’m not entirely sure what he wants – I feel like he also wants to be able to feel pain and other emotions, because it’s not specified in the text if he can feel other emotions. His lines seem monotone at some points, which makes me think that he’s a robot, but he’s not. If that makes sense.

Q#5: What’s getting in their way? What is the OBSTACLE? – do this for each character

The obstacle for Steve seems to be Marvalyn trying to keep coming back to the point that she has a boyfriend. This stops him from really getting to know her, as she keeps deflecting his questions, while he keeps talking. But when she hits him, it’s almost like a barrier is broken, as the next event is Marvalyn kissing Steve.

Q#6: What tactics do they use to get what they want? Do they get what they want? Why don’t they get what they want? What do they get instead?

I think that Steve’s tactic is that he just keeps TALKING, and the lines almost feel monotone at some points. IN the end, I think that he gets what he want, because I don’t think that he likes not being able to feel pain, although that brings him closer to his brother. So, at the end when he’s able to feel pain and love, I think that that is something really important for him. Additionally, he got to talk to a pretty girl, and potentially have her love him as well as he loves her.

Q#8: What is the STASIS of the world for the characters at the end of the scene?

I think that the state of the characters at the end of the scene is mostly confusion – Steve can all of a sudden feel pain, and Marvalyn and Steve have potential. Additionally, Marvalyn is still unsure about her relationship with her boyfriend, which adds to the Marvalyn and Steve bubble.

Q#9: What do you think this scene is about? What do you think is the BIG IDEA of this scene?

I’m actually not sure (still) about the main idea of the scene – I’ll have to ask Mr. Redman what he thinks, because I’m stumped at this one.

Responding to a Play Text: Almost Maine by John Cariana

Before Reading

Before reading the script, and just looking at the name of the play, I inferred that the setting of this play was going to take place either in Maine, or somewhere around there. The title of the play made me think of Maine, and for some reason thinking about the name of the play it also makes me think of fish – but I don’t actually know why. I think that some information that the playwright would want the audience to have could be the setting of the play, and how that affects the characters? I’m not entirely sure about that. But this would be important for the audience to know, because it tells us that the characters might have certain traits, or hopes? I’m actually not entirely sure.

After reading the directors notes, I probably should have realized that there was a comma between Almost, Maine. I thought that the play was saying that it’s almost Maine, as in almost arrived at the destination. However, upon reading that it’s fictional, this would change everything that I was thinking of. I don’t know why I thought of fish, but Almost, Maine is nowhere near the ocean, and has long cold winters.

Prologue

The basis of the prologue is that there are 2 characters – Pete and Ginette. Ginette starts the scene of by trying to say “I love you” to Pete, but just can’t bring herself to do it. She finally does, and Pete’s reaction deflates here, as he doesn’t respond. However, he then looks at here and says I love you back, and the 2 of them sit close on the bench. Pete then seems to try to explain a scientific theory that he has about the world, and that they aren’t actually very close, but in reality rather far away. Ginette takes this as a sign that Pete doesn’t want to be close to her, and moves away from him. Pete kind of begins to realize what he said, and then tells her that because she moved away, she’s now closer to him, as his theory just proved this. However, she still takes it as an insult, and moves away from him. With every step that she takes, Pete yells that she’s now closer to him, until she leaves the scene, with Pete wondering what he’s done.

Scene 1 – Her Heart

In the first scene, the 2 characters that we’re introduced to are Glory and East. Glory is a hiker who camped in East’s yard, and she really wants to see the northern lights. East is a man who had grown up in Almost over the course of his life (what I’m assuming). During the course of this scene, Glory starts but saying that she thought that the people of Maine just let people into their lawns, so that they could camp out if they needed help. East starts out a little bit confused, but warms up to Glory really quickly, and then kisses her. Glory says that she doesn’t want to find love, as she’s here to see the northern lights to pay respect to her husband, who had died. She then goes on to tell East that she killed her husband (indirectly), that she has an artificial heart, and that she carries her real heart around with her. Her real heart shattered when she realized that her husband cheated on her, and East (a repairman), says that he can fix it for her (so romantic!). East and Glory have some conflict at the start of the scene and during the middle, when Glory suddenly appears on his lawn with her tent and when East kisses Glory. However, the conflict goes away, as they begin to accept each other and change. East has a moment of realization when he see’s that the girl that he’s in love with is actually a murderer, before realizing that it was indirect and that she didn’t physically kill her husband. I think that a concept that the playwright wants to show is that not everyone/everything is as they seem – this is shown when Glory tells East about everything that she’s been through, and when East says that people don’t actually come and camp in others lawns at Almost, Maine.

Scene 2 – Sad and Glad

The characters in this scene are Jimmy, Sandrine and a waitress. As we read the scene, we learn that Jimmy and Sandrine are previous lovers, and Sandrine is going to get married to another character from the town, named Martin Laferriere. At the start of the scene, there was lots of awkwardness coming from Sandrine and Jimmy, as Sandrine bumps into Jimmy in a pub on her way to the bathroom. The 2 of them repeat lots of their words, and run out of things to say. Jimmy begins to try and drive the point home that he’s lonely, his fish died, his parents retired and moved home, but before he can ask Sandrine anything about love she admits to him that she’s getting married, and that the reason that she’s in the pub was for her bachelor party. Jimmy kind of backs down and gets deflated, but accepts the fact. As the scene continues, the reader learns that after Sandrine ran out on him in the day that they broke up, he got a tattoo, “Villian”. He wanted to get the tattoo villain, as he felt like he drove Sandrine away, and that he was a bad man. Sandrine doesn’t believe this, and pleads with him to make him accept that he isn’t a villain, but Jimmy won’t let that. Sandrine then leaves Jimmy, and the waitress comes to see what she can do for him. The waitress had popped in during the scene randomly, making it a bit more awkward for Jimmy and Sandrine, as she assumes that they’re a couple. She comes in on Jimmy and puts together that they were previous lovers, introducing herself to Jimmy as Villian. I was a little bit confused at this stage, because I wasn’t sure whether or not her name was actually Villian, or if she was just saying that to make him feel better. But nevertheless, once Jimmy hears that her name is Villian he cheers up remarkably, and asks her for another drink, before saying “I’m glad that you found me.” The waitress takes this as a remarkable compliment, and thinks to herself how sweet that was of him. During the scene, I think that there was some initial inner conflict that Jimmy was facing when Sandrine told him that she was getting married, as the reader could see that he was still in love with her. Once that occurs, she then seems to realize that he still loves her, and I think that shows through her actions. There is a major change when Jimmy is told by the waiter that her name is Villian, and this is what prompts him to be more cheerful. I think that the main idea of the act is that sad and glad are emotions that come together, and it’s very easy to go from one to the other. When you’re feeling sad, there is something that will come up to make you glad, or that’s at least what I think that the main idea is.

Scene 3 – This Hurts

This scene includes 2 direct characters and 2 indirect characters – the 2 direct characters are Steve and Marvalyn, while the 2 indirect characters are Steve’s brother Paul, and Marvalyn’s boyfriend. The scene starts with a man on a bench in the laundry room, and a woman ironing and folding up a man’s shirt. She starts to fold it up bet then chucks it into the basket, but in the process of doing so accidentally burns herself on the iron. She then tries to put the board back as well, but the wallops the man in the head with the ironing board. However, despite what would have normally been a potentially damaging injury, the man is unfazed by what happens, instead telling her that he can’t feel pain. He offers her to trial and to hit him with his book labelled “Things that can hurt you”, but she tells him no. They both start to walk in their opposite directions, before Marvalyn turns around and wacks him in the head with the book. He’s still unfazed, and tells her that he can’t feel anything still. Marvalyn then asks him why he has that book, and he explains to her that he needs the book, essentially because he can’t feel pain at all, which means he won’t know his limits, and could really potentially accidentally kill himself because there’s nothing that tells him when to stop. He writes what can hurt him, such as daggers, bears, irons and other things. The two of them tell each other that they both live in the same building, Marvalyn with her boyfriend and Steve with his brother. Steve points out to Marvalyn that they’re very loud, and that there’s lots of shouting and banging that occurs in they’re room, but Marvalyn, a little bit flustered, tells him that it’s nothing really. Marvalyn then comes in and kisses Steve, and Steve doesn’t really know what to do, but then kisses her back. He then tells Marvalyn that she kissed him, even though she has a boyfriend, and Marvalyn (definitely flustered now), says that he shouldn’t tell anybody, especially not his brother Paul. The scene comes to an end when Marvalyn picks up the ironing board and prepares to put it away, smashing Steve at the back of his head again. Steve then shouts “OW”, with Marvalyn then apologizing profusely. They then both look at each other again, before the scene fades to the next one. I think that over the course of this scene, the audience/reader gets a sense that Marvalyn doesn’t really like her boyfriend that much at the start of the scene, when she crumples his shirt up and throws it into the basket. This tells us that she doesn’t actually really care about him, and I think that she and Steve both begin to realize this when she kisses him. I actually don’t really understand the theme/concept that the scene tries to show – I thought that it might have been something like things come when you least expect that to? I wasn’t really sure about this one.

Scene 4 – Getting It Back

The characters of this scene are Gale and Lendall. There is also a reference to Marvalyn, who was in the previous scene with Steve. At the start of the scene, we see a desperate/panicked Gale knocking on Lendall’s door. Once Gale enters the house, she tells Lendall that she wants all of the love that she gave him back. Lendall, very confused, asks her why, and in return she exits the scene and brings out 3 very large bags full of “love”. Lendall, still really confused, asks her why she wants everything back, and she says that she doesn’t think that the relationship is going to work out – when she asked him about marriage in December, he got all quiet, and according to Marvalyn, it means that he doesn’t love her. Lendall thinks that this is absurd, and is obviously really hurt, but he goes out and tries to find and collect the love that she gave him. He comes back with a tiny purse. As an audience member, this seems like Gale didn’t love Lendall the way that Lendall loved Gale, as there is nearly nothing there. She pulls out a ring, and is momentarily confused, and asks for the rest of the love. Lendall say’s that there’s no more. Gale is then shocked, and says that she definitely gave more love to him than that, and starts accusing of him of losing the love or giving it to somebody else. Lendall replies that none of that happened, and that he turned the love into a different form. When Gale hears everything, she seems at ease, but still says that she wants everything back. Gale than starts to just talk about how she thought that they were going out tonight, and Lendall wraps her up and then kisses her. Over the scene, I was really confused by what Gale meant was as “love”. Was it physical items? Like things that they had bought each other over the 11 years? Or was it literal love? What formation does that take? There also seemed to be a bit of inner conflict for both Gale and Lendall, as they both tried to process what was happening and reacting to each other. Overall, I’m not sure what the theme of that scene was, as I was quite confused through reading it.

Scene 5 – They Fell

The scene stars with 2 men midway through their conversation, the 2 characters named Chad and Randy. They were having a competition to see who had gone on the worst date, with Chad saying that his date told him to stop the car and had to get out because he smelled bad. Randy told him that it sounded pretty bad, but he didn’t win. Randy then explained that he and his date went dancing, and he learned how to throw her. He threw her way too hard, and “her face broke”. He had to drive 36 miles to the hospital, and his date’s former boyfriend arrived and told Randy that he could go. Randy was named the winner, and got to pick tomorrow. He told Chad that the were going to go bowling, a couple of beers at the moose paddy, dinner at the snowmobile club. Chad than explains to Randy that he doesn’t know why he goes on dates, and goes on a rant about how the only thing that makes him happy in the world is Randy. The 2 of them sort through that information, and Randy than leaves to escape the discomfort. However, before he can, Chad falls to the ground. Randy asks what’s wrong, and Chad says that he’s (literally) fallen in love with Randy. Randy is confused, and get hostile with Chad from springing that on him, and then begins to walk away, but falls down. This is a moment of realization for both of the characters, as this moment was kind of where Randy realized that he was actually in love with Chad, and Chad realized that this wasn’t a one way love. I think that an idea that the playwright wants us to realize is …. actually I’m not entirely sure. However, I thought that this scene was nice, and I enjoyed reading it.

Scene 6 – Where It Went

The 2 characters in this scene are Phil and Marci. They’ve gone ice skating together, and are starting to get ready to come home, but Marci can’t find her shoe. This causes her to think that Phil took her shoe and is hiding it, but Phil gets mad at her for thinking about that. Phil also apologizes of his work, and that he’s sorry that he had to go overtime. Marci says that it’s fine, she understands, and that she did have fun tonight. She see’s a shooting star and makes a wish, and Phil, confused, asks where the shooting star was. Marci says that he never pays attention, and Phil asks if she’s mad. Marci says that she isn’t mad, but from reading the script it does sound like she’s mad. Phil than says that he’s going to make a wish upon a certain star, pointing it out to Marci, and she tells him that it’s a planet, and she knows because it was said on the radio, and it proves her point that Phil never ever listens. She then goes on to say Happy Anniversary, and Phil, who realizes that he’s completely forgotten, tries to be defensive instead of apologizing. This causes them to argue, with Marci telling Phil that he always forgets and never pays attention, listing of the times when he forgets, while Phil tells Marci that he has to work for the family, accusing her of always lying. This prompts him to ask again if she actually had a good time, and she tells the truth, telling him she had a lousy time, and Phil seconds that. All of a sudden, when they’re quiet a shoe drops from the sky, landing in between them, and it looks just like Marci’s. Phil then gives it to her, and she drives off without them. During this scene, I thought that it started happy, but then it just degraded down to depressed. Through the scene, you could see the cracks in the relationship, and I think that was the major change that occurred.  I thought that the scene’s overall message could have potentially been something about telling the cold truth is better than feeding someone a happy lie, but I’m not sure.

Scene 7 – The Story of Hope

The scene has 3 characters in it – Danny, Hope and Rhonda. I originally thought that this scene had to do with hope and dreams, but I realized that it had to do with Hope, and Danny who had lost both Hope and hope (if that makes sense?). The scene starts with Hope on the doorstep, knocking on the door. A small man comes to answer, and Hope fires off into a monologue, before realizing that the man that she’s looking at is not somebody that she knows. She apologizes profusely, before asking if the small man knew Danny, who was a big strong guy. They begin to chat, with Hope explaining that she needed to give him an answer to the question that he asked her – “Will you marry me?” She said that she left to go home after he asked her that, and never saw him since, but she wanted to give him her answer – yes. The man than tells her that no would have been better than running away, as everyday you lose a piece of you until there’s nothing left when there’s no answer. Hope takes this in, and then begins to pack her stuff up and leave. The man says, “Goodbye Hope” and she realizes that this small tiny person is Danny, the one that she loved. She realizes this, and tells him that she couldn’t even recognize him, as he had shrunk. Danny tells her that it’s ok, but then we hear a voice from the inside, a woman asking where Danny went. Danny says that somebody just needed directions, and tells Hope that he hopes that she finds what she’s looking for, before leaving her on the doorstep. I felt really bad during the entire scene, as when Hope discovered that Danny was the small guy, it was really awkward and terrible, as they just stood there looking at each other. Learning what Hope had done was also really crushing, and I think that the way Danny kind of politely rejected her was what she needed, but I felt really bad nevertheless. I don’t think that this scene’s full message is Karma, but I do think that it could be part of the message.

Theatre 1 Watchmaker

Today for Theatre, we did an exercise to make us feel more relaxed and confident on the stage. We started out by finding a space in a room, setting a time for 2 minutes, and then acting out as if we were a watchmaker slaving over a particularly tough watch. I imagined that I was inside of a shop, trying to take out a small screw which had fallen in the basis of the watch. For 2 minutes I was doing my best to save this watch, and when the 2 minutes were up I finished the job. The next thing that we were to do was to read the slide of Stanislavsky’s relaxation, which stated:

“Learning to relax the muscles and eliminate physical tension while performing.”

After reading the slide, I then just lay down on the couch, trying to eliminate all thoughts and to just relax my body. I felt like I managed to do so, and after that I repeated the exercise of the watchmaker. The watchmaker felt a lot more airy and easier while I was more in a relaxed space. I could really think about what I was doing, and how I was doing it, and instead of scrunching my face up in concentration, I relaxed the muscles and just did what I thought looked like a watchmaker (it probably was completely wrong, as I have no idea how watches are made :). During the activity, I felt like it was a lot easier to do the exercise. This might be because I had done it before, but I also thought that in the relaxed state it was better and easier to act everything out. Once I finished that, I then moved on to reciting my monologue again. While I was doing my monologue, I thought that I could really imagine where I was, and what I was doing. I only whispered the monologue, as I didn’t really have a space to shout or really scream it. I incorporated movement and action into my acting as well, and I think that this was the first time when I was doing the monologue that I could actually imagine what was happening, and that I could see myself whisper screaming at this person. It felt really good, and it made me realize that when you act in a relaxed state, everything seems easier, and your imagination can really flourish whilst you perform.

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