This week a giant leap was taken in the world of the MILL. After completing the "what" storyboards on Monday evening, Tuesday evening's plan was to meet a hopeful cellist to perform in the show. All along I have known that the instrument that most naturally and fully captures the essence of the show is the cello. All my life the cello has appeared and reappeared in different ways. Each time, that instrument speaks to me more than any other. The sounds it creates are so varied, the shape of the cello is so feminine and delicate, the movement around the cello is so connected and erotic, the music it plays triggers in me an awoken sensation of bliss.
So I met Ali. And she looks like a Maggie. And she loves to experiment with her instrument. She is not precious about the instrument. The meeting was exciting and she and her cello will now be a part of this production. WE discussed the various roles that the cellist/cello will play. Without having a sound designer yet, it is a little more challenging to decide WHEN it plays. But, as with everything in directing, I must begin with the WHAT. We are scheduling a meeting with Ali, the props coordinator, the scenic and costume designers for early next week. She is busy reading the play. In the meeting with designers we will address her needs in order to play well and comfortably. We will get her measurements and discuss the different ideas of how/where she might be playing. Since the stage is arena, there is no actual corner for her to stay in. Putting her in one spot outside the audience is okay, but it will mean a very different aural experience for the audience. Plus, if she is outside the playing space, her character is an observer or manipulator-- we give her tremendous power-- which may not be the story I am hoping to tell. We are going to discuss making it possible for her to move and play-- actually walk and play. I have seen this done once and it is not easy. But it's a way to begin the discussion.
WHO is the character of the cellist? What role does she play? I have been around the block with these questions. I know that she is NOT a fourth Maggie-- there are only three. I know that she is not all-powerful The two ideas that resonate most are 1) she is Maggie's fetish. A doll that Maggie has given life to and comes alive and maggie's most heightened moments OR 2) (and this is my favorite) she is the WITCH at the beginning that Maggie idolizes and makes come to life. This connection to the witch is so important throughout the story. Since Ali is willing to do anything on or off-stage, this could work out beautifully. If Mag idealizes the witch, she pities and admires those less fortunate- then it means that she WANTS to be a witch. She wants to sacrifice herself as a scapegoat. Her whole life is building toward that realization. She may not fit into this world but she would fit in with the witches. She could belong. It's not so unlike people today who obsess over various cults-- goths, vamps etc... this is Maggie's obsession.
So now, I wait to meet with Ali again. I have my first meeting with Natalie (dialect coach) today so that the actors may begin working with her on Monday. I have design meetings for a few hours on Fri/Sat. And then Sunday is the actor trip to the mill. I hope the weather warms up a bit!
Thursday, October 2, 2008
Monday, September 29, 2008
THE "What Phase" hitting the ceiling!
My advisor Mladen, defines for his students a clear path towards directing a play. he teaches us (his students) have a clearunderstanding of the difference between the "what" and the "how" in a production. Tonight, my designers and dramaturges will gather at my home. We'll eat some apples and honey to celebrate the Jewish New Year, we'll toast with fresh apple cider my 30th Birthday, and we will finish story-boarding the play along the four walls (and maybe leaking into the hall) of my studio apartment. I go to sleep at night and usually I put my finger on a page of the novel, or grab my MAC and push play on my ITUNES audiobook of the MILL and story myself to sleep. This story is no longer just in my head though. I can choose any image on my walls and I know that that rough sketch is a mere slice of probably 30 moments that will be created. These are the outlines of the world. These are the WHAT of the play. Tonight, we will reach scene 36. Appropriately, 36 is the number for life in Hebrew. So, not that I am religious by any stretch of the imagination, but there is a feeling of completion. Also, 36 is divisible by three. 360 degrees creates a circle, out play is a circle. It all keeps confirming that we are moving in not just the right direction, but united and creatively attached to the story-telling.
The next step will be to look at what is the MOVING thing in scene that was not there before and will not be in the next scene. Every new scene is a new step in the ladder. Each "step" is a "what." HOW do we express that "step 3" is higher than "2" but lower than "4"? The character is the measurement. Follow that bird! How will the new scene bring new sensations to the audience that we are moving up.
There are five changing elements for each scene: Lights, Sound, Blocking, Scenic and Text. These are the possibilities for change. We use these tool to keep in mind the changing elements of the story. Sometimes, one element will shift. In a BIG change, perhaps ALL of the elements will shift. Remembering that sometimes a simple line is enough is important.
All five senses are constantly changing in life. We are always adjusting to new and unique things. As artists, and in this play, we must find the changing element. We are always "looking for the chain of surprising moments." With this play, keeping in mind that we are building to the BIGGEST change (FLOOD) is a great way to remember how high the ladder reaches.
How do we do this work? The model doesn't lie. WE go into the box and start storyboarding again. This time, we focus on the changing elements. For example, the changing of Maggies is a major crossroad that happens twice in the play. As if we have taken many turns on the journey but now it's a new highway we're on altogether. How do we express this major crossroad, but make sure that the expression comes from "the same opera."
TIME PASSED.
The story-boarding of WHAT is complete. The meeting tonight was hugely productive. My ceiling is now covered by the flood. After we completed the story-boarding, it was clear just by looking at the progression of images toward the end of the play, how the "heart-rate monitor" is in overdrive as the play reaches its climax. It's amazing how high maggie's highs get so that her lows can be rock bottom. And it brought a new understanding to her moments in the flood. In that final scene alone, we have 12 images.
After we completed, (and ate apple pie), Michele spoke with us about his latest research on ritual. Not quite sure how this research will directly influence the story-telling, but still very interesting. The play itself is filled with rituals: tea-time, births of Maggies, going off to school, death of a parent, greetings, dressing and undressing, the ball etc... sometimes they are followed precisely, other times they are not observed and the absence of ritual is the crime. Some are simply implied. The most striking one, of course, is the birth of the new Maggies. This is interesting because while I call it a birth, it's also a splitting of self. How we finally interpret this choice will determine how the 3 interact and how the actual moment of a new Mag appearing is designed. With birth, rituals often involve water (a major theme) and it is also said that once we are born we spend our life trying to return to the womb (death). If this is true for Mag, then the attic/mill is the womb that fills with water at the end of the play and she does actually return.
Things that get ritualized are often associated with danger. In the birthing rituals, giving a new mother time for healing, keeping areas very clean, revering the one who was in danger are all common forms in ritual. Often there is a distinction between what is polluted and what is clean in rituals.
Continuing with the birthing metaphor, we can call Mag 1 the first MOTHER, Mag 2= her child, then Mag 2= Mother when Mag 3= enters the world as her child. This is difficult to adapt into the story because that would make the child the Crone.
We open up the conversation for questions form the designers to the dramaturges and the first question raised was regarding the Freudian interpretations of the Maggies. In this version, we say that all Mags are versions of the ONE. (has a bit of a Christian trilogy motif, I know). In Freud terms, 1st Mag is the ID= Impulsive, affectionate, forgetful, a slave to instinct. 2nd Mag is the SUPEREGO, representing restraint, and the 3rd Mag is the ego, trying to balance the two. The major failing of maggie in psychological terms is the inability to integrate these split selves.
Another question Michele brought up is when something is born, what exactly is born? When is it defined. And who defines it? He researched LACAN because of the original productions use of mirrors when a new Mag is revealed. This psychologist was much darker than Freud. He didn't believe in therapy, insisting that the subconscious can never be accessed. His huge theory is based around the idea that when a baby looks in the mirror and recognizes itself, that is when the development of self-concept begins. But one can never actually be whole. He believes that it is foolish to try to be whole as it is impossible to access the subconscious self.
Finally, we moved on to allow the designers to show the dramaturges their research images. As it was getting late, our conversation stayed brief. It felt great to see the work put out for all to see as a group.
Today I meet with a cellist. Today Brian and I meet with Narelle to discuss redesign (as out budget is 6 times over). It's time to get cracking with more detailed Lighting discussions. Mallory and I need to meet with Narelle to discuss costume progress and budget considerations (we are also over budget in that department too!). I now have weekly meetings with Mladen and Jed scheduled. And the big actor trip to the MILL is this Sunday. Woo-hoo!
The next step will be to look at what is the MOVING thing in scene that was not there before and will not be in the next scene. Every new scene is a new step in the ladder. Each "step" is a "what." HOW do we express that "step 3" is higher than "2" but lower than "4"? The character is the measurement. Follow that bird! How will the new scene bring new sensations to the audience that we are moving up.
There are five changing elements for each scene: Lights, Sound, Blocking, Scenic and Text. These are the possibilities for change. We use these tool to keep in mind the changing elements of the story. Sometimes, one element will shift. In a BIG change, perhaps ALL of the elements will shift. Remembering that sometimes a simple line is enough is important.
All five senses are constantly changing in life. We are always adjusting to new and unique things. As artists, and in this play, we must find the changing element. We are always "looking for the chain of surprising moments." With this play, keeping in mind that we are building to the BIGGEST change (FLOOD) is a great way to remember how high the ladder reaches.
How do we do this work? The model doesn't lie. WE go into the box and start storyboarding again. This time, we focus on the changing elements. For example, the changing of Maggies is a major crossroad that happens twice in the play. As if we have taken many turns on the journey but now it's a new highway we're on altogether. How do we express this major crossroad, but make sure that the expression comes from "the same opera."
TIME PASSED.
The story-boarding of WHAT is complete. The meeting tonight was hugely productive. My ceiling is now covered by the flood. After we completed the story-boarding, it was clear just by looking at the progression of images toward the end of the play, how the "heart-rate monitor" is in overdrive as the play reaches its climax. It's amazing how high maggie's highs get so that her lows can be rock bottom. And it brought a new understanding to her moments in the flood. In that final scene alone, we have 12 images.
After we completed, (and ate apple pie), Michele spoke with us about his latest research on ritual. Not quite sure how this research will directly influence the story-telling, but still very interesting. The play itself is filled with rituals: tea-time, births of Maggies, going off to school, death of a parent, greetings, dressing and undressing, the ball etc... sometimes they are followed precisely, other times they are not observed and the absence of ritual is the crime. Some are simply implied. The most striking one, of course, is the birth of the new Maggies. This is interesting because while I call it a birth, it's also a splitting of self. How we finally interpret this choice will determine how the 3 interact and how the actual moment of a new Mag appearing is designed. With birth, rituals often involve water (a major theme) and it is also said that once we are born we spend our life trying to return to the womb (death). If this is true for Mag, then the attic/mill is the womb that fills with water at the end of the play and she does actually return.
Things that get ritualized are often associated with danger. In the birthing rituals, giving a new mother time for healing, keeping areas very clean, revering the one who was in danger are all common forms in ritual. Often there is a distinction between what is polluted and what is clean in rituals.
Continuing with the birthing metaphor, we can call Mag 1 the first MOTHER, Mag 2= her child, then Mag 2= Mother when Mag 3= enters the world as her child. This is difficult to adapt into the story because that would make the child the Crone.
We open up the conversation for questions form the designers to the dramaturges and the first question raised was regarding the Freudian interpretations of the Maggies. In this version, we say that all Mags are versions of the ONE. (has a bit of a Christian trilogy motif, I know). In Freud terms, 1st Mag is the ID= Impulsive, affectionate, forgetful, a slave to instinct. 2nd Mag is the SUPEREGO, representing restraint, and the 3rd Mag is the ego, trying to balance the two. The major failing of maggie in psychological terms is the inability to integrate these split selves.
Another question Michele brought up is when something is born, what exactly is born? When is it defined. And who defines it? He researched LACAN because of the original productions use of mirrors when a new Mag is revealed. This psychologist was much darker than Freud. He didn't believe in therapy, insisting that the subconscious can never be accessed. His huge theory is based around the idea that when a baby looks in the mirror and recognizes itself, that is when the development of self-concept begins. But one can never actually be whole. He believes that it is foolish to try to be whole as it is impossible to access the subconscious self.
Finally, we moved on to allow the designers to show the dramaturges their research images. As it was getting late, our conversation stayed brief. It felt great to see the work put out for all to see as a group.
Today I meet with a cellist. Today Brian and I meet with Narelle to discuss redesign (as out budget is 6 times over). It's time to get cracking with more detailed Lighting discussions. Mallory and I need to meet with Narelle to discuss costume progress and budget considerations (we are also over budget in that department too!). I now have weekly meetings with Mladen and Jed scheduled. And the big actor trip to the MILL is this Sunday. Woo-hoo!
Subscribe to:
Posts (Atom)
A gift from Maggie One
Through the eyes of a nine-year-old
Images of the Maggie's world
