GRRR!!! cant figure out how to post....frackin kids these days and thier frissen frassen technomailhullabulloo
first off, i hate blogger.
i forgot my username so I posted a post as anonymous on monday and it said it had to be approved by the person in charge of the blog, but i still dont see it up here. well, here is the prometheus post with a link to the paint picture i drew for it on facebook. GRRR!!! cant figure out how to post....frackin kids these days and thier frissen frassen technomailhullabulloo
blessings be
http://austincollege.facebook.com/photo.php?pid=30238757&id=35702024&ref=mfPrometheus bound Stage directions
This version is written to be performed in a black box theatre using either a round or three quarter’s round seating arrangement. The seats should be raised so as to create a “pit” for the performance on stage. Audience (A) seating is raked and the aisles should be ramped or have stairs so that the aisles are level with the raised seating. The chorus (C) should be dressed in civis with plain, expressionless face masks speak from both aisles so as to proved a feeling of the “audience” speaking. Each aisle should have one man and one woman speaking. Center stage should be a rock where Prometheus is bound. The rock should be raised almost level wit the feet of the first row of audience members. I thin I want to take out the bridge between P’s rock and everybody else, but not sure. Otherwise the ramp should go to Upstage where Hermes and Hephaestus speak. This area should be raised so they stand above the heads of the first row of audience so they might seem larger than everyone else (they are gods so let’s give them some credit). P stands C and after Hephaestus’s exit there should be a spot on him. If possible make sure his bound hands are not visible. Hands should be kept in the dark throughout. Otherwise hands should be cuffed and chained either upstage or to the ceiling. I know I have violence written twice, what I mean is there is a violence and power on each side (will probably need a circular cast for Violence/Power/Chorus/ Ocean/etc…). They speak from behind the audience on either side (possibly trading off lines). Violence is male on stage L and female on stage R, opposite for Power. Violence is clad in all black and power in all white robes (not necessary, but the more androgenness the actors, the better). Both should wear expressionless face masks of matching colour. Ocean speaks from place marked “ocean”.
posted by Lord Addison @ 2:18 PM
3 Comments:
I like you idea for a chorus, the voice of reason coming from the people the play is unfolding in front of the audience. And it makes a lot of sense to have the gods be bigger than everyone else. My only question would be are the titans going to be bigger than the gods?
On a stylistic note, beginning an argument by saying "I hate the medium that I'm using" won't always go over well, unless it somehow becomes part of your argument.
For example, we can note that it's very difficult to discuss these ancient Greek works in contemporary English, because the languages (and the cultures that produce them) are so radically different. We (meaning this class, on this discussion board) might also observe the difficulty of (a) preserving or recording theatrical events in mere written words and (b) imagining how those merely written words might once have been "activated" to produce a powerful event.
But it's also critical to note that Greek culture is inherently a part of contemporary American thought. The architecture informs much of our public spaces; the language is a part of our everyday speech, in words like "psychology" (logos of the psyche = "words of the soul") or "philosophy" (philo + sophia = "love of wisdom"). How can we try to understand that which is alien, forbidding, or frustrating, particularly when it has become (or is becoming, as is the case with mediated forms like blogs) a hard-wired part of our culture?
I had a difficult time reading this meditation because it is intensely technical. I can understand some of the choices you are making but you do not justify many of them within your paper. I would like to see you to explain the advantage of using a black box theatre for a show that takes place on a mountain. Personally, I think it would be more fitting for the mountain to loom high above the audience. What are you accomplishing in a pit? Also, why hide Prometheus’ chained hands? Most decent actors would have a hell of a time playing this part without the use of their hands. I mean they already have to stand in one place the whole time. I just think for as descriptive as your mediation is I do not really get a sense of what you want me to see. Staging does not necessarily mean draw me a picture of how you would set up the stage. One must take into consideration the entire feel you are attempting to create. What colors and textures would appear in your production? What about sound and music? Also, justifying the choices you make is essential. I could not allow myself to trust and see what you were setting up because there was no reason for why you did this or that.
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