When their mother died, she was wearing two socks. Abigail processes this to mean that wearing two socks makes one's risk of a heart attack increase.- house. Cold. 2 sisters.
- memories, but times have changed.
- Malorie (French for bad luck) – outside sister.
- Abigail – shut-in
- Mollie (mother)
- Abigail plays house. Continues about menial daily tasks but in a childish way – plays games.
- Abigail – she must stay there. Malorie helps sustain her sister.
- “temptation of Adam”
- event happens (everyone knows what they did on that day) – Abigail runs out, gets a bunch of food/supplies, holes up in house.
- coincides with personal event. (Hurricane Katrina – keeps moving up floors).
- Malorie and Mother – good mother, something went wrong, became bad mother (Abigail to young to remember anything but the good).
Malorie:
Abigail was always’s Mom’s favorite. I think everyone knew except Abigail. I think its because Abigail only saw the best in people, same as my Mother. They only saw the best in themselves, too. My mother saw herself as a strong single parent, as a warrior, protector, provider. She was Rosie the Riveter and Martha Stewart and Elizabeth Taylor, all balled into one. She tactfully ignored her growing mound of bills and debt and dirty dishes.
When I was younger I only saw the best in her as well. But as I got older I started noticing the bills and debt and dirty dishes. I couldn’t believe in her fairy tale anymore. So I think she couldn’t believe in me. I moved out to go to college, and I never moved back. When I was on my own, I started sending money back to her and my sister. I loved and hated myself for doing it. I loved being able to keep the fairy tale together for my mom, to keep the bills, debt, and dirty dishes at bay. I hated that I was allowing her to live in someplace far away from reality.
Abigail grew up to be just like her. As more time wore on, my mother left our house less and less. She grew to prefer her imagined world to the real one. She kept herself busy with menial tasks all day, to give the appearance of normality. To give the appearance of togetherness. She sent Abigail out to do anything and everything that would require passing our front gate.
What if she finishes all her chores??? Will she know when its done?
I Want to Hold your Hand - Glee Cast:
Oh, please, say to me
You'll let me be your man
and please, say to me
You'll let me hold your hand
Today Has Been Okay - Emiliana Torrini:
Friends tell me it's spring
My window show the same
Without you here the seasons pass me by
I know you were not new
That loved like me and you
All the same I miss you
Today has been ok
The sky looks pissed
The wind talks back
My bones are shifting in my skin
And you my love are gone
My room seems wrong
The bed won't fit
I cannot seem to operate
And you my love are gone
So glide away on soapy heels
And promise not to promise anymore
And if you come around again
Then I will take, then I will take the chain from off the door
I'll never say I'll never love
But I don't say a lot of things
And you my love are gone
A House is Not a Home - Glee Cast:
A chair is still a chair
Even when there's no one sitting there.
But a chair is not a house
And a house is not a home
When there's no one there to hold you tight
And no one there you can kiss goodnight.
How my days they spin me 'round
And how today it sets me down
And how my days they spin me 'round
And how today it sets me down
Along side you
"Why are you so cold?"8:30-10:00pm
- Check In’s.
- Stretches/rolling down the spine.
- Mill & Seethe – Magnet focus.
- Structured Improvisation (given specific characterization and circumstances, create roles).
- Overview of last rehearsal – Fill Jeamir in on last week’s work.
- Rework “Dress Sock”. Read story, let actors go off and work on their own performance piece.
- Liz Lerman movement exercise (1,2,3)
- Kyle’s exercise (from last Friday’s class)
o Discussion of themes that have been threaded throughout the evening.
- Set Goals for next rehearsal
- Check out.
Phase I: Setting Dynamics – we will use this phase to begin experimenting with forms of performance and setting individual dynamics between actors/movers. We will also use this time to get to know one another, how we work, and what we like to do onstage.
9/23 - 7-10
9/25 - 1-4
9/28 - 7:30-9:30
10/2 - 1-4
10/5 – 7.30-10
Phase II: Formation of an Arc – this phase will be dedicated to taking our pre-existing improvisational work and finding a story to portray for the final performance. We will be recounting our past work and looking for common motifs throughout – what did we keep coming back to, to work with? October 12th’s rehearsal will mark our major discussion about where our story will go.
10/12 – 1:30-4
10/16 - 1-4
10/20 – 6-9
10/23 - 1-4
10/27 - 6-10
10/30 - 1-3
Phase III: Edits and Explorations – with a set story, we will now go back into our phase I and II work and re-pull out motifs we first recognized – are they still present in the piece? Do we want them to be? This will be the phase in which we finally settle into a final piece, but take this time to add in final important details and changes.
11/1 – 6-8:30
11/3 - 6-10
11/6 - 1-4
11/8 - 4-6
11/10 - 5-7
11/13 - 1-5
11/15 - 5:30-9
Phase IV: Polishing the Piece – during this final phase we will be tweaking our existing piece/script/choreography. We may further clarify character behavior and transitions as well. Actors/movers: take this as an opportunity to add depth to your existing character – use this time as further exploration.
11/17 - 4-10
11/20 - 12-4
11/21 - 6-8
11/29 - 6-10
11/30 - 7:30-10
12/1 - 4-10
12/4 - 2-6
12/5 - 12:30-6:30
12/6 - 7-11 12/7 - 6:30-11 (Tech)
12/8 - 6:30-11 (Tech)
12/9 - 6:30-11 (Tech)
12/10 - 6-10 (Performance)
12/11 - 6/10 (Performance)
Directorial Approach: I am a director that truly likes to work collaboratively – as long as the word “collaboration” is defined by the entire production team before the process begins. I say this because, oftentimes, theater makers consider and use the word “collaborate” meaning different things, which in turn, creates problems down the road when someone’s idea is vetoed. When I use “collaborate”, I mean to say “creating a space where everyone’s ideas are given and considered, with final decisions (all of which are made in service to the performance piece) being made by a individual (in this case, me, the director).”
