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
First rehearsal at Gas Works
17.09.08
As I entered this theatre for the first time, the realisation that the sands were running through the hourglass finally struck me: in a matter of weeks we'll be performing here. Until this point I had somehow blocked this fact from my mind but refreshingly enough, this did not strike as alarming or stressful to me; I felt reasonably confident and willing to get this show on the road.
The stage where we will be performing is quite large but leaves narrow space for backstage utilities. Also, the seating capacity is actually misleading for I would have estimated it would only accommodate an audience of around seventy but Myf assured us that the capacity is one hundred and fifty.
We ran through each segment with an absence of fuss or "input" from students which filled the workspace with a sense efficiency. The only focus upon details were in the minor recomposing and tweaking of various elements in order to accommodate the new space etc.
When it came to rehearse Sprios' 'Elvis' song, a piece we had never rehearsed and barely discussed the choreography for, I had no idea what to do. Apparently Pauline was in charge of this piece which was news to me. On the "devil" side were Brian, Dylan and I who were to create an opposing presence to Amee, Jess H and Lyndsay's "angels". Brian was in line behind me during the 'choreography' and I must say that he made me feel very (visibly) uncomfortable because he was crabbing and pinching me, singing in my ear and touching my head. I am still intimidated by Brian because of his enormous stature and also because of my memory of the way he went a little too far when performing the 'status' exercise several weeks prior. Brian gets really "into" things, but I'm not sure if he stays connected to the reality that we are merely pretending. Furthermore, I am sure that his presence in that segment throws the piece off balance because of his size and presence: it's Sprios who needs to be the centre of attention because it's his song and Brian will unintentionally absorb the focus.
The Piaf segment went through a smooth rehearsal, and a few of the creases were ironed out. I'm going to be honest, a week ago I HATED the Piaf section (as you would have detected through my previous blog entries) but I've since calmed down and tried to make the piece for Cathy as opposed to the satisfaction of my own creativity. I'm happy with the piece's structure and I think that it will work.
It's all falling into place...
As I entered this theatre for the first time, the realisation that the sands were running through the hourglass finally struck me: in a matter of weeks we'll be performing here. Until this point I had somehow blocked this fact from my mind but refreshingly enough, this did not strike as alarming or stressful to me; I felt reasonably confident and willing to get this show on the road.
The stage where we will be performing is quite large but leaves narrow space for backstage utilities. Also, the seating capacity is actually misleading for I would have estimated it would only accommodate an audience of around seventy but Myf assured us that the capacity is one hundred and fifty.
We ran through each segment with an absence of fuss or "input" from students which filled the workspace with a sense efficiency. The only focus upon details were in the minor recomposing and tweaking of various elements in order to accommodate the new space etc.
When it came to rehearse Sprios' 'Elvis' song, a piece we had never rehearsed and barely discussed the choreography for, I had no idea what to do. Apparently Pauline was in charge of this piece which was news to me. On the "devil" side were Brian, Dylan and I who were to create an opposing presence to Amee, Jess H and Lyndsay's "angels". Brian was in line behind me during the 'choreography' and I must say that he made me feel very (visibly) uncomfortable because he was crabbing and pinching me, singing in my ear and touching my head. I am still intimidated by Brian because of his enormous stature and also because of my memory of the way he went a little too far when performing the 'status' exercise several weeks prior. Brian gets really "into" things, but I'm not sure if he stays connected to the reality that we are merely pretending. Furthermore, I am sure that his presence in that segment throws the piece off balance because of his size and presence: it's Sprios who needs to be the centre of attention because it's his song and Brian will unintentionally absorb the focus.
The Piaf segment went through a smooth rehearsal, and a few of the creases were ironed out. I'm going to be honest, a week ago I HATED the Piaf section (as you would have detected through my previous blog entries) but I've since calmed down and tried to make the piece for Cathy as opposed to the satisfaction of my own creativity. I'm happy with the piece's structure and I think that it will work.
It's all falling into place...
Saturday, September 13, 2008
Week Seven
During this session, Myf got her metaphorical whip out and we engaged in a very intense run through of the show.
We commenced with a few rehearsals of 'Brian's Song', which was a bit strange with half the dancers missing. Our timing and everything is fine but we need to work with the COVs a lot more.
I'm liking the Bride's Dance, it's quite ethereal. I believe that it's the strongest section within 'Of the spirit, of the will' and it acts as a good centre-piece.
When the time came to work on the Piaf segment, I was eager to get cracking and iron out the segment's winkles. To my disappointment, the more we rehearse and 'workshop' the piece- the worse it seems to get. I feel like the segment is so flat, dull and passionless and I don't know what to do to improve it without either sentimentalising it or hyping up angst. If we can find a (non-cliched) way of building a climax, we'd be much better off. SIGH! In my ordinary creative life, I would have scrapped this and started again a while ago, but I wouldn't dream of traumatising others with this dramatic approach.
I also think that the segment has been dragged through so many generations of Year 9 Drama and TV references that there's little of Piaf in our 'Piaf'. This could be because a large number of the students have never heard of Edith Piaf and therefore they're more concerned with the aesthetic or the "dramatic" sides rather than trying to represent an abstract part of the chanteuse- this is something I detect very strongly in some of their suggestions. EXAMPLE: It's like if you are having a conversation with your hairdresser and you slip a witty culture reference or pun into your conversation, but they're unacquainted with what you are referencing so the glorious bit of humour goes over their heads and they take what you've said literally and jump on their own tangents. D'ya get what I mean?
Oh, well. It's too late to change things with this Piaf segment. I'll be fine as long as we tweak it so that everyone knows what they're doing, and it'll 'work' if we find a way to build tension. As Anna said, this production is not really about us: it's about the COVs. We should just work on making it an experience for them, and worry about high art another time.
I know that I'm not a very good collaborator. 99.9% of the time, I only work by myself and that's how I attain good results. I think a lot about whatever I'm creating and I edit and rework things inside my head and I don't need to 'catch up' and brainstorm with others because I'm in my own company twenty-four hours a day. The only time when I invite others in is when it's feedback time.
***
KISSES!
We commenced with a few rehearsals of 'Brian's Song', which was a bit strange with half the dancers missing. Our timing and everything is fine but we need to work with the COVs a lot more.
I'm liking the Bride's Dance, it's quite ethereal. I believe that it's the strongest section within 'Of the spirit, of the will' and it acts as a good centre-piece.
When the time came to work on the Piaf segment, I was eager to get cracking and iron out the segment's winkles. To my disappointment, the more we rehearse and 'workshop' the piece- the worse it seems to get. I feel like the segment is so flat, dull and passionless and I don't know what to do to improve it without either sentimentalising it or hyping up angst. If we can find a (non-cliched) way of building a climax, we'd be much better off. SIGH! In my ordinary creative life, I would have scrapped this and started again a while ago, but I wouldn't dream of traumatising others with this dramatic approach.
I also think that the segment has been dragged through so many generations of Year 9 Drama and TV references that there's little of Piaf in our 'Piaf'. This could be because a large number of the students have never heard of Edith Piaf and therefore they're more concerned with the aesthetic or the "dramatic" sides rather than trying to represent an abstract part of the chanteuse- this is something I detect very strongly in some of their suggestions. EXAMPLE: It's like if you are having a conversation with your hairdresser and you slip a witty culture reference or pun into your conversation, but they're unacquainted with what you are referencing so the glorious bit of humour goes over their heads and they take what you've said literally and jump on their own tangents. D'ya get what I mean?
Oh, well. It's too late to change things with this Piaf segment. I'll be fine as long as we tweak it so that everyone knows what they're doing, and it'll 'work' if we find a way to build tension. As Anna said, this production is not really about us: it's about the COVs. We should just work on making it an experience for them, and worry about high art another time.
I know that I'm not a very good collaborator. 99.9% of the time, I only work by myself and that's how I attain good results. I think a lot about whatever I'm creating and I edit and rework things inside my head and I don't need to 'catch up' and brainstorm with others because I'm in my own company twenty-four hours a day. The only time when I invite others in is when it's feedback time.
***
KISSES!
Seventh session in South Melbourne
This week we spent some much needed time rehearsing. We only have four weeks left, so every single minute of run-through is crucial seeming that we only spend two hours a week with the COV members.
While the women rehearsed the 'Bride's Dance', Myf asked the males to go into the opposite studio and consider some ways to link each segment within the piece. Spiros, Brian, Con, Dylan, Jez, Jayden and I sat in a circle and scribbled down some ideas to give the performance a sense of motif, and we decided to resurrect the 'three bells' structure, but we settled on a more abstract interpretation of this simple form.
We wanted to punctuate the performance with the use of three separate instruments which represented the three stages of 'life' that we are exploring in the piece. We decided on a music box to be our opening image because we thought that it symbolised innocence and thus childhood. We envisioned that the first image of our performance would be Kate sitting on the floor playing with a music box which would then segue into Brian's Song. The next instrument, for the 'love/relationships' was the human voice were we discussed having one male trying to charm June with a sugary poem only to have her put a ciggy out in their face. Finally, the instrument to represent 'death' could be a piano, and we asked Serena to play a phantom of the opera-like character who would play a looming tune which would introduce the 'five stages of death'.
Most of the COV members were cooperative and offered some suggestions, and Brian was particularly enthused.
I think that Myf had forgotten about asking us to do this brainstorming session, because she never mentioned it again. She is a very busy lady though!
Anna and I took charge of the 'Piaf' segment as the other half of the group did something else in the opposite studio. Anna and I had a brief private brainstorm, and then we discussed what we envisioned the 'Piaf' section would be like to the uninitiated COV members. We asked the group to congeal into their 'categories': prostitutes, beggars, bourgeoisie, and then we tried to perform a run-through. The students were getting quite into things, and some of the COV members matched their enthusiasm (especially Cathy who loved the idea of playing Piaf, and Betty who seems VERY eager to play a prostitute) however most of the COVs seemed confused, indifferent or objective. Brian had a bit of difficulty following instruction, and Con wasn't cooperative at all which made me concerned about how the piece would look. After this very short rehearsal time we were expected to perform what we had worked on for the rest of the group. As I watched from the sidelines, I noticed how awkward most of the COVs looked and it also struck me how flat the piece is.
I am not overwhelmed with faith in this Piaf segment, and I'm feeling like I'm trying to get blood out of a stone. We'll see...
While the women rehearsed the 'Bride's Dance', Myf asked the males to go into the opposite studio and consider some ways to link each segment within the piece. Spiros, Brian, Con, Dylan, Jez, Jayden and I sat in a circle and scribbled down some ideas to give the performance a sense of motif, and we decided to resurrect the 'three bells' structure, but we settled on a more abstract interpretation of this simple form.
We wanted to punctuate the performance with the use of three separate instruments which represented the three stages of 'life' that we are exploring in the piece. We decided on a music box to be our opening image because we thought that it symbolised innocence and thus childhood. We envisioned that the first image of our performance would be Kate sitting on the floor playing with a music box which would then segue into Brian's Song. The next instrument, for the 'love/relationships' was the human voice were we discussed having one male trying to charm June with a sugary poem only to have her put a ciggy out in their face. Finally, the instrument to represent 'death' could be a piano, and we asked Serena to play a phantom of the opera-like character who would play a looming tune which would introduce the 'five stages of death'.
Most of the COV members were cooperative and offered some suggestions, and Brian was particularly enthused.
I think that Myf had forgotten about asking us to do this brainstorming session, because she never mentioned it again. She is a very busy lady though!
Anna and I took charge of the 'Piaf' segment as the other half of the group did something else in the opposite studio. Anna and I had a brief private brainstorm, and then we discussed what we envisioned the 'Piaf' section would be like to the uninitiated COV members. We asked the group to congeal into their 'categories': prostitutes, beggars, bourgeoisie, and then we tried to perform a run-through. The students were getting quite into things, and some of the COV members matched their enthusiasm (especially Cathy who loved the idea of playing Piaf, and Betty who seems VERY eager to play a prostitute) however most of the COVs seemed confused, indifferent or objective. Brian had a bit of difficulty following instruction, and Con wasn't cooperative at all which made me concerned about how the piece would look. After this very short rehearsal time we were expected to perform what we had worked on for the rest of the group. As I watched from the sidelines, I noticed how awkward most of the COVs looked and it also struck me how flat the piece is.
I am not overwhelmed with faith in this Piaf segment, and I'm feeling like I'm trying to get blood out of a stone. We'll see...
Thursday, September 11, 2008
Monday, September 8, 2008
A month to go...
OK... here's the deal: whatever we plan by this Thursday's class is what we shall perform! The only exceptions will be tweaking to make things fit and so on, but it will soon be too late in the game to waste time with new ideas.
If you have any suggestions for significant changes, present them on Thursday. That's the deadline.
We've only a month to go!
If you have any suggestions for significant changes, present them on Thursday. That's the deadline.
We've only a month to go!
Saturday, September 6, 2008
Week Six
For some reason this week half of the class didn't show up. Were people tired from the demanding night before? If so, it was probably in their best interest that they didn't attend this session because they would have been completely drained.
The class spit into two: the singers of Anna B's song rehearsed in E100 while the rest of the class stayed in E111 to discuss the Piaf piece. I am still quite unsure about this segment and I was eager to hear feedback to improve it, so I read out a rough description of what I envisioned the 'opening' could be like. I am reasonably happy with the first half of my treatment, but I think that the second half is weak and I was interested on developing that part and creating a denouement for this section. People seemed enthused about what I had written, and equally enthused about the other ideas which Anna and I had been presenting and Myf raised an interesting perspective which I think could be a focus- the Piaf segment is an entry into hell. I always had this sort of thing in the back of my mind whilst thinking about the Piaf section, but the words which described it for me were; "seedy", "warped", "freak show", "rock-bottom" but "hell" is the perfect term. I appreciated this suggestion and thought that this could be our focus.
Some other students offered some quality ideas, but after a short period of discussions, I was beginning to feel like too many miscellaneous ideas were being poured into the mix. I don't know why, but a great deal of the ideas which some students suggest leave a very thick trail of sentiment behind it- maybe I'm too pragmatic or cold towards my work, but this is definitely a trait which I have detected, especially recently. Furthermore, when a large group of people try to collaborate on something, the work seems to follow a familiar path in terms of theatrical devices and predictable structure. Some examples of this are: the 'louder Louder LOUder LOUDer LOUDEr LOUDER LOUDER *silence*' technique employed to create tension or suspense. Been there, done that, bought the t-shirt and then returned it because the colours washed out too quickly.
Also, I don't want to play the accordion during the piece for two reasons: the first is that it's hard for me to build a powerful stage persona if I'm lugging around a huge instrument across the stage. The second is that I basically sound dreadful playing it. I'm considering that we need to do something radical with the accordion (because it's a bit of a Parisian cliche)synthesising it, or perhaps we get all LFO on it's arse!
Anna and I will get in a room and put our heads together and try our very hardest to improve this Piaf piece. We'll focus on Myf's "hell" idea, and develop a segment with dynamism, tension, horror but is ultimately uplifting or at least offers a resolution.
...
...
...
...
J+M+W+08
The class spit into two: the singers of Anna B's song rehearsed in E100 while the rest of the class stayed in E111 to discuss the Piaf piece. I am still quite unsure about this segment and I was eager to hear feedback to improve it, so I read out a rough description of what I envisioned the 'opening' could be like. I am reasonably happy with the first half of my treatment, but I think that the second half is weak and I was interested on developing that part and creating a denouement for this section. People seemed enthused about what I had written, and equally enthused about the other ideas which Anna and I had been presenting and Myf raised an interesting perspective which I think could be a focus- the Piaf segment is an entry into hell. I always had this sort of thing in the back of my mind whilst thinking about the Piaf section, but the words which described it for me were; "seedy", "warped", "freak show", "rock-bottom" but "hell" is the perfect term. I appreciated this suggestion and thought that this could be our focus.
Some other students offered some quality ideas, but after a short period of discussions, I was beginning to feel like too many miscellaneous ideas were being poured into the mix. I don't know why, but a great deal of the ideas which some students suggest leave a very thick trail of sentiment behind it- maybe I'm too pragmatic or cold towards my work, but this is definitely a trait which I have detected, especially recently. Furthermore, when a large group of people try to collaborate on something, the work seems to follow a familiar path in terms of theatrical devices and predictable structure. Some examples of this are: the 'louder Louder LOUder LOUDer LOUDEr LOUDER LOUDER *silence*' technique employed to create tension or suspense. Been there, done that, bought the t-shirt and then returned it because the colours washed out too quickly.
Also, I don't want to play the accordion during the piece for two reasons: the first is that it's hard for me to build a powerful stage persona if I'm lugging around a huge instrument across the stage. The second is that I basically sound dreadful playing it. I'm considering that we need to do something radical with the accordion (because it's a bit of a Parisian cliche)synthesising it, or perhaps we get all LFO on it's arse!
Anna and I will get in a room and put our heads together and try our very hardest to improve this Piaf piece. We'll focus on Myf's "hell" idea, and develop a segment with dynamism, tension, horror but is ultimately uplifting or at least offers a resolution.
...
...
...
...
J+M+W+08
Friday, September 5, 2008
Sixth session in South Melbourne
03.09.08
Out of all our sessions at the South Melbourne centre so far, I'd have to arrive at the assessment that this was by far the most productive. Everyone worked tirelessly and without complaint which makes me increasingly confident that we'll definitely have a full performance ready in no time.
As we walked in at 4:40, Betty was waiting by the little lolly stall which she had set up to raise money for something, but the details escape me now. I bought a bag of snakes from her which she charged $2 because "they have more sugar in them" (???).
We officially began our evening of rehearsals by institutionally singing some of the warm up songs, and then after that- it was straight to business.
Myf pulled out some of the 'red & black' costumes that she had stored away which she thought may be appropriate for the Piaf segment. Anna, Ashlee, Emma and I sorted through it and found a few numbers which we'll certainly use, such as a red ol' time hooker-looking ensemble which Anna wore for the rest of the evening (over her regular clothes, of course).
Us 'dancers' were all concerned with getting the choreography that accompanies "Brian's Song" down-pat for last week we suffered from a few hiccups in terms of memorising the moves and keeping in time with the music. These mishaps still occurred this time round, but we managed to iron out most of the creases through intense practice. The singers did there very best to stay in tune, and they did very well considering that there are some irregular-attendances who don't show up to every rehearsal- I know that the dancers suffer a bit because of this same issue. Some time during the rehearsals, I glanced over at the singers and noticed that they were sporting some truly heinous show hats and I thought "Eeek! I hope that they are not the hats that Myf plans on using!". Luckily they were just for rehearsal purposes. Fffeew!
The "Mum" routine was performed quite similarly to last week. My criticism about this piece is that I feel that it adopts a lay-out and sound-scape of over-lapping permutations of the term "mother" which reminds me of a Year 9 exercise. Having said that, I think that the City Voices clan do wonderfully and I am especially surprised at Kate's efforts for I had unfortunately stuffed her in the 'minimal responsibility' box because she is a Down Syndrome. I recall Myf commenting that she is a "strong performer", but I honestly thought that she was just being polite: I now she what she means.
The 'Lover's Dance' was then recited very well except for the fact that Ashlee winded herself and injured her rib by accidentally thrusting herself into Olivia's shoulder. Anna B's song underwent a slight make-over by removing the piano accompaniment which stripped to back to a cappella. I think that this version is a major improvement, and works much more cohesively with the dance routine.
Around this time, we realised that 7:00 had arrived though it only felt like we had been working for half-an-hour. The reality of the amount of work we had accomplished, and it's consequence upon me finally took hold when I sat in the car because I was then hit by a tsunami of fatigue. When you're focused and driven, you tell your body to shut up, but when you get a moments rest- it all avalanches over you. This is why I don't like breaks.
KISSES!
Out of all our sessions at the South Melbourne centre so far, I'd have to arrive at the assessment that this was by far the most productive. Everyone worked tirelessly and without complaint which makes me increasingly confident that we'll definitely have a full performance ready in no time.
As we walked in at 4:40, Betty was waiting by the little lolly stall which she had set up to raise money for something, but the details escape me now. I bought a bag of snakes from her which she charged $2 because "they have more sugar in them" (???).
We officially began our evening of rehearsals by institutionally singing some of the warm up songs, and then after that- it was straight to business.
Myf pulled out some of the 'red & black' costumes that she had stored away which she thought may be appropriate for the Piaf segment. Anna, Ashlee, Emma and I sorted through it and found a few numbers which we'll certainly use, such as a red ol' time hooker-looking ensemble which Anna wore for the rest of the evening (over her regular clothes, of course).
Us 'dancers' were all concerned with getting the choreography that accompanies "Brian's Song" down-pat for last week we suffered from a few hiccups in terms of memorising the moves and keeping in time with the music. These mishaps still occurred this time round, but we managed to iron out most of the creases through intense practice. The singers did there very best to stay in tune, and they did very well considering that there are some irregular-attendances who don't show up to every rehearsal- I know that the dancers suffer a bit because of this same issue. Some time during the rehearsals, I glanced over at the singers and noticed that they were sporting some truly heinous show hats and I thought "Eeek! I hope that they are not the hats that Myf plans on using!". Luckily they were just for rehearsal purposes. Fffeew!
The "Mum" routine was performed quite similarly to last week. My criticism about this piece is that I feel that it adopts a lay-out and sound-scape of over-lapping permutations of the term "mother" which reminds me of a Year 9 exercise. Having said that, I think that the City Voices clan do wonderfully and I am especially surprised at Kate's efforts for I had unfortunately stuffed her in the 'minimal responsibility' box because she is a Down Syndrome. I recall Myf commenting that she is a "strong performer", but I honestly thought that she was just being polite: I now she what she means.
The 'Lover's Dance' was then recited very well except for the fact that Ashlee winded herself and injured her rib by accidentally thrusting herself into Olivia's shoulder. Anna B's song underwent a slight make-over by removing the piano accompaniment which stripped to back to a cappella. I think that this version is a major improvement, and works much more cohesively with the dance routine.
Around this time, we realised that 7:00 had arrived though it only felt like we had been working for half-an-hour. The reality of the amount of work we had accomplished, and it's consequence upon me finally took hold when I sat in the car because I was then hit by a tsunami of fatigue. When you're focused and driven, you tell your body to shut up, but when you get a moments rest- it all avalanches over you. This is why I don't like breaks.
KISSES!
Friday, August 29, 2008
Week Five
28.08.08
During this session, we worked quite meticulously on constructing most sections of our performance. We separated into our creative 'groups' and discussed, choreographed, scripted and musically arranged with a more efficient focus than we had worked while making 'Triumphs And Tragedies'.
Anna, who is co-directing the Piaf section with me, brought in some interesting items to stimulate our imagination. She showed me a pair of Middle-Eastern finger symbols and a black and red skirt which she thought she might utilise when portraying her gypsy dancer. Anna and I then digressed into a lengthy discussion about the Piaf section, and we worked and rearranged the characters, actors and scenario several times. Anna suggested that I play the omnipresent 'ring master' in the piece, which is a role that I gladly accepted. We then decided to jettison our idea about the 'freak show' because we wanted to run an accord with Piaf's life more explicitly and also because we wanted to direct a focus. Instead of the former plan, we decided to convey the stories of only a few central characters as opposed to the more epic piece we initially had in mind. We then invited Ashlee, Joanne and Emma into our Piaf section to play a prostitute, an upper-class snob and a beggar respectively. We've also cast Brian to play the priest who secretly runs the prostitution ring while acting as though he is a moral objector, we also cast June to play an older prostitute and Con to play a wino. After our 'casting session', we engaged in a valuable collaboration with Joanne, Ashlee and Emma who assisted Anna and I tighten some looser areas and gave feedback to some of our concepts.
We briefly chatted to Myf about our ideas and she seemed generally enthused but she suggested that we cut a large portion (if not a majority) of our dialogue and turn it into a movement piece. I'm not so keen on this suggestion because I feel that all of the other pieces are movement pieces and the audience might want a break from all of the 'moving'. I am not one for waffling dialogue or over staying my theatrical welcome, and I am confident that when Myf sees how tight and immaculately composed our piece will be: she'll be converted.
This was a most effective class for Anna and I, and I am now seeing the potential for a satisfying performance. I hope that the other groups are also optimistic, because I'm aware of some bickering in other collaborative ensembles.
Ashlee, Olivia, Joanne and Emma showed us their lovely choreography for the 'lovers' section of the performance. Anna and I first saw it without music which I thought was very effective and created an intimacy and non-sensationalism. They later re-performed it with the vocal accompaniment of Anna B's song. I'm not crazy about the latter version, because I thought that the song runs against the grain of the dance. I think the dance piece should be done in silence, and the song should be performed separately.
I got thinking later on about the Piaf section, and I realised how careful we have to be in order to remove any traces of sentimentalism (I hate anything maudlin!!!) and we must ensure to be honest and original- which I believe is the essence of creativity and art. I'm also concerned that certain songs by the City Voices members are quite superfluous and we don't need them for 'Triumphs and Tragedies' so I say "CUT" to anything unnecessary or repetitious.
KISSES!
During this session, we worked quite meticulously on constructing most sections of our performance. We separated into our creative 'groups' and discussed, choreographed, scripted and musically arranged with a more efficient focus than we had worked while making 'Triumphs And Tragedies'.
Anna, who is co-directing the Piaf section with me, brought in some interesting items to stimulate our imagination. She showed me a pair of Middle-Eastern finger symbols and a black and red skirt which she thought she might utilise when portraying her gypsy dancer. Anna and I then digressed into a lengthy discussion about the Piaf section, and we worked and rearranged the characters, actors and scenario several times. Anna suggested that I play the omnipresent 'ring master' in the piece, which is a role that I gladly accepted. We then decided to jettison our idea about the 'freak show' because we wanted to run an accord with Piaf's life more explicitly and also because we wanted to direct a focus. Instead of the former plan, we decided to convey the stories of only a few central characters as opposed to the more epic piece we initially had in mind. We then invited Ashlee, Joanne and Emma into our Piaf section to play a prostitute, an upper-class snob and a beggar respectively. We've also cast Brian to play the priest who secretly runs the prostitution ring while acting as though he is a moral objector, we also cast June to play an older prostitute and Con to play a wino. After our 'casting session', we engaged in a valuable collaboration with Joanne, Ashlee and Emma who assisted Anna and I tighten some looser areas and gave feedback to some of our concepts.
We briefly chatted to Myf about our ideas and she seemed generally enthused but she suggested that we cut a large portion (if not a majority) of our dialogue and turn it into a movement piece. I'm not so keen on this suggestion because I feel that all of the other pieces are movement pieces and the audience might want a break from all of the 'moving'. I am not one for waffling dialogue or over staying my theatrical welcome, and I am confident that when Myf sees how tight and immaculately composed our piece will be: she'll be converted.
This was a most effective class for Anna and I, and I am now seeing the potential for a satisfying performance. I hope that the other groups are also optimistic, because I'm aware of some bickering in other collaborative ensembles.
Ashlee, Olivia, Joanne and Emma showed us their lovely choreography for the 'lovers' section of the performance. Anna and I first saw it without music which I thought was very effective and created an intimacy and non-sensationalism. They later re-performed it with the vocal accompaniment of Anna B's song. I'm not crazy about the latter version, because I thought that the song runs against the grain of the dance. I think the dance piece should be done in silence, and the song should be performed separately.
I got thinking later on about the Piaf section, and I realised how careful we have to be in order to remove any traces of sentimentalism (I hate anything maudlin!!!) and we must ensure to be honest and original- which I believe is the essence of creativity and art. I'm also concerned that certain songs by the City Voices members are quite superfluous and we don't need them for 'Triumphs and Tragedies' so I say "CUT" to anything unnecessary or repetitious.
KISSES!
Wednesday, August 27, 2008
Fifth Session in South Melbourne
27.08.08
A short blog entry...
This week, we once again commenced our session by reciting the three songs from our musical repertoire.
Things went off to a shaky start when Nini, Ashlee and I caught a case of the giggles which was sparked by our purposely overly-high-pitched singing during the 'Babylon' song. I remembered the comments Myf had made a few weeks prior regarding 'giggling' and how it could be misinterpreted as mocking, and I assume that Myf wanted to reiterate her feelings about this behaviour because she separated us. Lesson learned.
For the rest of our session, we basically just rehearsed the choreography for 'Brian's Song'. I am not a confident (or very competent)dancer, so I'm still uneasy about dancing in front of others. As a result, I am convinced that my self-consciousness in this area could be causing me to forget the moves to this rather straight-forward routine. Some City Voices members joined us students for the choreography: Tracy, Annette (filling in for Kate), Diann and Debra all stepped into the number seamlessly, but Spiros and Valentina struggled slightly.
Emily Lee approached a couple of us students to act as some form of 'media contact' for the publicity of the play. She also spoke of performing some publicity stunts in order to promote our show: wedding dress parades, staged collapsing on in Flinders St., Piaf drag shows and the like. Most people were very enthused about the wedding dress idea and most people offered other suggestions, some even going as far as recommending that we get Hamish & Andy involved, but I truly doubt that the latter will ever come into fruition for one of two reasons: the first is that no one will actually make an effort to contact them, and the second is that even if one of us did go that extra mile I'm confident that Hamish & Andy wouldn't dabble in promoting something from a compatibly niche market. Call me a cynic if you want!
Several City Voices members recited some of their musical material for us, and then Myf concluded our session by reading out her rough idea about the running order of the show.
A short blog entry...
This week, we once again commenced our session by reciting the three songs from our musical repertoire.
Things went off to a shaky start when Nini, Ashlee and I caught a case of the giggles which was sparked by our purposely overly-high-pitched singing during the 'Babylon' song. I remembered the comments Myf had made a few weeks prior regarding 'giggling' and how it could be misinterpreted as mocking, and I assume that Myf wanted to reiterate her feelings about this behaviour because she separated us. Lesson learned.
For the rest of our session, we basically just rehearsed the choreography for 'Brian's Song'. I am not a confident (or very competent)dancer, so I'm still uneasy about dancing in front of others. As a result, I am convinced that my self-consciousness in this area could be causing me to forget the moves to this rather straight-forward routine. Some City Voices members joined us students for the choreography: Tracy, Annette (filling in for Kate), Diann and Debra all stepped into the number seamlessly, but Spiros and Valentina struggled slightly.
Emily Lee approached a couple of us students to act as some form of 'media contact' for the publicity of the play. She also spoke of performing some publicity stunts in order to promote our show: wedding dress parades, staged collapsing on in Flinders St., Piaf drag shows and the like. Most people were very enthused about the wedding dress idea and most people offered other suggestions, some even going as far as recommending that we get Hamish & Andy involved, but I truly doubt that the latter will ever come into fruition for one of two reasons: the first is that no one will actually make an effort to contact them, and the second is that even if one of us did go that extra mile I'm confident that Hamish & Andy wouldn't dabble in promoting something from a compatibly niche market. Call me a cynic if you want!
Several City Voices members recited some of their musical material for us, and then Myf concluded our session by reading out her rough idea about the running order of the show.
Monday, August 25, 2008
Concern...
I woke up in the middle of the night with the concern that our performance will be too eclectic. I believe that if we have too many ingredients in the metaphorical soup which we are making: all the nuances of the separate flavours will be lost. We have a large group collaborating on this performance and, naturally, everyone wants their ideas heard and explored. However, considering the time restraints (only 6 weeks left!) and taking into account the varying working methods and styles of performers; we have to stick to the agreed structure and try our hardest to keep this performance CONSISTENT!
Baring this in mind, I believe that our performance should be a continuous sound scape as opposed to a 'song- audience claps- another song -audience claps- another song- audience claps' structure (where I predict that this piece is heading).
I worked on a large collaborative piece last year for the 3DFEST competition whose results, in my opinion, were absolutely disastrous. The reason for my grim assessment of that piece is predominantly because the final performance lacked cohesion and an over-riding structure. This is partly because our 'director' was devoted to the philosophy that every one is talented and that every idea has potential. Uh-uh.
This segues into my next concern; I predict that people involved in this piece might be reluctant to criticise the ideas that others put forward. This is a performance by second year University students that is open to the public so it is not acceptable to entertain a weak idea out of sensitivity to someone's feelings. I would be horrified if people didn't voice their criticisms or suggestions for an idea of mine but instead let me walk out on stage not knowing that something could have been improved. This is not personal- it's professional. Don't bite your tongue!!!
Thus ends my winge-fest!
Baring this in mind, I believe that our performance should be a continuous sound scape as opposed to a 'song- audience claps- another song -audience claps- another song- audience claps' structure (where I predict that this piece is heading).
I worked on a large collaborative piece last year for the 3DFEST competition whose results, in my opinion, were absolutely disastrous. The reason for my grim assessment of that piece is predominantly because the final performance lacked cohesion and an over-riding structure. This is partly because our 'director' was devoted to the philosophy that every one is talented and that every idea has potential. Uh-uh.
This segues into my next concern; I predict that people involved in this piece might be reluctant to criticise the ideas that others put forward. This is a performance by second year University students that is open to the public so it is not acceptable to entertain a weak idea out of sensitivity to someone's feelings. I would be horrified if people didn't voice their criticisms or suggestions for an idea of mine but instead let me walk out on stage not knowing that something could have been improved. This is not personal- it's professional. Don't bite your tongue!!!
Thus ends my winge-fest!
Thursday, August 21, 2008
Ning profile update...
I've updated my profile for Myf's Ning page:
Who is your personal hero?
Björk- she's in touch with an emotional depth that no one else has communicated to. She's super original too!
What type of Performer / Performance Maker are you?
I think that my strengths are in the conceptual, structural and intellectual sides of constructing a performance. I am a natural writer, thus the ideas side of things spark my creative juices. I am also interested in the marriages between concepts and emotion, and how the balance of both make a great performance.
I also have a philosophy that you should move forward creatively and try very hard to avoid repetition and cliche!
Some of my weaknesses are digressing into comedy. I've more or less put a stop to this older trait; but people sometimes want me to regress back into it.
Another weakness is my reluctance to trust anyone else within the creative process- I try to do almost everything myself.
What is your personal goal with this project?
To give more of my 'personal' self.
Who is your personal hero?
Björk- she's in touch with an emotional depth that no one else has communicated to. She's super original too!
What type of Performer / Performance Maker are you?
I think that my strengths are in the conceptual, structural and intellectual sides of constructing a performance. I am a natural writer, thus the ideas side of things spark my creative juices. I am also interested in the marriages between concepts and emotion, and how the balance of both make a great performance.
I also have a philosophy that you should move forward creatively and try very hard to avoid repetition and cliche!
Some of my weaknesses are digressing into comedy. I've more or less put a stop to this older trait; but people sometimes want me to regress back into it.
Another weakness is my reluctance to trust anyone else within the creative process- I try to do almost everything myself.
What is your personal goal with this project?
To give more of my 'personal' self.
Freak song
Here is a song I wrote for the Piaf section:
Je suis un phénomène
Seulement dans l'obscurité
Je pleure avec chagrin d'amour
Les gens me dédaignent
Je suis traité comme je suis saleté
Je suis si triste
Je suis si seul
Je n'ai personne
Je suis tout seul
Je suis un phénomène
Sans un à l'amour
Qui aimerait un phénomène?
Je suis si répugnant
Je suis ainsi déformé
Je suis l'erreur de la nature
Je suis un banni
Je suis un phénomène
Translation:
I am a freak
Cast away by the world
Alone in the dark
I cry with heartache
People despise me
I am treated like I am dirt
I am so sad
I am so lonely
I have no one
I am all alone
I am a freak
With no one to love
Who would love a freak?
I am so disgusting
I am so deformed
I am nature’s mistake
I am an outcast
I am a freak
Je suis un phénomène
Seulement dans l'obscurité
Je pleure avec chagrin d'amour
Les gens me dédaignent
Je suis traité comme je suis saleté
Je suis si triste
Je suis si seul
Je n'ai personne
Je suis tout seul
Je suis un phénomène
Sans un à l'amour
Qui aimerait un phénomène?
Je suis si répugnant
Je suis ainsi déformé
Je suis l'erreur de la nature
Je suis un banni
Je suis un phénomène
Translation:
I am a freak
Cast away by the world
Alone in the dark
I cry with heartache
People despise me
I am treated like I am dirt
I am so sad
I am so lonely
I have no one
I am all alone
I am a freak
With no one to love
Who would love a freak?
I am so disgusting
I am so deformed
I am nature’s mistake
I am an outcast
I am a freak
Points of reference for the 'Piaf' section...
Films:
* 'Sin City'
* 'The Elephant Man'
* 'Freaks'
* 'Blue Velvet'
Aesthetic:
* Circuses
* Sideshows
* Crooning
* Film Noir
* American Surrealism
* Fetishists
* 'Sin City'
* 'The Elephant Man'
* 'Freaks'
* 'Blue Velvet'
Aesthetic:
* Circuses
* Sideshows
* Crooning
* Film Noir
* American Surrealism
* Fetishists
Wednesday, August 20, 2008
Week Four
21.08.08
We opened this session by sitting in a circle and having a chat about our thoughts about the project. Nini's older wedding dress idea received a great deal of attention as Myf had modified it so that now Nini would be riding a bicycle onstage in a wedding gown. Nini loved this idea! We also discussed the performance's structure, and we decided on a rough design of song order to run an accord with the 'three bells' structure.
I have noticed that often when someone in the class presents an idea, a couple of people repeatedly run their own in-joked spin on it. This is frustrating for the person presenting their idea; I can often see the look of confusion and awareness of an uninvited-interruption on their face. It's good to have fun, but not at the expense of having a genuinely intelligent or interesting idea being trampled over by in-jokes which only about five people are privy to. This happened a few times during this session.
I am also concerned that this performances effectively-simple structure might be spoiled by miscellanea. We have to stick to a key structure! Also, we should start to focus on MEANING rather than aesthetic.
Anna and I are now in charge of the Edith Piaf section of the performance. Anna suggested an image of the Hunchback Of Notre Dame- which I think is wonderful. We also talked about a carnival freak show setting to emphasise the darker sides of relationships, sexuality, normalcy and explore themes of death in a sensory and theatrical manner. This correlates a great deal with the life of Edith Piaf who grew up in a brothel and traveled with the circus. We decided to stick to a colour palette of red, black and white to accentuate a film-noir atmosphere. We also cast June as a prostitute!
We once again explored the motif of water by playing a game where we approached a river made of blankets and represented our proudest moments and engaged in relationships with other characters etc.
We also did a few run throughs Brian's song and rehearsed the choreography. I'm still not comfortable with choreographed dancing, but it's getting there!
Anna B. played us a song she had written for the project about a woman's first kiss which she envisions should fall under the 'relationships' section of the production. I think it would be quite funny if Nini sang this song while riding her bike in the wedding dress, which would contrast with the sweetness of the lyrics.
I think that this performance is heading in the right direction, and Anna and I are already discussing references and images for our section of the piece.
KISSES!
We opened this session by sitting in a circle and having a chat about our thoughts about the project. Nini's older wedding dress idea received a great deal of attention as Myf had modified it so that now Nini would be riding a bicycle onstage in a wedding gown. Nini loved this idea! We also discussed the performance's structure, and we decided on a rough design of song order to run an accord with the 'three bells' structure.
I have noticed that often when someone in the class presents an idea, a couple of people repeatedly run their own in-joked spin on it. This is frustrating for the person presenting their idea; I can often see the look of confusion and awareness of an uninvited-interruption on their face. It's good to have fun, but not at the expense of having a genuinely intelligent or interesting idea being trampled over by in-jokes which only about five people are privy to. This happened a few times during this session.
I am also concerned that this performances effectively-simple structure might be spoiled by miscellanea. We have to stick to a key structure! Also, we should start to focus on MEANING rather than aesthetic.
Anna and I are now in charge of the Edith Piaf section of the performance. Anna suggested an image of the Hunchback Of Notre Dame- which I think is wonderful. We also talked about a carnival freak show setting to emphasise the darker sides of relationships, sexuality, normalcy and explore themes of death in a sensory and theatrical manner. This correlates a great deal with the life of Edith Piaf who grew up in a brothel and traveled with the circus. We decided to stick to a colour palette of red, black and white to accentuate a film-noir atmosphere. We also cast June as a prostitute!
We once again explored the motif of water by playing a game where we approached a river made of blankets and represented our proudest moments and engaged in relationships with other characters etc.
We also did a few run throughs Brian's song and rehearsed the choreography. I'm still not comfortable with choreographed dancing, but it's getting there!
Anna B. played us a song she had written for the project about a woman's first kiss which she envisions should fall under the 'relationships' section of the production. I think it would be quite funny if Nini sang this song while riding her bike in the wedding dress, which would contrast with the sweetness of the lyrics.
I think that this performance is heading in the right direction, and Anna and I are already discussing references and images for our section of the piece.
KISSES!
Third session in South Melbourne
^__________________________Les Mômes De La Cloche_______+++
20.08.08
By this, our third session at the centre in South Melbourne, I was definitely feeling increasingly relaxed and a sense of routine had taken hold.
This session was ostensibly run by a new face- David, who I subsequently learned is the husband of an old teacher of mine. Soon after Jayden, Jess, Nini (Anita) and I arrived I overheard David talking to Myf about "status" and "working with status" and I misinterpreted this conversation as David putting in his two-cents worth about our performance's structure.
After most people arrived (except those rendered late at the hands of that inept bus driver), we warmed-up our creative juices by reciting 'The Canoe Song' as a group.
David then took over the class by allocating a group of seven students (Olivia, Ashlee, Lauryn, Jess, Nini, Emma and myself) to act as an example for a game which toyed with 'status' (Uh-huh! That's what they were talking about). I volunteered to be the 'high status' king as others acted as my sycophantic underlings. The point of this exercise was not about who was 'high status', it was more about the status struggles amongst the minions who desperately tried to climb the power ladder and vied for the king's favour. The next exercise (my group still as the exemplar) had a slight variation- the king's authority (or status) could be usurped and others could take control. This caused a cyclical effect- the leaders status was constantly under the threat of mutiny. I enjoyed these exercises very much, and I loved both bossing my minions as the king and finding ways of re-attaining my status when I was overthrown. I also enjoyed watching Nini's dictatorship schemes.
Next we more or less played the same game, but our group was integrated with City Voices members. Spiros, Debra and Tracey joined my group. Jess suggested the scenario 'at a concert' which gave us many options of ways to refocus the status dynamic within our group. David suggested that we try to incorporate the idea of 'heroes' which has permeated these workshops- so Spiros played Elvis. I was surprised at how well Spiros handled this task, as it is often difficult for even very experienced performers to be creative in an improvised environment.
I realised later that I didn't really pay any attention to the City Voices members disadvantages while plotting and performing these pieces- I focused on the performance itself which could either be a positive or a negative. It's positive because it indicates that I am no longer daunted or uncomfortable around them, but it may have been insensitive of me to have ignored or overlooked their special needs. I hope that Debra handled everything fine, because I can't remember her presence in the performance whatsoever. Next time, I'll be more in-tune with this.
I do have a criticism about this latter activity: I don't quite see the point of having to 'rehearse' for twenty minutes when it was meant to be improvised- isn't that a contradiction? It was frustrating when we were caught 'planning' the performance and having David interject with "No planning! Improvise!", I'd advise that next time he structure this last activity more like our initial status activity were we were put entirely on the spot. This seemed to be the most effective, spontaneous and interesting method.
All the groups performed their sequences quite differently. I must say that the City Voices members seemed to be far more engaged and creative than a lot of the students. The highlights for me were Marylla's strangulation of Amee, Brian hitting Dylan on the head and Cathy dismissing Lucy's authority with a flop of her hand.
After all the groups had finished the performances- we realised that 7:00 had crept up on us.
I don't know if much from David's class can be used in the final performance, but I had fun.
20.08.08
By this, our third session at the centre in South Melbourne, I was definitely feeling increasingly relaxed and a sense of routine had taken hold.
This session was ostensibly run by a new face- David, who I subsequently learned is the husband of an old teacher of mine. Soon after Jayden, Jess, Nini (Anita) and I arrived I overheard David talking to Myf about "status" and "working with status" and I misinterpreted this conversation as David putting in his two-cents worth about our performance's structure.
After most people arrived (except those rendered late at the hands of that inept bus driver), we warmed-up our creative juices by reciting 'The Canoe Song' as a group.
David then took over the class by allocating a group of seven students (Olivia, Ashlee, Lauryn, Jess, Nini, Emma and myself) to act as an example for a game which toyed with 'status' (Uh-huh! That's what they were talking about). I volunteered to be the 'high status' king as others acted as my sycophantic underlings. The point of this exercise was not about who was 'high status', it was more about the status struggles amongst the minions who desperately tried to climb the power ladder and vied for the king's favour. The next exercise (my group still as the exemplar) had a slight variation- the king's authority (or status) could be usurped and others could take control. This caused a cyclical effect- the leaders status was constantly under the threat of mutiny. I enjoyed these exercises very much, and I loved both bossing my minions as the king and finding ways of re-attaining my status when I was overthrown. I also enjoyed watching Nini's dictatorship schemes.
Next we more or less played the same game, but our group was integrated with City Voices members. Spiros, Debra and Tracey joined my group. Jess suggested the scenario 'at a concert' which gave us many options of ways to refocus the status dynamic within our group. David suggested that we try to incorporate the idea of 'heroes' which has permeated these workshops- so Spiros played Elvis. I was surprised at how well Spiros handled this task, as it is often difficult for even very experienced performers to be creative in an improvised environment.
I realised later that I didn't really pay any attention to the City Voices members disadvantages while plotting and performing these pieces- I focused on the performance itself which could either be a positive or a negative. It's positive because it indicates that I am no longer daunted or uncomfortable around them, but it may have been insensitive of me to have ignored or overlooked their special needs. I hope that Debra handled everything fine, because I can't remember her presence in the performance whatsoever. Next time, I'll be more in-tune with this.
I do have a criticism about this latter activity: I don't quite see the point of having to 'rehearse' for twenty minutes when it was meant to be improvised- isn't that a contradiction? It was frustrating when we were caught 'planning' the performance and having David interject with "No planning! Improvise!", I'd advise that next time he structure this last activity more like our initial status activity were we were put entirely on the spot. This seemed to be the most effective, spontaneous and interesting method.
All the groups performed their sequences quite differently. I must say that the City Voices members seemed to be far more engaged and creative than a lot of the students. The highlights for me were Marylla's strangulation of Amee, Brian hitting Dylan on the head and Cathy dismissing Lucy's authority with a flop of her hand.
After all the groups had finished the performances- we realised that 7:00 had crept up on us.
I don't know if much from David's class can be used in the final performance, but I had fun.
Monday, August 18, 2008
A Goal
When signing up for Myf's Fringe Festival Blog, she posted a question "What is your personal goal with this project?". I resisted answering this question at the time because I didn't know the answer. I've now realised that my goal should be to give more of my personal self. I've noticed that others are being very honest and frank during these sessions, and I feel that I owe it to everyone to do likewise.
Sunday, August 17, 2008
Giggling
Myf mentioned on her blog that several students were "giggling" during last week's session in South Melbourne whilst reciting on of the songs from our repertoire. Myf spoke of her concerns that the City Voices members may have assumed that those giggling were laughing at them. I'm pretty sure that I was one of the "gigglers" that Myf mentioned, but rest assure- we were not laughing at the City Voices members. I can't recall what we found amusing, but I'll make a greater effort to control myself henceforth because I don't want to give anyone the wrong impression.
KISSES!
KISSES!
Thursday, August 14, 2008
Wednesday, August 13, 2008
Week Three
14.08.08.
This week in class we discussed our thoughts on the previous evening and Myf asked if anyone had any thoughts about the project and the structure which the final performance may take. I immediately suggested a central theme or form which mirrors the cycles of life because of all the diverse ages of all the City Voices members and the contrasts with the students. I also mentioned my enthusiasm to work with Cathy because of our mutual admiration for Edith Piaf, and in relation to the theme I put forward- I referenced a song by Piaf called 'Les Trois Cloches' (The Three Bells) which is about the three bells in everyone's life; a bell for baptism (birth), a bell for marriage (relationships) and a bell for a funeral (death).
In relation to the Piaf section of the project- several people suggested that I resurrect my impression of Piaf which I performed a few months ago. I am nearly in total refusal about this idea for a few of reasons. The first reason- I don't want to belittle or create any level of satire around Cathy's performance, and I am definite that me in drag will do this. Secondly, I don't want to add unnecessary or inappropriate humour where it is not needed. Finally, I have already 'done' that performance and I want to move forward into something new. I realise the contradiction that I am still having a revival of the Piaf ghosts by again constructing a work about her, but I feel that it is more about Cathy's appreciation of the Little Sparrow and I (who can relate to that particular interest) can help Cathy bring out the best potential performance about her feelings about Piaf's music.
After listening to some other suggestions from students, I began to feel concerned that this performance could possibly turn rather morbid, defeatist or sentimentalised. I am sure that these recurring suggestions (including my own) are influenced by the kinds of people we have recently become acquainted with, but I am adamant that our performance must be uplifting. Of course we must address serious and traumatic issues in this performance, but we should avoid a pessimistic approach otherwise we will be sending a "what's the point?" message to our audience which would be a grave mistake seeming that we are performing with mentally handicapped people and we don't want to communicate the idea that their lives are empty.
In contrast, I'm also afraid that the performance could head in the opposite direction and become tacky and overly sequined which would make our co-performers look out of place.
I'm furthermore concerned that it doesn't come across that we are at all exploiting our new co-performers. We must not make them 'symbols'; we should make their stories transcend their disabilities.
After our lengthy class discussion, we worked on a dance/ musical number around Brian's song we wrote about Ringo Starr. Emma, Ashlee, Anita, Jo, Anna and I provided the simple choreography while the rest of the class worked on their vocals.
I am becoming increasingly confident and zealous with this project, and I can't wait to get working with Cathy so that we can blow the crowd away with 'Milord', 'Non, Je Ne Regrette Rien' or 'Les Trois Cloches'!
I'm thinking obsessively of ways in which I can help Cathy bring her passion for Piaf to life, and I'm collecting props that we could utilise.
Here is a link if you'd like to download 'Les Trois Cloches' (or http://edith-piaf.narod.ru/piaf2a.html). Otherwise I've included a YouTube video of a live performance of the song (which is painfully short).
"Car ma vie
Car mes joies
Aujourd'hui
Ça commence avec toi..."
(Les Trois Cloches)
This week in class we discussed our thoughts on the previous evening and Myf asked if anyone had any thoughts about the project and the structure which the final performance may take. I immediately suggested a central theme or form which mirrors the cycles of life because of all the diverse ages of all the City Voices members and the contrasts with the students. I also mentioned my enthusiasm to work with Cathy because of our mutual admiration for Edith Piaf, and in relation to the theme I put forward- I referenced a song by Piaf called 'Les Trois Cloches' (The Three Bells) which is about the three bells in everyone's life; a bell for baptism (birth), a bell for marriage (relationships) and a bell for a funeral (death).
In relation to the Piaf section of the project- several people suggested that I resurrect my impression of Piaf which I performed a few months ago. I am nearly in total refusal about this idea for a few of reasons. The first reason- I don't want to belittle or create any level of satire around Cathy's performance, and I am definite that me in drag will do this. Secondly, I don't want to add unnecessary or inappropriate humour where it is not needed. Finally, I have already 'done' that performance and I want to move forward into something new. I realise the contradiction that I am still having a revival of the Piaf ghosts by again constructing a work about her, but I feel that it is more about Cathy's appreciation of the Little Sparrow and I (who can relate to that particular interest) can help Cathy bring out the best potential performance about her feelings about Piaf's music.
After listening to some other suggestions from students, I began to feel concerned that this performance could possibly turn rather morbid, defeatist or sentimentalised. I am sure that these recurring suggestions (including my own) are influenced by the kinds of people we have recently become acquainted with, but I am adamant that our performance must be uplifting. Of course we must address serious and traumatic issues in this performance, but we should avoid a pessimistic approach otherwise we will be sending a "what's the point?" message to our audience which would be a grave mistake seeming that we are performing with mentally handicapped people and we don't want to communicate the idea that their lives are empty.
In contrast, I'm also afraid that the performance could head in the opposite direction and become tacky and overly sequined which would make our co-performers look out of place.
I'm furthermore concerned that it doesn't come across that we are at all exploiting our new co-performers. We must not make them 'symbols'; we should make their stories transcend their disabilities.
After our lengthy class discussion, we worked on a dance/ musical number around Brian's song we wrote about Ringo Starr. Emma, Ashlee, Anita, Jo, Anna and I provided the simple choreography while the rest of the class worked on their vocals.
I am becoming increasingly confident and zealous with this project, and I can't wait to get working with Cathy so that we can blow the crowd away with 'Milord', 'Non, Je Ne Regrette Rien' or 'Les Trois Cloches'!
I'm thinking obsessively of ways in which I can help Cathy bring her passion for Piaf to life, and I'm collecting props that we could utilise.
Here is a link if you'd like to download 'Les Trois Cloches' (or http://edith-piaf.narod.ru/piaf2a.html). Otherwise I've included a YouTube video of a live performance of the song (which is painfully short).
"Car ma vie
Car mes joies
Aujourd'hui
Ça commence avec toi..."
(Les Trois Cloches)
Second Session In South Melbourne
13.08.08
I must admit that our second session at the South Melbourne centre was a far more relaxed and comfortable environment than the session prior. We got down to business more or less straight away by playing one of the name-remembering-memory games and then reciting two of the songs from our developing repertoire.
After this, we were allocated into groups of four (which were blends of City Voices members and students) so that we could learn our group members 'Proudest and Hardest Moments'. My group consisted of Fred, Barbra and June, who all candidly revealed their both aforementioned "triumphs and tragedies". Barbara listed having her four children being her proudest times and mentioned her hardest time as caring for her husband when he was ill. Fred spoke of her proudest moment being when she had realised that she had managed to save $1000, and her hardest period of time was the death of her 96 year old grandmother. June remembered her proudest time when she began dancing and her most difficult period was being forced to leave her flat and being put into a nursing home. I boasted of my proudest moment as appearing on 'The Einstein Factor' this year, which I suppose could be my honest answer but I am disappointed in the answer which I gave for the other question. I listed that 'dealing with customers' was the hardest time in my life which I know was a cop out and was quite unfair to the others who generously shared more intimate or scaring facts about their lives. I am disappointed in my answer not because I could have revealed other things far more substantial, but because I believe that my frivolous response might give people the impression that I miss the entire point of this project.
After a quick tea break, and a thorougher rehearsal from our dance-troupes, it was time for the City Voices members and students to exhibit some performances for one another. First up was my troupe to whom I was accompanied by Anna and Jess. I do say that we performed rather well, and I enjoyed the musical inclusion of the 40's Doo-wop tune thanks to Myf's suggestion. For me, some of the significant performances by the City Voices members were: Spiros who sang an ode to his hero Elvis, Diann who wrote a rap for William Wallace and of course the surprise- Cathy who wrote a lovely poem about one of my all time heroes; 'The Little Sparrow' Edith Piaf. This struck a cord with me because I am a fan of Piaf's and also because I constructed a performance about the chanteuse earlier this year. After Cathy's recital, I had a feeling that this would change the course of this project for me for I began to feel a tremendous need to get straight to work. After the performances, it was time to say good bye. I went straight to Cathy and said "Your poem was fantastic, and I also just love Edith Piaf!". Cathy and I shared our mutual love for the movie released last year about Piaf ('La Vie En Rose', which won two Oscars including Best Actress for Marion Cotillard! Thought I'd slip that in.) and also she talked about her enthusiasm for performing the songs of Edith Piaf.
I think that we are on our way to a good performance.
KISSES!
I must admit that our second session at the South Melbourne centre was a far more relaxed and comfortable environment than the session prior. We got down to business more or less straight away by playing one of the name-remembering-memory games and then reciting two of the songs from our developing repertoire.
After this, we were allocated into groups of four (which were blends of City Voices members and students) so that we could learn our group members 'Proudest and Hardest Moments'. My group consisted of Fred, Barbra and June, who all candidly revealed their both aforementioned "triumphs and tragedies". Barbara listed having her four children being her proudest times and mentioned her hardest time as caring for her husband when he was ill. Fred spoke of her proudest moment being when she had realised that she had managed to save $1000, and her hardest period of time was the death of her 96 year old grandmother. June remembered her proudest time when she began dancing and her most difficult period was being forced to leave her flat and being put into a nursing home. I boasted of my proudest moment as appearing on 'The Einstein Factor' this year, which I suppose could be my honest answer but I am disappointed in the answer which I gave for the other question. I listed that 'dealing with customers' was the hardest time in my life which I know was a cop out and was quite unfair to the others who generously shared more intimate or scaring facts about their lives. I am disappointed in my answer not because I could have revealed other things far more substantial, but because I believe that my frivolous response might give people the impression that I miss the entire point of this project.
After a quick tea break, and a thorougher rehearsal from our dance-troupes, it was time for the City Voices members and students to exhibit some performances for one another. First up was my troupe to whom I was accompanied by Anna and Jess. I do say that we performed rather well, and I enjoyed the musical inclusion of the 40's Doo-wop tune thanks to Myf's suggestion. For me, some of the significant performances by the City Voices members were: Spiros who sang an ode to his hero Elvis, Diann who wrote a rap for William Wallace and of course the surprise- Cathy who wrote a lovely poem about one of my all time heroes; 'The Little Sparrow' Edith Piaf. This struck a cord with me because I am a fan of Piaf's and also because I constructed a performance about the chanteuse earlier this year. After Cathy's recital, I had a feeling that this would change the course of this project for me for I began to feel a tremendous need to get straight to work. After the performances, it was time to say good bye. I went straight to Cathy and said "Your poem was fantastic, and I also just love Edith Piaf!". Cathy and I shared our mutual love for the movie released last year about Piaf ('La Vie En Rose', which won two Oscars including Best Actress for Marion Cotillard! Thought I'd slip that in.) and also she talked about her enthusiasm for performing the songs of Edith Piaf.
I think that we are on our way to a good performance.
KISSES!
Tuesday, August 12, 2008
Older Women's Network Theatre Group
On Enough Rope back in 2003, there was an interview conducted with a few members of the Older Women's Network Theatre Group. They are a small performing ensemble who compose short musicals about issues which older people face as an attempt to bridge the generation gap.
Here is a link to their website:
And here is a link to the Enough Rope interview:
KISSES!
Here is a link to their website:
And here is a link to the Enough Rope interview:
KISSES!
Sunday, August 10, 2008
Week Two
07.08.08
This was the first class since our South Melbourne, and the ramifications of that night before had a tangible presence in that studio. No one mentioned much in regards to their feelings about meeting our new co-performers, but the looks on peoples faces instantly made it obvious that everyone was in some way affected.
Myf instructed us to collaborate in small groups to construct a small choreographed routine which consisted of repetition and drew inspiration from our everyday lives. Anna, Jessica and I were influenced by 'waiting at the bus stop'. After our first showing, Myf then asked us to re-perform twice with two separate pieces of music (I can't remember the first song, but the second was quite a 1940's Betty Boop experience).
Our next activity consisted of us lying on our backs with our eyes shut while we imagined 'someone' meeting us across a river. For some reason the image which popped into my mind was a balaclava-wearing 'stalker' figure which pried me amongst the reeds.
After that brief meditation exercise, Myf asked us to join a circle and speak about our attitudes towards the 'Triumphs and Tragedies' project and our feelings of meeting the City Voices members. I was relieved to hear that most of the other students exposed that they also felt "uncomfortable", "overwhelmed", "saddened" and "unsure" about their encounters with their first experience meeting the mentally handicapped individuals. Most people's perspective on the previous evening were very similar and everyone used the same key words in describing their experience, so it made me realise that we are all in the same boat and we must support each other in order to successfully achieve satisfying results with this project both academically and emotionally.
KISSES!
This was the first class since our South Melbourne, and the ramifications of that night before had a tangible presence in that studio. No one mentioned much in regards to their feelings about meeting our new co-performers, but the looks on peoples faces instantly made it obvious that everyone was in some way affected.
Myf instructed us to collaborate in small groups to construct a small choreographed routine which consisted of repetition and drew inspiration from our everyday lives. Anna, Jessica and I were influenced by 'waiting at the bus stop'. After our first showing, Myf then asked us to re-perform twice with two separate pieces of music (I can't remember the first song, but the second was quite a 1940's Betty Boop experience).
Our next activity consisted of us lying on our backs with our eyes shut while we imagined 'someone' meeting us across a river. For some reason the image which popped into my mind was a balaclava-wearing 'stalker' figure which pried me amongst the reeds.
After that brief meditation exercise, Myf asked us to join a circle and speak about our attitudes towards the 'Triumphs and Tragedies' project and our feelings of meeting the City Voices members. I was relieved to hear that most of the other students exposed that they also felt "uncomfortable", "overwhelmed", "saddened" and "unsure" about their encounters with their first experience meeting the mentally handicapped individuals. Most people's perspective on the previous evening were very similar and everyone used the same key words in describing their experience, so it made me realise that we are all in the same boat and we must support each other in order to successfully achieve satisfying results with this project both academically and emotionally.
KISSES!
First session in South Melbourne
06.08.08
Before I arrived at the centre in South Melbourne (where both the ‘Studio A’ students and City Voices members will meet every Wednesday evening henceforth), I must confess that I still carried a great deal of discomfort about the kinds of people who I would be working with for the next 11 weeks. I don’t recall having ever met a mentally disadvantaged person in my entire life and the prospect of collaborating with persons like this filled me with overwhelming trepidation. Questions of doubt and anxiety began to race through my mind, such as; “What kind of performance could we create with both untrained and mentally handicapped individuals?” and “what roles could they fulfil?”. Also, pre-evaluations of my own behaviour started to bother me, for instance; “How do I verbally interact to them- like I would a child or like a fellow adult?”.
After the students and our new co-performers arrived (once their apparently incompetent bus driver dropped them off) my levels of unease were heightened because the experience has surpassed speculation and those people I was so concerned about encountering were right in front of me, which was quite confronting. The surreal atmosphere was also elevated after hearing some of our new colleagues speak (such as Con and Debra) which suddenly caused me to feel tremendously depressed because it hit me just how difficult their lives must be when they seemed to struggle with simple things like constructing sentences.
It was then time for of us all to mingle by each student and community member being paired with a person from the opposite category. We were instructed to find out our partner’s “personal hero”, “worst habit” and “favourite food”. My partner was Spiros who is severely schizophrenic and hence heavily medicated. Spiros spoke of his personal hero being Elvis Presley which struck a connection between us seeming that my hero is also a singer- Björk. Spiros clarified my answers to the three questions with me several times which caused me to anticipate that he would make a mistake when reciting them to the class. When it was time for the group to share what we had learned about one another, Spiros enthusiastically raised his hand to speak of what he had learned about me. He recited without any faults “Joshua’s favourite singer is Björk!” which made all the students laugh in familiarity (as it is common knowledge that I am the Pope of all Björk fans). As this happened my heart sank for I felt so ashamed that I had expected him to make many errors, and I also felt like a spoiled and ungrateful brat for having preconceived notions about these new people in the room. Before this night I was completely unacquainted with this section of our society, and quite frankly I wouldn't have minded continuing to ignore people like this if my eyes weren't pried open.
I was so very delighted at observing how everyone treated each other with utmost respect, and that everyone related to each other on the same level regardless of their attributes and disadvantages. I am still somewhat unsure about the project, but I am completely confident that I shall learn more about human dignity by engaging with these new people then I could experience by listening to a lecturer pontificate in the dreary likes of E100.
Before I arrived at the centre in South Melbourne (where both the ‘Studio A’ students and City Voices members will meet every Wednesday evening henceforth), I must confess that I still carried a great deal of discomfort about the kinds of people who I would be working with for the next 11 weeks. I don’t recall having ever met a mentally disadvantaged person in my entire life and the prospect of collaborating with persons like this filled me with overwhelming trepidation. Questions of doubt and anxiety began to race through my mind, such as; “What kind of performance could we create with both untrained and mentally handicapped individuals?” and “what roles could they fulfil?”. Also, pre-evaluations of my own behaviour started to bother me, for instance; “How do I verbally interact to them- like I would a child or like a fellow adult?”.
After the students and our new co-performers arrived (once their apparently incompetent bus driver dropped them off) my levels of unease were heightened because the experience has surpassed speculation and those people I was so concerned about encountering were right in front of me, which was quite confronting. The surreal atmosphere was also elevated after hearing some of our new colleagues speak (such as Con and Debra) which suddenly caused me to feel tremendously depressed because it hit me just how difficult their lives must be when they seemed to struggle with simple things like constructing sentences.
It was then time for of us all to mingle by each student and community member being paired with a person from the opposite category. We were instructed to find out our partner’s “personal hero”, “worst habit” and “favourite food”. My partner was Spiros who is severely schizophrenic and hence heavily medicated. Spiros spoke of his personal hero being Elvis Presley which struck a connection between us seeming that my hero is also a singer- Björk. Spiros clarified my answers to the three questions with me several times which caused me to anticipate that he would make a mistake when reciting them to the class. When it was time for the group to share what we had learned about one another, Spiros enthusiastically raised his hand to speak of what he had learned about me. He recited without any faults “Joshua’s favourite singer is Björk!” which made all the students laugh in familiarity (as it is common knowledge that I am the Pope of all Björk fans). As this happened my heart sank for I felt so ashamed that I had expected him to make many errors, and I also felt like a spoiled and ungrateful brat for having preconceived notions about these new people in the room. Before this night I was completely unacquainted with this section of our society, and quite frankly I wouldn't have minded continuing to ignore people like this if my eyes weren't pried open.
I was so very delighted at observing how everyone treated each other with utmost respect, and that everyone related to each other on the same level regardless of their attributes and disadvantages. I am still somewhat unsure about the project, but I am completely confident that I shall learn more about human dignity by engaging with these new people then I could experience by listening to a lecturer pontificate in the dreary likes of E100.
Saturday, August 9, 2008
Burlesque Dancing 'Short Statured' Woman.
I remember seeing the story of Kiruna Stamell on Enough Rope almost a year ago, and upon reflection about this project- the story popped back into my mind.
Kiruna is a dwarf Burlesque Dancer. I think it seemed fitting to share her story of courage, determination and irreverence.
As a side note, I personally don't see what the fuss about 'burlesque' is all about, and I don't know why it's in vogue. Anyway, I think Kiruna is great.
A link is here:
KISSES!
Kiruna is a dwarf Burlesque Dancer. I think it seemed fitting to share her story of courage, determination and irreverence.
As a side note, I personally don't see what the fuss about 'burlesque' is all about, and I don't know why it's in vogue. Anyway, I think Kiruna is great.
A link is here:
KISSES!
Thursday, August 7, 2008
Week One
31/07/08
This was our first session for Performance Studio A.
Our Lecturer Myf Powell gave us a concise run down of what exactly this project of 'Triumphs and Tragedies' was going to entail, and what exactly was expected of us. Myf explained that our classes would split between VU and a community centre in South Melbourne, and she then informed us that the performance project was a collaborative piece involving the City of Voices theatre company, which is a group inwhich any one can join. She elaborated that this meant that not just non-proffessional or non-trained performers, but people with intellectual difficulties and people in their 80's would be collaborating with us during this project. I initially found this quite intreiguing because I had never worked in that kind of environment, and I was also excited to be a part of the Melbourne Fringe Festival.
After this introduction, Myf taught us three songs ('Canoe Song', 'By The Waters Of Babylon' and 'Shall We Gather By The River?') which she thought might be of some inclusion during our final performance. Myf split our class in two where one half sang 'high' and and my half sang 'low'. I was very impressed with how good we sounded, and how strong our harmonics were especially duing the song 'Shall We Gather By The River?'.
After a few days and after a few days of reflecting about my first week back at University, I began to feel slightly apprehensive about this project. I was concerned about working with people who suffer from intellectual disfunctions because I wasn't sure how they would behave and how I would collaborate with them creavitely. I was also concerned because Myf had told our class an anicdote about the difficulties the theatre group had in previous projects with bickering and members abaondoning the project.
At this point, I convinced myself that uncertainty is exciting and challenges can only strengthen the work and in temrs; strengthen you as a person. Working in the same environments can be extremely tedious for me, so I'm enthused about heading into unknown waters.
"Get carried away by the river/ by the river of life."
This was our first session for Performance Studio A.
Our Lecturer Myf Powell gave us a concise run down of what exactly this project of 'Triumphs and Tragedies' was going to entail, and what exactly was expected of us. Myf explained that our classes would split between VU and a community centre in South Melbourne, and she then informed us that the performance project was a collaborative piece involving the City of Voices theatre company, which is a group inwhich any one can join. She elaborated that this meant that not just non-proffessional or non-trained performers, but people with intellectual difficulties and people in their 80's would be collaborating with us during this project. I initially found this quite intreiguing because I had never worked in that kind of environment, and I was also excited to be a part of the Melbourne Fringe Festival.
After this introduction, Myf taught us three songs ('Canoe Song', 'By The Waters Of Babylon' and 'Shall We Gather By The River?') which she thought might be of some inclusion during our final performance. Myf split our class in two where one half sang 'high' and and my half sang 'low'. I was very impressed with how good we sounded, and how strong our harmonics were especially duing the song 'Shall We Gather By The River?'.
After a few days and after a few days of reflecting about my first week back at University, I began to feel slightly apprehensive about this project. I was concerned about working with people who suffer from intellectual disfunctions because I wasn't sure how they would behave and how I would collaborate with them creavitely. I was also concerned because Myf had told our class an anicdote about the difficulties the theatre group had in previous projects with bickering and members abaondoning the project.
At this point, I convinced myself that uncertainty is exciting and challenges can only strengthen the work and in temrs; strengthen you as a person. Working in the same environments can be extremely tedious for me, so I'm enthused about heading into unknown waters.
"Get carried away by the river/ by the river of life."
The Fisrt Entry
Bonjour!
This is the cherry-popping entry of the blog about Myf Powell's 'Studio A' class and 'Triumphs & Tragedies' project!
This is a way for me, Joshua Maddox Wellington, to chronicle my perspectives on the process of constructing the performance and on my interrelationships with those I am collaborating with.
KISSES!
This is the cherry-popping entry of the blog about Myf Powell's 'Studio A' class and 'Triumphs & Tragedies' project!
This is a way for me, Joshua Maddox Wellington, to chronicle my perspectives on the process of constructing the performance and on my interrelationships with those I am collaborating with.
KISSES!
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