im tired

so, hit some form of an obstacle since roberto feels i'm not directing them enough (the kitchen scene) and i think he's right, he said i needed to get more creative and put some spark and fun-ness in the scene. i was so focused on getting the concept sequence into the scene (tension pose earthquake) that i think i left out the rest, i felt that the actors would do that for themselves but this is W R O N G because, if everybody did that then there would be no need at all for a director and i would be without a job. so goals for next rehearsal are:

- keep the spark and action of the scene, whether its's a tense and dramatic scene or a hilarious one, present so that the audience wants to see more, so that they don't get bored because ultimately the play is NOT for any of us, it's for them to enjoy and critique, personal feelings of acomplishment aside.


- work on the idea of the "ghost" (i wanted to have miyuki talk and move around while the people listening focused on one place, giving the illusion that she dissapeared and then reappeared somewhere else. roberto was quick to point out it would confuse the audience so i might have to scratch that idea altogether, but still, i think if played well with the lights and the actors themselves it could be a fun little thing to do that would inject some life into a huge monologue. another idea is to have her represent what happened to her with actions but i fear it would be too dramatic YET now that i think about it this scene (numero OCHO) comes right after the intermedio so it would be a nice way to keep up with ourselves and keep the energy of the play going. ESPECIALLY. if what she's saying is OH SO important (it is) because here she reveals the truth and the toriyama are now seen in a different light, they killed her. so what she says has to have some form of resonance so that it makes sense for them to basically go to war, this scene is very important in the play because it manages to twist things and keep them ggoing.


-make sure production goes well, BUT only supervise two or three times because they are beginning to work very well on their own and constant supervision from anyone (me) would be too much to handle and just unnecessary. (Score! trusting people now. moving forward)


-on a less actual-rehearsals-related-note, i had a very succesfull journey to gamarra with kenzo, we came across some fantastic fabrics at the exact same price as arianna's in the exact same store. we found some that hopefully make it to the play itself. i learnt great skills such as bargaining and letting kenzo work on his own, yes i kind of gave him nudges in certain directions BUT mainly let him work on his own, so all and all it was good.


going back to the miyuki scene, EIGHT i wonder, how do we create ressonance in a play? how is that we make certain things stick in the audience so that other events in the play that happen as a consequence of it make sense? and if our play has a message (this on does not, but still, some do) how do we give the necessary strength to that message without overwhelming and ultimately saturating our audience? becuase in real life if you just say something powerful as, i don't know: "he killed me" or "i was raped" or "this world will end" or "do onto others as you want them to do onto you" (which sounds silly but really does help) people understand without paying full attention but sometimes, when they are forced to pay attention (like in a proscenium arc theatre whre they face the stage and nothing else) things that need to be heard or that are important have to be given the necessary umph so that they cross over to the audience.

yes, it might feel out of the blue and yes it might not be so related to our superficial play (which is awesome) but it still relates to theatre as a form of teaching or as a way to give messages to people, sometimes.