Also-- since Leah is writing... I want Barbara and I to be doing stuff.
I'm bad and I didn't do the other 2 sisters. So I'm doing those. Barbara, in terms of design can you think about the idea of appearing/ reappearing/ shrouding and how we might thematically connect that.
Obviously everyone needs to think about what the play is about...ha.
and everyone should watch the ring, seriously that's a VERY good aesthetic tool for us.
Leah, I suggest you read (or reread?) my 11/28 post called "some formal thoughts". I think there are some interesting articulations of thematic possibilities. Babs, take a look, too, will you?
xoxo
M
Saturday, January 17, 2009
cruisin' along
I also want to take a moment to acknowledge the ROCKIN' meeting we had Tuesday night @ Fordham--
we decided Leah would have a draft March 1. We storyboarded (well, talked through, really) the whole piece. Came up with some amazing visual and textual ideas.
I love love love this momentum. Let's keep this up!!!!
time line=
march 1- first draft
in march- focus on dramaturgy of that draft, churn out some rewrites?
early april - workshop @ fordham during break?
late may/ early june- reading @ lark possibly
dramaturgical work intermittedly...Barbara and Morgan away during the summer possibly?
Hit the ground running in the fall to be ready to pitch it at Fordham in Nov. Possibly some mock up footage? Get a whole team involved?
-drawings, pics from the workshop, design ideas for our fall pitch. It's crunchy if Babs and I are away, but it can be done.
we decided Leah would have a draft March 1. We storyboarded (well, talked through, really) the whole piece. Came up with some amazing visual and textual ideas.
I love love love this momentum. Let's keep this up!!!!
time line=
march 1- first draft
in march- focus on dramaturgy of that draft, churn out some rewrites?
early april - workshop @ fordham during break?
late may/ early june- reading @ lark possibly
dramaturgical work intermittedly...Barbara and Morgan away during the summer possibly?
Hit the ground running in the fall to be ready to pitch it at Fordham in Nov. Possibly some mock up footage? Get a whole team involved?
-drawings, pics from the workshop, design ideas for our fall pitch. It's crunchy if Babs and I are away, but it can be done.
hmmm...
I'm going to start jotting down what we talk about (even informally, like last night at Sbux, Leah)...otherwise we will go MAD with trying to remember shit.
Leah and Morgan @ Starbucks in Astor place on 1/16/09--
OK-- BIG HUGE GIGANTIC TO DO-- WTF is this play about?
forgiveness/ redemption
the bond of sisterhood (both Leah and I almost gagged at that one)
we liked the idea that the play is about how people we've lost are never really gone and that fate will always remind you that you are bound to them...like what I was saying with Clothilde maybe accidentally finding the locket when she is freaking out and stacking the dishes.
what is the thesis? central conflict?
WE MUST NOT FEAR IGNORING THE BOOK. The book is a book. This play has to be theatrical and dramatically interesting with a journey. The book doesn't have that responsibility.
What essentially changes from the beginning to the end of the story?
design funness!
=
maybe instead of everything onstage at the top, there is nothing except the three sisters shrouded doing their activities. Then when Paris pulls off the sheet, it billows up, and by the time it settles, the girls are gone and the gate has appeared. And we do THAT throughout the play. Beginning with a bare stage and then populating it scene by scene object by objective. we REVEAL the furniture bit by bit...
how does this tie into fast forwarding and rewinding and elogating and speeding up? I think it can...I just have to think about that.
how does this link thematically? how does appearing and dissapearing and revealing and hiding play into what the play says...more importantly WHAT DOES THE PLAY SAY?
Leah and Morgan @ Starbucks in Astor place on 1/16/09--
OK-- BIG HUGE GIGANTIC TO DO-- WTF is this play about?
forgiveness/ redemption
the bond of sisterhood (both Leah and I almost gagged at that one)
we liked the idea that the play is about how people we've lost are never really gone and that fate will always remind you that you are bound to them...like what I was saying with Clothilde maybe accidentally finding the locket when she is freaking out and stacking the dishes.
what is the thesis? central conflict?
WE MUST NOT FEAR IGNORING THE BOOK. The book is a book. This play has to be theatrical and dramatically interesting with a journey. The book doesn't have that responsibility.
What essentially changes from the beginning to the end of the story?
design funness!
=
maybe instead of everything onstage at the top, there is nothing except the three sisters shrouded doing their activities. Then when Paris pulls off the sheet, it billows up, and by the time it settles, the girls are gone and the gate has appeared. And we do THAT throughout the play. Beginning with a bare stage and then populating it scene by scene object by objective. we REVEAL the furniture bit by bit...
how does this tie into fast forwarding and rewinding and elogating and speeding up? I think it can...I just have to think about that.
how does this link thematically? how does appearing and dissapearing and revealing and hiding play into what the play says...more importantly WHAT DOES THE PLAY SAY?
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