project abandoned almost immediately after just making the one but i hated how the horror movie posters i made for my sims game didnt fit in with the game cuz no simlish and real people in the photos so i was gonna remake them all by making sims and taking in game photos... only got as far as remaking scream. sad.

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another really strong ep holy shit. and also one that has me really wondering about p'aof's writing history - does anyone know has he written or directed for stage? obviously bad buddy is littered with stagecraft; the romeo and juliet, the play within a play structure, so many one to one conversations and actions that speak in quiet rooms. stories that are built largely off of the strength of two characters speaking to each other, literally or figuratively.

but the way i can see it carried through last twilight too is so fascinating to me. i'm thinking especially of night and his ripped from stagecraft line a lá "the hero enters, and so the villain must exit" and literally taking his leave to the camera's wings beyond the lens. and The Kiss. another rooftop kiss, like bad buddy, like a tale of 1000 stars kiss on the top of the mountain. all i can see is how incredibly stageable these moments are. a dropcloth painted background, the right lighting, a little prop ledge to give it perspective...setting these emotionally intimate, quietly explosive moments against boundless backdrops. giving so much AIR to them, giving characters their room to breathe.

he writes/directs/envisions like a stagecraftsman first - and then completes the vision with some of the best elements cinema can offer that stage can't - close ups, scenes that move through irl locations, camera as performer and informer. it's just magical. because it's all in service of story. it feels so whole. what an auteur he is.

@skeleton-richard on behalf of @archangelmacaron asked me for thoughts on Goethe's Faust.

Re: being unstageable

Faust I, the first part, is very stageable. Sure, it has a lot of scene changes and parlor tricks and puppetry and other things that not every theater might be able to do. But all in all it's a pretty straightforward play with a pretty straightforward plot, and it gets staged dozens of times every year.

Faust II, the second part, does occasionally get staged but is really more meant for reading. It was published 30 years after the first part, at the end of Goethe's life. It's long. It contains a lot of mythology, philosophy, politics, and various other things that were important to Goethe. Feel free to skip this one if you're not into it.

Re: translations

It's pretty relevant to the success of Faust (I) that its language is absurdly beautiful and frankly half its lines are standing expressions at this point. Dealing with all that, and in verse, and in a manner that an actor trained on English texts can handle, has to be difficult for any translator.

I have not read the whole thing in English for obvious reasons, but I have looked into some translations that are (more or less) available online and here are my links / thoughts. All of these have both parts.

Bayard Taylor (1871): FAUST

This is the version for which the Harry Clarke illustrations were made so it will always have a special place in my heart. It is fine, I think. The famous phrases are all somewhere between defanged and gone, the flow is a bit weird in places. The characterisation of Faust and Mephisto comes across really strong, but a lot of the minor characters and scenes have a pretty different vibe to the point where I think it might be on purpose.

Thomas Wayne (2016): Fairest Faust

I like that this is called Fairest Faust ngl. It is not the fairest translation. I think the intention here was to stick very close to the original text, losing the meter and going for very awkward phrasings at times. Read if you hate poetry and would like to know what English would be like if it were German, or if you're already reading the German text and want to know if you misread something.

A. S. Kline (2003): Faust Parts I & II

This man apparently translates everything from every language, which does make me suspicious. But what I've read of this translation is good! It flows well, it's readable, the good phrases are recognisable, I like it. I guess the meter is kind of wild in places but oh well, no one's asking me to memorize it.

Re: operas

Boito's Mefistofele is by far the best Faust opera as an adaptation of the Goethe play(s). Berlioz is doing his own thing and the whole vibe is honestly more Werther than Faust, to me. Gounod is just the Gretchen story but with all the hard edges filed off. Busoni's Faust is intentionally not Goethe but at the same time a very good adaptation in that it has the essential Goethe Faust vibes (depression, frustration, religious conflict, science and the futility thereof, fun and the futility thereof, refusing to take responsibility for your actions, meditations on theater, and a strange fascination with the feminine).

verdict: read it and weep, or see mefistofele and then weep

Interview with Richard for METAL HAMMER N°12 - 1996 

It goes on restlessly: While Rammstein's debut Herzeleid is currently aiming for the 100,000 units mark, the Berliners are busy working on the second stage of their plan for world conquest - new songs, new fire, new power.

They were just testing some new inspirations and new music in the battlefield of the concert halls - starting with a relatively chaotic concept concert in Berlin, where classical music, Moby, contemporary art and Rammstein entered into a creative symbiosis in front of 7,000 people for the purpose of reorientation. "The thing was definitely too big in the end," remarked Richard Kruspe, the Rammstein guitarist, a few days later. “Unfortunately we were already in the pre-production for the next record and therefore couldn't take care of the organization at all. The idea was to work together with completely different people, to get new impulses. If you always work in the same environment, you fall asleep, dumbed down in a certain way. The tour we're doing now (early October) is to try out live new songs that we have together in pre-production so far. Usually you write songs and record them without ever having played them outside of a rehearsal room. Certain things only work on stage and I want to play every song live once before I sign off on it.” Which in itself is just a copy of the long road from Rammstein to the first record. “That was a good principle. I don't think you can just sit down somewhere and make a song.”

Richard quantifies the current level of creativity with “twenty ideas that we're going to rub in with the old things.” Although he can get the effect mentioned from the endless touring activities, he sees them more as lost time from a purely creative point of view: "It's completely impossible to work on new material on tour. From time to time there's a little something going on at the sound check, but then the time isn't there. Most of the time we do other things: stay healthy, go swimming...” In short: times have changed. “More than us anyway. When we started with the first Rammstein songs back then, we never thought about success. We were a lot more naive, we went a lot more gutsy - but that's the only difference. Rammstein on the second record will be the same Rammstein as before, just more mature.”

Richard is excited to work with new material now that "there's a story to every note of heartbreak." Nevertheless, Rammstein's music has something strongly ritualistic, stageable right from the start - was that a mental help to play 'Du riechst so gut' even after the 300th time with pleasure? “I see it more like this: Our songwriting suits that. It's very monumental, rather... well, simply structured; we do not attach importance to distinguishing ourselves through virtuosity. The problem isn't that you still feel like the songs, it's just that you're totally overwhelmed if you keep playing the same thing. No more enthusiasm: Everything used to be great, today you play a riff that is maybe much better than on the first record and still think five times whether it's any good. In the last four weeks of pre-production, we've all noticed that music doesn't really appeal to us anymore.” Of course, pressure also plays a role, “quite automatically, unconsciously, you cannot deny it...”

In this euphoric rather subdued creative period, Rammstein helps the proven parallelism between lyrics and music in songwriting. “We've noticed that our creativity basically only comes from the meeting of these six constellations - all six of us have to be there when mixing, for example, otherwise it sucks. The basic ideas always come from the individuals, but from a very early stage people talk about them and work on them together. Of course, a hard riff usually comes with hard lyrics; a lot arises from simple associations, especially in the relationship between music and text. There are always a lot of quarrels, but that's what makes it special: Rammstein is democracy with creative scratching and hair-pulling. If everything was always straight it would be boring and we could all do solo projects.”

The plans up to phase two of the world conquest are already set: “After this tour we will do a second pre-production in Berlin, together with a producer. We'll be recording in Malta - we thought, let's treat ourselves to some sun. But just heard that it's not supposed to be that great there... Anyway: recording runs from mid-November to the end of December, then we'll take a break for a few weeks and then, from February 1st, just like with the mix for the first record in Hamburg.”

What remains after a hundred Rammstein (that's the motto of the Berlin event)? Thousands of other German bands who upgraded with 'Rammstein guitars'? A new sound? “I don't think anyone reinvents a sound. There is a kind of development: a certain artist becomes popular with a certain sound and then logically get copied. There must have been a bunch of grunge bands before Nirvana, but Nirvana were the first to succeed - not without reason, of course, but because they were good. They were then copied by thousands. It's similar with Rammstein. There are already many bands that wanted to combine techno, modern music elements with hard sounds - we were lucky enough to be successful with it, which is why such attempts are now associated with our name.” Of course, the reduction to catchy sound clichés is a bit annoying, “but of course it's also a compliment for us when people emulate us - which is also a form of development.” Richard doesn't necessarily want to admit higher musical authorities, but “the interesting thing is to be inspired. I'm listening to a lot of Prodigy right now; for me an electronic band that tries new things, is courageous. They take sounds that don't exist yet. That's important to us, also when it comes to our outfit: we don't want clichés! Musically, we are not interested in things that were already there.”

Outfit, lived out pyromania - all things that success has made more and more feasible. "Sure, that's a double-edged sword. It's fun, there's variety, and people want a show, they think it's cool: 50 percent good music, 50 percent good show.” Whereby Rammstein, in contrast to the American model - all entertainment - do a blatant balancing act between provocation, fetishism, extremeness on the one hand and entertainment. “Both are included. It's fascinating for me to look at the people listening to our songs. It starts with the cop asking our truck to stop traffic and with a 'Rammstein? Then see you tonight!' goodbye. And how many children are on the shows!” Although the predicate 'pedagogically valuable' is certainly anything but appropriate for some texts... “I also constantly think about what makes our attractiveness to them. Maybe it's because we're a very easy-to-understand band in terms of musical style elements. The problem is rather that we are becoming more and more the slaves of our effects - according to the motto: once a pyro, always a pyro. The most we could do is change the element...” Add a few cold showers? "Like this. We still have opportunities and it's exciting. We also sell a few records, so it can't just be the fire.“ Or else, albeit in a metaphysical sense: Jugend forscht, part 11 - playing with fire. But it is certainly true that, as Richard says, above a certain mass effect, fire, monumental music are perceived. If there's a future for a mix of Kiss and Einfallende Neubauten in the German music scene, then Rammstein are about to get seriously mega. As for you personally: It's progressing! And we keep at it...

#unhallowedarts - Baneful Books

Ford Madox Brown "The Dream of Sardanapalus" (1871)

"How my soul hates This language, Which makes life itself a lie, Flattering dust with eternity." (Byron "Sardanapalus")

A melange of tragedy, burlesque-at-arms and melodrama that ends in tears and death, “Sardanapalus”, prematurely decadent and immensely influential and inspiring for the next decades of European art, “Sardanapalus” is still one of his lordship’s most stageable plays.

any updates on set design/staging?? The set concepts look amazing

In Autumn of last year, I constructed a scaled set model for the show as part of my university coursework, which more or less replicated the digital design concepts you've seen. This model was reworked to fit within the dimensions of the drama school's theatre space, which is potentially where we will be holding our first workshop of the show. There were some minor differences to this scale model that styled the set more obviously after old television sitcom sets of the 1980s such as Cheers and Family Ties.

The set's complexity will of course depend on our final budget but designed the set (and the show itself) with this in mind so it's still very much stageable at a more barebones level. One rather more expensive element I'm very keen to include is the screens, however these may have to be substituted for a a projection on the back wall in the workshop.

At the very minimum, we'll need a venue with a stage large enough to accommodate a full ensemble + principal cast. The drama school theatre space we're considering for the workshop just about suits this, but for any potential future productions we'd have to consider the size of the stage as a factor when designing anything more elaborate.

Thanks so much for your question!

-- Bez

HOH Competition #4 | Spooky Day in July (1/4)

Jasmine: Welcome back for yet another week inside the Big Brother house! After saying goodbye to Stefanie, our houseguests are off to their fourth HOH competition of the season. We’re gearing our contestants up for a haunting week full of shocks and surprises with this comp lovingly named, “Spooky Day in July.” This week we tested the houseguests on their handiness skill, and have tasked them to carve jack-o-lanterns to welcome the island spirits into the BB house, all while making sure the ceremonial torches stay lit. Sharp tools, open flames, and some testy houseguests: nothing can surely go wrong here can it? Stay tuned to see who gains control this week!

@boomchicapopdat @madebycoffee @lovviesims @gecko-sims @rainb0wguy @awolfgeeksclothing @w-sims @ommsims

OK, so historical accuracy. Extremely important in historical fiction, right? Sometimes, yeah. It’s something that I like to strive for in my own writing and enjoy in others. But it’s a flawed concept to hold up as a “gold standard”.

behold, my rant

1) what is historical accuracy? Our idea of the past is changing all the time, fuelled by new discoveries, new perspectives, new readings of material. I’ve seen novels dinged for being inaccurate (and done this myself!) when they were written before the stuff that made them inaccurate was discovered.

2) whose historical accuracy is it anyway? Most people have some idea of an historical era and it’s rarely something that matches with what people who actually have read or studied about that era extensively would agree with. What about the popular myths about particular people and eras that aren’t true but people believe them to be true? What about the different sides of a debate in a historical era? A Ricardian has very different views about historical accuracy in fiction about the Wars of the Roses than a non-Ricardian and both sides believe that they have the historically accurate version.

3) whose voices are determining historical accuracy? History is written by the victors, yes - it’s also largely written by an educated white male elite who are writing not necessarily to be an objective record of the time but to impart their own ideas of the world. Marginalised lives are rarely present and when they are, they’re usually held up as curiosities and moral lessons, and denied their own documentary expression.

4) what about absent voices? absent figures? Should we just continue to present an image of the past where queer people don’t exist? POC? Where women are largely silent and removed from the political stage? Why are we replicating the biases of the past? In the absence of evidence, do we turn to modern day statistics to reflect back on the past. I’ve had people tell me that 90% of the modern UK population identify as straight, therefore it’s most likely that any figure in history was straight unless we have evidence pointing in a different direction. There are massive flaws in that argument but it is functionally meaningless as a determination of the “truth”.

5) there is no universal standard of historical accuracy. I’ve seen people saying something is inaccurate when what they really mean is “I don’t agree with the author’s interpretation of evidence” or they don’t know about new evidence or theories. I’ve seen people go “there’s no historical evidence that X happened, therefore it didn’t happen” even if it is a plausible conclusion to draw from the evidence we have. I’ve seen people say that a particular piece of evidence shouldn’t be “stressed” because it's in disagreement with popular (and unevidenced) interpretations of relationships and figures.

6) what about the limitations of evidence and form? someone writing a novel about Alice Perrers either has to go “welp, these chroniclers are all hostile to her and are writing about her in blatantly obvious misogynistic terms but there is no other evidence about her personality so I’m stuck with copying their ideas”  or write contrary to the evidence because these accounts are universally hostile. Movies and plays are often critiqued for compressing events etc. when they need to in order to to watchable or stageable. Writing something from one POV means you miss the other POVs but moving POVs might mean that the focus on the story has significantly changed.

7) what if authors just want to have fun? They read a theory and they don’t think it’s true but it’ll make a good story. Peter Carey's The True History of the Kelly Gang isn’t actually true or even “historically accurate” (and I’m sure he knows it) but it is a good story and that’s why he wrote it

25th of April, 2020

"The One in Vain"

I was really excited about today. I'd finish reading the goddamn play and go talk to V about it. I'd get a good, long post out of it, I'd be hyped for days to come...

BWAHAHAHAHAHA.

Heh. Hehehehe. Heh. Yeah. Sure.

I was an idiot.

After I was done reading, I immediately went to text V.

"By the end of it, I realised a couple things.

1. The text isn't hard [to read], you just need a certain mental state for it.

2. I haven't read this much communal tomfoolery, occasionally interrupted by a plot, in a long time.

3. The play is stageable, and very much so, you just need a strong-willed, ruthless screenwriter who writes well, and two professional actors in the title roles, who can add to the characters. Considering [the writer] took his sweet time with the worldbuilding, he didn't get far with it."

Then I waited.

Half an hour.

An hour.

Two hours.

In 8 minutes, it will be 11 hours since. Did my bitch ass seriously think she was gonna reply? Though, most of the day, she wasn't active, but when she was, she was on her phone or gaming. As it's impossible she hasn't seen at least the notif, two scenarios arise. One, she left me on read, two, she forgot about me. I'm still contemplating which one's worse.

My Geo/Art teacher sings praises of the work I submit for her classes, and never fails to tell me how much she likes them. My Chem teacher tells me my essay was a pleasure to read, and that she could almost see me in front of her through my words. And V? V never says anything. Yet, she's the one I'm in love with. The one I never know and never will know the true feelings of. The one who never says anything.

Why am I doing this to myself?

And... why am I still hoping for a response?

~ S ♡

[Every story I share here, no matter how specific I get with my wording, depicts actual events from my own life.]

I'm curious: How long did an early modern performance last? Was it two hours, like the chorus of R and J says? But then, why are Shakespeare's plays so long? They need to be abridged for them to last so little; why would Shakespeare write so much if he knew many lines would have to be cut out in the end?

The quickest answer to this is that we don’t actually know… We know that performances started at 2pm when the trumpet was sounded. As you say, the prologue to Romeo and Juliet talks about the ‘two hours traffic of our stage’. At the end of The Tempest (the play that most closely adheres to the unities of place and time), Antonio refers to the shipwreck as being ‘three hours since’. Macbeth speaks of ‘a poor player that frets and struts his hour upon the stage’. So, as far as we can discern from internal evidence from the plays, they lasted about 1-3 hours.

Many people have argued that shorter editions of the plays, like the first quartos of Romeo and Juliet and Hamlet were prompt script versions, which would suggest that plays were cut down for performance. Some people even reckon that there may be a longer, lost version of Macbeth because the play is so short in comparison to most of Shakespeare’s work. In any case, it seems very likely that lines were cut for performance in Shakespeare’s own time. Hamlet probably wasn’t performed in its full four-hour 2nd quarto variant.

Shakespeare does tend to write abnormally long plays in comparison to many of his contemporaries, whose plays are generally more stageable without cuts, but he’s not the only one who writes such long plays. Anthony Munday and Henry Chettle’s co-written Sir Thomas More (which Shakespeare had a hand in) is ridiculously long. We don’t know why Shakespeare tends to write such long plays, but there are some possibilities. He might have written too much so that they could cut whichever section they wanted to according to season, performance, venue, touring and so on (plays were also a collaborative effort). Or maybe he wrote as much as he wanted without too much regard for how much of it could be staged. Maybe both. The latter of these two seems well supported by Ben Jonson, extracts from whose notebooks were published posthumously in his 1640 Second Folio, in a section called ‘Timber, or Discoveries by Ben Jonson’:

I remember, the Players have often mentioned it as an honour to Shakespeare, that in his writing, (whatsoever he penn’d) hee never blotted out line. My answer hath beene, would he had blotted a thousand. Which they thought a malevolent speech. I had not told posterity this, but for their ignorance, who choose that circumstance to commend their friend by, wherein he most faulted. And to justifie mine owne candor, (for I lov’d the man, and doe honour his memory (on this side Idolatry) as much as any.) Hee was (indeed) honest, and of an open, and free nature: had an excellent Phantsie; brave notions, and gentle expressions: wherein hee flow’d with that facility, that sometime it was necessary he should be stop’d: Sufflaminandus erat [full of wind]

We don’t have much information about what Shakespeare (the man) was like, but this retrospective account by Shakespeare’s friend, rival, and drinking companion does confirm what the plays seem to show: that Shakespeare was overflowingly eloquent, and sometimes couldn’t stop. I find the image endearing.

Performers sought for variety show — with a twist

Auditions will be held this week for StageAbility, a showcase of performers with disabilities at Harbourview High School on May 29.

from CBC | New Brunswick News http://ift.tt/2pdMXzV

Update, December 2017. Year-end (part 1)

We therefore start with a brief description of my life so far as a teacher of Creative Writing.

Let's be straight to the point: Nothing good ever comes easy. It's quite difficult to teach them writing poetry the first time. Perhaps some of the students think that writing for a subject is a pain, but others seem adept at it and had promising poems presented. I seem old when I say that I remembered the first time I wrote poems for a class. It wasn't easy to tread into darkness when writing a poem. Light only shed when the teacher said it was "promising." No, I'm not exactly a people-pleaser; I was quite vain when writing. I learned the hard way through writers' workshops that I had to let go of attachments and focus on revising.

And yes, it's unlike the singing or dancing competitions when judges say, "It's the best performance I've ever seen." No. You can only get "It's good," or "You can do better than this." Or "It's not yet a poem."

I'm hard to please, they say. Some whine over their green-marked draft. Others were happy to have a barely passed mark. I concur; I got a final grade of 2.0 in my CW class. In UP, 2.0 isn't much. Probably in the eighties. Please correct me if I'm wrong. Anyway, the grades were objectively given because, RUBRICS are our Bible. A comment from one of our admins: "There's no rubrics in Creative Writing Classes." As a basic ed requirement, we have to incorporate this as an objective way of grading. Giving the full credit when accomplishing requirements weren't applicable.

Fiction, I guess, were their strongest suit. A lot more people shone in this genre. Someone wrote about the War on Drugs. Others, about misdiagnosis and giving the wrong medications that led to madness. Others went to the popular "we had the right love at the wrong time" or "I like us better when we're wasted" scene. You hypebeasts. Some more people really struggled with finding a story. And yes, the 750-word requirement. That crimped their grand plans (at least for one person). That challenged their creativity.

The drama part I dreaded. I wasn't good in this genre. In fact, I only appreciated reading them, or performing in one. So, I wasn't very concerned if they can stage them someday, although I found ones that are stageable. In order to become a good playwright, you step out of your way and imagine yourself in the shoes of the character you are trying to perform. Apparently, the students preferred looking at their own experiences, so some of their characters have similarities to an actual person. I believe it's much easier.

Second semester was the time that inner demons must come out. They just finished writing personal essays, and it really didn't turn out the same as first semester. They were only given 1 day to accomplish 5-paragraph essays, and it was an option to start earlier but submit on that day. Some of them don't make the cut. But one caught my eye, at least, content-wise and form-wise. It was attempted rape between a senpai towards his kohai (the narrator) and how it scarred kohai for life.

The bigger challenge is next year, when the semester will shorten to one month and when the deliberations come. I'll probably write of what I think of these batch of beginning writers in another post. Not this one.

Cathy Naden and Robin Arthur in Dirty Work (The Late Shift). Photograph: Tim Etchells

Forced Entertainment. The clue’s in the name. Forced Entertainment’s revived production of Dirty Work is imagination, language and overt theatricality forced upon us. Two performers (Robin Arthur and Cathy Naden) talk us through the action of a five-act play. Arthur wears a green shirt, Naden wears a purple dress; both reflect the tangible light of their silky surfaces. Terry O’Connor sits in the back corner of the stage; on the table in front of her sits a large briefcase, disguising a record player which she uses to play two underpinning tunes, repeatedly throughout. All three performers are encased in a curtain of dyed-purple cloth, creating the shape of the proscenium arch in which they perform.

The text is saturated with observation: of failure, of death and tragedy. Arthur’s delivery is tinged with truth; with fact. Language leads to tangents, to further expression, to other tragedy. A decision needs to be made in parliament; a minister produces language, colour, jargon, yet no decision is made. No action is taken. This is all too familiar and painfully striking in its omnipresence, from a piece originally performed nearly twenty years ago, updated with mentions of Trump and Brexit.

Graphic description is monstrously punching to the gut in the telling of ‘tragic, if predictable, consequences’ of action. Lighting warms and cools with potent thought from lighting designer Nigel Edwards.

Theatre going itself is analysed; dissected. ‘A fourth wall is built, it’s criticised, it’s demolished’, says the text. Yet for a piece which so closely observes and tests the traditional realms of theatre, there is too much safety for its audience. They talk of breaking down the fourth wall and hypnotise us with their music and poetry, but we are forced to sit in a conventional seating block facing the windowed stage. Perhaps this ought to be re-thought. With its mediatory tone, it cues sleep, rest, listening, yet its form does not allow such response. Or at least, such response is certainly not openly encouraged.

It gets long and slow. There is no jump or jar in the text after the piece reaches its halfway point and dullness consequently ensues. The music becomes hypnotic, almost provoking fear like a reoccurring nightmare that gets stuck in an endless loop of existence. For all its poignant beauty and keen observation of life which is truly stunning, this Dirty Work perhaps gets a little too caught up in its own imagination.

Review by Joseph Winer

Two performers conjure an extraordinary performance in a collaborative and competitive act of description. From vast explosions to sub-atomic particles with daily life, political interludes and cabaret turns in between, no event is too large or un-stageable for the protagonists, whose game of virtual theatre takes the audience on a roller coaster ride, celebrating the power of language to make things happen.

Provocative, intimate and comical, Dirty Work (The Late Shift) exposes a world in which real life is presented as spectacle.

Forced Entertainment re-imagine their 1998 performance for contemporary times, co-opting the imagination of the audience to fill the stage with a delirium of images, scenes and events in bewildering and unnerving succession.

Director Tim Etchells Devised and Performed by Robin Arthur, Cathy Naden and Terry O’Connor Created with input from Richard Lowdon & Claire Marshall Lighting Design Nigel Edwards Design Richard Lowdon Production Management Jim Harrison

27 Jun – 1 Jul DIRTY WORK (THE LATE SHIFT) Forced Entertainment https://www.bac.org.uk/

http://ift.tt/2t8lbEs LondonTheatre1.com