So, this week, we’re in week four of our rehearsal process. The play is on its feet, we’re in the refining stages, ready to begin tech on Sunday.
The show I am assigned to, as an assistant director, is The Great Moment, an original work by Anna Ziegler (Photograph 51, The Minotaur). Luckily, we got to have Anna sit in on rehearsal and give notes. I’ll talk more about that later! But, here’re my questions for the week, mostly having to do with new play development.
(Mom, I’m combining last weeks question with this post).
What is the relationship between playwright and director? What are the rules of that dynamic?
In the process of putting new work on its feet, from what I’ve seen, the director-playwright relationship is constant communication. Mainly to confirm that the story is what the playwright intended/wrote. Or to make sure the story is still interesting/compelling/the best it can be.
If I could write rules for that dynamic, I think it’d be:
1. The playwright’s voice is insanely important; their tone and rhythm need to be distinct and unmuddied (is this a word?). The director elevates or brings to life the playwright’s words.
2. Respect the director’s process. New work presents a new story to be interpreted, and then conceptualized. It’ll take a moment before you achieve or actualize what’s in the director’s mind.
What’s the most effective process for producing new work (tablework, staging, refining, tech, etc)?
I’m a fan of organic rehearsals in general, as opposed to a preconceived vision of what it all “should be.” But I think it’s especially important for new work.
There are so many variables. The variables being the actors, the directors, the space, technical capabilities, and so much more. So many of those variables can change what reads well on the page. Sometimes they elevate the language, sometimes they bare all the imperfections. For new work that hasn’t been produced, an organic process based purely on impulse allows us to see what works and what doesn’t. What is fixable, and what needs to be rewritten/reblocked or just cut altogether.
In this process, it was fortunate that we had Anna in the room for tablework and refinement. One of my favorite days was a full flurry of rewrites and cuts. I’ll elaborate later.
How do the actors affect the development of the new work? How does everyone else play into it (AD, SM, ASM, etc)?
In this process especially, the actors and the director played a significant process in the development of the play. I can only speak from the process I was involved in. And it was really inspiring to see how the actors delved into character development and let the director and playwright know where they were feeling underdeveloped or confused.
Of course, to an extent, I think that too much interference could cause the original story to get lost. Luckily, that doesn’t seem to be the case here.
My answers for the week.
It is October 4th, 2019. I am 24 years old. A moment in time.
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Victor Hugo’s novel,The Man Who Laughs, is set in 18th century England and tells the story of Gwynplaine. Scarred with a Glasgow smile as a punishment to his rebellious nobleman father, Gwynplaine grows up unaware of his aristocratic origins. Abandoned by the men who disfigured him, he finds love with his sweetheart, a blind girl named Dea. The two are cared for by Ursus, a gruff philosopher who raises them to follow “the old ways” of Celtic paganism in spite of the looming presence of the church. Gwynplaine provides for his family by performing as a clown, yet his harsh-but-happy life is yanked out from under him when Queen Anne’s court, thinking that he will be an easily-manageable puppet, attempts to reinstate Gwynplaine to his father’s titles.
Click the link to watch the cast of Lincoln High School in Ypsilanti, MI perform a staged reading of “The Man Who Laughs”, my play adapted from the book of the same name by Victor Hugo.
Enjoy, and feedback is most welcome.
--Alicia Nyblade, playwright
"The Man Who Laughs": Lincoln High School's Staged Reading (April 13th, ...
Come see the first reading of a brand new play. Theatre writer Kait Kerrigan’s Father / Daughter asks how much our relationship with our parents and our children impact our romantic relationships. Two stories told 23 years apart, Baldwin is Miranda's 30-year-old divorced father who is trying to forge a new relationship with a beguiling woman, and Miranda is Baldwin's 30-year-old daughter, who has found herself in her first serious relationship. What baggage do we bring with us from our past and how can we learn from the relationships we choose in order to repair the relationships we inherit? Directed by Morgan Green.
Do you live in beautiful Vermont? I’ll be there on May 19th and 20th with my new play. Tickets are just $10. I would LOVE to have some friendly (under 50) faces in the audience... :)
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For close to a baker's dozen years now, fresh pie has been an integral part of the Humana Festival experience for a select group of attendees, most of them dramaturgs and literary managers from around the country. Midway through the new play marathon that the Festival offers, these intrepid scouts and critics and theatrical gastronomes pause to refresh themselves with an array of pies from Louisville's inimitable Homeade Ice Cream and Pie Kitchen. Originally a small, guerilla venture off-campus in search of baked goods, the event has over the years become a formal part of the schedule, complete with not only two tables overflowing with filled treats but also what can only be termed Pie-a-turgy. This year's lobby display offered the following expert exigesis from the wits and wags in the Literary Office of Actors Theater:
I interview Bakers
Q: What are you working on now?
A: An adaptation, or perhaps, a willful misinterpretation of the classic Apple Pie. One that addresses the labor injustices hidden by the high gloss and low cost of your lunch-box Fuji.
Q: Tell me a story from your childhood that explains who you are as a baker.
A: I grew up in a small town and didn’t have TV. To top it off, my parents weren’t into fast food of any kind, so if I wanted a sweet treat, I had to make it myself. A lot of those first attempts were soupy and kind of a mish-mash of ingredients, but I loved it. and my family always pretended to enjoy my half-cooked creations.
Q: If you could change one thing about baking. . .?
A: More people should eat things that aren't pre-baked or shrink-wrapped (both of which are fine by the way, but come on. Enough.)
Q: What advice do you have for bakers just starting out?
A: Share your pies. Get a group of friends together, wherever, in the kitchen, a basement, wherever. Bake pies. Share pies.
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A recent surge in pastry-education has cultivated new interest in pie-baking, but few institutions can support this trend. “In terms of encouraging new bakers, serving new pies, and sending our pies out to other bakeries, we won’t be able to do what we hoped.” —Pastry Master at the Guthrie.
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One of our most respected bakers was quoted in the new York Times saying, “New pie development is dead. It just became too expensive to bake new pies. Today, instead of 50 regional bakeries developing 50 new pies, what you have is one new pie by an established baker that gets served 50 times at 50 regional bakeries.”
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Most patrons are only interested in traditional or holiday pies. They want the pie they grew up on. They think they won’t like new pies, or that they’d rather eat a donut or some other desert-on demand. And maybe the only way to preserve the art of pie-making is to evolve. Is to reach out to this new generation that grew up with gluten intolerance and iPhones.
-Spokesperson for the LMDA (Lard Mixers and Dough-rollers of the Americas
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The Shape of Pies to Come:
A baker, as any other food artist, should accept the bald fact that content determines form and form determines content. A crust is not something that gets in the way of the culinary experience but is an integral part of the pie.
Bakers are often encouraged to stick to a traditional, two crust, closed-top pie structure with the filling inside. Those sorts of pies are fine, but we should understand that the pie crust is not merely a docile, decoratively latticed pastry, but an active ingredient in the sort of taste experience which ultimately inhabits it.
Why a closed top pie crust? Why a crust at all? If a baker chooses to invoke the taste of time immemorial enclosed in a pair of parentheses, then the pie naturally assumes a new shape. Emerging bakers must find the pastry form that fits the equation of their filling.
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The complete guide for the youth coach with emphasis on basic skills, player development, simple combination play, development of the coach and FUN. Learn by doing,
Soccer coaching, ages 5 - 12 positive coaching and administration. Very easy to read. Lots of checklists and excellent small sided games.