Steph, please watch this video.. Around 2:13, there is a movement much like the one i think a baby would have when its in the womb.
http://www.youtube.com/watch?v=V4iogpRC25s&feature=related
Will try to get you more.
-Priscilla
Monday, April 19, 2010
Tuesday, April 6, 2010
Muichoo's CHINESE OPERA
Chinese Opera elements that I will be adding:
-MOVEMENT
1. Small steps all the time.
2. Hands gestures (you know the conventional way of putting your hand in an awkward position during performance all the time??)
3. During my monologue, my movements will be even more exaggerated into Chinese Opera style.
-SPEECH/VOICE
1. I tend to lengthen my way of speaking but people must always remind me (esp. Sarah) to talk faster. (Or else the play will be too long!)
2. My voice will be of a higher pitch than everyone else except maybe for Guak when she shrieks.
2. During my monologue, can I possibly.. sing? In Chinese Opera style?
MY CHINESE OPERA CHARACTER: It's difficult to choose between Qingyi & Huadan!!! I've got a social status of Huadan but movements and thinking of a Qingyi! Can I possibly be Huashan? Read on.
QINGYI VS HUADAN
(things that match will be in blue & things that don't match will be in red)
Qing Yi actress portrays a lady of good and sympathetic character. Usually of a quiet, gentle disposition and graceful in her movements, she is the Chinese ideal of a beautiful woman. As a wife she is faithful, as a young girl a model of propriety. Her good breeding is shown by the graceful, flowing movements of her 'water sleeves'. The Qing Yi's costume is elegant, simple and of good quality, but not as vivid in color as that of the Hua Dan. Her singing is of a pure, high-pitched quality.
For a Hua Dan actress the gay, flirtatious personality of a young girl is required. Usually not of such a high social standing as the Qing Yi, the Hua Dan actress with her coy, coquettish and generally quicker movements arrests the attention of the audience. This is a difficult part to play successfully. The Hua Dan's facial expression is continually changing and her mischievous eye movements are particularly attractive. Because of her lower social status more hand movements are required, as in olden times it was not considered polite for a well-bred Chinese lady to show her hands. Costume, usually vivid in design and color, consists of a jacket and trousers, and a red or coloews handkerchief is carried to flutter in the actress's hand. Her character, needless to say, is not as virtuous as that of the Qing Yi and therefore her singing voice has a gayer and slightly stronger quality. She also has to do more speaking than singing.
A Gui Men Dan is the young, unmarried girl, who in later life will develop into a Qing Yi or a Hua Dan; her immaturity is clearly shown in her reactions, for though naughty and slightly mischievous, she has not the confidence of the Hua Dan, although her schemes and plans are often just as successful.
From http://www.chinahighlights.com/travelguide/beijing-opera/roles.htm#dan
5)Dan
The Dan (旦) refers to any female role in Beijing opera. Dan roles were originally divided into five subtypes. Old women were played by laodan, martial women were wudan, young female warriors were daomadan, virtuous and elite women were qingyi, and vivacious and unmarried women were huadan.
One of Mei Lanfang’s most
important contributions to Beijing opera was in pioneering a sixth type of role, the huashan. This role type combines the status of the qingyi with the sensuality of the huadan.
(another version) This role type combines the nobility and grace of the “qingyi” with the flirtatious, extrovert characteristics of the “huadan.”
This website shows Traditional Meets Experimental--Modernizing Peking Opera on the Mainland :
http://www.sinorama.com.tw/en/show_issue.php?id=199678507050E.TXT&table=2&h1=Art+and+Culture&h2=Traditional+Opera
-MOVEMENT
1. Small steps all the time.
2. Hands gestures (you know the conventional way of putting your hand in an awkward position during performance all the time??)
3. During my monologue, my movements will be even more exaggerated into Chinese Opera style.
-SPEECH/VOICE
1. I tend to lengthen my way of speaking but people must always remind me (esp. Sarah) to talk faster. (Or else the play will be too long!)
2. My voice will be of a higher pitch than everyone else except maybe for Guak when she shrieks.
2. During my monologue, can I possibly.. sing? In Chinese Opera style?
MY CHINESE OPERA CHARACTER: It's difficult to choose between Qingyi & Huadan!!! I've got a social status of Huadan but movements and thinking of a Qingyi! Can I possibly be Huashan? Read on.
QINGYI VS HUADAN
(things that match will be in blue & things that don't match will be in red)
Qing Yi actress portrays a lady of good and sympathetic character. Usually of a quiet, gentle disposition and graceful in her movements, she is the Chinese ideal of a beautiful woman. As a wife she is faithful, as a young girl a model of propriety. Her good breeding is shown by the graceful, flowing movements of her 'water sleeves'. The Qing Yi's costume is elegant, simple and of good quality, but not as vivid in color as that of the Hua Dan. Her singing is of a pure, high-pitched quality.
For a Hua Dan actress the gay, flirtatious personality of a young girl is required. Usually not of such a high social standing as the Qing Yi, the Hua Dan actress with her coy, coquettish and generally quicker movements arrests the attention of the audience. This is a difficult part to play successfully. The Hua Dan's facial expression is continually changing and her mischievous eye movements are particularly attractive. Because of her lower social status more hand movements are required, as in olden times it was not considered polite for a well-bred Chinese lady to show her hands. Costume, usually vivid in design and color, consists of a jacket and trousers, and a red or coloews handkerchief is carried to flutter in the actress's hand. Her character, needless to say, is not as virtuous as that of the Qing Yi and therefore her singing voice has a gayer and slightly stronger quality. She also has to do more speaking than singing.
A Gui Men Dan is the young, unmarried girl, who in later life will develop into a Qing Yi or a Hua Dan; her immaturity is clearly shown in her reactions, for though naughty and slightly mischievous, she has not the confidence of the Hua Dan, although her schemes and plans are often just as successful.
From http://www.chinahighlights.com/travelguide/beijing-opera/roles.htm#dan
5)Dan
The Dan (旦) refers to any female role in Beijing opera. Dan roles were originally divided into five subtypes. Old women were played by laodan, martial women were wudan, young female warriors were daomadan, virtuous and elite women were qingyi, and vivacious and unmarried women were huadan.
One of Mei Lanfang’s most
important contributions to Beijing opera was in pioneering a sixth type of role, the huashan. This role type combines the status of the qingyi with the sensuality of the huadan.
(another version) This role type combines the nobility and grace of the “qingyi” with the flirtatious, extrovert characteristics of the “huadan.”
This website shows Traditional Meets Experimental--Modernizing Peking Opera on the Mainland :
http://www.sinorama.com.tw/en/show_issue.php?id=199678507050E.TXT&table=2&h1=Art+and+Culture&h2=Traditional+Opera
Monday, April 5, 2010
Gwak's VITAL INFORMATION
1) Info about the time period you come from- significant events, location, food, culture, style, 'in' things, 'hot topics of duscussion'. Do the Stanislavski BEFORE STORY thing.
The period that Gwakawakaweena came from is in the 1980s-1990s, I will focus on the arts scene as it is pertinent to Gwak’s dream to be an artist.
Fact number 2: Within the community, art still doesn’t make business sense and maybe it’s not supposed to. Many aspiring artists have baskets full of unfulfilled dreams. Artists tend to be more cautious of boundaries and offending the status quo.
5) Go through the script and check to see-
(i) There is a constant type of voice for your character- Eg- Eng E Shen's voice
(ii) IS your characters realization caused directly/indirectly by Sarah? (It has to be)
Yes. Sarah is the one who drives Gwak past her façade and puts Gwak in her place. She makes Gwak see that the reality that she has created for herself is just an illusion and that she should move on. Sarah tells Gwak that there is more than this non-existence and that she can move on.
(iv) Check if regret is seen in ALL the scenes you are in (Make sure its not too obviously stated)
Sunday, April 4, 2010
Muichoo's Vital Information
Muichoo's Vital Information
1) Time Period - 1960s, Singapore.
In the 1960s, Singapore was a third world country with a GNP per capita of less than US$320. Infrastructure was poor, there was little capital; the handful of industries produced only for domestic consumption. Low-end commerce was the mainstay of the economy, and there was little or no direct foreign investment. There was massive unemployment and labour unrest following the withdrawal of the British troops. Creating jobs was the priority, and this meant attracting labour-intensive industries.
See more from: "http://www.sedb.com/edb/sg/en_uk/index/about_edb/our_history/the_1960s.html"
The year was 1967, and Singapore started to print its own currency and made national service a compulsory thing for all young Singaporean men of lawful age. It was the year where fake eyelashes were rented out for S$4 per day; and prices of eggs plummeted to a new low that drove Singaporeans to form a lobby group on “chicken butchery” in order to reduce the supply of eggs. In the same year, “Vietnamese Rose” - a form of syphilis – came into Singapore and men who called on prostitutes shuddered at the mere mention of the name; It was also the year when Sakura and Rita Chao’s “New Peach-blossom River” was all the rage in the streets of Singapore.
See more from: "http://together.mediacorptv.sg/channel_8_drama_together_about.htm"
2) Role in the society - Disgraced outcast
All performers at that time is considered as low-status jobs. People were conservative at that time and find that performers often need to provide special services to people to get famous. Hence, many have the perception that they're ''dirty workers'', especially for the female. No matter how unpopular the job is, the pay is still good enough for people to want that job.
Muichoo is a Chinese Opera performer who provides sexual services to bosses so that she can be a performer. She came from an extremely poor family so she had to resort to that. She's a social outcast and doesn't have friends except for her other team members in her Chinese Opera group. She's well recognized due to her frequent street performances.
BEFORE STORY:
She's born as the eldest daughter of the family on 1930. When she was 12 (1942), her father left the family for another woman. It was during world war 2 and her father was attracted to that woman's wealth and ability to protect him so he left for her. [1st case that portrayed that there isn't true love in this world]
She started working small jobs with her mother, along with her younger brother, 8, and younger sister, 4. At that time, her mother was pregnant with her 4th child. Life was tough for Muichoo as she's the eldest. Her mum was tortured and abused by the Japanese soldiers during that time when she was pregnant, hence losing her 4th child. Muichoo sees her mum goes through the agony of losing her child. (ADDS ON TO HER REGRET) After that, they were under the care of a Malay family so that Japanese soldiers do not come after them. After a while, Muichoo's mum is pregnant with Japanese soldier's baby. Mum is demented and therefore, couldn't work. Left with Muichoo to work.
When she was 15, she got recruited as a backstage helper for a Chinese Opera troupe. When she was 18, she slept with the boss of the Chinese Opera troupe so that she was get into the troupe and earn more money. When she was 20, she got more fame as she performed more frequently. She gained more attention from other big shots around and were asked to accompany them. Soon, she resorted to giving them sexual services so that she can get hold of more money to give her sibilings money for education.
At 25, she fell in love with one of her regular audience member. He wasn't much older, about 27, and was from a wealthy family. Soon, they got together. After a year or two, he disappears with a note saying that he have to be married to another woman because his parents said so and that that woman was richer. [2nd case of no true love]
After seeing so much cruelty in this world, she began to question if there's true love in this world. At 33, she fell in love again with a customer that resembles her first love (the one that went away). They got together and everything was smooth. However, things began to change after a year. Whenever he was drunk, he'll hit her and abuse her. When she became 35, she was pregnant with his child. He was so frustrated with her that he tied her up with ropes and hit her furiously with his belt. That day, she couldn't take it anymore and went to drown herself in Singapore River (HAHA). She wore red because she wanted revenge.
3)Relate to modern society today - Yes
Today, there are less Chinese opera performers in Singapore. However, if you ask any of the elderly now, they'll still consider an entertainer a bad job. Their perception never changes! If you put Chinese opera performer into the same group as singers and actresses, it's evident in modern society that there are still people who believe that they got famous because they provided sexual services to the big bosses. But now, majority doesn't have that perception being held on so tightly unlike the past.
4)Irony
Even though I've always wanted to find true love, I wasn't able to give true love to any of my customers because I didn't trust them to give me true love. And if I wanted true love so much, I should have given my baby and I more love. I wasn't loving myself because I gave my body away.
5)
i) Constant voice
(?) My part isn't really edited. No much difference from Ng Yi Sheng's original script. I guess I need to show more oppression of women. (Women being abused by men, women being looked down because they're performers unlike men who doesn't get that treatment, women at disadvantages like rape)
ii)Realization caused by Sarah
... This is difficult because she doesn't have much interaction with her. Well, it can be said that it's indirectly. Muichoo will look and Sarah and think about her child. Her child can be as old as Sarah if she allowed herself to live and not die. Her child can be as smart as Sarah. She will think of Sarah as her child if she didn't drown herself. (So it kinda motivated her to want to live again to see her child all so grown up and educated)
iii) Mystery of life - If there is true love in this world
Yes. I die without knowing if there is true love in this world or not so that question remains in me even after I'm dead. Baby helped me realized that I wasn't even loving myself and my baby so how can i even find true love? There is true love which is found between family members. I got reminded of my mother's love for me. So I move on with the aim to love my family.
iv)Regret shown in all scenes?
1st - Yes.
2nd - Indirectly. From the part where Muichoo asked Sarah to teach Baby because she didn't live. She regret not giving the love her baby should get by killing herself and not allowing her baby to live.
3rd (Muichoo and Baby) - YEA. Baby questions her about her baby. She shows a lot of regret killing herself and her baby. She realizes that all this while, on the search for true love, she actually didn't love herself and her baby. So her motivation for living again is to love herself truly and to give true love.
1) Time Period - 1960s, Singapore.
In the 1960s, Singapore was a third world country with a GNP per capita of less than US$320. Infrastructure was poor, there was little capital; the handful of industries produced only for domestic consumption. Low-end commerce was the mainstay of the economy, and there was little or no direct foreign investment. There was massive unemployment and labour unrest following the withdrawal of the British troops. Creating jobs was the priority, and this meant attracting labour-intensive industries.
See more from: "http://www.sedb.com/edb/sg/en_uk/index/about_edb/our_history/the_1960s.html"
The year was 1967, and Singapore started to print its own currency and made national service a compulsory thing for all young Singaporean men of lawful age. It was the year where fake eyelashes were rented out for S$4 per day; and prices of eggs plummeted to a new low that drove Singaporeans to form a lobby group on “chicken butchery” in order to reduce the supply of eggs. In the same year, “Vietnamese Rose” - a form of syphilis – came into Singapore and men who called on prostitutes shuddered at the mere mention of the name; It was also the year when Sakura and Rita Chao’s “New Peach-blossom River” was all the rage in the streets of Singapore.
See more from: "http://together.mediacorptv.sg/channel_8_drama_together_about.htm"
2) Role in the society - Disgraced outcast
All performers at that time is considered as low-status jobs. People were conservative at that time and find that performers often need to provide special services to people to get famous. Hence, many have the perception that they're ''dirty workers'', especially for the female. No matter how unpopular the job is, the pay is still good enough for people to want that job.
Muichoo is a Chinese Opera performer who provides sexual services to bosses so that she can be a performer. She came from an extremely poor family so she had to resort to that. She's a social outcast and doesn't have friends except for her other team members in her Chinese Opera group. She's well recognized due to her frequent street performances.
BEFORE STORY:
She's born as the eldest daughter of the family on 1930. When she was 12 (1942), her father left the family for another woman. It was during world war 2 and her father was attracted to that woman's wealth and ability to protect him so he left for her. [1st case that portrayed that there isn't true love in this world]
She started working small jobs with her mother, along with her younger brother, 8, and younger sister, 4. At that time, her mother was pregnant with her 4th child. Life was tough for Muichoo as she's the eldest. Her mum was tortured and abused by the Japanese soldiers during that time when she was pregnant, hence losing her 4th child. Muichoo sees her mum goes through the agony of losing her child. (ADDS ON TO HER REGRET) After that, they were under the care of a Malay family so that Japanese soldiers do not come after them. After a while, Muichoo's mum is pregnant with Japanese soldier's baby. Mum is demented and therefore, couldn't work. Left with Muichoo to work.
When she was 15, she got recruited as a backstage helper for a Chinese Opera troupe. When she was 18, she slept with the boss of the Chinese Opera troupe so that she was get into the troupe and earn more money. When she was 20, she got more fame as she performed more frequently. She gained more attention from other big shots around and were asked to accompany them. Soon, she resorted to giving them sexual services so that she can get hold of more money to give her sibilings money for education.
At 25, she fell in love with one of her regular audience member. He wasn't much older, about 27, and was from a wealthy family. Soon, they got together. After a year or two, he disappears with a note saying that he have to be married to another woman because his parents said so and that that woman was richer. [2nd case of no true love]
After seeing so much cruelty in this world, she began to question if there's true love in this world. At 33, she fell in love again with a customer that resembles her first love (the one that went away). They got together and everything was smooth. However, things began to change after a year. Whenever he was drunk, he'll hit her and abuse her. When she became 35, she was pregnant with his child. He was so frustrated with her that he tied her up with ropes and hit her furiously with his belt. That day, she couldn't take it anymore and went to drown herself in Singapore River (HAHA). She wore red because she wanted revenge.
3)Relate to modern society today - Yes
Today, there are less Chinese opera performers in Singapore. However, if you ask any of the elderly now, they'll still consider an entertainer a bad job. Their perception never changes! If you put Chinese opera performer into the same group as singers and actresses, it's evident in modern society that there are still people who believe that they got famous because they provided sexual services to the big bosses. But now, majority doesn't have that perception being held on so tightly unlike the past.
4)Irony
Even though I've always wanted to find true love, I wasn't able to give true love to any of my customers because I didn't trust them to give me true love. And if I wanted true love so much, I should have given my baby and I more love. I wasn't loving myself because I gave my body away.
5)
i) Constant voice
(?) My part isn't really edited. No much difference from Ng Yi Sheng's original script. I guess I need to show more oppression of women. (Women being abused by men, women being looked down because they're performers unlike men who doesn't get that treatment, women at disadvantages like rape)
ii)Realization caused by Sarah
... This is difficult because she doesn't have much interaction with her. Well, it can be said that it's indirectly. Muichoo will look and Sarah and think about her child. Her child can be as old as Sarah if she allowed herself to live and not die. Her child can be as smart as Sarah. She will think of Sarah as her child if she didn't drown herself. (So it kinda motivated her to want to live again to see her child all so grown up and educated)
iii) Mystery of life - If there is true love in this world
Yes. I die without knowing if there is true love in this world or not so that question remains in me even after I'm dead. Baby helped me realized that I wasn't even loving myself and my baby so how can i even find true love? There is true love which is found between family members. I got reminded of my mother's love for me. So I move on with the aim to love my family.
iv)Regret shown in all scenes?
1st - Yes.
2nd - Indirectly. From the part where Muichoo asked Sarah to teach Baby because she didn't live. She regret not giving the love her baby should get by killing herself and not allowing her baby to live.
3rd (Muichoo and Baby) - YEA. Baby questions her about her baby. She shows a lot of regret killing herself and her baby. She realizes that all this while, on the search for true love, she actually didn't love herself and her baby. So her motivation for living again is to love herself truly and to give true love.
Saturday, April 3, 2010
Commedia dell'Arte
History
Commedia dell'arte ("Comedy of Art" or "Comedy of the profession"), had a long life inItaly
Characteristics
1) It is a style of performing, broad and non-naturalistic, in which the visual element is given equal, if not greater, emphasis than the verbal. It includes the audience as part of the performance, and their presence is frequently acknowledged.
2) It makes use of the multiple skills of the performer - the spoken word, mime, dance, acrobatics, music and other abilities to tell a story or create a dramatic situation.
3) It may be improvised, but employs memorised and rehearsed material(including lazzi) to back up the spontaneous invention of the actual performance.
4) It may feature permanent characters that can be carried over from one play to another: either those drawn from the Italian Comedy, or new ones developed on the same principles.
5) It can make use of facemasks for some or all of the characters.
In Commedia dell’arte, everyone is credulous and cunning; hunger, love, money are the motivating forces. The fundamental theme is how to lay a trap for whatever reason: to get the girl, the money, the food and drink. The characters are rapidly betrayed by their own stupidity and find themselves ensnared in their own plot. The dialogue and action could also easily be made topical and adjusted to satirize local scandals, current events, or regional tastes, mixed with ancient jokes and Lazzi (punch lines).
Lazzi provides the basic opportunity for playfulness in the Commedia Dell’arte. In Lazzi, nothing is spelt out or written. This part of the text can only be brought to life by an actor, through his performance and his comic presence. The great difference between gags and Lazzi is that the latter always has a human reference. The actor himself is the gag, and he himself is the tool for humour. A Lazzi also always brings out an element of the character’s humanity. The lazzi are usually physical but can also involve wordplay.
The Commedia Style
Commedia is said to be broad and non-naturalistic; that it is larger than life. But even when it employs it greatest excesses of ridicule and parady, it must remain true to the underlying forces of thought and emotion. Commedia compares with straight acting as caricature compares with representational drawing. Caricature is the art of exagerrating the truth; commedia is the same. Emotions and ideas expressed must be recognisably genuine and sincere, and as strictly motivated as any follower of Stanislavki could wish. Only then will the audience be moved by the externally broad playing of the actor.
The actors of the Commedia also represented fixed social types; foolish old men, devious servants, or military officers full of false bravado, and this were done through the use of masks. Actors also tended to assume a stereotyped habit and name. Furthermore, masks forced actors to project their characters' emotions through the body. Leaps, tumbles, stock gags, obscene gestures and slapstick antics were incorporated into their acts. Thus, the focus was placed on the physical business rather than on the spoken text.
In addition, there were also no elaborate sets in commedia. Staging, for example, was minimalistic. Instead, great use was made of props including animals, food, furniture, watering devices, and weapons.
In addition, the audience were able to pick up from each character's costume, the type of person he was representing.
Partnership with the Audience
By no means exclusive to it, but especially evident in Commedia is the actor's direct communcation with the audience. It is the very antithesis of naturalistic acting where the spectators form a fourth wall to the proscenium stage, observing but unacklowedged by the actors. The commedia player addresses the audience in monologue, frequently employs the aside, interrupts dialogue to solicit sympathy, abd even encourages backchat and comment. Commedia acknowledges the audience because it is there. It accepts reality rather than striving for realism.
Commedia dell'arte ("Comedy of Art" or "Comedy of the profession"), had a long life in
Characteristics
1) It is a style of performing, broad and non-naturalistic, in which the visual element is given equal, if not greater, emphasis than the verbal. It includes the audience as part of the performance, and their presence is frequently acknowledged.
2) It makes use of the multiple skills of the performer - the spoken word, mime, dance, acrobatics, music and other abilities to tell a story or create a dramatic situation.
3) It may be improvised, but employs memorised and rehearsed material(including lazzi) to back up the spontaneous invention of the actual performance.
4) It may feature permanent characters that can be carried over from one play to another: either those drawn from the Italian Comedy, or new ones developed on the same principles.
5) It can make use of facemasks for some or all of the characters.
In Commedia dell’arte, everyone is credulous and cunning; hunger, love, money are the motivating forces. The fundamental theme is how to lay a trap for whatever reason: to get the girl, the money, the food and drink. The characters are rapidly betrayed by their own stupidity and find themselves ensnared in their own plot. The dialogue and action could also easily be made topical and adjusted to satirize local scandals, current events, or regional tastes, mixed with ancient jokes and Lazzi (punch lines).
Lazzi provides the basic opportunity for playfulness in the Commedia Dell’arte. In Lazzi, nothing is spelt out or written. This part of the text can only be brought to life by an actor, through his performance and his comic presence. The great difference between gags and Lazzi is that the latter always has a human reference. The actor himself is the gag, and he himself is the tool for humour. A Lazzi also always brings out an element of the character’s humanity. The lazzi are usually physical but can also involve wordplay.
The Commedia Style
Commedia is said to be broad and non-naturalistic; that it is larger than life. But even when it employs it greatest excesses of ridicule and parady, it must remain true to the underlying forces of thought and emotion. Commedia compares with straight acting as caricature compares with representational drawing. Caricature is the art of exagerrating the truth; commedia is the same. Emotions and ideas expressed must be recognisably genuine and sincere, and as strictly motivated as any follower of Stanislavki could wish. Only then will the audience be moved by the externally broad playing of the actor.
The actors of the Commedia also represented fixed social types; foolish old men, devious servants, or military officers full of false bravado, and this were done through the use of masks. Actors also tended to assume a stereotyped habit and name. Furthermore, masks forced actors to project their characters' emotions through the body. Leaps, tumbles, stock gags, obscene gestures and slapstick antics were incorporated into their acts. Thus, the focus was placed on the physical business rather than on the spoken text.
In addition, there were also no elaborate sets in commedia. Staging, for example, was minimalistic. Instead, great use was made of props including animals, food, furniture, watering devices, and weapons.
In addition, the audience were able to pick up from each character's costume, the type of person he was representing.
Partnership with the Audience
By no means exclusive to it, but especially evident in Commedia is the actor's direct communcation with the audience. It is the very antithesis of naturalistic acting where the spectators form a fourth wall to the proscenium stage, observing but unacklowedged by the actors. The commedia player addresses the audience in monologue, frequently employs the aside, interrupts dialogue to solicit sympathy, abd even encourages backchat and comment. Commedia acknowledges the audience because it is there. It accepts reality rather than striving for realism.
Death Vital Info
1) Info about the time period you come from- significant events, location, food, culture, style, 'in' things, 'hot topics of duscussion'. Do the Stanislavski BEFORE STORY thing.
There are many perceptions of how Death came to existence. The Christians believe that Death came about after Satan was banished from Heaven for rebelling. The taoists believe that Death or the various death gods were humans that were exalted. Furthermore, Death is in charge of hell in these perceptions. However for Hungry, I(Death) was created by God to be in charge of Purgatory. Furthermore, despite my name, I am essentially a good being. I do not banish or force people to stay in purgatory, or drag them by force into purgatory after they have passed away. Instead, I wait till they are ready before I bring them into purgatory. At purgatory, I watch and interact with the people staying there objectively, not forcing or coercing them into making a decision. Although I actually wish to see these people leave purgatory and move on to the next part of their lives, no matter what that may be, I do not enforce a decision upon them. To me, purgatory is place for departed souls to get their act together, figure what they really want, and move on.
2) What role do you play in that society?
As Death, I play the role of a transporter where I essentially ferry departed souls from Earth into purgatory. In purgatory, I play the role of a caretaker, where I take care of the needs of these departed souls whilst watching objectively as they interact with each other. I also maintain the order in purgatory. After a departed soul has come to a realization and has made a decision of where they want to go, I will once again play the role of a transporter and bring them to where they wish to go.
3) How do the issues you deal with then relate to modern day society TODAY. Does the current society still practise the same segregation (If any)?
I think Death represents the anti-thesis to the fact that people in society today likes to wallow in their own misery. Once people experience a setback, a failure or just a lack of progress or success in general, instead of moving on, people tend to wallow and let the matter fester. They question their own ability and in the process, allow themselves to fall deeper into their misery. They fail to see that if they actually choose to move on, something better may be waiting out there. Death thus represents this "moving on" as can be seen by how he wants the souls living in purgatory to move on and out of purgatory.
4)What is the irony that will be seen in your character (if any)? How will you show this?
The irony in my character is that Death is usually perceived to be the end point. Once a person has died and he meets Death, it usually means that he will be stuck in purgatory or hell forever. However, in the play, Death does not represent the end point, but rather a pathway to the next phase of their lives. This can be seen by how Death has the power to transport the souls to where they wish to go after they have come to a decision.
5i) In the script, Death's voice is pretty mute if he even has a voice in the first place. However, the role of Death as a transporter can be seen in the death scenes and the start and at the ending scene. However, the role of Death as a caretaker in purgatory still needs to be played up more. (if he doesn't have a regret.)
5 ii,iii,iv) Death represents the anti-thesis to all the other characters. He represents moving on. Therefore, he doesn't have a regret or a realization. Death is a mystery of life in itself.
There are many perceptions of how Death came to existence. The Christians believe that Death came about after Satan was banished from Heaven for rebelling. The taoists believe that Death or the various death gods were humans that were exalted. Furthermore, Death is in charge of hell in these perceptions. However for Hungry, I(Death) was created by God to be in charge of Purgatory. Furthermore, despite my name, I am essentially a good being. I do not banish or force people to stay in purgatory, or drag them by force into purgatory after they have passed away. Instead, I wait till they are ready before I bring them into purgatory. At purgatory, I watch and interact with the people staying there objectively, not forcing or coercing them into making a decision. Although I actually wish to see these people leave purgatory and move on to the next part of their lives, no matter what that may be, I do not enforce a decision upon them. To me, purgatory is place for departed souls to get their act together, figure what they really want, and move on.
2) What role do you play in that society?
As Death, I play the role of a transporter where I essentially ferry departed souls from Earth into purgatory. In purgatory, I play the role of a caretaker, where I take care of the needs of these departed souls whilst watching objectively as they interact with each other. I also maintain the order in purgatory. After a departed soul has come to a realization and has made a decision of where they want to go, I will once again play the role of a transporter and bring them to where they wish to go.
3) How do the issues you deal with then relate to modern day society TODAY. Does the current society still practise the same segregation (If any)?
I think Death represents the anti-thesis to the fact that people in society today likes to wallow in their own misery. Once people experience a setback, a failure or just a lack of progress or success in general, instead of moving on, people tend to wallow and let the matter fester. They question their own ability and in the process, allow themselves to fall deeper into their misery. They fail to see that if they actually choose to move on, something better may be waiting out there. Death thus represents this "moving on" as can be seen by how he wants the souls living in purgatory to move on and out of purgatory.
4)What is the irony that will be seen in your character (if any)? How will you show this?
The irony in my character is that Death is usually perceived to be the end point. Once a person has died and he meets Death, it usually means that he will be stuck in purgatory or hell forever. However, in the play, Death does not represent the end point, but rather a pathway to the next phase of their lives. This can be seen by how Death has the power to transport the souls to where they wish to go after they have come to a decision.
5i) In the script, Death's voice is pretty mute if he even has a voice in the first place. However, the role of Death as a transporter can be seen in the death scenes and the start and at the ending scene. However, the role of Death as a caretaker in purgatory still needs to be played up more. (if he doesn't have a regret.)
5 ii,iii,iv) Death represents the anti-thesis to all the other characters. He represents moving on. Therefore, he doesn't have a regret or a realization. Death is a mystery of life in itself.
MUG Vital Information
HOME WORK-
1) Info about the time period you come from- significant events, location, food, culture, style, 'in' things, 'hot topics of duscussion'. Do the Stanislavski BEFORE STORY thing.
2) What role do you play in that society?- unwanted artist/ disgraced outcast (MC)/ unwanted child (Baby)?
3) How do the issues you deal with then relate to modern day society TODAY. Does the current society still practise the same segregation (If any)?
4)What is the irony that will be seen in your character (if any)? How will you show this?
5) Go through the script and check to see-
(i) There is a constant type of voice for your character- Eg- Eng E Shen's voice
(ii) IS your characters realization caused directly/indirectly by Sarah? (It has to be)
(iii) Do you manage to tackle and unearth the mystery of life your character is dealing with?
(iv) Check if regret is seen in ALL the scenes you are in (Make sure its not too obviously stated)
I have decided to mould my character in the form of Wen Chang, a Taoist God of wisdom, drawing influences from his character as the Taoist God of Wisdom etc. Melvyn, I might need a bit of your help with it since you used to be taoist right? So... yea. The difference is that I'm not actually him but more like a representation of wisdom and eastern culture that is being lost in society. If we talk about that kind of loss, my death would have been only about 100 or so years ago when western influence started to spread. However, I'm looking further back to see if it can be further pushed back so that my age is er... more apparent. Unless of course 100 years is long enough.
1) STANISLAVSKI BEFORE STORY -
I was an entity that existed long ago but only came into real existence at about 1314 AD, during the Yuan Dynasty. I lived on as people prayed to me for wisdom in life and was appreciated, worshiped and even celebrated. I was a god. Scholars came, deliberating their many meanings of the world and of life, of how it ran and how it stops. People came to me, seeking wisdom for a better life. For a while, the only people above me were my superiors in high heaven but I was content. My people always ensured that my god-life was comfortable and assured. They needed me, they relied on me, they leaned on me.
People usually ate rice with a small arrangement of side dishes on the side. The richer you were, the more fish and meat you would get and the more elaborate your meals would be. Of course the meal would increase in size as well. Being a God, I ate the best meals. Fish, meat and on occasions, sharks fin and the like.
Then came the western gods. Gods that preached democracy, in all their self-righteousness came in and usurped my position. I thought that my people's faith would be unwavering but very quickly, it was evident that the tables had turned. As my own people learnt the ways of this new god, they realised the state of China and called for revolution. My people were slaughtered and the imperials were overthrown. Suddenly, everyone wanted more than ever, to prosper. The hunger for advancement overtook the need for wisdom and soon, people started to push me to the back of their minds. It wasn't long before I was truly dead as now, people have seem to forgotten the higher forms of wisdom and what it truly means to be wise. I was forgotten.
2) ROLE IN SOCIETY -
God of Wisdom. Revered and respected.
3) SOCIETAL ISSUES -
The loss of tradition and roots in todays world reflects a desensitized and americanized society where the ideologies and conventions of the west have become the main aim and focus for way too many in the world today. Despite the arguments of culture being emancipated, what undergoes this emancipation is the "desirable" parts of culture. Fashion, art, food. The true essence of culture is being lost. Religion, values, ethnicity. Even the extracted aspects are modified to suit western traditions. Mug is the embodiment and representation of this shift in power, being the main victim of Globalisation and its powers to repress culture and tradition.
4) IRONY -
The main irony in my character is that despite his perceived power-position over people, he in fact, relies more on people than people rely on him. A religion is only as strong as its disciples and without this support, the religion is defunct, its gods forgotten. Much like Mug. The notion of wisdom in today's society depends on people's perceptions and quest for it. Without this, wisdom is non-existent. This will be shown by my reliance on the cane as a symbol of this support that I continuously need. Without the support, I fall. I am defunct. A corpse on the floor awaiting the undertaker.
5) i) My voice is pretty consistent. The abstract approach that Mug takes to life is further supported by his subtext of his unwillingness to let go of the past. I feel that perhaps more could be said about the west and its influential power over culture and traditions in the world though. I think it was only mentioned once in the death scene and then er... forgotten.
ii) My realization is well... pretty obviously caused by Sarah who makes me realise my state of being and makes me realise how people no longer need me in life. I should just move on to life and see what I can do there instead of pinning here in purgatory for a lost past.
iii) As to what makes the west so powerful? I dont think its really dealt and solved here in the play. For my character, the play acts as a stepping stone to finding out what is so powerful about western influence. It is overcoming my inertia to find the answer for myself.
iv) 1st Scene - YES.
2nd Scene (congregation around Sarah) - Not that apparent but it is implied subtly. Which is good.
3rd Scene (Sarah and Mug Scene) - Not so much about regret here but an aspect of regret. The unwillingness to change, to move on. The depiction of a degraded and mentally unstable Mug at the beginning also stands in contrast to Mug's own belief of his power. The realization if this state thus brings about Mug's regret in the sense that he realizes how far he has really fallen. The regret for having let himself fall so far down.
1) Info about the time period you come from- significant events, location, food, culture, style, 'in' things, 'hot topics of duscussion'. Do the Stanislavski BEFORE STORY thing.
2) What role do you play in that society?- unwanted artist/ disgraced outcast (MC)/ unwanted child (Baby)?
3) How do the issues you deal with then relate to modern day society TODAY. Does the current society still practise the same segregation (If any)?
4)What is the irony that will be seen in your character (if any)? How will you show this?
5) Go through the script and check to see-
(i) There is a constant type of voice for your character- Eg- Eng E Shen's voice
(ii) IS your characters realization caused directly/indirectly by Sarah? (It has to be)
(iii) Do you manage to tackle and unearth the mystery of life your character is dealing with?
(iv) Check if regret is seen in ALL the scenes you are in (Make sure its not too obviously stated)
I have decided to mould my character in the form of Wen Chang, a Taoist God of wisdom, drawing influences from his character as the Taoist God of Wisdom etc. Melvyn, I might need a bit of your help with it since you used to be taoist right? So... yea. The difference is that I'm not actually him but more like a representation of wisdom and eastern culture that is being lost in society. If we talk about that kind of loss, my death would have been only about 100 or so years ago when western influence started to spread. However, I'm looking further back to see if it can be further pushed back so that my age is er... more apparent. Unless of course 100 years is long enough.
1) STANISLAVSKI BEFORE STORY -
I was an entity that existed long ago but only came into real existence at about 1314 AD, during the Yuan Dynasty. I lived on as people prayed to me for wisdom in life and was appreciated, worshiped and even celebrated. I was a god. Scholars came, deliberating their many meanings of the world and of life, of how it ran and how it stops. People came to me, seeking wisdom for a better life. For a while, the only people above me were my superiors in high heaven but I was content. My people always ensured that my god-life was comfortable and assured. They needed me, they relied on me, they leaned on me.
People usually ate rice with a small arrangement of side dishes on the side. The richer you were, the more fish and meat you would get and the more elaborate your meals would be. Of course the meal would increase in size as well. Being a God, I ate the best meals. Fish, meat and on occasions, sharks fin and the like.
Then came the western gods. Gods that preached democracy, in all their self-righteousness came in and usurped my position. I thought that my people's faith would be unwavering but very quickly, it was evident that the tables had turned. As my own people learnt the ways of this new god, they realised the state of China and called for revolution. My people were slaughtered and the imperials were overthrown. Suddenly, everyone wanted more than ever, to prosper. The hunger for advancement overtook the need for wisdom and soon, people started to push me to the back of their minds. It wasn't long before I was truly dead as now, people have seem to forgotten the higher forms of wisdom and what it truly means to be wise. I was forgotten.
2) ROLE IN SOCIETY -
God of Wisdom. Revered and respected.
3) SOCIETAL ISSUES -
The loss of tradition and roots in todays world reflects a desensitized and americanized society where the ideologies and conventions of the west have become the main aim and focus for way too many in the world today. Despite the arguments of culture being emancipated, what undergoes this emancipation is the "desirable" parts of culture. Fashion, art, food. The true essence of culture is being lost. Religion, values, ethnicity. Even the extracted aspects are modified to suit western traditions. Mug is the embodiment and representation of this shift in power, being the main victim of Globalisation and its powers to repress culture and tradition.
4) IRONY -
The main irony in my character is that despite his perceived power-position over people, he in fact, relies more on people than people rely on him. A religion is only as strong as its disciples and without this support, the religion is defunct, its gods forgotten. Much like Mug. The notion of wisdom in today's society depends on people's perceptions and quest for it. Without this, wisdom is non-existent. This will be shown by my reliance on the cane as a symbol of this support that I continuously need. Without the support, I fall. I am defunct. A corpse on the floor awaiting the undertaker.
5) i) My voice is pretty consistent. The abstract approach that Mug takes to life is further supported by his subtext of his unwillingness to let go of the past. I feel that perhaps more could be said about the west and its influential power over culture and traditions in the world though. I think it was only mentioned once in the death scene and then er... forgotten.
ii) My realization is well... pretty obviously caused by Sarah who makes me realise my state of being and makes me realise how people no longer need me in life. I should just move on to life and see what I can do there instead of pinning here in purgatory for a lost past.
iii) As to what makes the west so powerful? I dont think its really dealt and solved here in the play. For my character, the play acts as a stepping stone to finding out what is so powerful about western influence. It is overcoming my inertia to find the answer for myself.
iv) 1st Scene - YES.
2nd Scene (congregation around Sarah) - Not that apparent but it is implied subtly. Which is good.
3rd Scene (Sarah and Mug Scene) - Not so much about regret here but an aspect of regret. The unwillingness to change, to move on. The depiction of a degraded and mentally unstable Mug at the beginning also stands in contrast to Mug's own belief of his power. The realization if this state thus brings about Mug's regret in the sense that he realizes how far he has really fallen. The regret for having let himself fall so far down.
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