For me, the construction process for 'Of The Spirit, Of The Will' has had its peaks and troughs. Definitely, the most rewarding and enlightening part of this experience was having the chance to work with people that I would otherwise have never encountered or who I would have ordinarily prejudged. I stated in one of my early blog entries that I "had never met a person with an intellectual handicap" and I was somewhat "uncomfortable" and "confronted" at the prospect of working with such persons. I can now honestly say that these apprehensions have evaporated, and at the risk of sounding Oprah-esque: their individual personalities life stories have eroded labels which I once stuck to them. I don't think that I sympathise with any of the COV members (as I initially) did because I feel that term is somewhat condescending after spending 12 weeks working with someone- I feel more empathetic or connected to them.
I suppose the negative aspect of this process for me is that I feel that I haven't reached anywhere near my creative potential. I can't say that I am satisfied with the final production of this play, in fact there are many scenes which I dislike, and I feel that I had very little to do and very little creative input. It pains me to say, but I believe that creating this blog was more stimulating than creating the performance.
Having said that, I realise that 'Of The Spirit, Of The Will' is not about me; it's about the COV members and it's whole point is to create an inclusive community where everyone stands on the same level of importance- regardless of their abilities.
I'd like to thank Myf for creating this community, and I'd like to congratulate the City Of Voices members for their courage and enthusiasm.
J+M+W+08
Monday, October 13, 2008
Friday, October 10, 2008
THE PERFORMANCES
FIRST PERFORMANCE:
08.10.08
I don't mean to sound like one of those self-indulgent, ultra-serious, contemporary performance hippies, but I don't always remember much about my time performing on stage because I try to lose myself in the moment. I really only recollect tiny flashes of memory. What I do during rehearsal only possesses about 25% of the quality of what I'll give when performing live because your adrenalin is pumping you use up more of your emotional resources. The the dread-lock statement over...
Our first performance was a bit shaky. This was probably because of the nerves that people felt about this being the very first proper performance where Myf wouldn't be there to remind everyone what to do.
To my surprise, I wasn't nervous in the least. I am usually a complete wreck before I go on stage, and I usually rely on those nerves in order to get in touch with my senses so that I can perform with more intensity (more airy fairy explanations). I don't know why I wasn't anxious, it could be that I knew that I had to be strong for the City Of Voices members.
After the performance, I felt quite dissatisfied. I felt like just another run through and I think that I didn't give that little bit extra.
SECOND PERFORMANCE:
09.10.08
This performance was a vast improvement from the previous one! Everyone pulled it together and put in an additional 10% and it truly paid off. This was our first 'night' performance, and as such, that is more powerful than a matinee.
My mother and her friend came along to this performance which made me boost my enthusiasm because when someone you know is in the audience, you have someone special to perform for.
My mother LOVED the show!
THIRD PERFORMANCE:
10.10.08.
Everything went smoothly with this performance, though I've very little to say about it.
There are still issues with the Piaf segment, and to be honest it's beginning to frustrate me. Myf gives the exact same feedback every week, yet people (students AND COV members) seem to either ignore or forget her instructions every single time.
I'm yet to be satisfied with any performances of this segment.
FOURTH (AND FINAL) PERFORMANCE:
This was by far our best performance of 'Of The Spirit, Of The Will'! Everything went so smoothly and I was excited to perform in front of a packed house.
I don't really have much else to say about this performance, though I will mention that it was surprisingly moving to sing 'Shall We Gather By The River?'- our last time on stage together ever.
08.10.08
I don't mean to sound like one of those self-indulgent, ultra-serious, contemporary performance hippies, but I don't always remember much about my time performing on stage because I try to lose myself in the moment. I really only recollect tiny flashes of memory. What I do during rehearsal only possesses about 25% of the quality of what I'll give when performing live because your adrenalin is pumping you use up more of your emotional resources. The the dread-lock statement over...
Our first performance was a bit shaky. This was probably because of the nerves that people felt about this being the very first proper performance where Myf wouldn't be there to remind everyone what to do.
To my surprise, I wasn't nervous in the least. I am usually a complete wreck before I go on stage, and I usually rely on those nerves in order to get in touch with my senses so that I can perform with more intensity (more airy fairy explanations). I don't know why I wasn't anxious, it could be that I knew that I had to be strong for the City Of Voices members.
After the performance, I felt quite dissatisfied. I felt like just another run through and I think that I didn't give that little bit extra.
SECOND PERFORMANCE:
09.10.08
This performance was a vast improvement from the previous one! Everyone pulled it together and put in an additional 10% and it truly paid off. This was our first 'night' performance, and as such, that is more powerful than a matinee.
My mother and her friend came along to this performance which made me boost my enthusiasm because when someone you know is in the audience, you have someone special to perform for.
My mother LOVED the show!
THIRD PERFORMANCE:
10.10.08.
Everything went smoothly with this performance, though I've very little to say about it.
There are still issues with the Piaf segment, and to be honest it's beginning to frustrate me. Myf gives the exact same feedback every week, yet people (students AND COV members) seem to either ignore or forget her instructions every single time.
I'm yet to be satisfied with any performances of this segment.
FOURTH (AND FINAL) PERFORMANCE:
This was by far our best performance of 'Of The Spirit, Of The Will'! Everything went so smoothly and I was excited to perform in front of a packed house.
I don't really have much else to say about this performance, though I will mention that it was surprisingly moving to sing 'Shall We Gather By The River?'- our last time on stage together ever.
Friday, October 3, 2008
Last rehearsal...
02.10.08
Our rehearsal in Gasworks on this day marked both our first full dress rehearsal in the theatre AND our very last rehearsal before our tech-run when we open on Wednesday!
I must say that rehearsing in the space seemed to complicate matters and filled me with an alarming sense of "Uh-oh".
First of all, there is no way to pass behind the back curtain to the other side of the stage without being seen. I have no idea how this could be solved, and I can't think of a solution.
Secondly, the 'dressing rooms' are a nightmare. The female 'dressing rooms' are so very cramped with all the wedding dresses and gowns and the male 'dressing room' (a.k.a. a white board and a couple of pin-up boards) is less than modest and gives seldom privacy. I am not the kind of person who'll strip off in front of just anybody and I found it particularly awkward and confronting getting changed in front of Con, Brian and Spiros, so I found a little hiding place on the other side of the room. Also, I found it quite disturbing (and I mean that word) unintentionally catching glimpses of certain COV members in their underwear. I don't know what I'll do to cope with this (I do realise that it's my superficial issue) or what I'll do in order to not let it distract anyone else.
Another issue which bugs me greatly is the fact that many students have an inability to follow instruction. Myf seems to give the exact same feedback to the 'Mothers' and 'Grief' performers every single week, but yet they either forget or ignore her valuable advice. It is not the COV member's fault, certain students struggle to follow clear instructions, and it isn't exclusive to this project.
Also, I've decided on another reason why the 'Grief' segment doesn't sit very well- there are no COV members in it!
It also worries me that Brian and Spiros have difficulty remembering the words to their songs because I don't know when they'll have the opportunity to practice it again before the opening on Wednesday. What would we do if they struggle during an actual performance?
I hope it'll all come together so that the COV members can be in a show that they enjoy.
<<>>
Our rehearsal in Gasworks on this day marked both our first full dress rehearsal in the theatre AND our very last rehearsal before our tech-run when we open on Wednesday!
I must say that rehearsing in the space seemed to complicate matters and filled me with an alarming sense of "Uh-oh".
First of all, there is no way to pass behind the back curtain to the other side of the stage without being seen. I have no idea how this could be solved, and I can't think of a solution.
Secondly, the 'dressing rooms' are a nightmare. The female 'dressing rooms' are so very cramped with all the wedding dresses and gowns and the male 'dressing room' (a.k.a. a white board and a couple of pin-up boards) is less than modest and gives seldom privacy. I am not the kind of person who'll strip off in front of just anybody and I found it particularly awkward and confronting getting changed in front of Con, Brian and Spiros, so I found a little hiding place on the other side of the room. Also, I found it quite disturbing (and I mean that word) unintentionally catching glimpses of certain COV members in their underwear. I don't know what I'll do to cope with this (I do realise that it's my superficial issue) or what I'll do in order to not let it distract anyone else.
Another issue which bugs me greatly is the fact that many students have an inability to follow instruction. Myf seems to give the exact same feedback to the 'Mothers' and 'Grief' performers every single week, but yet they either forget or ignore her valuable advice. It is not the COV member's fault, certain students struggle to follow clear instructions, and it isn't exclusive to this project.
Also, I've decided on another reason why the 'Grief' segment doesn't sit very well- there are no COV members in it!
It also worries me that Brian and Spiros have difficulty remembering the words to their songs because I don't know when they'll have the opportunity to practice it again before the opening on Wednesday. What would we do if they struggle during an actual performance?
I hope it'll all come together so that the COV members can be in a show that they enjoy.
<<>>
Tenth session in South Melbourne
01.10.08
This was our very first full dress rehearsal and this factor validated the fact that we'll be on stage and running within a week!
As a surprise to myself, I'd managed to have all my costumes prepared by this session. I thought I'd never find the final element of my 'Brian's Song' outfit, but low-and-behold I picked up some truly tacky guitar-shaped sunglasses which completed my fluro ensemble. My 'Lovers' costume is pretty straight forward; a white shirt,black pants and a black long-sleeved t-shirt, and I love my 'Elvis' outfit which keeps the same black pants and top as 'Lovers' but the plain white shirt is replaced by a punkish vinyl vest, red devil's tail and cheeky horns. I am relieved that I found a satisfying alternative to the 'Piaf' costume which Myf had given me the previous week- Anna had given me a beautiful metallic gold cape and I bought a peacock-feathered mask to give my ring master some character and animation. This costume violates the red and black colour scheme that we had planned, but I think that it works and, in a subtle way, gives the scene a sense of the mystic and ethereal elements of the voice of Edith Piaf... or perhaps I'm just influenced by by seeing Goldfrapp live last weekend.
This was a very smooth rehearsal, probably our most efficient yet, and for the first time all the performers involved in the 'Piaf' segment were present!
In regards to the 'Piaf' section, this was the first run through where I actually felt comfortable. In every other previous rehearsal, I've felt like I didn't belong and that my role was somewhat impertinent. This is such a strange sensation for me because I'm usually a very confident performer, but I think I've realised why I've felt this way.
Through out my creative life, I've become quite used to attracting attention for things that I have done. I am almost constantly and exclusively a solo creator, and collaborating is sometimes a frustrating and disempowering experience for me. I've become accustomed to being the boss and being king of my own castle; I create something and then only ask for feedback when I am satisfied that I have put my all into it because I want to create and innovate in a manner that belongs to me. I psychic profile compiled for me on the day after I was born predicts: "He will find it hard to accept limitations... [he] should be given thought provoking tasks, rather than mundane day to day procedures otherwise he will not reach his potential". These are the reasons why I have become increasingly distant and reluctant to manicure the 'Piaf' segment (among others). As selfish and ego-centric as this might sound: I felt my creative input in this project slipping away.
As of fairly recently, I decided not to worry about creating 'high art' with this project- I am focusing on making this a positive and exciting experience for the City Of Voices members. Their energy is all that matters with 'Of The Spirit, Of The Will'.
<<>>
PS: I met Peaches in Retro Star before this rehearsal, so I was on such a high that evening!!!
This was our very first full dress rehearsal and this factor validated the fact that we'll be on stage and running within a week!
As a surprise to myself, I'd managed to have all my costumes prepared by this session. I thought I'd never find the final element of my 'Brian's Song' outfit, but low-and-behold I picked up some truly tacky guitar-shaped sunglasses which completed my fluro ensemble. My 'Lovers' costume is pretty straight forward; a white shirt,black pants and a black long-sleeved t-shirt, and I love my 'Elvis' outfit which keeps the same black pants and top as 'Lovers' but the plain white shirt is replaced by a punkish vinyl vest, red devil's tail and cheeky horns. I am relieved that I found a satisfying alternative to the 'Piaf' costume which Myf had given me the previous week- Anna had given me a beautiful metallic gold cape and I bought a peacock-feathered mask to give my ring master some character and animation. This costume violates the red and black colour scheme that we had planned, but I think that it works and, in a subtle way, gives the scene a sense of the mystic and ethereal elements of the voice of Edith Piaf... or perhaps I'm just influenced by by seeing Goldfrapp live last weekend.
This was a very smooth rehearsal, probably our most efficient yet, and for the first time all the performers involved in the 'Piaf' segment were present!
In regards to the 'Piaf' section, this was the first run through where I actually felt comfortable. In every other previous rehearsal, I've felt like I didn't belong and that my role was somewhat impertinent. This is such a strange sensation for me because I'm usually a very confident performer, but I think I've realised why I've felt this way.
Through out my creative life, I've become quite used to attracting attention for things that I have done. I am almost constantly and exclusively a solo creator, and collaborating is sometimes a frustrating and disempowering experience for me. I've become accustomed to being the boss and being king of my own castle; I create something and then only ask for feedback when I am satisfied that I have put my all into it because I want to create and innovate in a manner that belongs to me. I psychic profile compiled for me on the day after I was born predicts: "He will find it hard to accept limitations... [he] should be given thought provoking tasks, rather than mundane day to day procedures otherwise he will not reach his potential". These are the reasons why I have become increasingly distant and reluctant to manicure the 'Piaf' segment (among others). As selfish and ego-centric as this might sound: I felt my creative input in this project slipping away.
As of fairly recently, I decided not to worry about creating 'high art' with this project- I am focusing on making this a positive and exciting experience for the City Of Voices members. Their energy is all that matters with 'Of The Spirit, Of The Will'.
<<>>
PS: I met Peaches in Retro Star before this rehearsal, so I was on such a high that evening!!!
Tuesday, September 30, 2008
Week Nine
This week we operated in our steady routine of thorougher rehearsal with minimal fuss.
We spent a large amount of time discussing/ reworking the 'Grief' segment. The group constructing that piece had reworked it quite dramatically, but it still carries quite a few problems. One thing that I noticed is that everyone in the space seems to be in the exact same mood which I see as somewhat dull; there needs to be a variation in their individual qualities and persona. I think that they're going for a 'blunt realism', but their monotones and soft speaking does not create much of an authenticity despite the fact that much of what they are talking about is "real". Another thing that makes this piece impenetrable is their use of space- they are too far away and the audience strains to hear what they are saying (little things like this shouldn't be issues) so I suggest that they position themselves closer towards the audience. After our feedback session for this piece, I voiced some of my opinions and the group generally accepted my criticisms but one particular performer became quite defensive and responded with "Oh no, no, no. It's real. That's how people talk about their deceased loved one...". Regardless. This is theatre, you will NEVER achieve utter "realism", and it's no excuse to be sensitive to feedback. I don't understand why people ask for your opinion and then get defensive when you give it to them.
We spent a large amount of time discussing/ reworking the 'Grief' segment. The group constructing that piece had reworked it quite dramatically, but it still carries quite a few problems. One thing that I noticed is that everyone in the space seems to be in the exact same mood which I see as somewhat dull; there needs to be a variation in their individual qualities and persona. I think that they're going for a 'blunt realism', but their monotones and soft speaking does not create much of an authenticity despite the fact that much of what they are talking about is "real". Another thing that makes this piece impenetrable is their use of space- they are too far away and the audience strains to hear what they are saying (little things like this shouldn't be issues) so I suggest that they position themselves closer towards the audience. After our feedback session for this piece, I voiced some of my opinions and the group generally accepted my criticisms but one particular performer became quite defensive and responded with "Oh no, no, no. It's real. That's how people talk about their deceased loved one...". Regardless. This is theatre, you will NEVER achieve utter "realism", and it's no excuse to be sensitive to feedback. I don't understand why people ask for your opinion and then get defensive when you give it to them.
Ninth session in South Melbourne
We commenced this week by rummaging through a huge pile of costumes and tried to allocate them into the various segments which they might suit. I had a good time making people try on the 80s styled gowns and taking candid snaps and we did find a few little numbers which we could utilise.
We ran through each section of our performance, but we were slightly impeded by the large number of absentees. Brian and Deb were missing from 'Brian's Song' which threw us off slightly, but we generally managed rather well.
It soon came to rehearse Spiros' ode to Elvis, and once again Anna B had to fill in for Brian which in my opinion is a more suitable substitution. I mentioned in my previous blog entry that I didn't think that Brian was effectively used in that segment and I still stand by that assessment. Myf mentioned that she'll try to "tone his moves down" but I don't think her efforts will be successful. In my opinion, Anna B is more suited to the scene.
For the Piaf section, Myf gave me an outfit to wear that resembled what one would find if Adam Ant released an inexpensive costume line at Spotlight... I decided to find another costume for this scene. Otherwise, the scene work fine through this rehearsal and I think that Sam's sound-scape was effective.
Fin
We ran through each section of our performance, but we were slightly impeded by the large number of absentees. Brian and Deb were missing from 'Brian's Song' which threw us off slightly, but we generally managed rather well.
It soon came to rehearse Spiros' ode to Elvis, and once again Anna B had to fill in for Brian which in my opinion is a more suitable substitution. I mentioned in my previous blog entry that I didn't think that Brian was effectively used in that segment and I still stand by that assessment. Myf mentioned that she'll try to "tone his moves down" but I don't think her efforts will be successful. In my opinion, Anna B is more suited to the scene.
For the Piaf section, Myf gave me an outfit to wear that resembled what one would find if Adam Ant released an inexpensive costume line at Spotlight... I decided to find another costume for this scene. Otherwise, the scene work fine through this rehearsal and I think that Sam's sound-scape was effective.
Fin
Saturday, September 20, 2008
Week Eight
18.09.08
This session adopted a similar flow to the previous night's session; we ran through each segment and made minor adjustments where necessary.
I don't really have much to say about the day as a whole, suffice to say that we all worked well, however seeming that this is MY journal: I'll focus on the bits which involved me!
In contrast with last night's awkward rendition of the 'Elvis' song, the number found its feet during this rehearsal and I was eager to develop it and invent some cute choreography in accompaniment. Anna B replaced Brian, and I must say that I was a million times more comfortable with her substitution than with Brian's breast-squeezing antics. Apparently Dylan looked very uncomfortable dancing in this segment, I don't know if he's not confident with dancing or with the scenario but I'm sure he'll work it out.
The Piaf segment was polished a little more due to a conversation between Emma and I the previous evening. She told me that it didn't make sense that Edith would just pull out a crane and then that is that and I concurred, so we scripted the line "STOP!" as a punctuation.
An interesting side note, near the end of Edith Piaf's song "L'accordéoniste" she sings "Arrêtez!" ("stop"). SPOOKY!
J+M+W+08
This session adopted a similar flow to the previous night's session; we ran through each segment and made minor adjustments where necessary.
I don't really have much to say about the day as a whole, suffice to say that we all worked well, however seeming that this is MY journal: I'll focus on the bits which involved me!
In contrast with last night's awkward rendition of the 'Elvis' song, the number found its feet during this rehearsal and I was eager to develop it and invent some cute choreography in accompaniment. Anna B replaced Brian, and I must say that I was a million times more comfortable with her substitution than with Brian's breast-squeezing antics. Apparently Dylan looked very uncomfortable dancing in this segment, I don't know if he's not confident with dancing or with the scenario but I'm sure he'll work it out.
The Piaf segment was polished a little more due to a conversation between Emma and I the previous evening. She told me that it didn't make sense that Edith would just pull out a crane and then that is that and I concurred, so we scripted the line "STOP!" as a punctuation.
An interesting side note, near the end of Edith Piaf's song "L'accordéoniste" she sings "Arrêtez!" ("stop"). SPOOKY!
J+M+W+08
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