I don't often get to say this, but today has been a really good day. It starts with the simple things - the sun is shining, I have some cash, and I have an appointment but I am all prepared. If nothing happens to derail any of these things, then it will be a rare and wonderful day indeed!
How lucky have I been? Really lucky! The sun is still shining, I was able to indulge in a nice lunch in a cafe and buy a diary for next year, and my appointment went as planned. I also got contacted by my work, ran a little errand for them and have been given some extra hours on Saturday. Winner!
Here is the very, very important bit though. Today I had an appointment to meet with Mary Lou at Fortyfive Downstairs about a future for 'Death Poll'. We had the most amazing discussion and she was so supportive. She has proposed that I finish my final draft of the script (taking in all the revisions I want to do since the Fringe season) and then do a public reading of the finished script in February. At that point we can look at it and make a decision about where to go with it next.
I feel so lucky! And excited! Mary Lou also gave me some practical advice which is really wonderful and she understands the timing issues and how they work in with current political events. The general consensis is that I do need to get a director though, and I do agree. It is time for me to start stepping back and letting my little chick use it's own wings to fly. Fly, be free!
Thursday 22 November 2012
Sunday 18 November 2012
The Next Step
Aaah, it's been a while again. I really didn't get how much that Fringe season took out of me, and then of course, I had to think about what happens next. I have a plan of action now, though, and it could end up being a realy exciting 2013 if I let it be.
The big news most immediately on the horizon is that I was contacted by Mary Lou at 45 Downstairs and we are meeting next week to beging discussing the possibility of presenting Death Poll there next year. Their season schedule is nearly full, but I am happy to see what we might be able to manage. I haven't heard back from Arts Vic about my funding application, so until they really say no, I am going to assume there is a possibility of some money from them. Obviously this is never going to be the full production I dream of because I can't figure out how I can arrange the money I would need to properly pay everyone, but it is a strong work and doesn't need a lot of bells and whistles, just a lot of good intention!
I have also applied to do the Masters in Writing for Performance at VCA next year. This could work in well as I could use the course to dramaturg the play and it may actually count towards my assessment. I am going to give it that good old college try anyway ;)
The big news most immediately on the horizon is that I was contacted by Mary Lou at 45 Downstairs and we are meeting next week to beging discussing the possibility of presenting Death Poll there next year. Their season schedule is nearly full, but I am happy to see what we might be able to manage. I haven't heard back from Arts Vic about my funding application, so until they really say no, I am going to assume there is a possibility of some money from them. Obviously this is never going to be the full production I dream of because I can't figure out how I can arrange the money I would need to properly pay everyone, but it is a strong work and doesn't need a lot of bells and whistles, just a lot of good intention!
I have also applied to do the Masters in Writing for Performance at VCA next year. This could work in well as I could use the course to dramaturg the play and it may actually count towards my assessment. I am going to give it that good old college try anyway ;)
Thursday 18 October 2012
Balls In The Air
The sun is shining and there is a sense of wellness and potential in the air. I know that is only the psychological effects of sunshine after so many months of cold and dreariness, but I am enjoying it anyway.
I have a whole bunch of deadlines happening at the same time again. Boring, but hopefully I will get better at managing them.
My first is an application for the Writing for Performance masters at the VCA. I didn't think this was going to be a major problem because I have three works in development, but looking at one of them I realised I actually have to do some pretty serious structural tidying up and some dialogue detail if I am going to submit it as part of my portfolio. That is my task this week. Yesterday I storyboarded the elements I had and tried to identify the main themes and then produce some cohesion. Today I am going to try and create some dialogue framework. The application is due in at the end of the month, so I have a bit of time, and I will only be presenting it as an idea in genesis, but I still need to work on it even in that context. I am going to trust that Othello: Death Poll is far enough along, and my other piece has good dialogue but the concurrent themes as such need to be identified. I am thinking at this point that is less of a writing task to be completed by application closing, and more of a conceptual thing for discussion at interview.
The other deadlines are Australia Council. I just discovered that their next New Works application deadline is Nov 5, so I need to get that together. This would be easy except that my previous presenting partner for this project was Revolt and as there is no way in hell I will ever go back there after the way they treated my for the Fringe. I have to find somewhere else. I am hoping to work with 45 Downstairs, Gasworks or Artshouse. I already have the EOI in with Artshouse, but this also means I have to hurry through discussions with the other two to give myself a chance.
There is also a Fellowship being offered by the Australia Council which I want to investigate as well, and that has the same closing date as the New Works application. Holy Guacamole!
Anyway, enough procrastinating. To work!
I have a whole bunch of deadlines happening at the same time again. Boring, but hopefully I will get better at managing them.
My first is an application for the Writing for Performance masters at the VCA. I didn't think this was going to be a major problem because I have three works in development, but looking at one of them I realised I actually have to do some pretty serious structural tidying up and some dialogue detail if I am going to submit it as part of my portfolio. That is my task this week. Yesterday I storyboarded the elements I had and tried to identify the main themes and then produce some cohesion. Today I am going to try and create some dialogue framework. The application is due in at the end of the month, so I have a bit of time, and I will only be presenting it as an idea in genesis, but I still need to work on it even in that context. I am going to trust that Othello: Death Poll is far enough along, and my other piece has good dialogue but the concurrent themes as such need to be identified. I am thinking at this point that is less of a writing task to be completed by application closing, and more of a conceptual thing for discussion at interview.
The other deadlines are Australia Council. I just discovered that their next New Works application deadline is Nov 5, so I need to get that together. This would be easy except that my previous presenting partner for this project was Revolt and as there is no way in hell I will ever go back there after the way they treated my for the Fringe. I have to find somewhere else. I am hoping to work with 45 Downstairs, Gasworks or Artshouse. I already have the EOI in with Artshouse, but this also means I have to hurry through discussions with the other two to give myself a chance.
There is also a Fellowship being offered by the Australia Council which I want to investigate as well, and that has the same closing date as the New Works application. Holy Guacamole!
Anyway, enough procrastinating. To work!
Saturday 13 October 2012
Moving Forward
Aaah, it feels like a life time! So here I am, on the other side of the process - battle weary and injured, but still alive and on the right side of making progress. That sounds very dramatic, but in the end the entire process was very dramatic. I think the only reason I have come through this strongly is that I never lost sight of my purpose and goals. There were many derailings and side trackings and complications and WTF moments, but in the end I just keep coming back to the fact that this process was an exploration - a research process.
So you can all see some of what came out of it by checking out the Othello: Death Poll page. It has great pics and videos and I am keeping the Facebook page so you can keep track of the progress from here by liking that :)
So what was the outcome you ask? Well, I got some really amazing and useful feedback, both from the audiences and from the actors (and what an amazing team the final cast ended up being!). I think the main thrust is that I can remove some of the analogous metaphors, I don't need to worry about explaining things in so much detail, and - most importantly - I can shift away from such slavish devotion to Othello and individualize the story.
I have taken a small break and rest because I got really sick (probably exhaustion), but now it is time to get back to work. Next week I will start mapping the script changes, and I need to think seriously about the music components of the show. I have decided to try and go original with that aspect this time, which will require help because I am not a musician. It is a very exciting challenge!
So you can all see some of what came out of it by checking out the Othello: Death Poll page. It has great pics and videos and I am keeping the Facebook page so you can keep track of the progress from here by liking that :)
So what was the outcome you ask? Well, I got some really amazing and useful feedback, both from the audiences and from the actors (and what an amazing team the final cast ended up being!). I think the main thrust is that I can remove some of the analogous metaphors, I don't need to worry about explaining things in so much detail, and - most importantly - I can shift away from such slavish devotion to Othello and individualize the story.
I have taken a small break and rest because I got really sick (probably exhaustion), but now it is time to get back to work. Next week I will start mapping the script changes, and I need to think seriously about the music components of the show. I have decided to try and go original with that aspect this time, which will require help because I am not a musician. It is a very exciting challenge!
Wednesday 5 September 2012
The Jigsaw Puzzle Reborn
It has been such an up and down, yet very exciting couple of weeks. The publicity is well underway. ChicksWorld on Channel 31 filmed a feature story on us and it will air this Friday night. That was exciting but also surprisingly exhausting. We performed 4 sections of the play a couple of times and then they interviewed each of us individually. It took about 2 hours, and I still had to work the rest of the afternoon so I was pretty wrecked that night! It was worth it though. I can't wait to see what the final edit and show looks like!
It is really hard to get the cast together this week, so we are not going to make a lot of progress with rehearsals. I am not too worried. We have some good foundations in place, and Sandy doesn't return from her holiday until next week, so there is only a limited amount we can do right now. I did have to recast our Bill Shorten suddenly about a week ago, so this will give James a chance to get familiar with the script which is a good thing.
My main focus this week will be organising invitations to the important people. I need to target the funding bodies and people who could help me get the show into full production next year. That is a bit tricky, because unlike publicity, where you just target everybody, I need to be selective and approach it in a much more personal fashion.
This process has also forced me to become much more conversant with digital editing tools. This is a good thing and good skills to have, but I have to admit it did put me under a bit of pressure. The E-Flyers and posters are done now though, so I can relax about some of this stuff. It has been a bit harder to manage the internet stuff, just because of tiredness and fatigue, which is why I haven't blogged for ages. Still, I really think with the publicity sorted things will settle, and I can focus on rehearsals, blogging, and just having fun!
It is really hard to get the cast together this week, so we are not going to make a lot of progress with rehearsals. I am not too worried. We have some good foundations in place, and Sandy doesn't return from her holiday until next week, so there is only a limited amount we can do right now. I did have to recast our Bill Shorten suddenly about a week ago, so this will give James a chance to get familiar with the script which is a good thing.
My main focus this week will be organising invitations to the important people. I need to target the funding bodies and people who could help me get the show into full production next year. That is a bit tricky, because unlike publicity, where you just target everybody, I need to be selective and approach it in a much more personal fashion.
This process has also forced me to become much more conversant with digital editing tools. This is a good thing and good skills to have, but I have to admit it did put me under a bit of pressure. The E-Flyers and posters are done now though, so I can relax about some of this stuff. It has been a bit harder to manage the internet stuff, just because of tiredness and fatigue, which is why I haven't blogged for ages. Still, I really think with the publicity sorted things will settle, and I can focus on rehearsals, blogging, and just having fun!
Friday 3 August 2012
Victory!
Today has worked out really well. I finally have the whole show cast. Yes, there will be some disappearances over the next weeks, but they are all coming back, so I am happy with that. It has been a real problem that I haven't been able to work with the chorus, and to be honest it is not a problem I expected to have. Life is like that though...
Another huge win today too - Odette, Jarryd and I choreographed the two fight scenes. It was a very funny process. I watched the Charlie's Angels movies and wrote down some cool moves from those fight scenes. In the rehearsal room I wrote them up on a blackboard and we just tried all of them out. Then we went step by step through the scenes in the script and figured out a couple of sequences. I already knew roughly how long they had to be by taking a time from the recorded reading the other day. They are absolutely hilarious, and it was kind of fun - if a bit odd - to begin a rehearsal process with something quite so structured, but as I keep saying...this is not a normal process :)
Another huge win today too - Odette, Jarryd and I choreographed the two fight scenes. It was a very funny process. I watched the Charlie's Angels movies and wrote down some cool moves from those fight scenes. In the rehearsal room I wrote them up on a blackboard and we just tried all of them out. Then we went step by step through the scenes in the script and figured out a couple of sequences. I already knew roughly how long they had to be by taking a time from the recorded reading the other day. They are absolutely hilarious, and it was kind of fun - if a bit odd - to begin a rehearsal process with something quite so structured, but as I keep saying...this is not a normal process :)
Saturday 21 July 2012
History Repeating
Oh dear, oh dear, oh dear. The cliffs of snow are rumbling and shifting, and one big sneeze could cause the entire avalanche. Yes, that is a rather dreary thought, but I can't help it. Othello has been quite difficult to cast. It needs actors of great skill, but I can't pay them properly, so I have to rely on the project fitting in with people's schedules. This is fine in theory, but Shakespeare is a bit of a pain in the butt because he doesn't write nice neat scenes that allow small group rehearsals. The way he moves the action, you need everyone around all the time. Now try getting 8 people who have jobs, families and other creative commitments into a room at the same time ANY time and I will give you a standing ovation. That being said, I am game to try it.
My bigger problem is if, over time, people's commitments change. This has already just happened. One of my performers has had to pull out of the project due to competing commitments. It was very mature of him to admit the conflict, and I thank him for letting me know at this early stage, but it makes me nervous. I have had two shows that I have had to recast early in the process. The most recent one (Glengarry Glen Ross) went fine. The cast settled and the show was great. The first one (Three Steps Forward...) was not so lucky. Recasting caused a lot of instability in the group and exacerbated what would have been quite normal creative trial and error process.
I am hoping I can trust in the experience and professionalism of my cast this time. I am also more experienced with this type of thing, so the burden will be on me to make sure the situation stabilizes. On the positive side, most of the the participants know me well and have worked with me before on really great projects. Anyway, fingers crossed.
My bigger problem is if, over time, people's commitments change. This has already just happened. One of my performers has had to pull out of the project due to competing commitments. It was very mature of him to admit the conflict, and I thank him for letting me know at this early stage, but it makes me nervous. I have had two shows that I have had to recast early in the process. The most recent one (Glengarry Glen Ross) went fine. The cast settled and the show was great. The first one (Three Steps Forward...) was not so lucky. Recasting caused a lot of instability in the group and exacerbated what would have been quite normal creative trial and error process.
I am hoping I can trust in the experience and professionalism of my cast this time. I am also more experienced with this type of thing, so the burden will be on me to make sure the situation stabilizes. On the positive side, most of the the participants know me well and have worked with me before on really great projects. Anyway, fingers crossed.
Friday 13 July 2012
The Final Stretch
Yeeha! I have cast Kevin Rudd, and if Syd Brisbane does actually commit to the project I will have it completely cast. That will put all of the pieces in place. Then I just have to rehearse and build this sucker and it will be realised!
I have also discovered that if I join Dancehouse I can get rehearsal space for around $10 hr which is great. It means I don't have to spend big heaps of money on rehearsals, which means I can spend more on - well - all the other things that are going to cost money.
I got more good news yesterday too. It turns out that Verve have moved their show into another venue, which means we won't have to do the usual Fringe bump in and out every night in a half an hour. The venue is basically ours, and we can set it up how we like it and leave it be. I swear, the stars are aligning in all the right ways. This was obviously meant to be.
I have also discovered that if I join Dancehouse I can get rehearsal space for around $10 hr which is great. It means I don't have to spend big heaps of money on rehearsals, which means I can spend more on - well - all the other things that are going to cost money.
I got more good news yesterday too. It turns out that Verve have moved their show into another venue, which means we won't have to do the usual Fringe bump in and out every night in a half an hour. The venue is basically ours, and we can set it up how we like it and leave it be. I swear, the stars are aligning in all the right ways. This was obviously meant to be.
Wednesday 11 July 2012
An Auspicious Occasion
I let myself have a good rest last night which meant today I was refreshed and ready to face the challenges of producing with energy and vigour. Luckily. I woke up to a great email from Clancy Moore, who has agreed to come on board for the Fringe Othello as Peter Garrett. I am so excited about that. Clancy has the energy and acting talent that role needs.
My other big goal today was organise auspicing for when we take this into full production. I had a meeting with Kara at Moriarty's and she helped me draft a creative development budget and a presentation budget for funding applications. The reality is that I missed an important deadline, so it is going to be almost impossible for me to do what I want to do fully. That doesn't mean I won't try, it just means I have to be clever and/or find a sugar daddy. Anyone out there willing to invest in a sure fire, guaranteed blockbuster? Just asking...
Anyway, I am very heartened about the progress of everything even though it is exhausting - and a bit lonely at times.
My other big goal today was organise auspicing for when we take this into full production. I had a meeting with Kara at Moriarty's and she helped me draft a creative development budget and a presentation budget for funding applications. The reality is that I missed an important deadline, so it is going to be almost impossible for me to do what I want to do fully. That doesn't mean I won't try, it just means I have to be clever and/or find a sugar daddy. Anyone out there willing to invest in a sure fire, guaranteed blockbuster? Just asking...
Anyway, I am very heartened about the progress of everything even though it is exhausting - and a bit lonely at times.
Wednesday 27 June 2012
The Campaign Begins
Wow, what an up and down day this was. I started the day in tears of despair and ended the day blowing out birthday candles and seeing the next stage of the vision for Othello.
The creative team met at Revolt this evening and had a look at the venue we are using for the Fringe Festival. It was really nice to have the team all together for the first time with a single focus. Julie was the busiest - taking lots of measurements. I took the opportunity to talk with Hannah about a post show party for opening night, and to look at the venue options for going into full production next year. That is still a bit of a pipe dream, but I am going to keep plugging away at it.
Julie then invited me back to her house and she had made a banana cake for me for a birthday cake. It was soooo delicious. She is an amazing cook and it was light and moist and very bananaey - yummo! I snuck a second small piece, and she sent some home with me which my housemates promptly scoffed.
While I was at Julie's we had a chat about marketing. We talked about a publicity strategy, possible images and merchandising. It was really refreshing because I had lost my original vision for this, and she helped me find it again. That's what friends are for!
The creative team met at Revolt this evening and had a look at the venue we are using for the Fringe Festival. It was really nice to have the team all together for the first time with a single focus. Julie was the busiest - taking lots of measurements. I took the opportunity to talk with Hannah about a post show party for opening night, and to look at the venue options for going into full production next year. That is still a bit of a pipe dream, but I am going to keep plugging away at it.
Julie then invited me back to her house and she had made a banana cake for me for a birthday cake. It was soooo delicious. She is an amazing cook and it was light and moist and very bananaey - yummo! I snuck a second small piece, and she sent some home with me which my housemates promptly scoffed.
While I was at Julie's we had a chat about marketing. We talked about a publicity strategy, possible images and merchandising. It was really refreshing because I had lost my original vision for this, and she helped me find it again. That's what friends are for!
Sunday 17 June 2012
Reinvigoration
I am all excited again. I just had the best design meeting with Shane and Julie. Julie really had some brilliant ideas, and pretty simple to achieve too. I love this sense of the land and Australianess that I think we are developing. Riverbeds, and ochre tones, and driftwood... and of course, my pet theme animal for this production, the crocodile. What I also loved about this meeting was that both Julie and Shane kept the parameters of the showing in mind, and occassionally reminded me about them too. I am so used to being the one reminding everyone, that it was refreshing to not have to do that. I really do love working with professionals who approach their work from the same paradigm as me. It is such a treat. I guess that is what comes from training in the same environment, with the same lecturers, and amongst the same people. It is almost like I can relax because I know we are speaking the same language.
Thursday 14 June 2012
The Pull Of The Tide
I had a bad night last night. I don't know if I was just feeling bad about other things, or just tired, but I had a moment when I was thinking that maybe it was time to stop. Cancel Othello, stop working as a creative artists, just go into my new admin job and become an office worker again, full stop. It made so much sense.
Then this morning, the momentum of what I had started hooked me in. I got excited and took another step forward. I didn't even think. Chris Cody came on board for Othello as sound designer and that led me to update the Facebook page, and the Pozible site, and keep going with casting. It's like when you get caught in a rip and it drags you down. You can fight it, but it is easier just to go with the flow.
Don't get me wrong, I am still very excited about Othello and have done a lot of problem solving with the fundraising campaign. I think I am just jumpy about the new job - what it will be, and how it will impact my life. I do expect good things though. In fact, I am pretty convinced the rest of the year will be quite exciting.
Now I should stop procrastinating. I have a funding application due on Monday, and have to get started on Act 2 of Three Sisters. To work! To work!
Then this morning, the momentum of what I had started hooked me in. I got excited and took another step forward. I didn't even think. Chris Cody came on board for Othello as sound designer and that led me to update the Facebook page, and the Pozible site, and keep going with casting. It's like when you get caught in a rip and it drags you down. You can fight it, but it is easier just to go with the flow.
Don't get me wrong, I am still very excited about Othello and have done a lot of problem solving with the fundraising campaign. I think I am just jumpy about the new job - what it will be, and how it will impact my life. I do expect good things though. In fact, I am pretty convinced the rest of the year will be quite exciting.
Now I should stop procrastinating. I have a funding application due on Monday, and have to get started on Act 2 of Three Sisters. To work! To work!
Monday 11 June 2012
Evolution
So today I have spent many hours transcribing Chekhov's 'Three Sisters' so that I can start working on my new adaptation. This is alway the very painful bit, but it is also an essential part of the process. By retyping the play, you get to look in minute detail at the structure and characters. In many ways, this play is not what I thought it was from the versions I have seen staged. The characters are magnificent and it is going to be so hard to bring it down to around 8 which would make it stageable in this day and age. Large casts are so much more exciting, but who has the money to do that anymore? Even 8 is extreme. The largest you generally see these days is around 6. The problem is, small cast work is so shallow. It does not convey the complexities of human interaction. You lose the shades of grey inevitable in life. You get the story, but not other characters impact on it or how they are affected by it.
I am enjoying the fact that I am finding new things in this work. Some characters are already so bright and full. With Othello, I had already tried to reduce the cast by the time I typed it out. This time I am being faithful to the original to begin. I do have my concept, which I am using as a base, and I have found poetry to work in, but I want to take the full journey with the original characters. I can't help feeling that some of the characters that don't blossom in Act 1 will become the main protagonists of my adaptation. Natasha is an obvious one, but some of the men are mysterious and intriguing, and I may do the unthinkable and lose a sister in favour of someone else. We won't know until I get there and I understand what is happening. The journey is unfolding for me as if it were a completely new idea. I am loving it!
I am enjoying the fact that I am finding new things in this work. Some characters are already so bright and full. With Othello, I had already tried to reduce the cast by the time I typed it out. This time I am being faithful to the original to begin. I do have my concept, which I am using as a base, and I have found poetry to work in, but I want to take the full journey with the original characters. I can't help feeling that some of the characters that don't blossom in Act 1 will become the main protagonists of my adaptation. Natasha is an obvious one, but some of the men are mysterious and intriguing, and I may do the unthinkable and lose a sister in favour of someone else. We won't know until I get there and I understand what is happening. The journey is unfolding for me as if it were a completely new idea. I am loving it!
Thursday 7 June 2012
Get Your Motor Running!
So the train has left the station and there is no stopping it now! Today I learnt how to create a Facebook page and set one up for Othello. I am not sure if this is going to be particularly useful. I am not entirely sure how it all works really. I am hoping it is a good way to diseminate information, raise our profile, and keep momentum going on the fundraising campaign. I guess we shall see.
I also set up a crowd funding site, which, for people interested in investing in the project is at http://pozible.com/othellodeathpoll and is now live. Check out the incentives and donate some money. We will love you forever:)
It has been kind of fun, and just a little bit frustrating. The main frustration was not with pozible. It was with PayPal. I had to upgrade my account to accept payments and it was a bit unclear and I ended up in an annoying loop of screens trying to figure out what to do. I still haven't figured out how to get it to accept AUD, so I have just set up pozible in USD. I just have to live with the consequences. It is a really great idea though, and I really hope it works. It will take some of the financial burden off me.
It is kind of funny, because people have often referred to the creative 'fear' when presenting their work. I think it is actually a lot scarier producing work. The financial commitment and risk is huge, and you really do have to spend money to make money. Then there is the problem of trying to get the right people to see the show to try and get it into full production in the future. The stress! I know that the trick is to sit back and enjoy the ride, but that is so much harder to do than it seems.
I also set up a crowd funding site, which, for people interested in investing in the project is at http://pozible.com/othellodeathpoll and is now live. Check out the incentives and donate some money. We will love you forever:)
It has been kind of fun, and just a little bit frustrating. The main frustration was not with pozible. It was with PayPal. I had to upgrade my account to accept payments and it was a bit unclear and I ended up in an annoying loop of screens trying to figure out what to do. I still haven't figured out how to get it to accept AUD, so I have just set up pozible in USD. I just have to live with the consequences. It is a really great idea though, and I really hope it works. It will take some of the financial burden off me.
It is kind of funny, because people have often referred to the creative 'fear' when presenting their work. I think it is actually a lot scarier producing work. The financial commitment and risk is huge, and you really do have to spend money to make money. Then there is the problem of trying to get the right people to see the show to try and get it into full production in the future. The stress! I know that the trick is to sit back and enjoy the ride, but that is so much harder to do than it seems.
Thursday 31 May 2012
The Dice Is Cast
The dice is cast. This is a saying I have always misquoted. I have never really thought about what it means until today when I tweeted it. I have always heard it as 'dye', but today I realised that this does not make sense. You don't 'cast' dye, but you do cast a dice. So maybe the saying originates as the die 'are' cast. Either way I have been saying it wrong. Now I need to decide if it will be one dice or many die. For now I am going for one. We shall see if that works or if people notice. I realise this is not an earth shattering dilemma, but it bugs me when I discover I have not been paying attention to my linguistics. It makes me feel ignorant. Yes, I know - OCD.
A milestone day today. I finalised my registration for the Melbourne Fringe Festival 2012, payed my monies, and signed my contract. I haven't actually signed the venue agreement yet, but we have chatted on the phone and I am just waiting for th paperwork. Fringe didn't ask for proof of a finalised agreement, but we have a verbal agreement and I am just waiting on some corrected paperwork and then it will all be sorted. So, yes, I have committed myself to 6 months of poverty and endless deadlines, but I have also committed myself to several months of exciting exploration of a great idea, and progress towards the ultimate goal of going into full production.
Casting is making progress as well. I have 4 of my cast of 8 confirmed. As is usual, the male parts are harder to cast than the female roles, but I refuse to be defeated by this. There is still a lot of time, and I am beginning by asking the people I want to work with nd whom I know. Once I have exhausted these options, I shall go for a general casting call.
Now all I need to do is get a job to pay for it all. And/or funding...
A milestone day today. I finalised my registration for the Melbourne Fringe Festival 2012, payed my monies, and signed my contract. I haven't actually signed the venue agreement yet, but we have chatted on the phone and I am just waiting for th paperwork. Fringe didn't ask for proof of a finalised agreement, but we have a verbal agreement and I am just waiting on some corrected paperwork and then it will all be sorted. So, yes, I have committed myself to 6 months of poverty and endless deadlines, but I have also committed myself to several months of exciting exploration of a great idea, and progress towards the ultimate goal of going into full production.
Casting is making progress as well. I have 4 of my cast of 8 confirmed. As is usual, the male parts are harder to cast than the female roles, but I refuse to be defeated by this. There is still a lot of time, and I am beginning by asking the people I want to work with nd whom I know. Once I have exhausted these options, I shall go for a general casting call.
Now all I need to do is get a job to pay for it all. And/or funding...
Tuesday 29 May 2012
Holding Patterns
Waiting, waiting, waiting. It is so hard to get all the pieces to fall into place at the right time. And yet, if they do, you have struck gold.
I got a call last night from Revolt, which indicated that I would get venue confirmation today for the Fringe Festival. It has not happened. This is possibly a good thing, because I am still a little short of funds for Fringe registration. That money was supposed to go into my account today, but that didn't happen either. Both need to happen concurrently, and within the next 48 hours for my show to make it into Fringe. Of course, I have other personal commitments over the next two days, so now, even if it happens tomorrow morning, it is going to be tricky for me to get into the Fringe offices by close of business Thursday to complete registration. Difficult, but NOT impossible.
On the strength of promises and a determination to make this happen, I have decided to go ahead and make my casting offers. I am batting fifty/fifty on that. One unavailability and one 'I'm in'. A promising start :)
I got a call last night from Revolt, which indicated that I would get venue confirmation today for the Fringe Festival. It has not happened. This is possibly a good thing, because I am still a little short of funds for Fringe registration. That money was supposed to go into my account today, but that didn't happen either. Both need to happen concurrently, and within the next 48 hours for my show to make it into Fringe. Of course, I have other personal commitments over the next two days, so now, even if it happens tomorrow morning, it is going to be tricky for me to get into the Fringe offices by close of business Thursday to complete registration. Difficult, but NOT impossible.
On the strength of promises and a determination to make this happen, I have decided to go ahead and make my casting offers. I am batting fifty/fifty on that. One unavailability and one 'I'm in'. A promising start :)
Sunday 20 May 2012
The Art of Articulation
One door opening/closing...you know the drill. It is funny how suddenly there are some opportunities to apply for opportunities - I love that concept! Anyway, the important point is that at the moment I am in the fascinating position of being required to articulate my visions, goals and intentions as an artist, and it is an edifying process.
Think about it. In 500 words or less explain/describe/articulate what you do, why you do it, and how you will continue to do it. These are not questions faced by most people. They may be implicit, but ask anyone in your family, and the closest you will probably get is that someone - probably at a job interview - asked them to tell them where they saw themselves in 5 years.
For the practicing artist, however, you are required to bare your soul, expound your beliefs, and even expose your curiosities. The more fascinating aspect of that, though, is that you need to have a stated end goal. You can't just be curious. You can't just want to explore. Your most ephemeral processes must be measurable and somehow achievable.
Luckily for me, this is not difficult. I have an essential love of order, and am not afraid of boxes. It is just a question of which box do I want to put myself into? There are so many! I don't believe fitting into a box denies individuality and uniqueness, but that is why the right boxes - or words - are so very important. If this is the standard upon which you and your work are measured, you better hope it is the right measuring stick to use.
There is something rather narcissistic about having to examine yourself in this way. If you can do so, does that give you some divine right through insight? Or does it just make you a butt munching egotist? Is there the resonance of sincerity, or is it just clever wordplay?
I don't think I have any divine rights or am an egotist. My goal is to write down what is true and right for me, and then just see what will happen. It might be worthy to others or might not. Toss the dice, drop the chips, let's see what comes next.
Think about it. In 500 words or less explain/describe/articulate what you do, why you do it, and how you will continue to do it. These are not questions faced by most people. They may be implicit, but ask anyone in your family, and the closest you will probably get is that someone - probably at a job interview - asked them to tell them where they saw themselves in 5 years.
For the practicing artist, however, you are required to bare your soul, expound your beliefs, and even expose your curiosities. The more fascinating aspect of that, though, is that you need to have a stated end goal. You can't just be curious. You can't just want to explore. Your most ephemeral processes must be measurable and somehow achievable.
Luckily for me, this is not difficult. I have an essential love of order, and am not afraid of boxes. It is just a question of which box do I want to put myself into? There are so many! I don't believe fitting into a box denies individuality and uniqueness, but that is why the right boxes - or words - are so very important. If this is the standard upon which you and your work are measured, you better hope it is the right measuring stick to use.
There is something rather narcissistic about having to examine yourself in this way. If you can do so, does that give you some divine right through insight? Or does it just make you a butt munching egotist? Is there the resonance of sincerity, or is it just clever wordplay?
I don't think I have any divine rights or am an egotist. My goal is to write down what is true and right for me, and then just see what will happen. It might be worthy to others or might not. Toss the dice, drop the chips, let's see what comes next.
Thursday 17 May 2012
Another One Bites The Dust
The list of EOIs to be completed at this time of year is ridiculous! Having said that, they do get easier, I guess. Actually, tonight I did one that actually quite excites me - Revolvt Productions in Kensington. I have never been to the space, but the on-line information looks amazing. I have financial considerations, of course, so I have requested the cheapest venue, but to be honest I would love to do the show in the Ballroom. That floor, that configuration - it would be perfect for Othello! The other positive is that they don't require 50% deposit on the same week as Fringe registration. That is helpful. There is one negative, which is that they won't be announcing the programming until the 27th which is only 3 days before Fringe registration closes. A bit nerve racking. I guess everything about this game is nerve racking though. There are no absolutes, just a lot of cross your fingers and see what happens.
Wednesday 16 May 2012
Trench Warfare
Oh my. Today I have been soooo feeling sorry for myself. I have had the flu for a couple of weeks and it just wouldn't go away and developed into a chest infection, which set off my asthma. Finally, yesterday, I went and got some antibiotics and they are working marvellously. The problem is that last night they went into all out trench warfare with the infection and I had the most miserable night. I really didn't expect to feel every minute of the fight. On the positive side, the antibiotics seem to have gotten the upper hand, and I am coughing less. On the other hand, my body feels like the land at the end of trench warfare - dug up, trodden on, and dead to new life. My day has involved napping in my bed, or napping on the couch pretending to watch TV. Even those efforts have been most strenuous.
I got an email this morning from Gasworks asking me to complete an EOI for Fringe, and all I could think was OMG, not today. I did manage to find the energy this afternoon whilst lying in bed to pull out the lappy and send it off. Of course I napped again immediately after. The hilarious thing is that once I sent it off - with the impression that I was under time pressures - I got an autoreply saying that the person I am dealing with is out of the office until Friday. Typical! Anyway, at least it is done, and it is in the hands of the Gods.
Of course, I still haven't figured out how to pay for any of this. I am still thrown by the earliness of the process and having to have registration fees - and half of the venue hire cost apparently - paid by the end of the month. It wouldn't be a problem if I didn't have expenses like rent, food - you know, all those little luxuries in life. Of course, a paying job would also help... ;)
I got an email this morning from Gasworks asking me to complete an EOI for Fringe, and all I could think was OMG, not today. I did manage to find the energy this afternoon whilst lying in bed to pull out the lappy and send it off. Of course I napped again immediately after. The hilarious thing is that once I sent it off - with the impression that I was under time pressures - I got an autoreply saying that the person I am dealing with is out of the office until Friday. Typical! Anyway, at least it is done, and it is in the hands of the Gods.
Of course, I still haven't figured out how to pay for any of this. I am still thrown by the earliness of the process and having to have registration fees - and half of the venue hire cost apparently - paid by the end of the month. It wouldn't be a problem if I didn't have expenses like rent, food - you know, all those little luxuries in life. Of course, a paying job would also help... ;)
Sunday 13 May 2012
A Writer Will Emerge
Today I finally revisited my Othello script for the first time in a couple of months. It lay neglected because at first I had no new approach, and then I started directing The Gentleman and The Thief, and it just got pushed aside.
I like giving it a break though. That is kind of how my mind works. I absorb the issue, set it aside, and a little while later an idea or solution jumps out at me when I least expect it. I suspect that is a bit frustrating for people around me who like to ponder and brain storm and discuss endlessly. I like those things too, and they all go into the little box in my brain holding the conundrum, but in the end it is putting it aside, giving it some silence, and letting it germinate that works best for me. This is what happened with the script. After the dramaturgical reading in January, I took on board the various ideas and feedback, sorted them, used what I wanted to create draft four, and then put it aside.
There was one issue in particular, though, that I hadn't really fully resolved. It involved the use of profanity, which gets quite heavy at the end in particular. At my first dramaturgy session in October last year, it was suggested to me that I was too tame and should make it stronger. Then in January, the consensus was that I had gone too far and should remove it. For draft four I just left it as it was...made a few minor changes, but nothing drastic.
Finally, over the last couple of days I realised that I agree, and wanted to tame it down. Not to make it mild, but I thought it would be more interesting and fun if I could find interesting word play and repartee to make the points. So today I hunted on-line thesauruses and quotes on dogs in particular. I like those phrases politicians always use like 'mongrel act' and 'in the dog house'. Four and a half hours later, I have draft five. I need to tweak a few things tomorrow, but this is good enough for today. Most of the heavy lifting is done for the day and I am satisfied.
I like giving it a break though. That is kind of how my mind works. I absorb the issue, set it aside, and a little while later an idea or solution jumps out at me when I least expect it. I suspect that is a bit frustrating for people around me who like to ponder and brain storm and discuss endlessly. I like those things too, and they all go into the little box in my brain holding the conundrum, but in the end it is putting it aside, giving it some silence, and letting it germinate that works best for me. This is what happened with the script. After the dramaturgical reading in January, I took on board the various ideas and feedback, sorted them, used what I wanted to create draft four, and then put it aside.
There was one issue in particular, though, that I hadn't really fully resolved. It involved the use of profanity, which gets quite heavy at the end in particular. At my first dramaturgy session in October last year, it was suggested to me that I was too tame and should make it stronger. Then in January, the consensus was that I had gone too far and should remove it. For draft four I just left it as it was...made a few minor changes, but nothing drastic.
Finally, over the last couple of days I realised that I agree, and wanted to tame it down. Not to make it mild, but I thought it would be more interesting and fun if I could find interesting word play and repartee to make the points. So today I hunted on-line thesauruses and quotes on dogs in particular. I like those phrases politicians always use like 'mongrel act' and 'in the dog house'. Four and a half hours later, I have draft five. I need to tweak a few things tomorrow, but this is good enough for today. Most of the heavy lifting is done for the day and I am satisfied.
Saturday 12 May 2012
Rejection Is The Way Forward
I thought I would be a bit more blue today than I am. Yesterday I suffered three rejections. They were friendly and respectful, but in the end they all said no. Interestingly, apart from that initial dropping of the stomach that you always feel when you first get a no, I am in some ways quite pleased.
In applying for the Fringe Hub I had actually painted myself into a bit of a corner, and tried to create a dynamic performance out of a development process, which would have put artistic and financial pressures on me that I possibly wouldn't be able to bear well. I also got rejected by 45 Downstairs as an alternative venue. At first I felt stymied.
Then I reread the Fringe Hub email and they suggested a couple of alternative venues for me. One (Blue Circus Studios) I couldn't find any information on the internet for, so I ditched that one. The second was Revolt Productions. This I found a website for and have applied for costing and availability.
The big find, though, was Gasworks. I had initially rejected this as an option because their location is difficult, and nowhere near the Fringe Hub. When I had a look at their venues and facilities and started thinking about it, I realised that I was being too narrow minded. If I can do it there, I can do it in a smaller and more controlled manner. This means that I have a greater chance of achieving my artistic outcomes, and probably have a better chance of giving the audience a good time. The Studio has just the right amount of technical equipment to make an effort without suffering budget stress, the cost of the venue is low, and this means I can focus my financial resources on paying the actors and designer some money, and doing some simple costume thing. Oh, and pay for a rehearsal venue for one week! It also has the advantage of being on theatremakers radars, and this project complements the kinds of things that take place there.
I often forget how rejection makes you think laterally. It makes you question your goals, priorities, and needs, and gets you to reassess how to move forward. Or, in some cases, whether moving forward is really what you want to do, or if you would just rather stop. In this case, for now, I want to keep trying to move forward.
In applying for the Fringe Hub I had actually painted myself into a bit of a corner, and tried to create a dynamic performance out of a development process, which would have put artistic and financial pressures on me that I possibly wouldn't be able to bear well. I also got rejected by 45 Downstairs as an alternative venue. At first I felt stymied.
Then I reread the Fringe Hub email and they suggested a couple of alternative venues for me. One (Blue Circus Studios) I couldn't find any information on the internet for, so I ditched that one. The second was Revolt Productions. This I found a website for and have applied for costing and availability.
The big find, though, was Gasworks. I had initially rejected this as an option because their location is difficult, and nowhere near the Fringe Hub. When I had a look at their venues and facilities and started thinking about it, I realised that I was being too narrow minded. If I can do it there, I can do it in a smaller and more controlled manner. This means that I have a greater chance of achieving my artistic outcomes, and probably have a better chance of giving the audience a good time. The Studio has just the right amount of technical equipment to make an effort without suffering budget stress, the cost of the venue is low, and this means I can focus my financial resources on paying the actors and designer some money, and doing some simple costume thing. Oh, and pay for a rehearsal venue for one week! It also has the advantage of being on theatremakers radars, and this project complements the kinds of things that take place there.
I often forget how rejection makes you think laterally. It makes you question your goals, priorities, and needs, and gets you to reassess how to move forward. Or, in some cases, whether moving forward is really what you want to do, or if you would just rather stop. In this case, for now, I want to keep trying to move forward.
Thursday 10 May 2012
An Artist Emerges
I just had the most fun today. I have to have an image to submit with my Fringe application and was panicing about it a bit. I have no skills in graphic art and no programmes specifically to generate some. With my usual intrepid fearlessness I decided that I could work something out - or at least try, and admit defeat when it all went wrong.
Little did I know that some of this stuff, with a little patience, is idiot proof. Go Windows!!! I downloaded some clip art. Then I played with it in the image manager. Then I tried some text box stuff in Word, but that went really wrong. My next step was to simplify and play around in Paint. And voila! An image emerges. It's not perfect, but as I will have time to perfect it for the real publicity AFTER Fringe apps close, I think it will do for now. I will keep tweeking it, but I am happy with the composition and tone.
Little did I know that some of this stuff, with a little patience, is idiot proof. Go Windows!!! I downloaded some clip art. Then I played with it in the image manager. Then I tried some text box stuff in Word, but that went really wrong. My next step was to simplify and play around in Paint. And voila! An image emerges. It's not perfect, but as I will have time to perfect it for the real publicity AFTER Fringe apps close, I think it will do for now. I will keep tweeking it, but I am happy with the composition and tone.
Wednesday 9 May 2012
Dancing in the Dark
So today I managed to get my EOI for a creative development submitted. This is #3 in a process of 4 that have needed to be submitted this month. The final one is due on Friday.
The thing I have noticed is that they seem to be easier to do as you go along. They are all a bit different, so it is not just a case of copy paste, but I think that you probably do all the hard work on the first, and the rest are just refining and specifying.
The other thing that has me wondering is that because all the deadlines are around the same time, you don't really get a chance to feel whether you are presenting your proposal effectively. If you are making a mistake, you just end up making it over and over, rather than having any opportunity or feedback to improve or refine your applications.
This is an important point, because whilst you may have an exciting and valid idea or project, and be an amazing creative artist, that does not necessarily translate to having any particular skill or experience with articulating your ideas and concepts in an effective way. And then there is the need to have your collaborating artists locked in up to a year before you even plan to present! What is that?????
Luckily, I do have one advantage. Having production managed for so long, I have a realistic concept of what is achievable and what it costs. It will be an interesting process to see if that helps or hinders thought ;)
The thing I have noticed is that they seem to be easier to do as you go along. They are all a bit different, so it is not just a case of copy paste, but I think that you probably do all the hard work on the first, and the rest are just refining and specifying.
The other thing that has me wondering is that because all the deadlines are around the same time, you don't really get a chance to feel whether you are presenting your proposal effectively. If you are making a mistake, you just end up making it over and over, rather than having any opportunity or feedback to improve or refine your applications.
This is an important point, because whilst you may have an exciting and valid idea or project, and be an amazing creative artist, that does not necessarily translate to having any particular skill or experience with articulating your ideas and concepts in an effective way. And then there is the need to have your collaborating artists locked in up to a year before you even plan to present! What is that?????
Luckily, I do have one advantage. Having production managed for so long, I have a realistic concept of what is achievable and what it costs. It will be an interesting process to see if that helps or hinders thought ;)
Friday 4 May 2012
The Comedy/Tragedy Dilemma
We had a great night at the theatre tonight. The cast had drive and energy, we had a great size audience, and the audience had a lot of fun. There is not much more you can ask from a show.
I went into the dressing rooms after the show to congratulate the cast and have a quick chat about bump out and they seemed a bit glum and somewhat disgusted. I couldn't understand what the problem was. It turned out that they upset because the audience laughed so much and had a great time!
At first I was confused, and then had to talk to them about the journey for the audience. We talked about how all great tragedy is comic, and that for the audience to travel the journey to despair, we have to give them the fun at the beginning, otherwise the whole thing is a dirge. It's like appreciating the sunshine more by experiencing the rain.
This process has been an interesting illumination to how actors learn theatre. In what order, and which skills sets. My experience on this show has shown me that they learn basic turning out technique and processing each line very early. This is great. The real problem is that they don't seem to be aware that this is only beginning and there are many more layers of technique involved. Things like rhythm, and physicality, and subtext. The disappointing thing is not the lack of the skills, but the lack of awareness that they exist at all. Shame on all those who are teaching them!
I went into the dressing rooms after the show to congratulate the cast and have a quick chat about bump out and they seemed a bit glum and somewhat disgusted. I couldn't understand what the problem was. It turned out that they upset because the audience laughed so much and had a great time!
At first I was confused, and then had to talk to them about the journey for the audience. We talked about how all great tragedy is comic, and that for the audience to travel the journey to despair, we have to give them the fun at the beginning, otherwise the whole thing is a dirge. It's like appreciating the sunshine more by experiencing the rain.
This process has been an interesting illumination to how actors learn theatre. In what order, and which skills sets. My experience on this show has shown me that they learn basic turning out technique and processing each line very early. This is great. The real problem is that they don't seem to be aware that this is only beginning and there are many more layers of technique involved. Things like rhythm, and physicality, and subtext. The disappointing thing is not the lack of the skills, but the lack of awareness that they exist at all. Shame on all those who are teaching them!
Monday 30 April 2012
A Very Happy Chappy
I would definitely call today a success. I got up at 6am to get my Expression of Interest submitted for the Fringe Hub. I had to do this early because today was tech and dress day. It does mean that I missed out on including a couple of biogs, but if the project isn't inspiring enough without listing a cast months before it begins then it wouldn't make a difference anyway.
So then we had technical rehearsal. These things are always slow and exhausting, but we got there in the end with very little blood on the floor. Yes, we did run over time, but I had allowed for that secretly in the schedule so it was all good.
And then there was the dress run. What can I say? I am a very happy chappy. It looks good, the actors know where they are supposed to be - and when - and the stage manager is operating the cues wonderfully. Now the actors just need to learn their lines and it will be superb.
The only down side of the day is the photographer didn't turn up to take production photos. Luckily the run went well, so I decided to run around with my Blackberry and take some snaps. They generally turned out okay. Good enough for what we need them for. I can genuinely relax tonight and sleep in tomorrow morning. Now THAT is something I am looking forward to!
So then we had technical rehearsal. These things are always slow and exhausting, but we got there in the end with very little blood on the floor. Yes, we did run over time, but I had allowed for that secretly in the schedule so it was all good.
And then there was the dress run. What can I say? I am a very happy chappy. It looks good, the actors know where they are supposed to be - and when - and the stage manager is operating the cues wonderfully. Now the actors just need to learn their lines and it will be superb.
The only down side of the day is the photographer didn't turn up to take production photos. Luckily the run went well, so I decided to run around with my Blackberry and take some snaps. They generally turned out okay. Good enough for what we need them for. I can genuinely relax tonight and sleep in tomorrow morning. Now THAT is something I am looking forward to!
Tuesday 24 April 2012
It's Raining Again...
Welcome to my world on this dreary, wet, cold and windy day. You can tell by this, that I have had need to be exposed to the weather today, and will have need this evening. It is not appropriate for me to complain just yet. This probably qualifies as the first day of the first week of the year where I can say this is truly Melbourne winter weather. I knew today would be cold and rainy because I had to do my laundry and run outside errands. If I could stay inside all day - like yesterday - then of course the sun would shine and there would be warmth in the world.
Despite the weather, though, it is turning out to be a very productive day. I took a trip in to CLS to pick up the lighting gel I needed, and it turns out I only need one sheet so I have saved some money. I also picked up a couple of rolls of mark up tape for the rostra while I was there. That stuff is soooo cheap it is ridiculous. I have also accepted the responsibility for making the programme. At first I thought OMG, but I got it started, and have realised it will be a piece of cake. I think I am very lucky in that I find making decisions really easy, so I don't spend a lot of my time agonising over things. It also helps that I have done most of the other preparation for the show. The master CD is edited and burnt, the lighting design is done, the set design is done, the production schedule is done, the costume lists are done, and most of the props are sorted.
Now I just need my actors to learn their lines and blocking, and things will be SWEEEEEET!
Despite the weather, though, it is turning out to be a very productive day. I took a trip in to CLS to pick up the lighting gel I needed, and it turns out I only need one sheet so I have saved some money. I also picked up a couple of rolls of mark up tape for the rostra while I was there. That stuff is soooo cheap it is ridiculous. I have also accepted the responsibility for making the programme. At first I thought OMG, but I got it started, and have realised it will be a piece of cake. I think I am very lucky in that I find making decisions really easy, so I don't spend a lot of my time agonising over things. It also helps that I have done most of the other preparation for the show. The master CD is edited and burnt, the lighting design is done, the set design is done, the production schedule is done, the costume lists are done, and most of the props are sorted.
Now I just need my actors to learn their lines and blocking, and things will be SWEEEEEET!
Saturday 21 April 2012
Grumpy Old Woman
Grrrr. Grumpy and frustrated today. I had to actually tell my actors off today for not coming to rehearsals prepared and with low energy, which wastes everybody's time. One of them got what I was saying. The other one just shrugged it off, and later referred to me as a control freak. Yes, that is true. I have always been a control freak. That is how I get things done, and is somewhat implicit in the job title 'director'. I should point out that they are students doing this for fun, but it is hard to get them to see that it will be much more fun for them if they are not worried about the fact that they don't know their lines and have forgotten the blocking. And yes, they could learn from experience, but that will just make it horrible for everyone.
Mind you, it is possible that my grumpiness does not lie at their feet completely - well, sort of. Both actors I was to work with today were going to be late, so I lost an hour of rehearsal anyway, and we only had a total of 7 hours scheduled this week. Also, I nearly got caught for fare evasion. Luckily I had a nice officer who suggested I buy a ticket at the next stop, which I did. And then, of course, there is my famous memory problem. I have drinks with friends planned, but I thought it was tonight and it turns out it is actually next week. I didn't write it down immediately, and so I got it wrong. Still, at least I didn't miss it! ;)
My solution for this far from perfect day is a beer and the Top Gear Arctic Special. That's what I'm talkin' 'bout!
Mind you, it is possible that my grumpiness does not lie at their feet completely - well, sort of. Both actors I was to work with today were going to be late, so I lost an hour of rehearsal anyway, and we only had a total of 7 hours scheduled this week. Also, I nearly got caught for fare evasion. Luckily I had a nice officer who suggested I buy a ticket at the next stop, which I did. And then, of course, there is my famous memory problem. I have drinks with friends planned, but I thought it was tonight and it turns out it is actually next week. I didn't write it down immediately, and so I got it wrong. Still, at least I didn't miss it! ;)
My solution for this far from perfect day is a beer and the Top Gear Arctic Special. That's what I'm talkin' 'bout!
Friday 20 April 2012
Fading Flowers
Today I had the opportunity to participate in a play reading of Chekov's 'Three Sisters'. Apart from the fact that is a great play with wonderful female roles, it was just so nice to be involved in a process that has no performance outcome requirements. We only read the first two acts and then just had a discussion about themes, imagery, and performative challenges. It was soooo rewarding. I think that is one of the problems with working in professional arts. There is ALWAYS a performance outcome.
So what did we discover today - apart from the obvious impossibility of Russian names and familiars of course! One of the more interesting observations was that there is generally a lot of background noise and movement prescribed in the script. People are always coming and going, or whistling, or dancing. It is such a busy and noisy world, how do you pull focus where you want to, and what exactly ARE all the characters doing in the long breaks of dialogue when they are still on stage?
The question of visuals and imagery was also discussed. I brought up the interesting comment about all the flowers that are around, and did that also refer to the sisters? Are they fading blooms, that need the sunlight of Moscow to revive, otherwise they will die. Would this be aided with a dying or overgrown garden being part of the world? It was agreed that it was a large, grandiose world, but a cold one as well.
We talked about how the dialogue continually shifts between the personal and the public, and it is like a dance scene where maybe the conversations are all happening all the time, but suddenly one couple comes to the forefront and you suddenly hear a bit of their conversation before they move on, and others move into the frame. This is interesting, too, with odd sense of people always entering and leaving the scene. One of the funnier analogies included a reference to the Star Trek transporters, with people beaming in and out.
It was generally agreed (and supported by the text), that time and place don't really matter. As is mentioned in the text, if you go into the future, the jackets will have changed, but that is about all. That is the genius of Chekov. He studies the human condition, not humans as individuals existing in space and time. Which is not to say he does not give them a space and time - more that it is not integral to understanding what is happening.
Ciao!
So what did we discover today - apart from the obvious impossibility of Russian names and familiars of course! One of the more interesting observations was that there is generally a lot of background noise and movement prescribed in the script. People are always coming and going, or whistling, or dancing. It is such a busy and noisy world, how do you pull focus where you want to, and what exactly ARE all the characters doing in the long breaks of dialogue when they are still on stage?
The question of visuals and imagery was also discussed. I brought up the interesting comment about all the flowers that are around, and did that also refer to the sisters? Are they fading blooms, that need the sunlight of Moscow to revive, otherwise they will die. Would this be aided with a dying or overgrown garden being part of the world? It was agreed that it was a large, grandiose world, but a cold one as well.
We talked about how the dialogue continually shifts between the personal and the public, and it is like a dance scene where maybe the conversations are all happening all the time, but suddenly one couple comes to the forefront and you suddenly hear a bit of their conversation before they move on, and others move into the frame. This is interesting, too, with odd sense of people always entering and leaving the scene. One of the funnier analogies included a reference to the Star Trek transporters, with people beaming in and out.
It was generally agreed (and supported by the text), that time and place don't really matter. As is mentioned in the text, if you go into the future, the jackets will have changed, but that is about all. That is the genius of Chekov. He studies the human condition, not humans as individuals existing in space and time. Which is not to say he does not give them a space and time - more that it is not integral to understanding what is happening.
Ciao!
Tuesday 17 April 2012
Sex, Lies, and Nudity.
Today I had to be quite brutal and break down my actors' personal privacy boundaries. It sounds a bit harsh, but they are supposed to be portraying a couple who have been in a sexual relationship for a year and a half, and they were terrified to even touch each other. Not really convincing. So it was time for a bit of tough love. I had them strip down to underwear, and they were supposed to lie on the couch and talk about the history of the characters relationship, and then their future dreams. I left them to it for 15 minutes to give them privacy and get past the initial awkwardness. What did I come back to? Both of them sitting on opposite sides of the couch, curled up into little inaccessible balls. Not happy Jan!!! So then it was time for the big guns. I made them spoon, told them off, put a blanket over them, and left the room again. This time it worked. When I got back I quizzed them about their stories, and physically they were much more playful with each other. Victory!!!!!!!!!!!!!
What I have come to realise is that in school young actors are taught 'the rules' of acting. Make sure you are always opened out to the audience. Make sure you listen to what the other performer says and then formulate your next line, etc. So what you end up with is a whole lot of young people who can't do naturalism worth a damn. They are so busy being turned out to the audience, and 'thinking' about what is being said that no-one faces each other and the pace is so slow you want to kill yourself. I am spending most of my time telling them to forget what they have learnt and do the opposite. The rest of my time I spend telling them to keep still because they always want to move when they have a line. It is exhausting, but luckily my current cast take direction really well and are trusting me about this stuff.
I probably sound like I am grumbling, but I am having a great time, and my actors are really open to ideas and trying stuff they are not comfortable with. We had a great time tonight playing with text pace and rhythm and found some really amazing moments. When you find something extraordinary, a really profound moment, it makes all the hard work to get there worth it.
Well, until next time :)
What I have come to realise is that in school young actors are taught 'the rules' of acting. Make sure you are always opened out to the audience. Make sure you listen to what the other performer says and then formulate your next line, etc. So what you end up with is a whole lot of young people who can't do naturalism worth a damn. They are so busy being turned out to the audience, and 'thinking' about what is being said that no-one faces each other and the pace is so slow you want to kill yourself. I am spending most of my time telling them to forget what they have learnt and do the opposite. The rest of my time I spend telling them to keep still because they always want to move when they have a line. It is exhausting, but luckily my current cast take direction really well and are trusting me about this stuff.
I probably sound like I am grumbling, but I am having a great time, and my actors are really open to ideas and trying stuff they are not comfortable with. We had a great time tonight playing with text pace and rhythm and found some really amazing moments. When you find something extraordinary, a really profound moment, it makes all the hard work to get there worth it.
Well, until next time :)
Sunday 15 April 2012
Miracle worker
I just proved to myself how amazing I really am. I learnt a new skill, downloaded new software, and created this wonderful portfolio of my directorial work (see the pages to the left). Yesterday I was thinking I couldn't get anything done.
So now I am a pro at converting video files, uploading them, attaching links, etc, etc, etc. Yes, I know most of you mastered these arcane arts years and years ago, but some of us a slower than others. For some reason, I just haven't had a significant enough need to actually work it out and do something about it. Now I do, and it is done. That is kind of how I roll.
I am a bit exhausted by the whole ordeal. I have basically spent all day on this blog thing, so goodnight until next time :)
So now I am a pro at converting video files, uploading them, attaching links, etc, etc, etc. Yes, I know most of you mastered these arcane arts years and years ago, but some of us a slower than others. For some reason, I just haven't had a significant enough need to actually work it out and do something about it. Now I do, and it is done. That is kind of how I roll.
I am a bit exhausted by the whole ordeal. I have basically spent all day on this blog thing, so goodnight until next time :)
Saturday 14 April 2012
Catch 22
So it's been a while since we last spoke. It is not that I haven't had anything to say - more that I haven't had the time or the energy to say it. Having a disability can be quite time consuming and distracting, and just a little bit hard to manage - especially when it is partly in the brain. The use of pain killers can help the physical problem, but they make the mental one worse. Although, NOT using pain killers doesn't help the brain much either. Another Catch 22 to add the the gazillion that already inhabit the world.
I really do need to focus though. I have a show opening in 2 weeks, and in the same week I have to submit and expression of interest for next year, and then the week after that another one! ...Not to mention the job application I have to put together this weekend. Yikes. Two days ago, even reading a sentence with the words in the right order was a challenge. Now I have to put together a complex set of documents???
Challenge is what the world is about, right? They come in all shapes and sizes: physical, emotional, psychological, temporal, financial, familial. Are we supposed to face them all? If not, how do we decide which ones to prioritise and which ones to just let slide by? My general approach at the moment is to do what I can, and try not to regret the things undone. A worthy aim. I have my fingers, arms, legs, and eyes crossed. Here's hoping it works.
I really do need to focus though. I have a show opening in 2 weeks, and in the same week I have to submit and expression of interest for next year, and then the week after that another one! ...Not to mention the job application I have to put together this weekend. Yikes. Two days ago, even reading a sentence with the words in the right order was a challenge. Now I have to put together a complex set of documents???
Challenge is what the world is about, right? They come in all shapes and sizes: physical, emotional, psychological, temporal, financial, familial. Are we supposed to face them all? If not, how do we decide which ones to prioritise and which ones to just let slide by? My general approach at the moment is to do what I can, and try not to regret the things undone. A worthy aim. I have my fingers, arms, legs, and eyes crossed. Here's hoping it works.
Friday 30 March 2012
Boys will be boys
I got to work with just the boys today. I kind of wanted them to bond in play the way guys do - you know, that Peter Pan thing. It didn't really happen though. I guess you can't force these things. On the other hand, when we rehearsed the drunk scene and once they got the hang of what we were doing, they seemed to take to it like a duck to water. I don't know whether to be relieved or worried. Maybe both is appropriate. Anyway, I think the script analysis stage is over, and now it is time to get down to the meat and potatoes.
I have had to make a huge sacrifice. To facilitate the drunk scene, I will be required to consume six stubbies of Boag's. It is a hardship, but someone has to do it. I began this long, arduous task this evening. The things I do for art! It was particularly difficult sitting in a bubble bath, reading a book and sucking on a beer. I, however, am a hardy soul and shall struggle on for the good of the many.
I have had to make a huge sacrifice. To facilitate the drunk scene, I will be required to consume six stubbies of Boag's. It is a hardship, but someone has to do it. I began this long, arduous task this evening. The things I do for art! It was particularly difficult sitting in a bubble bath, reading a book and sucking on a beer. I, however, am a hardy soul and shall struggle on for the good of the many.
Thursday 29 March 2012
Man and beast in time and space
Today I met with El to discuss the possible restaging of Self Contained Spaces. We talked a bit about funding and further development, but then the conversation shifted to how we live in spaces. When El first concieved this project, she came at it from the perspective of design led performance. It is an interesting concept, and one I probably don't really have my head around, but within in my limited understanding, it started me thinking about our relationships to space as human beings in general.
In theatre, the general approach is to develop a concept, start rehearsals, refine the ideas and then come up with an integrated performance whole (or that is the aim, at least). Is that really what the human experience is though? Except for the privileged few, do we really get to create and/or adapt the spaces in which we live our lives in any significant way? I am thinking about school, work, the places we live and play and visit. Or is it more true to say that we arrive in those spaces and adapt to them, and possibly just manage some small inroads into making them a bit more comfortable - stick up some pictures, hang curtains, paint a wall for example?
Self Contained Spaces was inspired by a story which came out of the USA. A woman chose to live in her bathroom for two years, and eventually her skin moulded around the toilet seat. We explored what the experience of choosing to do that is, and what it is to grow into your environment - and somehow OUT of being human. This is a level of commitment that we generally don't choose to make. Or do we have the choice? Our lives are more like a determined negotiation between life tasks, personal aesthetics, and spatial practicalities - all overwritten by fiscal potential. Perhaps that is the line we draw in the sand? We will go so far to fit into the finite potential of the space, but to do this we must adapt the environment to comfort ourselves into thinking this is good enough, or close enough for now.
In some ways I find this quite an inspiring idea. We are evidently a practical species with an unstoppable urge to express an aesthetic. People often ponder what distinguishes man from beast and the arguments are long and tedious. Perhaps the answer is as simple as that we need aesthetics to get through life?
In theatre, the general approach is to develop a concept, start rehearsals, refine the ideas and then come up with an integrated performance whole (or that is the aim, at least). Is that really what the human experience is though? Except for the privileged few, do we really get to create and/or adapt the spaces in which we live our lives in any significant way? I am thinking about school, work, the places we live and play and visit. Or is it more true to say that we arrive in those spaces and adapt to them, and possibly just manage some small inroads into making them a bit more comfortable - stick up some pictures, hang curtains, paint a wall for example?
Self Contained Spaces was inspired by a story which came out of the USA. A woman chose to live in her bathroom for two years, and eventually her skin moulded around the toilet seat. We explored what the experience of choosing to do that is, and what it is to grow into your environment - and somehow OUT of being human. This is a level of commitment that we generally don't choose to make. Or do we have the choice? Our lives are more like a determined negotiation between life tasks, personal aesthetics, and spatial practicalities - all overwritten by fiscal potential. Perhaps that is the line we draw in the sand? We will go so far to fit into the finite potential of the space, but to do this we must adapt the environment to comfort ourselves into thinking this is good enough, or close enough for now.
In some ways I find this quite an inspiring idea. We are evidently a practical species with an unstoppable urge to express an aesthetic. People often ponder what distinguishes man from beast and the arguments are long and tedious. Perhaps the answer is as simple as that we need aesthetics to get through life?
Tuesday 27 March 2012
Wings of a dove
OMG, OMG, OMG!!!! I just discovered that my hair is going white at the temples - just like all those distinguished gentlemen in old movies. I showed my housemates and they started talking about going grey gracefully. Huh. That is the kind of thing people who never think they will go grey say. I blame the accident. It is kind of handy having one to blame. It has obviously been so stressful dealing with life since then, that my hair has been drained of it's life force. No - I am NOT getting old. I am no older than I was 20 years ago. I am Dorian Gray. Wait, no, that ended badly...
In an attempt to make myself feel young again, I shall talk about rehearsals. Quite a brilliant rehearsal. I looooove butchers' paper. Stick it up on a wall, give actors coloured textas and then just stand back and see what happens. It is always fascinating and you never end up where you thought you would. We discovered today, that when you date a friend's ex, that friend is always with you. They actually become the most important person in the relationship. This is why it is ALWAYS a bad idea. On a more practical note, I also discovered that actors don't like getting homework. My evil brain is excited with this discovery and is plotting mischief as I 'speak'.
Till next time.
In an attempt to make myself feel young again, I shall talk about rehearsals. Quite a brilliant rehearsal. I looooove butchers' paper. Stick it up on a wall, give actors coloured textas and then just stand back and see what happens. It is always fascinating and you never end up where you thought you would. We discovered today, that when you date a friend's ex, that friend is always with you. They actually become the most important person in the relationship. This is why it is ALWAYS a bad idea. On a more practical note, I also discovered that actors don't like getting homework. My evil brain is excited with this discovery and is plotting mischief as I 'speak'.
Till next time.
Sunday 25 March 2012
In the beginning, there was...
So, here I am. I don't know what I am doing, or why I am doing it, but then again, why not? I think I am interesting and fascinating and only need the rest of the world to catch up and figure it out too ;)
Today has been a day of exploration. For some reason I was in a bit of a cooking frame of mind, so I made peach danishes, which I am really hoping my housemates will eat most of. I then got very excited and made chicken and vegetable soup right from the chicken on the bone stage. It might have gone better if I had remembered to use a stock cube. Oh well, live and learn. I felt very Martha Stewart though. Mmmmm, is that a good thing?
I have also been exploring the interverse and checking out the online music produced by my housemates and their partners. There is a distinct 'Townsville sound' I think, but check their sites anyway:
Elle Graham
Kate Martin
Mind Tree (Mitch Nordine)
They are all rising stars, so get on the bandwagon before everyone else does!
I am a bit too lazy to do any work on the show I am currently directing (The Gentlemand and The Thief at the Guild Theatre). To salve my pathetic conscience, however, I did email the draft production schedule to the venue. That way my brain thinks I did some work, even though sending an email is less effort than even making a cup of coffee....speaking of which, I think I need one now.
Have fun. I shall blog again soon :)
Today has been a day of exploration. For some reason I was in a bit of a cooking frame of mind, so I made peach danishes, which I am really hoping my housemates will eat most of. I then got very excited and made chicken and vegetable soup right from the chicken on the bone stage. It might have gone better if I had remembered to use a stock cube. Oh well, live and learn. I felt very Martha Stewart though. Mmmmm, is that a good thing?
I have also been exploring the interverse and checking out the online music produced by my housemates and their partners. There is a distinct 'Townsville sound' I think, but check their sites anyway:
Elle Graham
Kate Martin
Mind Tree (Mitch Nordine)
They are all rising stars, so get on the bandwagon before everyone else does!
I am a bit too lazy to do any work on the show I am currently directing (The Gentlemand and The Thief at the Guild Theatre). To salve my pathetic conscience, however, I did email the draft production schedule to the venue. That way my brain thinks I did some work, even though sending an email is less effort than even making a cup of coffee....speaking of which, I think I need one now.
Have fun. I shall blog again soon :)
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