Again though, this argument for and against traditional theatre's place in modern work. At the moment, everything is over-written, especially when you think we're attempting to tell the story with at least 50% visuals. The process of pulling back this text that has grown out of improvisation and discussion will come later, yet I'm impatient to see it all happen now. The burden of a looming Friday end point has me sometimes wanting to chain myself to this computer until it's done.
It's never done. The eternal struggle between plot, character, absence and abstraction continues.
As always, the penny arcade sequences form so easily. Their primary purpose is entertainment. So often in my work when I set out to entertain, things come together with ease. What has become of this idea in contemporary work, that our job is to entertain, on whatever level?
We managed two penny arcade's today, Theophilia and Nurse (part II). Theophilia is a homage to French New Wave, a series of shutters opening and closing to fixed imagery and existential narration. A strong antidote to the bawdy sequences that book end it. Nurse (part II) is similarly idiosyncratic. It starts out with a ridiculous tour of 17th century London that includes a photo op on Abbey Road, and ends with one of the most truthful moments from the character.
We also did our last backstory/storytelling exercise for the process, finishing with Buckingham. The daily exercise has been helpful, mostly for the actor playing that particular character of the day. To have another actor sit next to you and tell a story about your character can force some interesting decisions.
x nic
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