When I woke up, I wasn’t in a place I wanted to be. Though it was the same place I wanted to fall asleep in. But I it didn’t feel good when I woke. Morning is always smarter than an evening. Is it true, is it really me trying to get out? Or am I … Continue reading Scriptwriting exercises and practice
Mierles Laderman Ukeles – made her daily life into art/created art from her daily life. She started to clean public places, stairs, streets. “People were afraid to access the area she was cleaning” “She kept wiping right behind people’s heels, so their tracks lasted only for a second,” TEDx “What are animals feeling and thinking” … Continue reading Performance, Conceptual, Body Art Pracitioners
@ The Other Room in Porters 17 November 2015 Directed by: Angharad Lee Written by: François Pandolfo Story: A piece about the actors recording an audioplay in studio. Every actor is a character themselves, they need to present another character and through that a lot of changes are being made in the story written. Old actors … Continue reading Alex in Wuntergarten @ The Other Room
@ Millenium centre November 2015 A musical Production: quite an expensive, grandious and picturesque. Huge room-barrels on top of each others. The space on the stage was very well used. I liked the usage different levels for different themes. Music: lovely and powerful in turns, though nothing too extraordinary. I remember the high-pitch notes on … Continue reading Performance Analysis: Sweeney Todd @ Millenium Centre
“If theatre wants to find itself needed once more, it must present everything about love, crime, war and madness” (Artaud, 1933, p. 65) We want to make theatre believable as our dreams are, to feel like something impossible could be true. (Artaud, 1933 p. 65) It is stupid to separate analytical theatre from physical shows, … Continue reading Modernism: Theatre of Cruelty by Artaud 1933
Three women, one leaves, other two whispering, the one comes back and it continues the next ones, three times. In the end they sit altogether, hold hands and support each other. Althouhg Beckett did not want this to have a meaning, we are still often thrying to “get” this, to connect the details, try to … Continue reading Samuel Beckett "Come and Go"
“A Short Organum for Theatre” 1948 in “Brecht on Theatre” The noblest feature of theare is to give pleasure. It has always been like this and should always stay like this, otherwise it’ll fall. (Brecht, 1948:3) Narrative is the soul of theatre = Aristotle “We need a type of theatre, which not only releases the … Continue reading Modernism: Brecht and The Alientation effect