Hi everyone! I hope that you are all having a fantastic break! This is to remind all actors that garment bags are due on Jan 2nd. (the day we get back). Also, I will be collecting spirit wear forms and $ through Jan. 7th (still got some time on this)
Thanks!!
Happy (early) New Year!
DAN R.
Sunday, December 30, 2007
Sunday, December 16, 2007
Blocking Rehearsals
Hello All,
For those of you who are new to the way that I direct, and for those of you with whom I have had the honor of working with in the past, I wanted to share my methodology of directing in brief blog to prepare you.
My philosophy is that a play must be a sum of all of it's parts. We ALL must work together in order to create the final product and we ALL have a share in the work that goes into it. The rehearsal process can go in many ways. I have worked with several different types of directors and they all have different ways of getting to the end product. My emphasis is on the process and the creation, rather than the end product. Do not get me wrong, I always have the goal in mind and once we get to tech, my focus severely switches to the production. But until then, our goal will be to create a beautiful and honest play by working together.
In other words, I do not tell you what to do. I will ask questions, I will help you find your way, I may give you some direction, but for the most part, that is up to you. Yes, you are responsible for making acting decisions. Yes, you must come to rehearsal with ideas, knowledge, charisma, and above all, the idea that you are in control of your destiny on stage. My job is to guide rather than tell you what to do. I understand that this may be different than the other director's that you have worked with. I also understand that this makes it more difficult on you and that you have more responsibility. Good. Now you will learn how to be an actor. Now you will be the painter, rather than the paint. My goal is that the show be directed by all of us so that the end product is ours, rather than mine.
Please use this blog for questions, answer seeking, and other items that come up along the way. I will be there for you. Also, be prepared to work diligently and create the world that we will share with others on Valentine's Day.
Until then,
Chad Weddle
For those of you who are new to the way that I direct, and for those of you with whom I have had the honor of working with in the past, I wanted to share my methodology of directing in brief blog to prepare you.
My philosophy is that a play must be a sum of all of it's parts. We ALL must work together in order to create the final product and we ALL have a share in the work that goes into it. The rehearsal process can go in many ways. I have worked with several different types of directors and they all have different ways of getting to the end product. My emphasis is on the process and the creation, rather than the end product. Do not get me wrong, I always have the goal in mind and once we get to tech, my focus severely switches to the production. But until then, our goal will be to create a beautiful and honest play by working together.
In other words, I do not tell you what to do. I will ask questions, I will help you find your way, I may give you some direction, but for the most part, that is up to you. Yes, you are responsible for making acting decisions. Yes, you must come to rehearsal with ideas, knowledge, charisma, and above all, the idea that you are in control of your destiny on stage. My job is to guide rather than tell you what to do. I understand that this may be different than the other director's that you have worked with. I also understand that this makes it more difficult on you and that you have more responsibility. Good. Now you will learn how to be an actor. Now you will be the painter, rather than the paint. My goal is that the show be directed by all of us so that the end product is ours, rather than mine.
Please use this blog for questions, answer seeking, and other items that come up along the way. I will be there for you. Also, be prepared to work diligently and create the world that we will share with others on Valentine's Day.
Until then,
Chad Weddle
Wednesday, December 12, 2007
Truth through dancing?
Perhaps the characters (with the exception of Micheal) use dance as a way to show their true feelings/true selves. I was thinking of that last night, when I was re-reading the script, and perhaps this was already totally obvious to everyone, but I just noticed how much clearer the characters' (especially the sisters) personalities are when they dance, as opposed to when they are interacting with each other. As though they all wear a mask, but when they dance, the masks can come off, and their emotions are laid down raw. I think this applies to all of the characters but Micheal, because Micheal doesn't feel the need for this sort of expression, first as a child (who say exactly what they mean, what they want, and what they feel) and then as an adult, serving as the voice of truth. He has nothing to hide. But the rest of the characters cannot show their true colors all the time, for multiple reasons. I could be totally reading this wrong. Or, perhaps this has already been decided, and I just didn't pick up on it until now, like the "fathers and fathers" joke. But the adjectives that are next to the characters' dance descriptions are really intriguing to me. All of these people seem like they have so much bottled up inside.
Just a thought.
Just a thought.
What is Dancing?
Today in history class we watched a video about the Great Depression and a lot of it was about how many people during that time period would go to dances to get away from all the horrible things that they had to face. For entertainment and for escape, hundreds of people would have things called marathon dances. There was a big competition to see which couple could dance for the longest time, the winner received 1000 dollars. and since it was during the depression, people were so desperate for money that these dances didn't just last for hours, they sometimes lasted for months. the longest marathon dance lasted 9 months. The clips from the dances were really funny because one partner would be dancing, and he or she would also be holding up their sleeping (or passed out) partner.
I found this really interesting and I thought I should share it with everyone to give another idea as to why dancing was so important to so many people.
Tuesday, December 11, 2007
A little publicity
So as some of you may know, I am features editor for our school newspaper, The Cheiftain. When Ms. Pendery dropped off a camera to me today for the our rehearsal she said that we didn't get enough articles from the Journalism 1 students so she asked me to do a feature article on our progress with the show so far. I was thinking of using some pictures, one of Father Paul, one of Abby's dad and I have a couple good ones of Mr. Weddle and Dan Ruffley and then just some other cool "concentration pictures". I was thinking almost like a movie credit when you say the actor's name, their part, and the qualities or what to expect.
For example, and yes Lauren (only because you're awesome, haha!), I'm using you as an example:
Lauren Reenan as Chris, a woman with a young son, searching for personal truths and solving the heartbreaks of her past.
I don't know, that wasn't even what I want said for her but anyway, I want your input about your own characters and others as to ideas about how to sum up their qualities, actions, changes, identities, all in one sentence. I know, it sounds almost impossible to do this in one-two sentences. I want to make sure we offer information that has the passion of this cast and crew behind it. Take this as a chance to be creative, you can really go anywhere with this. Anyone with input or ideas, please respond to this ASAP...my page is due by the end of the week. Also, not only is this helping me out and giving us some early publicity but I think it's a great way to lead into some great thinking about character identity. You are all amazing and I really enjoyed our conversations at rehearsal. Keep up the amazing work!
Thanks,
Allison Arnold
For example, and yes Lauren (only because you're awesome, haha!), I'm using you as an example:
Lauren Reenan as Chris, a woman with a young son, searching for personal truths and solving the heartbreaks of her past.
I don't know, that wasn't even what I want said for her but anyway, I want your input about your own characters and others as to ideas about how to sum up their qualities, actions, changes, identities, all in one sentence. I know, it sounds almost impossible to do this in one-two sentences. I want to make sure we offer information that has the passion of this cast and crew behind it. Take this as a chance to be creative, you can really go anywhere with this. Anyone with input or ideas, please respond to this ASAP...my page is due by the end of the week. Also, not only is this helping me out and giving us some early publicity but I think it's a great way to lead into some great thinking about character identity. You are all amazing and I really enjoyed our conversations at rehearsal. Keep up the amazing work!
Thanks,
Allison Arnold
Monday, December 10, 2007
Such fun!
This is really very exciting... I've never done a 'blog' before!
In response to Mr. Weddle's ideas about the three plots, I totally agree on virtually all counts. I would like to clarify a few things though. Is Jack a dynamic character in the play? I felt like he was so far 'gone' by the time the sisters encounter him again that he really remains his benign, semi-doddering pagan self the rest of the play, as though outside information can no longer really reach him or affect him. I would think that both he and Kate are static, just opposite static forces, one of the live and let live ideology, harmless and complacent, and the other a rigid conformist who tries to bend others to her beliefs, and is dissatisfied with almost everything she encounters. Perhaps I'm seeing this totally incorrectly, though, please argue with me if I am. I didn't even realize Jack was pagan, after all- haha.
I have a few questions from re-reading the script, which I'm sure we can go over tomorrow but I'd still like to get them out there. 1. What exactly is 'turf'? I looked it up and only found what I expected to find... "the top layer of the ground". Does that mean that we burned sod as fuel?
2. Does anyone have any ideas as to what it is that I show Micheal when I came in talking about the fox? I show him something in my cupped hands, ask if he can hear it, then watch it fly away... I know it is symbolic, but I can't decide for what. Something you can only catch a glimpse of. Maybe love? Happiness?
In response to Mr. Weddle's ideas about the three plots, I totally agree on virtually all counts. I would like to clarify a few things though. Is Jack a dynamic character in the play? I felt like he was so far 'gone' by the time the sisters encounter him again that he really remains his benign, semi-doddering pagan self the rest of the play, as though outside information can no longer really reach him or affect him. I would think that both he and Kate are static, just opposite static forces, one of the live and let live ideology, harmless and complacent, and the other a rigid conformist who tries to bend others to her beliefs, and is dissatisfied with almost everything she encounters. Perhaps I'm seeing this totally incorrectly, though, please argue with me if I am. I didn't even realize Jack was pagan, after all- haha.
I have a few questions from re-reading the script, which I'm sure we can go over tomorrow but I'd still like to get them out there. 1. What exactly is 'turf'? I looked it up and only found what I expected to find... "the top layer of the ground". Does that mean that we burned sod as fuel?
2. Does anyone have any ideas as to what it is that I show Micheal when I came in talking about the fox? I show him something in my cupped hands, ask if he can hear it, then watch it fly away... I know it is symbolic, but I can't decide for what. Something you can only catch a glimpse of. Maybe love? Happiness?
Reminder!
Hey Cast and Crew...
Bios are due one week from today, December 17th. I get to see the cast to remind them but most of the crew I won't get to see so I just thought I'd remind everyone....!!
Thanks so much!
Let me know if you have any questions, either on here or allisonarnold@fuse.net
Sunday, December 9, 2007
DAL: A play in three acts?
Hello All,
As I was rereading Lughnasa this weekend, I found our table work to be magnificent. There were so many new insights that I had not noticed before and I think that we are definitely on to something. I cannot encourage you enough to continue to reread the play. It will help in so many ways. The biggest is to understanding the play. I know that we think that we do already, but I am still discovering so many things, especially the big picture. It will also help with character development, acting choices, intentions, movement, and MEMORIZATION. Lots o' lines, so get them down early for maximum creativity.
One item that came up as I was reading was the idea that this play is broken down into three major plot lines. There are three climaxes in the play, rather than the typical one, which is why this play won the Tony and is a fantastic piece of literature.
The first story is the story of Maggie. Her longing to be loved and have a mate. She battles this with her humor and cigarettes, but deep down she wants to be loved and to dance. The climax of this first part comes with the big dance on page 30. It ends with the girls going back to the way it was, but for a brief moment they are alive and dancing.
The second story is that of Rose. Her relationship with Danny Bradley and the events of the boat, the walk, and other unmentioned business. This story is what would happen if one of the sisters dared to find love outside of the family circle. It is a much more mature way of looking at the major theme of family vs. partner love and it climaxes when Rose goes off to Kate on page 71. As we see, this is the breaking point of the family and things never recover to where they were at the beginning of the play.
The third story deals with the family dynamic as a whole. It is Chris, Aggie, and Gerry's story. It is also Kate's story, but I believe that Kate is the one static character in the whole play and incapable of discovery or change. This final chapter focuses on the comparison of African family life with the one that has been established on the Mundy farm. One man with five wives. Maggie sees Jack's point and I believe Jack is much more observant of the truth than we give him credit for. This story climax is when Gerry notices that Africa has indeed come to the farm in the form of the kites and Michael is the fully aware of his situation.
Please feel free to write back, disagree, or clarify on this point. Blogs were created for this very reason and communication is key in the creation of great art. Remember that we are in charge of communicating ALL of the story to the audience and if we don't know it, then they never will.
Cheers!
Chad Weddle
As I was rereading Lughnasa this weekend, I found our table work to be magnificent. There were so many new insights that I had not noticed before and I think that we are definitely on to something. I cannot encourage you enough to continue to reread the play. It will help in so many ways. The biggest is to understanding the play. I know that we think that we do already, but I am still discovering so many things, especially the big picture. It will also help with character development, acting choices, intentions, movement, and MEMORIZATION. Lots o' lines, so get them down early for maximum creativity.
One item that came up as I was reading was the idea that this play is broken down into three major plot lines. There are three climaxes in the play, rather than the typical one, which is why this play won the Tony and is a fantastic piece of literature.
The first story is the story of Maggie. Her longing to be loved and have a mate. She battles this with her humor and cigarettes, but deep down she wants to be loved and to dance. The climax of this first part comes with the big dance on page 30. It ends with the girls going back to the way it was, but for a brief moment they are alive and dancing.
The second story is that of Rose. Her relationship with Danny Bradley and the events of the boat, the walk, and other unmentioned business. This story is what would happen if one of the sisters dared to find love outside of the family circle. It is a much more mature way of looking at the major theme of family vs. partner love and it climaxes when Rose goes off to Kate on page 71. As we see, this is the breaking point of the family and things never recover to where they were at the beginning of the play.
The third story deals with the family dynamic as a whole. It is Chris, Aggie, and Gerry's story. It is also Kate's story, but I believe that Kate is the one static character in the whole play and incapable of discovery or change. This final chapter focuses on the comparison of African family life with the one that has been established on the Mundy farm. One man with five wives. Maggie sees Jack's point and I believe Jack is much more observant of the truth than we give him credit for. This story climax is when Gerry notices that Africa has indeed come to the farm in the form of the kites and Michael is the fully aware of his situation.
Please feel free to write back, disagree, or clarify on this point. Blogs were created for this very reason and communication is key in the creation of great art. Remember that we are in charge of communicating ALL of the story to the audience and if we don't know it, then they never will.
Cheers!
Chad Weddle
Friday, December 7, 2007
Table Work
On Thursday, the cast and some of the crew discussed and analyzed the script for subtext, themes, and Dan references.
Part of the beauty of the blog to to continue the discussion. If you have additonal thoughts, or would like to bring up another topic, please post a comment and open the discussion.
Previous subjects:
Danny Bradley
Jack's conversion to Paganism
Masks/Kites
Rose's diagnosis
Industrialization
Family you are born into v. The Family you create
P.S.
You may notice, but I put a countdown to opening night on the right-hand bar. The clock is ticking...
Uncle Jack
Part of the beauty of the blog to to continue the discussion. If you have additonal thoughts, or would like to bring up another topic, please post a comment and open the discussion.
Previous subjects:
Danny Bradley
Jack's conversion to Paganism
Masks/Kites
Rose's diagnosis
Industrialization
Family you are born into v. The Family you create
P.S.
You may notice, but I put a countdown to opening night on the right-hand bar. The clock is ticking...
Uncle Jack
Thursday, December 6, 2007
Welcome, All.
Hello Everyone,
I am very happy to announce that we have entered the 21st century and we are using blogs to help us in our discovery of Theatre, Drama, and the many other wonderful items that fill our minds from time to time.
I would like to use this blog as a testing ground for the future. My hope is that it enhances your experience with Dancing at Lughnasa and helps you to discover story, character, theme, and all the other areas that create a believable and powerful piece of Theatre. We will discuss the specifics at our next meeting, but for now; feel free to say hello, share thoughts, or simply read others thoughts to help you along the way.
Oz will be our captain on this and I will be the editor and chief.
Please use this technology as a tool for communication and education.
Until then,
Chad Weddle
I am very happy to announce that we have entered the 21st century and we are using blogs to help us in our discovery of Theatre, Drama, and the many other wonderful items that fill our minds from time to time.
I would like to use this blog as a testing ground for the future. My hope is that it enhances your experience with Dancing at Lughnasa and helps you to discover story, character, theme, and all the other areas that create a believable and powerful piece of Theatre. We will discuss the specifics at our next meeting, but for now; feel free to say hello, share thoughts, or simply read others thoughts to help you along the way.
Oz will be our captain on this and I will be the editor and chief.
Please use this technology as a tool for communication and education.
Until then,
Chad Weddle
The Blogging Age
Hey Everyone,
Uncle Jack here. Just keeping you up to date with the new Dancing blog.
I'm excited at the further use of technology in the department and this is now a quick and easy way to communicate updates and news about the show and other related info.
Anyway, you'll probably be hearing more from me and other voices on this blog. So keep your eyes open.
Uncle Jack
Uncle Jack here. Just keeping you up to date with the new Dancing blog.
I'm excited at the further use of technology in the department and this is now a quick and easy way to communicate updates and news about the show and other related info.
Anyway, you'll probably be hearing more from me and other voices on this blog. So keep your eyes open.
Uncle Jack
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