Water by the Spoonful
http://icesk8prosue2130.blogspot.com/2013/11/water-by-spoonful.html#comment-form
Topdog/Underdog
http://2130michaelguillot.blogspot.com/2013/12/topdogunderdog.html#comment-form
Tis Pity She's a Whore
http://tylerales1992.blogspot.com/2013/12/tis-pity-shes-whore.html?showComment=1386481794472
House of Trials
http://2130michaelguillot.blogspot.com/2013/11/the-house-of-trials.html?showComment=1386482008650#c5262484578621008382
Next to Normal
http://haileysonnier.blogspot.com/2013/12/next-to-normal-post.html?showComment=1386482293991#c992469318667189087
Saturday, December 7, 2013
Topdog/Underdog
There are two mirrors in Topdog/Underdog that should be noted. The first is the Lincoln and Booth parallel between the brothers and the historical characters. Lincoln plays an actor that that plays Abraham Lincoln and allows patrons to assassinate him for money. At the end of the play, Booth kills his brother in order to be on top again and to make a name for himself in a game called 3-card monte. The characters match the mirror in their name as well as in their actions.
The card game is another type of performance and a deception in how it is played. There are multiple players in the card game including a dealer and others that make the game look enticing. They sometimes win and sometimes lose, but are in the know how of the game. The mark loses money with the false hopes built by the inside player. At the same time though the individual is entertained.
In either scenario the mark or patron is made to feel that they have power, or chance of winning something. Of course the performance is a deception. The mark is likely to lose their money in the process of playing the game despite the perspective that they could actually win. Similarly the patrons of the Lincoln assassination skit are given a false sense of power in their role as John Wilkes Booth. In the end, Lincoln still gets their money. The different between the two mirrors is that acting is legal, hustling was not.
The card game is another type of performance and a deception in how it is played. There are multiple players in the card game including a dealer and others that make the game look enticing. They sometimes win and sometimes lose, but are in the know how of the game. The mark loses money with the false hopes built by the inside player. At the same time though the individual is entertained.
In either scenario the mark or patron is made to feel that they have power, or chance of winning something. Of course the performance is a deception. The mark is likely to lose their money in the process of playing the game despite the perspective that they could actually win. Similarly the patrons of the Lincoln assassination skit are given a false sense of power in their role as John Wilkes Booth. In the end, Lincoln still gets their money. The different between the two mirrors is that acting is legal, hustling was not.
Next to Normal
A choice of Next to Normal that is interesting to note is the use of singing throughout the play. Something that I discovered in watching the performance is that whenever characters were in dialogue with each other, they use regular speak, but whenever they are alone they sing their thoughts or words. And in order to get a group singing effect, the characters are each in their own world despite their singing at the same time. This was a very effective way to differentiate between dialogue between the characters and monologues.
Towards the end of, "Another Day," we have Gabe and Natalie singing together yet they are unaware of each other and so are in a sense alone. They then mirrored each other offstage, a choice made by the director for the Broadway show. Diana and Dan enter next and speak non-musically. When Diana leaves, Dan begins singing again. After his solo, Natalie, Diana, and Gabe join in singing their own rendition of "Another Day" all on top of each other. Despite being alone in their own worlds, the family is together in harmony at the beginning of the play. This is interesting in contrast to how the play ends. Despite the harmony the family achieves, they don't end up staying together due to Diana's mental issues despite Dan's loyalty.
In "I am the One," Dan starts of singing and then is joined in by Gabe. Neither are aware of the other's presence. The are both singing to Diana, and it shows the parallels between Diana's reality, and her fantasy that her son is still alive.
Towards the end of, "Another Day," we have Gabe and Natalie singing together yet they are unaware of each other and so are in a sense alone. They then mirrored each other offstage, a choice made by the director for the Broadway show. Diana and Dan enter next and speak non-musically. When Diana leaves, Dan begins singing again. After his solo, Natalie, Diana, and Gabe join in singing their own rendition of "Another Day" all on top of each other. Despite being alone in their own worlds, the family is together in harmony at the beginning of the play. This is interesting in contrast to how the play ends. Despite the harmony the family achieves, they don't end up staying together due to Diana's mental issues despite Dan's loyalty.
In "I am the One," Dan starts of singing and then is joined in by Gabe. Neither are aware of the other's presence. The are both singing to Diana, and it shows the parallels between Diana's reality, and her fantasy that her son is still alive.
Water by the Spoonful
On page 58 of Water by the Spoonful, Elliot is chatting online with Orangutan. Orangutan reveals to Elliot and Yaz that she knows that Elliot had an addiction to pills from his leg injuries during the war. This is an emotional moment for Elliot since he does not get along too well with him mom. Up to this point we know that Haikumon is actually Elliot's mom and that she is the administrator for a crack addicts' chat forum. Each of the players in the chat room share their story with their addiction and seek help from each other. Elliot has gone through several surgies on his legs and has been prescribed pain killers. He has abused these pills and when Orangutan reveals that, it hits Elliot personally. Elliot is at the house to pick up the computer to pawn it off in order to buy some flowers, but decides to hack his mother's username in the process. Afterwards we see that Elliot really does not like talking about his addiction or any other the material associated with it.
I think Hudes wrote this scene in as a showing of the harsh reality of things to Elliot and Yaz. Orangutan revealed a truth to Elliot that he has this entire time been trying to avoid. This also speaks to Haikumom's commitment to her chat forum. If she does not have a computer, how could she administrate the forum? This creates a set up for her relapse. Despite everything that she does for others, Odessa is susceptible to her vices. Without her support group, she couldn't cope as well. Yaz being present during this encounter I believe is important as well since she later becomes Freedom&Noise as the interim site manager for the forum while Odessa is in the hospital.
I think Hudes wrote this scene in as a showing of the harsh reality of things to Elliot and Yaz. Orangutan revealed a truth to Elliot that he has this entire time been trying to avoid. This also speaks to Haikumom's commitment to her chat forum. If she does not have a computer, how could she administrate the forum? This creates a set up for her relapse. Despite everything that she does for others, Odessa is susceptible to her vices. Without her support group, she couldn't cope as well. Yaz being present during this encounter I believe is important as well since she later becomes Freedom&Noise as the interim site manager for the forum while Odessa is in the hospital.
Tis Pity She's a Whore
The colors for the poster for 'Tis Pity She's a Whore" should either be red with darker shades of black and grey, or a combination of browns and maroon. The red is important as a portrayal of passion, which is evident in the lusts and actions of certain characters. A poster idea could be the title at the top and the backgrounds is ruffled red silk sheets. On the sheets lays a a goblet of wine with some of the wine spilled on the sheets so that it looks like blood. In the reflection of the wine we see a woman's face. This of course was taken from Hippolita drinking the poisoned drink. The red silk sheets gives pretense to the lusts of the play while the wine goblet and spill foreshadows death. Underneath the image could be the quote from the friar in act one that states, "For death waits on thy lust." The bottom of the poster fades into black except for a faint image of a skull.
Another quote could be this one by Annabella;
"Annabella: This banquet is an harbinger of death to you and me; resolve yourself it is, and be prepared to welcome it."
This would also be a fitting quote since it eludes to the banquet with the image of the wine glass, and the skull is still an indicator of death.
"Soranzo: Learn to repent and die, for by they honor I hate thee and my lust."
This quote would also be appropriate since the poster has a depiction of Hippolita in the goblet of wine, and the idea of lust is again present with the subtlety of the sheets.
House of Trials
Aside from the convention that Dr. Fletcher kindly pointed out that states that "comedias like to tell rather than show their exposition," there could be character types based on social class. All of the highclass characters played tragic roles while the servants played more comedic roles. This can be seen from the various actions of the servants as opposed to the actions of their masters. For instance, in the first act when Carlos and Castano are in Ana's house, Carlos is adamant in his love for Leonor, a very honorable trait. In contrast, Castano talks about Ana's wealth, and the fact that his stomach is empty. Also in act one when Carlos first enters into the house, Castano begs for sanctuary under Ana's skirts. This request would not be tolerated by a nobleman, and Carlos responds with a command of silence and an insult.
Another convention the could be deduced from this play is having oppositional characteristic traits between the two comic servant characters. This can be gathered from several instances throughout the play. First I would like to start with an evaluation of Castano. Though not a picture of nobility by any means, Castano had a central characteristic, that is he was loyal to his master to the end. An instance of this is when he ventures into the streets wearing a dress. As the convention first stated would agree, a man in a dress would be hilarious, but not becoming of royalty. The dress was a disguise so that he could roam the streets without being found and killed since his master was still a wanted man. In contrast, Celia is conniving. At the beginning of the play Ana and Celia talk about Ana's suitors and loves. Celia then lets the audience know that she's secretly stashed Don Juan, a suitor Ana has withdrawn from, in Ana's room for the purpose of allowing Don Juan the chance to take Ana by force. That being said, Celia is the opposing characteristic of loyalty embodied by Castano.
Another convention the could be deduced from this play is having oppositional characteristic traits between the two comic servant characters. This can be gathered from several instances throughout the play. First I would like to start with an evaluation of Castano. Though not a picture of nobility by any means, Castano had a central characteristic, that is he was loyal to his master to the end. An instance of this is when he ventures into the streets wearing a dress. As the convention first stated would agree, a man in a dress would be hilarious, but not becoming of royalty. The dress was a disguise so that he could roam the streets without being found and killed since his master was still a wanted man. In contrast, Celia is conniving. At the beginning of the play Ana and Celia talk about Ana's suitors and loves. Celia then lets the audience know that she's secretly stashed Don Juan, a suitor Ana has withdrawn from, in Ana's room for the purpose of allowing Don Juan the chance to take Ana by force. That being said, Celia is the opposing characteristic of loyalty embodied by Castano.
Wednesday, November 6, 2013
A Peculiar Position by Scribe (Show and Tell Project)
A Peculiar Position is a farce in one act by Eugene Scribe and J.F.A. Bayard. I could not find much else concerning the history of this play as it is one of his least well known writings. It can be found in the book Camille and other plays edited with an introduction to the well-made play by Stephen S. Stanton. Scribe himself was born in December of 1791 and is well known for perfecting the well-made play.
Although A Peculiar Position is only one act, it follows the well-made play model. To sum up the plot of the play, Carlo and Barbara are lovers, but Barbara's mother will have nothing to do with Carlo since he is a soldier. Luckily for the two Carlo is stationed close by and can visit during his free hours. We learn from Barbara that her mother has chosen her a suitor in the form of Pepito who is described as a "nasty mischief-making, tattling, babbling fellow." (Page 1 of the script.) In order to fend off Pepito's advances, Barbara states that she is married, which sends him in a fluster. The countess arrives and her predicament is that her husband is to be arrested, and she can't have that. Champignon arrives to sell his wares, but the countess first eyes him with suspicion. Once it becomes clear that Champignon means no ill will towards the duchess, he leaves, but the duchess switches his passport without his knowing. Upon his leaving Barbara declares Champignon as her husband to flabbergast Pepito. Later the major Lascari arrives to arrest the Duke. Champignon denies being the duke or an accomplice, but his papers tell a different story. As such he takes it upon himself the guise of the duke, wearing his clothing, and eating his food. At dinner the duchess continually has to stomp his foot in order to not give the situation away that he is a married man playing royalty. At some point it is believed that Champignon has tempted to woo Barbara and Carlo takes it upon himself to defend her honor with a duel. Champignon of course refuses the duel. The major shows up and it seems that Champignon's execution is eminent. The major reveals that he has new orders to release the duke, and Champignon is let free to be in the arms of his wife.
Scribe does not go any further into the story of Carlo, Barbara or Pepito. The last we see of the characters is Carlo telling Champignon that he is ordered to be executed on account that he is supposedly the duke. The love triangle is never resolved in the play, which is an interesting choice since the situation was only used as a plot device to further along the action of the play. I think it noteworthy the use of passports in the play. I do not believe that papers had a photographic identifier on them, but were all words. With Champignon being close in stature to the Duke it makes it very convenient to change out his passport to both shift the focus to Champignon so that the Duke is not being looked for, as well as to give the Duke means to leave the country without being observed. This of course puts Champignon into a rather peculiar position as he states multiple times throughout the play.
Although A Peculiar Position is only one act, it follows the well-made play model. To sum up the plot of the play, Carlo and Barbara are lovers, but Barbara's mother will have nothing to do with Carlo since he is a soldier. Luckily for the two Carlo is stationed close by and can visit during his free hours. We learn from Barbara that her mother has chosen her a suitor in the form of Pepito who is described as a "nasty mischief-making, tattling, babbling fellow." (Page 1 of the script.) In order to fend off Pepito's advances, Barbara states that she is married, which sends him in a fluster. The countess arrives and her predicament is that her husband is to be arrested, and she can't have that. Champignon arrives to sell his wares, but the countess first eyes him with suspicion. Once it becomes clear that Champignon means no ill will towards the duchess, he leaves, but the duchess switches his passport without his knowing. Upon his leaving Barbara declares Champignon as her husband to flabbergast Pepito. Later the major Lascari arrives to arrest the Duke. Champignon denies being the duke or an accomplice, but his papers tell a different story. As such he takes it upon himself the guise of the duke, wearing his clothing, and eating his food. At dinner the duchess continually has to stomp his foot in order to not give the situation away that he is a married man playing royalty. At some point it is believed that Champignon has tempted to woo Barbara and Carlo takes it upon himself to defend her honor with a duel. Champignon of course refuses the duel. The major shows up and it seems that Champignon's execution is eminent. The major reveals that he has new orders to release the duke, and Champignon is let free to be in the arms of his wife.
Scribe does not go any further into the story of Carlo, Barbara or Pepito. The last we see of the characters is Carlo telling Champignon that he is ordered to be executed on account that he is supposedly the duke. The love triangle is never resolved in the play, which is an interesting choice since the situation was only used as a plot device to further along the action of the play. I think it noteworthy the use of passports in the play. I do not believe that papers had a photographic identifier on them, but were all words. With Champignon being close in stature to the Duke it makes it very convenient to change out his passport to both shift the focus to Champignon so that the Duke is not being looked for, as well as to give the Duke means to leave the country without being observed. This of course puts Champignon into a rather peculiar position as he states multiple times throughout the play.
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