What People Think the Relationship Between Actors and Techs is:
What the Relationship Between Actors and Techs Actually is:
01 Mar 2014 Leave a comment
18 Feb 2014 Leave a comment
In Romeo and Juliet, Shakespeare invented the idea of the teenager in love. Many of his characters – the thin and anguished Hamlet, the fat a jolly Falstaff, the sexy Cleopatra, the aged King Lear – have associations even for people who have never seen or read his plays, but none more so than Romeo and Juliet. All around the world, the paring of the names is synonymous with the idea of being young and in love. “Juliet’s Balcony” has long been a tourist destination in Verona, even though she is a fictional character and there is no balcony in Shakespeare’s play (in the original text she appears at her “window”; it was only in the theater of David Garrick a century and a half after the play was written that the balcony was introduced as part of the set design). Innumerable allusions in popular culture and song attest to the couple’s statues as archetypes of young love – “We were both young with I first saw you…. I’m standing there / On a balcony in summer air” (Taylor Swift, “Love Story”). When this song’s music video was released it had couples in 18th century costumes re-enacting the ball from Romeo and Juliet, including the sequence in which the lovers link hands. In, the song a handsome Romeo appears in front of Ms. Swift, the answer to every teenage girl’s dream. “Teenager” – a word that didn’t exist until after WWII, before that you went from childhood to adolescence, a time spanning 12 odd years, 13-21 or 25 (depending on if you were female or male.) This dates back to ancient times, where the youth were prone to “sexual indulgence, riot and high spirits.” Even Shakespeare did not like the adolescent years, as he has many quotes in his plays about the youth: “there is nothing but… wronging the ancientry, stealing and fighting.”
Tragedy is traditionally focused on the undoing of heros of extreme masculinity or on powerful rulers who climb to the top of Fortune’s wheel, then tumble to catastrophe. There was a long tradition of poetry about doomed lovers, but to make a pair of adolescents into tragic heroes in a stage play was an extraordinary innovation on Shakespeare’s part.
The Irish poet W.B. Yeats remarked in a letter that only two subjects can be of any lasting interest to a serious and studious mind: sex and the dead. He was not thinking of Romeo and Juliet at the time, but the play is both seriously and playfully interested in the connection between the drive whose end is the creation of new life and the confrontation that ends in the extinction of life.
Shakespeare often thought in pairs. Give him an idea and he is equally interested in it’s opposite. Sometimes he will handle similar material in successive works, trying it out as comedy in one case and tragedy in the other. In 1593-94, the theaters were closed due to a severe outbreak of plague in London. During this time, Shakespeare wrote a pair of narrative poems on the subjects of desire: the playful Venus and Adonis and the mournful Rape of Lucrece. Both were based on stories by the Roman poet Ovid, Shakespeare’s prime precursor in the art of quick changes and sudden contradictions.
Within a year or so of the theaters reopening, he wrote his most Ovidian play, A Midsummer Night’s Dream, that wonder-filled anatomy of love in which “quick bright things come to confusion” and “everything seems double,” until out of the dream and illusion there grows “something of great constancy.” A Midsummer Night’s Dream turns on comedy’s ancient plot of young people finding true love in the face of parental opposition. In the final act, the opposite ending of the same story in invoked. Bottom and his friends perform Ovid’s story of Pyramus and Thisbe, a pair of lovers from rival households who lose their lives in a tragedy of bad timing and misapprehension. Though played in the style of parody, the “very tragical mirth” of Pyramus and Thisbe is a reminder that, in the matter of love, all does not necessarily end well.
So it is that, like Venus and Lucrece, A Midsummer Night’s Dream and Romeo and Juliet are companion pieces (very fitting for our last and current season actors and audience, getting to see both with in a year). As A Midsummer Night’s Dream is a comedy darkened by something of the night, so Romeo and Juliet is a tragedy that keeps surprising us with flashes of comedy. The shock of Juliet’s apparent death is heightened by the proximity to the cheerful bustle of the wedding preparations and the comic dialogue of Clown and Musicians. Equally, Shakespeare takes character types from the comic tradition – the tyrannical father, the bawdy servant, the meddling friar, the witty and cynical friend – and transforms them into such complex, many-layered beings as Old Capulet, the Nurse, and Mercutio.
The spirit of the play is fundamentally Ovidian, although the story is closely based on a different source, an Italian Renaissance novella that was mediated to Shakespeare via a drearily written poem called The Tragicall Historye of Romeus and Juliet. As in Ovid’s Metamorphoses, “violent delights have violent ends”: intense passions lead to dramatic transformations, the bright flame of young love is swiftly and cruelly snuffed out, but something of constancy endures at the close. Ovid’s Pyramus and Thisbe meet by an ancient tomb outside the city. They fall to earth in death, but their love is symbolically remembered in the ripening of the blood-dark mulberry. A couplet of Friar Laurence’s neatly sums up the structure of feeling that underlies this and so many other of Ovid’s transformations: “The earth that’s nature’s mother is her tomb: / What is her burying grave, that it her womb.” Taken as a whole, the Friar’s soliloquy cuts to the quick of Shakespeare’s double vision. It is structured around the rhetorical figure of oxymoron, the paradox whereby opposites are held together. Not only womb and tomb, but also day and night, herbs and flowers that are simultaneously poisonous and medicinal, virtue and vice: “such opposed kings emcamp them still / In man as well as herbs.”
It will be exciting to play with this opposites and create our reverse of A Midsummer Night’s Dream in Romeo and Juliet this spring.
16 Feb 2014 Leave a comment
All call for Director’s Assistant:
The Director’s Assistant is an person who works closely with the director throughout the production process. They are involved at the pre-production stage through to post production marketing and distribution. They must be an underclassmen, well organized, flexible, and have a good overview of the production process. The director will determine their responsibilities throughout the production on a day to day basis. Their tasks may include writing coverage on scripts, drafting letters, making phone, coordinating the fundraising process, assisting with duties on and off the stage.
The Director’s Assistant will typically act as another set of eyes and ears and as a sounding board for the Director at rehearsals, and performances. When asked, the Director’s Assistant will offer constructive suggestions to the Director regarding all elements of the production from design to performances. It is important to keep in mind that the Director should be the only person communicating these suggestions with the production team including performers. The Assistant Director should restrict comments to the Director in order to avoid confusing or possibly contradictory messages.
It is also important to realize that the Director’s Assistant position is one of trust and confidentiality–the Director may share thoughts or concerns that should not be common knowledge. The Director’s Assistant position is an opportunity for students to learn firsthand an individual director’s process and the production process as a whole. The following are some of the duties and responsibilities a Director may require of an Assistant Director.
All call for Script Secretary:
The role of the Script Secretary is especially important to the director in rehearsals. Here the director and the script secretary work side by side, with the script secretary recording the director’s decisions about blocking and notes for the actors, keeping track of logistical and scheduling details and communicating what goes on in rehearsals to the rest of the team. This enables the director to concentrate his or her full attention on directing.
Script secretaries have several key responsibilities and tasks to perform in each phase of a production, including
- Writing blocking down
- Communicating the director’s wishes to designers and crafts people
- Calling cues and possibly actors’ entrances during performance
- Overseeing the entire show each time it is performed
- Make sure rehearsal props and furnishings are available for the actors
attend all rehearsals
- Notify the designers and crafts people of changes made in rehearsal
In rehearsals the script secretary also records all blocking, plus all the light, sound and set change cues, in a master copy of the script called the prompt book. The information in the prompt book also allows the stage manager to run the technical rehearsals, calling each technical cue in turn to determine precisely how it needs to be timed to coordinate with the onstage action.
Once the show opens, the director’s work is essentially complete. Now it’s the script secretary’s job to make sure that every aspect of the production runs just as the director intended time after time, until the production closes.
If you are interested in being the Directors Assistant/Script Secretary in-training for the spring play “Romeo and Juliet” please submit a resume and cover letter stating why you are the person for the job.
Must be a Junior or younger.
15 Feb 2014 Leave a comment
- romeo: im so sad
- romeo: ill never be happy
- romeo: a party sure why not ill just sulk around an- WOAH
- romeo: WHO DAT
- romeo: SHE GOT DA BOOTY
- romeo: imma dance with her
- romeo: *dancin wit teh juliet*
- juliet: daheck are you
- romeo: shh *kiss*
- juliet: :oo
- *party over*
- romeo: AYYY LOOK I FOUND DAT LADY’S HOUSE
- romeo: LADY
- romeo: HEY LADY
- juliet: OMG HI I REMEMBER YOU
- romeo: yeah its me hey wanna get married
- juliet: dont you think its too soon
- romeo: idk
- juliet: brb
- romeo: k
- juliet: HEY YEAH LETS GET MARRIED TOMORROW
- romeo: AWW YEAH I BET THIS PUTS ME ABOVE MERCUTIO AND BENVOLIO IN MAN POINTS
- *next day*
- rome and juli: FRIAR MARRY US PLEASE:
- friar: idk and ROMEO WEREN’T YOU JUST SULKING OVER ROSALINE LIKE YESTERDAY
- romeo: yeh
- friar: ok fine ur married
- rome and juli: yaaaay
- *some time later*
- tybalt: WELL SLAP MY BUTTOCKS AND CALL ME A MONTAGUE IS THAT ROMEO
- mercutio: excuse you dont talk bout my friend like that
- tybalt: shut up mercutio *stab*
- mercutio: WAAHAHAH IM DED *he die*
- romeo: hnnn
- romeo HNNN
- romeo: hnnnHIYAAAA *stab*
- tybalt: oH NO IM DED AHH *he die too*
- prince: ohmygod why did i JUST tell you yesterday about fighting
- romeo: i sorry
- prince: no ur banished
- romeo: HWWHWHHAAAT YOU BANBISHED ME
- romeo: *runs to friar* IMMA KILL MYSELF*
- friar: no i have plan just go to mantua ok
- romeo: k *leaves*
- juliet: FRIAR HELP THE LOVE OF MY LIFE THAT I KNEW FOR LIKE 1 DAY JUST GOT BANISHED IMMA KILL MYSELF
- friar: NO JULIET I HAVE A PLAN you drink this potion you look dead you be put in capulet tomb until you wake up and romeo find you and you run away together
- juliet: ok
- juliet: *goes home and drinks potion*
- nurse: hey juliet rise and shi- OOOH MY GOD LADY CAPULET COME HERE OH MY GOD OH MY GOD
- lady capulet: wha- OH NOO OH NO okay lets throw her in the tomb of dead people
- juliet: *in da tomb* zzZzzZZzzzZ *not actually dead just sleepin*
- romeo’s servant: AYY YOO ROMEO I GOTS NEWS FOR YA
- romeo’s servant: JULIET’S DEAD
- romeo: WHAT
- romeo: WHAaaAaaaT
- romeo: OKAY YOU KNOW WHAT I’M GONNA GO AHEAD AND POISON MYSELF BEFORE LOOKING INTO THE SITUATION AT ALL OR CONTACTING THE FRIAR OR ANYTHING
- romeo: *buys potion*
- romeo: *breaks into the tomb of dead capulet people*
- romeo: oh my god its juliet wow she doesn’t even look dead
- romeo: but im sure she is
- romeo: *kiss juliet*
- romeo: *drinks poison*
- romeo: he ded
- juliet: *yawning* YAWWWN oh i can’t wait to see my rome- WHAT DAFUQ
- juliet: IT’S ROMEO NEXT TO ME
- juliet: HE DED
- juliet: *grabs sword and stabs herself*
- oh yeah and romeo also killed Paris in the tomb by the way forgot to add that b/c apparently killing tybalt wasn’t enough
- friar: *comes in cell*
- friar: uh oh
- prince: WHAT DIS
- CAPULET: WHAT DIS
- LADY CAPULET: WHAT DIS
- MONTAGUE: WHAT DIS
- CApULET: *strokes montagues face* brother
13 Feb 2014 Leave a comment
R&J is around the corner!!! We are doing things a little differently for this production…. we are switching genders!!! So Romeo will be a girl played by a girl and Juliet will be a boy played by a boy! This of all the roles you would never have been about to play until now.
Thursday Feb 20th 3-5pm
Friday Feb 21st 3-5pm
So… What do you need to audition…
1 MINUTE SHAKESPEAREAN MONOLOGUE!!!!!
No it does not need to be memorized, but think how impressed I’ll be!
Break legs and have fun!!!!!
For More Information, check out this site:
12 Feb 2014 Leave a comment
in Drama Club
Do you run a theatre company or love a certain theatre company?
What percentage of female actors do they employ?
What percentage of female playwrights do they produce?
What percentage of female directors do they hire?
51% of the people in America are female. Are 51% of the voices you are hearing female? Are 51% of the stories you are seeing about females?
How can the theatre company you run or the theatre company you love do better?