I have been really busy the last couple weeks with the PPP and other homework. This blog entry will different from my other posts because it has three main goals: reflect on the PPP and Mother Courage Project and begin work on the RI.
Reflection on PPP
I really liked my idea and the stimulus I worked with and I found it really cool to be able to make up an entire piece, although it was difficult. I kind of surprised myself by picking a very dark topic, but I was pleased that it had a deep meaning and purpose. I also like how I had a new style of theatre, and that I found a new use for Shadow Theatre. Although I did leave most of the work till the last minute, which meant that I was unable to address some key topics such as music and acting style, and add as many drawings and annotations as I wanted.
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| This quote by Dr. Seuss almost summarizes how I feel about my PPP, except the words "cry" and "smile" should be switched. |
Things to Improve on my PPP's
- I need to allow/make more time for it, I came up with a good idea but I wasn't able to do as much work on it was I wanted
- I want to add more pictures, drawings, explanations, and annotations
Mother Courage Design Project Final Results
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| Bird's Eye view |
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Front view of the set
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| Balcony and Cannon |
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| Cart |
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| Cannon and Washing Line |
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| Flagpole and Stairs |
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| Orchestra |
Paragraph for Mother Courage Design Project
The background of this design is gray because of
the depression that war dredges up around it. This background will only be
visible during the scene when peace is declared. The grey background will have
projections of rubble on it and smoke will permeate the air on-stage and in the
audience. This shows the utter destruction of war and the seemingly impossible
task of cleaning up, and attempts to explain, not justify, the aversion some
have to peace. During the other scenes the stage will be dark. The atmosphere
of the war will be achieved by having projections of a laser show projected
onto a black background. This shows the confusion of war and its darkness but
also its indescribable lure and mystification of those previously unconcerned
bystanders around it. Key quotes and morals of the scenes will be projected on
these walls as well. The silver balcony that hangs over the stage is the
offstage area. This puts them in view of the audience at all times, as well as
showing that they cannot completely leave the world that is presented on the
stage. The metal of the balcony and stairs show the tie between the characters
and the military. The cannon is the largest symbol of the military. Its
size and position shows its power and prestige, as well as the mass of the
military that few dare to question. Mother Courage’s cart
is made out of crooked sticks of all sizes into a simple box-shaped
structure, held together by chains. The bundles inside the cart represent
Mother Courage’s goods, her livelihood, the chains hold on to it. They are
wrapped around the cart. This shows how Mother Courage is tied to her cart. She
is imprisoned by the cart and depends on it, a form of Stockholm syndrome.
There are a few props chained to the outside of the cart, red boots, pipe, clerical robes, and
money box,
they represent the people that depend on Mother Courage that she depends on,
Kattrin, Swiss Cheese, the Chaplain, and the Cook. When they leave Mother
Courage, their props will be removed from the cart until it is bare. The boots are very tall with high
heels, bright red and covered in sparkles, making them very unpractical. They
represent how Kattrin and Yvette are both impractical for the time but manage
to survive in the war despite their weaknesses. They are memorable in different
ways. The pipe
is made out of silver metal, showing how the Cook is tied to the military. It
is shaped like a coiled hissing snake to show the wiliness of the Cook who ends
up being Yvette’s ex and who attempts to abandon Kattrin. The pipe is tarnished
and old because the Cook is old and broken down. He is tired of the war and the
life it gives. The clerical robes represent
the Chaplain. He in turn represents the religion of war, propaganda to get the
soldiers to fight. They become moth holed from neglect, showing how propaganda
does not last. The washing line is
attached to the cannon and to the cart, illustrating the link between Mother Courage
and the war machine, a simple everyday link, dependency. Mother Courage relies
on war to feed and clothe her and her children. She does not know how to
operate without it. The flag pole is
bright silver to show its connection with the army and to make it stand out in
the environment of darkness as a beacon, the power of theleaders. The flag,
a pirate flag, shows the ruthless selfishness that is driving them. The
military is run by those who want plunder, adventure, and power, and steal them
from others. The chairs and music stand show where the orchestra will be.
Reflection on Mother Courage Design Project
I had fun with this project, and I think that my lack of artistic talent managed to hide for the duration, because it actually looks good. I also think that I had a very simple and clear, but strong performance concept. It was, "the military leaders are using war for their own gain, and the people have adapted to survive it and have learned to embrace it as the norm." I enjoyed it more than the PPP, because it was more structured and focused. This project had a specific part of the design process to focus on, set design, and was focused on Mother Courage. This gave a very specific starting point which helped to control ideas as opposed to making up the play and being able to change it to fit new ideas. The fact that it focused on set design made it easier to concentrate, as opposed to having many aspects to consider and having to cover all of them. In this project I learned that it can be difficult to make a practical set design that also communicates the appropriate message. I also learned that it can be difficult to focus only on the set. I had to consider some aspects of lighting and projection to make my design work correctly. One thing that I would change would be that I would have been more exact with my sizing because I ended up with rather large set pieces that were difficult to fit on the stage together. Another thing that did not go as I wanted was my orchestra. I wanted to make some chairs and music stands from toothpicks and hot glue, but they did not stand up well although they look pretty good, if they would stay standing. I would spend more time designing and making something to symbolize this aspect, because even though I liked how the chairs looked, they were not very close to what I wanted them to look like if I really did the play. I would also want to put some instruments in this section of the stage.
RI Research
Mr. Fearnehough has instructed us to begin brainstorming on our RI's. I need to select a theatre practice and learn about its conventions. I am thinking about doing an older type of theatre, possibly meant to entertain, because I want a light hearted topic and I would also like to learn about historical, formative types of theatre. I am considering Greek tragedy, Asian theatre of some type, or Native American theatre. I am interested in Native American theatre because of my American roots and because I have Native American ancestors and I don't know very much about their culture. I think that Greek tragedy will be easier to research because it was a more sophisticated format, it is more standardized and more widely researched and known. There are also several famous plays that I could use.
Conventions of Greek Tragedy
- Themes like morality and religiosity
- Split into three parts: prologue, parados, and exodus.
- Character's spoke in iambic pentameter (unstressed, stressed syllables)
- Story is meant to spark a reaction in the audience
- Stories were of fantastical places involving the Greek gods and other elements of Greek mythology
- Based on the hymns that were sung in honor of Dionysus
- Chorus, men or boys singing or chanting the words of a poem or song
- The hero suffers a serious misfortune through no fault of his own (not accidental)
- Used masks that originated from the worship of Dionysus
- Plays often formed trilogies
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