Synopsis- We are all hungry for certain things in life. However, the moment we are unsatisfied with what we are alreday granted, we hunger for more, and thus thuis hunger turns into greed. This is the case for 4 characters in hungry- Gwakawakawena, Mui Choo, Sarah and Mug. Greed has caused theuir pre-mature deaths and in the course of re-looking lack anbd living in purgatory, with the guidance of Death and Baby, the characters learn what they had been missing in life.
NEW DV!!!!- Hunger is healthy until it turns to greed.
Characters-
Mui Choo: Greedy for love. Had too much of it and was too fast. Too much love is unhealthy.
: Box- broken heart
Mug: Knowledge without understanding. HE is the result of the greed that students feel.
: Box- Transparent box
Gwak: Greedy for fame and acknowledgement.
: Box- crushed paper, paint brushes, paintings that are too big....
Sarah: Greedy for knowledge and getting it quick.
: Box- Disfigured box. Too many books.
Baby: Not greedy, SHe is the example of a person with a hunger but no greed.
: Box- White pure box.
Key Ideas-
1) Puppetry-Shadow Puppetry
2) Boxes for Set
3) LIghts- Hard+Soft+Colours
Problem Areas-
1) Script: Too episodic. We need to try and make it revolve around the main theme.
The New Death:
- He will be more nosy, curious, feeding us with too much information at one time. (JOJ examiner style)
- Sometimes reads the characters mind.
-Questions the audience about issues were dealing with.
Costume:
Baby- All white
Mui Choo- Bar waitress
Death- Suit
Mug- White Singlet+ short pants+walking stick
Gwak- Artsy
Sarah- Any uniform
Monday, January 11, 2010
Friday, January 8, 2010
7th Jan Meeting
Location: Mc D (City Hall)
Time: 2-4
Attendance: Full (On time)
Agenda: Discuss Directrial Style, Vision and other technical aspects.
DV (needs to be rephrased)- Be grateful for what you have.
Set- Four frames for shadow puppetry (located downstage)
Before each characters scene with death, both death and the character will be behind the cloth. When they die, the character leaves life and comes into purgatory (centre stage infront of cloth). But the shadow of how they die (Sarah hanging, Mui Chew drowning, etc) will remain as a shadow, 'haunting them'. The frames have to be located above the ground so that the shadows seem to be looming above the characters at all times.
- Boxes (Which will act as everything- table, chair, toliet bowl)
The boxes represent life. Life may not contain what you want like success or fame or knowledge.
It is simple, but even so, great thungs can be made out of it.
With only one box each, an individual seems useless, but when combined together with other boxes, it forms something entierly new and worth it.
The boxes contain things from their past lives, things that they didnt achieve, things that they were ungrateful for. Slowly, they took these items out of the boxes and laid them aside, deciding instead to focus on the present, their life in Purgatory and the 'family' they had there. They learnt to be grateful for what they had.
Remember it not so much about what were trying to get at because everything seems so cliche, but its how we get to that message and how well we present it to the audience.
For the next meeting-
1) Look at your character and see what needs to me removed and added to them so that the DV can be more clearly made known to the audience.
2) Look into Practisioners and Theatre Genres. Study their styles, issues they deal with, how they portray it on stage, what effects they are looking for, etc
3) Continue brain storming for ideas and differnet approaches to the play. We havent finalized anythign yet....
-Priscilla Jamir
Time: 2-4
Attendance: Full (On time)
Agenda: Discuss Directrial Style, Vision and other technical aspects.
DV (needs to be rephrased)- Be grateful for what you have.
Set- Four frames for shadow puppetry (located downstage)
Before each characters scene with death, both death and the character will be behind the cloth. When they die, the character leaves life and comes into purgatory (centre stage infront of cloth). But the shadow of how they die (Sarah hanging, Mui Chew drowning, etc) will remain as a shadow, 'haunting them'. The frames have to be located above the ground so that the shadows seem to be looming above the characters at all times.
- Boxes (Which will act as everything- table, chair, toliet bowl)
The boxes represent life. Life may not contain what you want like success or fame or knowledge.
It is simple, but even so, great thungs can be made out of it.
With only one box each, an individual seems useless, but when combined together with other boxes, it forms something entierly new and worth it.
The boxes contain things from their past lives, things that they didnt achieve, things that they were ungrateful for. Slowly, they took these items out of the boxes and laid them aside, deciding instead to focus on the present, their life in Purgatory and the 'family' they had there. They learnt to be grateful for what they had.
Remember it not so much about what were trying to get at because everything seems so cliche, but its how we get to that message and how well we present it to the audience.
For the next meeting-
1) Look at your character and see what needs to me removed and added to them so that the DV can be more clearly made known to the audience.
2) Look into Practisioners and Theatre Genres. Study their styles, issues they deal with, how they portray it on stage, what effects they are looking for, etc
3) Continue brain storming for ideas and differnet approaches to the play. We havent finalized anythign yet....
-Priscilla Jamir
Wednesday, January 6, 2010
Week 4 -Priscilla
WEEK 4
I am going to use Epic theatre as a basis for this write up.
One of the needs of that genre was for the audience to empathize with the characters on stage. Thus I would play my character as realistically as possible.
My aim- will be to get the audience to sympathize with a confused young girl who is trying to find the answers her heart tells her she needs.
Costume- I don’t think there is a dire need to put her up in a girls school uniform, anything will do really. I don’t see a huge diff.
Ending- I’m not too sure (so ill verify when I am) whether Epic theatre requires us to provide a sort of solution for the problems that we present.
Modification- I still just can’t grasp why she started eating shit. Was it because she thought it would help her go back to the way she was? I don’t see the link. It doesn’t seem like her to resort to such a thing and to so easily believe in the fact that eating shit would be a solution to whatever the problem seems to be.
Sarah- I’m very emotional and very short tempered too and did I mention I was easily annoyed by people who aren’t as sensible as me. I usually do things relatively slowly because I have to analyze and think about them first, so action comes only after thought. However when I’m angry, there is no stopping me from doing anything. When I have made a decision there is no stopping me. When I hate I do it wholeheartedly and the same goes for love, pity as well as anything else I set my mind to.
Gek speaks fast and in that annoying theatrical bullshit kind of voice that annoys the hell out of me! So excited and cherry all the time!
Baby is adorable at times. One can see from the pace that she speaks in that she thinks through everything, maybe even more than I do!
Mug is incomprehensible some of the times. He has this fixed rhythm to the way he speaks which is broken only when he starts a new sentence or when there is a punctuation that links two words that don’t make sense when put side by side. So not human!
Mui Choo- Kind, gentle and maybe too fragile. She would make a great mum, only problem is that she would not be able to care for its need for information. She has that uneducated peace about her. Unlike me she is somehow at peace with everything that is around her, and she seems to accept things as they are.
Characters according to pace of speech-
1) Gek
2) Mug
3) Sarah/ Death
4) Mui Choo
5) Baby
I am going to use Epic theatre as a basis for this write up.
One of the needs of that genre was for the audience to empathize with the characters on stage. Thus I would play my character as realistically as possible.
My aim- will be to get the audience to sympathize with a confused young girl who is trying to find the answers her heart tells her she needs.
Costume- I don’t think there is a dire need to put her up in a girls school uniform, anything will do really. I don’t see a huge diff.
Ending- I’m not too sure (so ill verify when I am) whether Epic theatre requires us to provide a sort of solution for the problems that we present.
Modification- I still just can’t grasp why she started eating shit. Was it because she thought it would help her go back to the way she was? I don’t see the link. It doesn’t seem like her to resort to such a thing and to so easily believe in the fact that eating shit would be a solution to whatever the problem seems to be.
Sarah- I’m very emotional and very short tempered too and did I mention I was easily annoyed by people who aren’t as sensible as me. I usually do things relatively slowly because I have to analyze and think about them first, so action comes only after thought. However when I’m angry, there is no stopping me from doing anything. When I have made a decision there is no stopping me. When I hate I do it wholeheartedly and the same goes for love, pity as well as anything else I set my mind to.
Gek speaks fast and in that annoying theatrical bullshit kind of voice that annoys the hell out of me! So excited and cherry all the time!
Baby is adorable at times. One can see from the pace that she speaks in that she thinks through everything, maybe even more than I do!
Mug is incomprehensible some of the times. He has this fixed rhythm to the way he speaks which is broken only when he starts a new sentence or when there is a punctuation that links two words that don’t make sense when put side by side. So not human!
Mui Choo- Kind, gentle and maybe too fragile. She would make a great mum, only problem is that she would not be able to care for its need for information. She has that uneducated peace about her. Unlike me she is somehow at peace with everything that is around her, and she seems to accept things as they are.
Characters according to pace of speech-
1) Gek
2) Mug
3) Sarah/ Death
4) Mui Choo
5) Baby
Week 3 -Priscilla
Of all the Theatre genres that i researched on, Epic Theatre stood out from all the rest. Here is what i found and some suggestions on how to use it.
(Im sorry its coming up so late.. couldnt access the net the past weeks, so here it is)
What we cant really relate to for our piece-
-Capitalism caused all the problems in the world. Communism and Socialism are the solutions.
-Brecht wanted the audience to do something about the issues that he presented on stage. To change the economic situation.
Elements that can work for us-
-He wanted the audience to evaluate the socioeconomic implications of what was going wrong in the world.
-Brecht saw the theatre not as a pace to escape one’s problems but rather as a place to recognize problems that are then to be solved outside the theatre.
-Alienation was achieved by distancing the audience from time or/and place.
-His alienation worked by the process of engaging the audience empathetically and then, through some device (such as a song or as in Greek drama; a chorus), creates the distance needed to evaluate what has been experienced during the empathetic moments.
-Brecht called it ‘Epic theatre’ because it showed similarities with Epic poetry where in dialogue and narration alternated and time and place were quickly transformed.
Each character has an issue related to them-
Gwak-Art scene and issues with an artist
Sarah- Knowledge/Information/Reason/Justification
Mui- Lack of love/Escape
Baby- Abortion
Mug- Self worth/Knowledge vs Wisdom.
When each character has a scene with death (Or wherever it seems appropriate), a ‘chorus’ can appear and give a 3rd person perspective to the issue the character is dealing with. It could be information about the social problem or the cause of it and how no one has been going anything about it. Just like the Steph’s DS, the issue of abortion could be raised.
Basically what the ‘chorus’ will be doing is to alienate the audience and present the issue to them as it is in the world today. If you want, contrasts of the situation can be drawn from the past.
Additional Info-
Lights- Were mostly raw, since he wanted to alienate the audience. However I think we can use the lights POOP used since we have similar intentions of alienation.
Costume- Need not be like poor theatre. In some cases it was quite grand and was made according to the need of the character. So we can still use the half puppet half human idea here.
Sound- There usually is a lot of song in his pieces since he used it as a device to alienate the audience however I don’t think its necessary. No mood music per se was used.
Space- No mention of space and the usage of the stage. (Will get down to more research)
(Im sorry its coming up so late.. couldnt access the net the past weeks, so here it is)
What we cant really relate to for our piece-
-Capitalism caused all the problems in the world. Communism and Socialism are the solutions.
-Brecht wanted the audience to do something about the issues that he presented on stage. To change the economic situation.
Elements that can work for us-
-He wanted the audience to evaluate the socioeconomic implications of what was going wrong in the world.
-Brecht saw the theatre not as a pace to escape one’s problems but rather as a place to recognize problems that are then to be solved outside the theatre.
-Alienation was achieved by distancing the audience from time or/and place.
-His alienation worked by the process of engaging the audience empathetically and then, through some device (such as a song or as in Greek drama; a chorus), creates the distance needed to evaluate what has been experienced during the empathetic moments.
-Brecht called it ‘Epic theatre’ because it showed similarities with Epic poetry where in dialogue and narration alternated and time and place were quickly transformed.
Each character has an issue related to them-
Gwak-Art scene and issues with an artist
Sarah- Knowledge/Information/Reason/Justification
Mui- Lack of love/Escape
Baby- Abortion
Mug- Self worth/Knowledge vs Wisdom.
When each character has a scene with death (Or wherever it seems appropriate), a ‘chorus’ can appear and give a 3rd person perspective to the issue the character is dealing with. It could be information about the social problem or the cause of it and how no one has been going anything about it. Just like the Steph’s DS, the issue of abortion could be raised.
Basically what the ‘chorus’ will be doing is to alienate the audience and present the issue to them as it is in the world today. If you want, contrasts of the situation can be drawn from the past.
Additional Info-
Lights- Were mostly raw, since he wanted to alienate the audience. However I think we can use the lights POOP used since we have similar intentions of alienation.
Costume- Need not be like poor theatre. In some cases it was quite grand and was made according to the need of the character. So we can still use the half puppet half human idea here.
Sound- There usually is a lot of song in his pieces since he used it as a device to alienate the audience however I don’t think its necessary. No mood music per se was used.
Space- No mention of space and the usage of the stage. (Will get down to more research)
Tuesday, January 5, 2010
Character Work - Death
What do I see Death doing in the play?
Well basically, Death seems to be the character that oversees everything in the course of the play. He is the character that governs the so called purgatory. So what I envision Death doing in this play would that he will be perpetually overseeing whatever is happening in the scene. (unless he is part of it.) He doesnt have to be stationary. He could be walking around, basically just acting as an observer.
Costume
Of course, there is always the conventional costume of Death as the grim reaper. But I was thinking also that Death could be dressed up as a businessman of sorts. Dressed in a suit, complete with a tophot and maybe a suitcase even. The colour will still follow the black/greyish tone.
Character Idiosyncracy
I think this actually really depends on the type of style that we're adopting. If its a realistic style of acting, then i guess speaking normally would be ok. However, if we're doing the more exagerrated style, then i guess we should also play how the character speaks to the max. In terms of gestures, I think we can include what we've discussed before, with how Death seems to be perpetually munching on an apple.
Well basically, Death seems to be the character that oversees everything in the course of the play. He is the character that governs the so called purgatory. So what I envision Death doing in this play would that he will be perpetually overseeing whatever is happening in the scene. (unless he is part of it.) He doesnt have to be stationary. He could be walking around, basically just acting as an observer.
Costume
Of course, there is always the conventional costume of Death as the grim reaper. But I was thinking also that Death could be dressed up as a businessman of sorts. Dressed in a suit, complete with a tophot and maybe a suitcase even. The colour will still follow the black/greyish tone.
Character Idiosyncracy
I think this actually really depends on the type of style that we're adopting. If its a realistic style of acting, then i guess speaking normally would be ok. However, if we're doing the more exagerrated style, then i guess we should also play how the character speaks to the max. In terms of gestures, I think we can include what we've discussed before, with how Death seems to be perpetually munching on an apple.
Tuesday, December 29, 2009
Mark's Direction of Hungry
I thought about Hungry as a very flexible piece in terms of direction with, as what Priscilla mentioned, its many themes and possible directorial approaches. The playwright, I feel, approached the problems he saw in society today in a very wholesale and rounded approach. There would always be one character there that everyone can relate to, even with Mug.
Because it is so flexible, I do somewhat disagree with Priscilla's viewpoint of a realistic set. Whatever the play stated about the toilet bowls, may not be. Sarah may not be eating shit, Mug may not really have been a Sri Vijayan God, Death may not be dressed up as say... the grim reaper. We should not be cooped in by the demands of the text because this script, was not the manuscript. It may have been a transcript of the original performance. Whatever is in here may have been the directorial vision of the original director. If we were to make it relatable to our audience (say the general theatre public) we need to make them realize that "Hey! I've been here before! I've felt like this before!. Simply, it need not be a bio lab or a canteen.
If I'm not mistaken we are exploring how people only realize how good something is after it is gone. Just to remind myself before I go off track. =P
Cat, Lost and Found:
One interesting part about "Cat" was how the characters were very exaggerated. Be it overly dramatic, overly shy, overly er... Neanderthal-ish, and this does reflect their own character in the play and what it brought to the play. Hungry's script is very short for 6 characters to be properly fleshed out and shown on stage. This exaggeration of characteristics does allow us to let the audience immediately know what our character is without even saying a word. Note, I don't just mean characteristics, but the emotion behind the words as well. Perhaps, instead of distressed and desperate, Sarah could speak in monotone to represent her monotonous lifestyle and search for answers she could never find. Gwak could be overly emotional and melodramatic to display her hunger for recognition and perhaps even attention.
Another thing I liked about Cat was how the set changed to be a bus, cinema, cliff, boat... The flexibility of the set solved many logistical issues but also allowed us to think that, in Cat, we are all looking for something. That's what we all share, and that is why, no matter where we are, we will always be looking. The blankness of the set in Cat also meant that there was no definition to the set piece. A chair could easily become a cliff face or a piece of a boat. Once again, no matter where we are, no matter what we are looking for, we are all searching. That's why it's blank! It's all the same. At least that was one aspect of it. Perhaps like what the others have said, the use of a recurrent object to create different things could easily represent the similarity in each character's "hunger". We are all hungry for something.
Destinies of Flowers:
Before I start, I'm going to say that I tend to be more sensitive to sets after doing a lot of set design the past month or so.
One word that came to mind when I think of Destinies was Death. I don't know if it was an intended effect from the director but now that I think of it, it felt like death, and the chaos in death. You may still be alive but it felt... deathly. =P Actually, the destiny of flowers is for them to wilt anyway... hmmmm... that came like a bolt of lightning. Anyway, the set did portray death quite well. The spikes, the sharp edges, and that thing that flower was standing on looked like a coffin I think. What we are looking at with Hungry is much more peaceful I think. Not so much bulimia or hanging but more of the post death thing. I had recently visited a chinese crematorium in Bukit Timah and I do have a few images we could use. To emphasize death, and perhaps how it has happened to everyone, we could use the image of rows and rows of these little marble tablets with people's name and picture on them. They represent each person who has passed away, almost like a long list of dead people. One interesting thing though was when my grandmother was telling me about those with no name but an orange piece of paper on them with the word "shou" on it, it was people who have yet to die. My Grandma pointed out her slot. Like preparing to die while you're still alive. Or is it acceptance?
Misc:
At the same place I saw a huge black obelisk that paid homage to the nameless dead in Singapore. The immigrants who have no one left to accept them. I think the image of something huge, like a huge epitaph, gives a very strong sense of monumental er... greatness. Something huge happened. It also gives the play a large focus and a nucleus around which the electrons can revolve around and energy can be concentrated. Perhaps we could use this idea to focus our energy in the play and perhaps play around with its symbolism. A bit dry here but put it out so that we could work on it perhaps.
When we use puppets, we not only need to think about why we are using them but also the medium in which puppetry exists in. Using a puppet to play a character, especially if it is a marionette and if there is live acting, gives the sense of being controlled by something out there. Some entity is manifesting it. That is if you want to look at the form. Another way we can use puppetry in this piece is to perhaps allow our actors to really look back on what they had done. This is especially so for Mui Choo when she looks back at her drowning. It is no longer in her control but she is still watching it. The stories of "Adam and Eve" could also be represented in the form of puppetry as it is a story that does not really happen in real life. Once again, the characters are watching it. Perhaps even baby and death could be the puppeteers and control their story, signifying how only death and the truly innocent can treasure life and take control of it. (off the top of my head)
I think we need a think thank session to really ask ourselves what we FEEL about the play and not keep analyzing it. This is so that we can bounce off more ideas for set design. Where have we seen these events happening in the world today? Regret etc. Are there Icons we could use? Well known Icons and Logos even that could help us.
Perhaps we could use a clock somewhere to show the relativity of time. Perhaps our set could be based around clocks. Some move forward, some backward. Some are forced backward by the characters to signify their regret whereas some are moved forward to signify frustration in how slow it moves. We could have characters on clocks and characters wearing clocks.
Remember I said earlier about how what is in the text may not actually be physically what it is. What I thought the original set designer was going for was to show how shitty life could be and his focus was Sarah's line about us being shit making machines. However, that is not our focus. Why are we using toilets? How does it help us bring out what we want the audience to get? We want to show regret and maybe hunger for what we once had or for what we want to have. So... yea I don't quite agree with the toilet. Just a vote and no hard feelings I hope.
Because it is so flexible, I do somewhat disagree with Priscilla's viewpoint of a realistic set. Whatever the play stated about the toilet bowls, may not be. Sarah may not be eating shit, Mug may not really have been a Sri Vijayan God, Death may not be dressed up as say... the grim reaper. We should not be cooped in by the demands of the text because this script, was not the manuscript. It may have been a transcript of the original performance. Whatever is in here may have been the directorial vision of the original director. If we were to make it relatable to our audience (say the general theatre public) we need to make them realize that "Hey! I've been here before! I've felt like this before!. Simply, it need not be a bio lab or a canteen.
If I'm not mistaken we are exploring how people only realize how good something is after it is gone. Just to remind myself before I go off track. =P
Cat, Lost and Found:
One interesting part about "Cat" was how the characters were very exaggerated. Be it overly dramatic, overly shy, overly er... Neanderthal-ish, and this does reflect their own character in the play and what it brought to the play. Hungry's script is very short for 6 characters to be properly fleshed out and shown on stage. This exaggeration of characteristics does allow us to let the audience immediately know what our character is without even saying a word. Note, I don't just mean characteristics, but the emotion behind the words as well. Perhaps, instead of distressed and desperate, Sarah could speak in monotone to represent her monotonous lifestyle and search for answers she could never find. Gwak could be overly emotional and melodramatic to display her hunger for recognition and perhaps even attention.
Another thing I liked about Cat was how the set changed to be a bus, cinema, cliff, boat... The flexibility of the set solved many logistical issues but also allowed us to think that, in Cat, we are all looking for something. That's what we all share, and that is why, no matter where we are, we will always be looking. The blankness of the set in Cat also meant that there was no definition to the set piece. A chair could easily become a cliff face or a piece of a boat. Once again, no matter where we are, no matter what we are looking for, we are all searching. That's why it's blank! It's all the same. At least that was one aspect of it. Perhaps like what the others have said, the use of a recurrent object to create different things could easily represent the similarity in each character's "hunger". We are all hungry for something.
Destinies of Flowers:
Before I start, I'm going to say that I tend to be more sensitive to sets after doing a lot of set design the past month or so.
One word that came to mind when I think of Destinies was Death. I don't know if it was an intended effect from the director but now that I think of it, it felt like death, and the chaos in death. You may still be alive but it felt... deathly. =P Actually, the destiny of flowers is for them to wilt anyway... hmmmm... that came like a bolt of lightning. Anyway, the set did portray death quite well. The spikes, the sharp edges, and that thing that flower was standing on looked like a coffin I think. What we are looking at with Hungry is much more peaceful I think. Not so much bulimia or hanging but more of the post death thing. I had recently visited a chinese crematorium in Bukit Timah and I do have a few images we could use. To emphasize death, and perhaps how it has happened to everyone, we could use the image of rows and rows of these little marble tablets with people's name and picture on them. They represent each person who has passed away, almost like a long list of dead people. One interesting thing though was when my grandmother was telling me about those with no name but an orange piece of paper on them with the word "shou" on it, it was people who have yet to die. My Grandma pointed out her slot. Like preparing to die while you're still alive. Or is it acceptance?
Misc:
At the same place I saw a huge black obelisk that paid homage to the nameless dead in Singapore. The immigrants who have no one left to accept them. I think the image of something huge, like a huge epitaph, gives a very strong sense of monumental er... greatness. Something huge happened. It also gives the play a large focus and a nucleus around which the electrons can revolve around and energy can be concentrated. Perhaps we could use this idea to focus our energy in the play and perhaps play around with its symbolism. A bit dry here but put it out so that we could work on it perhaps.
When we use puppets, we not only need to think about why we are using them but also the medium in which puppetry exists in. Using a puppet to play a character, especially if it is a marionette and if there is live acting, gives the sense of being controlled by something out there. Some entity is manifesting it. That is if you want to look at the form. Another way we can use puppetry in this piece is to perhaps allow our actors to really look back on what they had done. This is especially so for Mui Choo when she looks back at her drowning. It is no longer in her control but she is still watching it. The stories of "Adam and Eve" could also be represented in the form of puppetry as it is a story that does not really happen in real life. Once again, the characters are watching it. Perhaps even baby and death could be the puppeteers and control their story, signifying how only death and the truly innocent can treasure life and take control of it. (off the top of my head)
I think we need a think thank session to really ask ourselves what we FEEL about the play and not keep analyzing it. This is so that we can bounce off more ideas for set design. Where have we seen these events happening in the world today? Regret etc. Are there Icons we could use? Well known Icons and Logos even that could help us.
Perhaps we could use a clock somewhere to show the relativity of time. Perhaps our set could be based around clocks. Some move forward, some backward. Some are forced backward by the characters to signify their regret whereas some are moved forward to signify frustration in how slow it moves. We could have characters on clocks and characters wearing clocks.
Remember I said earlier about how what is in the text may not actually be physically what it is. What I thought the original set designer was going for was to show how shitty life could be and his focus was Sarah's line about us being shit making machines. However, that is not our focus. Why are we using toilets? How does it help us bring out what we want the audience to get? We want to show regret and maybe hunger for what we once had or for what we want to have. So... yea I don't quite agree with the toilet. Just a vote and no hard feelings I hope.
Monday, December 28, 2009
pg 41- 45
I'm posting the script here, cause i've no internet. Sorry. Steph, please copy down to microsoft word. thanks!
Mui Choo_(Dramatic, frustrated sigh) You see ah, when man and woman come together, sometimes they make baby.
Baby_ How?
Mui Choo_(Groping for words, ideas) Out... of... FOOD. Yes! They eat the food, and then the Mummy make the baby inside her stomach.
Baby_ How?
Mui Choo_ I no know. The Mummy no know. Only the stomach know, but lucky for baby, the stomach very good at making baby. The stomach know how to make rice into hand, chicken into leg, kailan into head!
Baby_ Wow, clever stomach!
Mui Choo_ After a long time, baby come out. Baby come out very beautiful. Baby can become man. Or woman, and make more baby.
Baby_ What does Daddy do?
Mui Choo_(Silent for a while) Daddy gives Mummy the first part of the baby.
Baby_ How? Mummy eats Daddy?
Mui Choo_ Only a very small part of Daddy. Daddy like Mummy eat him. Mummy like eat Daddy.
Baby_(Smiling) So everyone's happy!
Mui Choo_ No. Sometimes Mummy and Daddy don't want to make baby.
Baby_ Oh.(Looks down at her feet) Like my Mummy?
Mui Choo_(Maybe like your Mummy.
Baby_ So Mummy takes the baby out of her stomach.
Mui Choo_Yah.
Baby_ And the baby's too small to live outside the Mummy. So the baby dies.
Mui Choo_Yah. (Looks at feet)
Baby_ Didn't Mummy like me?
Mui Choo_It hurts to be Mummy.
Baby_ Like she's hungry?
Mui Choo_No. Like very full. Too full. She live with two life in one body.
Baby_ Mamma?
Mui Choo_Yah?
Baby_ Did you take your baby out of your stomach?
Mui Choo_No. I love you, baby.
Baby_ I love you too, Mamma. (Pause) It's so hard to remember what it was like inside my Mummy. It was so dark, but i wasn't scared, because I always thought she loved me.
Mui Choo_She love you, baby. She make mistake only.
Baby_ (Pause) Mamma? Isn't this place strange? Sarah told me this is the Biology Lab. People come here to study life. But everything in this room is dead.
Scene 7 NNGGGYUHUHUUUUHHHH
Mug_ Remember remember time ticks tocks slowly quickly away from me?
Death_ Hello Mug. You remember me?
Mug_ Very hard to forget every wheresome whoso what. I don't know. Am I dead yet?
Death_ No.
Mug_ I remember what it was like in the old days temples high as the moon the moon the stars in my face people seeking to find. Mind and me, see.
Death_ The Sri Vijaya Empire. You were a God of wisdom. Remember? It was beautiful. But it's over.
Mug_ Remember, remember beastbroken shards of unity, other greater, big God from West and crumble. Wisdom, wisdom, wisdom. What happened?
Death_ You were only an idea, Mug. People only used you as long as they needed you. People don't treasure wisdom as much as they used to.
Mug_ Lavish distaste distaste food of the gods great bulls of steaming sacrifice suffice oh flesh propitiate me.
Death_ It's over. There's a new God now.
Mug_ Need me deed me decreed died over, years and years half forgotten across the god-gluppy sea. Am here, am now, only exam hall hymns hosanna. Who?
Death_ Only the students before the examinations. No one else prays. And they don't know who they're praying to.
Mug_ Who? Who?
Death_ It's time to go.
Mug_ Nono peoplestill peoplestill peolestill. Needmeneedme, am. Hungry. (Begins to wail) Amen.
Death_ Time come time.
Mug_ (Bear wail, squealing through his sinuses) Nggyuuuuhhh!!
Death_ Tiimmmeee. (Wails as well)
Mug_ Chckchckchck!
Death_ Nnggggyuhuhuuuuuuuhhh!
(The words dissolve into a fight, in which both make bear-like, groaning sounds and try to push the other away. Death suddenly disappears, leaving God behind.)
Mug_ 5,4,3,2, pens down.
Scene 8 Very Special Apples (The toilet. Sarah is giving Baby tuition.)
Baby_ 1,2,3,4,5,6,7,8,9,10
Sarah_ Very good. SO what is one and one?
Baby_ Two.
Sarah_ Good.
Baby_ Why?
Sarah_ Sorry?
Baby_ Why?
Sarah_ Okay, if you put one apple and one apple together, you get two apples.
Baby_ What's an apple? Wait... it's the thing that begins with A. But why do you get two apples?
Sarah_ Because one and one are two.
Baby_ But that's what I'm asking about.
Sarah_ Which part don't you understand?
Baby_ Can one and one be three?
Sarah_ No.
-afiqah
Mui Choo_(Dramatic, frustrated sigh) You see ah, when man and woman come together, sometimes they make baby.
Baby_ How?
Mui Choo_(Groping for words, ideas) Out... of... FOOD. Yes! They eat the food, and then the Mummy make the baby inside her stomach.
Baby_ How?
Mui Choo_ I no know. The Mummy no know. Only the stomach know, but lucky for baby, the stomach very good at making baby. The stomach know how to make rice into hand, chicken into leg, kailan into head!
Baby_ Wow, clever stomach!
Mui Choo_ After a long time, baby come out. Baby come out very beautiful. Baby can become man. Or woman, and make more baby.
Baby_ What does Daddy do?
Mui Choo_(Silent for a while) Daddy gives Mummy the first part of the baby.
Baby_ How? Mummy eats Daddy?
Mui Choo_ Only a very small part of Daddy. Daddy like Mummy eat him. Mummy like eat Daddy.
Baby_(Smiling) So everyone's happy!
Mui Choo_ No. Sometimes Mummy and Daddy don't want to make baby.
Baby_ Oh.(Looks down at her feet) Like my Mummy?
Mui Choo_(Maybe like your Mummy.
Baby_ So Mummy takes the baby out of her stomach.
Mui Choo_Yah.
Baby_ And the baby's too small to live outside the Mummy. So the baby dies.
Mui Choo_Yah. (Looks at feet)
Baby_ Didn't Mummy like me?
Mui Choo_It hurts to be Mummy.
Baby_ Like she's hungry?
Mui Choo_No. Like very full. Too full. She live with two life in one body.
Baby_ Mamma?
Mui Choo_Yah?
Baby_ Did you take your baby out of your stomach?
Mui Choo_No. I love you, baby.
Baby_ I love you too, Mamma. (Pause) It's so hard to remember what it was like inside my Mummy. It was so dark, but i wasn't scared, because I always thought she loved me.
Mui Choo_She love you, baby. She make mistake only.
Baby_ (Pause) Mamma? Isn't this place strange? Sarah told me this is the Biology Lab. People come here to study life. But everything in this room is dead.
Scene 7 NNGGGYUHUHUUUUHHHH
Mug_ Remember remember time ticks tocks slowly quickly away from me?
Death_ Hello Mug. You remember me?
Mug_ Very hard to forget every wheresome whoso what. I don't know. Am I dead yet?
Death_ No.
Mug_ I remember what it was like in the old days temples high as the moon the moon the stars in my face people seeking to find. Mind and me, see.
Death_ The Sri Vijaya Empire. You were a God of wisdom. Remember? It was beautiful. But it's over.
Mug_ Remember, remember beastbroken shards of unity, other greater, big God from West and crumble. Wisdom, wisdom, wisdom. What happened?
Death_ You were only an idea, Mug. People only used you as long as they needed you. People don't treasure wisdom as much as they used to.
Mug_ Lavish distaste distaste food of the gods great bulls of steaming sacrifice suffice oh flesh propitiate me.
Death_ It's over. There's a new God now.
Mug_ Need me deed me decreed died over, years and years half forgotten across the god-gluppy sea. Am here, am now, only exam hall hymns hosanna. Who?
Death_ Only the students before the examinations. No one else prays. And they don't know who they're praying to.
Mug_ Who? Who?
Death_ It's time to go.
Mug_ Nono peoplestill peoplestill peolestill. Needmeneedme, am. Hungry. (Begins to wail) Amen.
Death_ Time come time.
Mug_ (Bear wail, squealing through his sinuses) Nggyuuuuhhh!!
Death_ Tiimmmeee. (Wails as well)
Mug_ Chckchckchck!
Death_ Nnggggyuhuhuuuuuuuhhh!
(The words dissolve into a fight, in which both make bear-like, groaning sounds and try to push the other away. Death suddenly disappears, leaving God behind.)
Mug_ 5,4,3,2, pens down.
Scene 8 Very Special Apples (The toilet. Sarah is giving Baby tuition.)
Baby_ 1,2,3,4,5,6,7,8,9,10
Sarah_ Very good. SO what is one and one?
Baby_ Two.
Sarah_ Good.
Baby_ Why?
Sarah_ Sorry?
Baby_ Why?
Sarah_ Okay, if you put one apple and one apple together, you get two apples.
Baby_ What's an apple? Wait... it's the thing that begins with A. But why do you get two apples?
Sarah_ Because one and one are two.
Baby_ But that's what I'm asking about.
Sarah_ Which part don't you understand?
Baby_ Can one and one be three?
Sarah_ No.
-afiqah
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