Allie Boettcher
9/6/10
Theatre 240
The Glass Menagerie
Play Response
1) Tenessee Williams’ play The Glass Menagerie truly moved me because it wasn’t just another fairytale with a happily ever after sort of ending; it was real. Williams’ play spoke to me about everyday struggles that regular families endure with each other. This play meant something to me because I felt I could relate to the family in the play. Alike the Wingfield family my family is dysfunctional. Although we love each other we find it difficult to express in the right way at times. The character I feel I can most identify with is Tom because he has an itch to escape, to follow his dreams, and is independent. Because I understand the way in which the character of Tom operates this play means something to me and touches me emotionally. I believe that the point of Williams’ play is to ignite an emotional reaction in his audience by exposing the harshness of reality and the affect that reality can have on a family. Ultimately, Williams wrote this play because it is an autobiography derived from his own personal experiences; he wants to be able to share those emotions he went through as well as the life lessons that he learned. Williams successfully emphasizes the importance of facing reality and finding the will to be independent.
2) I would choose to do the play in the 21st century because I would like to see how effective the themes of the play would be with a modern twist.
3) In my own opinion, maybe a few days or perhaps a week or so of time lapses in the play. My thinking behind this is that there has been a lot building up in each character; tension is at its highest and the audience is there to witness the climax and the resolution.
4) Overall the environment feels very uncomfortable to me because most of the play takes place in the Wingfield’s apartment, and the audience is trapped in this small bubble. With the setting being dominantly placed in the house it creates tension. Also, the glass figurines of Laura’s are beautiful and pleasing to the eye, yet they are unsettling at the same time. Reading the play I felt the figurines were a metaphor for the fragile state of the family, and at any moment things could fall apart and break into a million pieces. Finally, the lighting. I picture it being dimly lit because of the mood and tone of the play which evokes an emotion of sadness in the audience.
5) A scenic requirement of the play is an inside perspective of an apartment, small area for a fire escape, an alley behind the apartment, and a few building structures across from the Wingfield apartment to give a city like illusion.
Scene by Scene
6) Scene 1: Tom is standing in the fire escape that leads to the apartment and is leaning against a wall. He is looking in through the apartment and out into the audience. Once his narrative has ended the lighting changes. Tom enters and joins his family at the table in the dining room which is SR (stage right). Once supper ends in the scene Laura and Tom remain at the table. Amanda leaves the room into the kitchen which is DSR (down stage right).
Scene 2: The scene opens with Laura in the living room tending to her glass figurines DSC (down stage center). Amanda enters the front door DSL (down stage left). When Laura hears her coming she rushes to the typewriter in the living room DSR. Throughout the scene the characters move around. They go to the couch USC (up stage center) which is slightly to the right so the glass figurines can be seen.
Scene 3: The scene opens with Tom at the fire escape DSL (down stage left) while doing his narrative. Amanda is shown speaking on the phone after the narrative ends. She is in the living room USR (up stage right). When Tom tries to leave through the door later in the scene, DSL (down stage left) he flings his jacket in anger and hits Laura’s glass figurines DSC (down stage center).
Scene 4: Scene opens with Tom in the alley. The alley is behind the whole apartment set up and clearly visible to the audience. All other mentions of DS (down stage) aren’t in actuality that far from the audience as the alley. In this scene Laura puts Tom to bed on the couch in the living room USC (up stage center). When scene progresses Lauara leaves DSL (down stage left) through the front door. Amanda and Tom remain in the living room before Tom leaves through the door DSL as well to his Warehouse job.
Scene 5: Scene starts in the living room CS (center stage). Tom and Amanda go outside the front door to the fire escape DSL (down stage left) to make a wish on the moon. Much of the rest of the scene resumes in the living room which is CS.
Scene 6: Scene opens with Tom’s narrative in the fire escape DSL. Once the narrative ends we see Laura standing, elevated as she is being fitted in a dress by Amanda slightly off CS (center stage). Much of the rest of this scene takes place CS in the living room and in the dining room DSR (down stage right).
Scene 7: Opens with Jim, Amanda, and Tom in the dining room DSR (down stage right). The majority of the rest of the scene takes place CS (center stage) with Jim and Laura as they converse. Jim leaves DSL (down stage left) through the front door. Amanda, Tom and Laura are left CS (center stage) in the living room discussing the already engaged gentlemen caller, Jim. Tom, enraged, leaves through the front door DSL. The rest of this scene takes place in narrative in the alley DSC (down stage center) behind the apartment setting.
Monday, March 21, 2011
Sunday, March 20, 2011
3/17/11 Journal
The class did a quick warm up on our own. Today I presented my monologue. I was anxious to present it. Unfortunately Rafi was npt present for the performance. I felt very ready for the performance of my monologue. Unfortunately I did not recieve a critique that i felt was appropriate from Morgan. It actually offended me somewhat. I will not go into detail about how I felt about this critique since it is concerning the way another student affected me on an emotional and personal level with the inapproriate comment that she made. Peter, professor Cirino's critiques were somewhat positive and beneficial on the other hand. He informed me that I commanded a strong presence on stage and the i was connected to my body. But, he did notice that there was some tension in my voice when performing the monologue. Overall I was a bit disappointed with the outcome of the critiques I was given since I did work very hard on this performance. I had a total of four meetings outside of class that I went to in order to prepare myself for my performance. I do plan on giving the performance of another monologue in class. I am considering doing a monologue from Laughing Wild by Christopher Durang.
3/15/11 Journal
Today we warmed up a bit and shortly after Sammie prepared to do her monologue for the class. (She either did it this day or last Thursday, forgive me if I am wrong) Anyways, her monologue was from The Crucible and she portrayed the role of Abigail. In this monologue Abigail has feelings for John and her objective is to keep him from leaving the room. Thsi monolgue is sexual and calls for a heightened tension of emotion. Sammie did such a great job with the monologue. She had improved so much since the first time that we saw her perform the monologue. I was very impressed with the work that she had done. Her performance made me look forward to my own monologue performance that I had been preparing for as well.
3/10/11 Journal
During this day in class we paired up with our scene partners and worked on our Statue work for our scenes. Unfortunately, Kailee was unable to remain in class this day so I paired up with Vee so that I could participate in this class exercise. Unfortunately this class day was not too beneficial for me since my scene partner was not present. But, it was helpful to be able to experience working with another person on statue work. Kailee and I are supposed to attend statue work after class this Tuesday at 4:45pm. Luckily I believe I am closing at my job so I should be able to attend this statue work makeup. Kailee and I have not met yet to work our scene but after this meeting we will have better grounds to begin working our scene together.
Wednesday, March 9, 2011
3/7/11 (Journal)
This class period we warmed up our voices and mouths as well as our bodies. We then were asked to do some statue work, and the running,walking,jogging, work to a certain point. Today we had to get paired up with our scene partners, but unfortunately my scene partner had to leave class. Everyone else did statue work with their scene partners. At the end of class Morgan was able to work on her monologue in front of the class. She seems to be progressing and I am looking forward to her final performance. Tomorrow I have my first meeting with Rafi and am looking forward to it! Next week, on Thursday, I do my final performance of my monologue.
The Vagina Monologues
I saw the first showing, the Friday shoing of Vagina Monologues. I wasn't sure what to expect in going to see the show, but I most definietly was excited to see it because I had heard a lot of great things about the show and a friend of mine, Anna performed as the "angry vagina," and I wanted to go and support her. Not only was Anna phenominal in the show, but all of the women were! SDSU has some talented actresses! Not only was the show funny but it was also moving for me. I felt that every young woman up on that stage felt empowered and their empowerment was highly contagious, or at least for me it was.
I was glad to see that a lot of men actually went to see the show as well, and I found it funny that some of the men that seemed scepticle before the start of the show were the one's that were laughing the hardest throughout the show.
I will admit that at some points I felt a little awkward, like when on numerous occassions the women on stage would fake an orgasm. But, that's what I truly appreciated about the show at the same time. It was just OUT THERE, brutily BLUNT and HONEST.
Overall, the show was poetic and truly an experience that I am glad that I was priviledged to have. I am planning on auditioning nect year to be part of the VDAY epidemic!
I was glad to see that a lot of men actually went to see the show as well, and I found it funny that some of the men that seemed scepticle before the start of the show were the one's that were laughing the hardest throughout the show.
I will admit that at some points I felt a little awkward, like when on numerous occassions the women on stage would fake an orgasm. But, that's what I truly appreciated about the show at the same time. It was just OUT THERE, brutily BLUNT and HONEST.
Overall, the show was poetic and truly an experience that I am glad that I was priviledged to have. I am planning on auditioning nect year to be part of the VDAY epidemic!
Monday, March 7, 2011
3rd Play: Eurydice
I outlined the setting element of the play Eurydice!
Eurydice Presentation Outline
I. Overworld and Underworld: Setting of the Play
A. No real set change
1) Sarah Ruhl’s play has no real set change. The difference between set changes would be differentiated by lighting, sound, or character placement. The factor of there being no real set change plays into the practicality of the performance of the play. Many times the play jumps back and forth between the overworld and underworld, so in order to keep the fluidity of the play Ruhl suggests that no physical set changes be made.
B. Living and not living
1) The set also plays into the symbolism of Ruhl’s play Eurydice. The idea of not having a set change symbolizes that there is not that much of a difference between the living and non-living. For example, Eurydice was a bit confused and forgetful when she first arrived in the underworld, but she was still herself. She still acted the same, and she still obtained the same emotional and physical characteristics. In the play the idea that is conveyed is that dead or alive you are still the same person, you do not suddenly transform into a different being. The setting remaining mostly the same is what supports this idea that Ruhl wishes to portray.
C. The Greek Myth of Orpheus and Eurydice
1) The setting of the play is revolved around the Greek myth of Orpheus and Eurydice. For example, the plays settings are between the overworld and the underworld.
2) Ruhl stays true to the Greek myth of the love between Orpheus and Eurydice in setting the play between these two worlds.
3) How the Greek myth goes, “Orpheus fell in love with Eurydice a woman of unique beauty; they got married and lived happily for many years. Hymen was called to bless the marriage and he predicted that their perfection was not meant to last for years” (Artketa). Basically, Orpheus and Eurydice fell into deep love with one another, but their happiness is marked. Eurydice, the myth says, is chased through a forest by an admiring shepherd and is ultimately bit by a snake and dies. Orpheus plays god-like beautiful music in his mourning for her. The gods are moved by his music and he is admitted to the underworld, or Hades, to retrieve Eurydice. They do not make it out of the underworld because Orpheus breaks the deal with the god of the underworld by looking back at Eurydice, and she dies a second death.
II. Purpose of Setting
A. Symbolism that is emphasized through setting
1) One of the purposes of the setting is to draw attention to the symbolism within the play. The play symbolizes the lengths of love, and it questions whether or not death can keep two people from remaining in love with one another. The setting plays a key role in emphasizing on this symbolic aspect of the play with the divide between Orpheus in the overworld, and Eurydice in the underworld.
B. Themes that are emphasized through setting
1) The themes of the play are; love, loss, death, and breaking the norms,
whether those norms may be in the overworld or the underworld.
2) The setting compliments the themes of the play because the setting is where the themes are rooted from. Without the setting taking place in either the overworld or underworld every theme would lack its beauty as well as its purpose. Overall, the setting is vital for these themes to exist within Eurydice.
III. Effect of Setting on Play’s Action
A. Effect of setting in the written play
1) Within the actual written play the characters are affected by the setting of the play. Eurydice and Orpheus are torn apart by the two separate worlds that they exist in, their newly announced marriage is abruptly ended, but their love grows into a longing love to once again be reunited.
2) Eurydice’s father is affected because he is reunited with his daughter.
3) The stones are affected because they need to upkeep the rules of the underworld, which a number one rule is to forget. Both Eurydice and her father break that rule in the world of the non-living.
B. Effect of setting in the performance of the play
1) The setting affects the way that the performance of how the play will be executed. For example, the lighting, music, or character placement may change in order to differentiate between the two different worlds.
C. Divide between characters
1) The overworld and underworld setting creates an emotional divide between the characters. Orpheus mourns for Eurydice. Eurydice’s father is relieved to be reunited with his daughter, and in his reunion afraid he may lose her to Orpheus retrieving her. Eurydice at one point is torn between returning to the overworld with Orpheus and remaining in the underworld with her father. The setting influences the emotions of the characters immensely.
2) The setting itself is like a breathing being because it presents both physical and emotional obstacles for the characters. For example, Eurydice’s transition into the underworld makes her bewildered and forgetful of her previous life in the overworld. Also, Eurydice regains her memory and realizes who her father is and that she loves and misses her husband, the setting plays into these emotions she has because her new found placement in the underworld is the obstacle that keeps her from Orpheus and ties into her missing him. And, her new found placement in the underworld brings her to the realization of being reunited with her father.
3) Ultimately the setting is alive. The setting is a mirror between the overworld and underworld, the worlds obtain similarities but are mirroring images. For example, the child is the ruler, Hades himself, in the underworld. But, the child character is also the interesting nasty man in the overworld. This character, the child and nasty man, is a mirroring image provoked by the two settings.
D. Ultimate affect on action of the play
1) Without the overworld and underworld settings the storyline of the play would not be able to move forward because the play jumps back and forth between both settings, showing what is occurring with Orpheus and Eurydice almost simultaneously. Both setting are vital for the action of the play. Orpheus would not be able to long for and retrieve Eurydice without these two settings. The Greek myth itself that Ruhl is following would not be portrayed accurately without these two settings. The overworld and underworld concept is not only vital for the action of the play, but it is also vital for the Greek myth.
IV. Utilizing setting
A. Eurydice: closing thoughts
1) Sarah Ruhl did a beautiful job of utilizing the setting in order to stay to Greek mythology. Her incorporation of the overworld and underworld settings in Eurydice was both innovative and poetic.
Eurydice Presentation Outline
I. Overworld and Underworld: Setting of the Play
A. No real set change
1) Sarah Ruhl’s play has no real set change. The difference between set changes would be differentiated by lighting, sound, or character placement. The factor of there being no real set change plays into the practicality of the performance of the play. Many times the play jumps back and forth between the overworld and underworld, so in order to keep the fluidity of the play Ruhl suggests that no physical set changes be made.
B. Living and not living
1) The set also plays into the symbolism of Ruhl’s play Eurydice. The idea of not having a set change symbolizes that there is not that much of a difference between the living and non-living. For example, Eurydice was a bit confused and forgetful when she first arrived in the underworld, but she was still herself. She still acted the same, and she still obtained the same emotional and physical characteristics. In the play the idea that is conveyed is that dead or alive you are still the same person, you do not suddenly transform into a different being. The setting remaining mostly the same is what supports this idea that Ruhl wishes to portray.
C. The Greek Myth of Orpheus and Eurydice
1) The setting of the play is revolved around the Greek myth of Orpheus and Eurydice. For example, the plays settings are between the overworld and the underworld.
2) Ruhl stays true to the Greek myth of the love between Orpheus and Eurydice in setting the play between these two worlds.
3) How the Greek myth goes, “Orpheus fell in love with Eurydice a woman of unique beauty; they got married and lived happily for many years. Hymen was called to bless the marriage and he predicted that their perfection was not meant to last for years” (Artketa). Basically, Orpheus and Eurydice fell into deep love with one another, but their happiness is marked. Eurydice, the myth says, is chased through a forest by an admiring shepherd and is ultimately bit by a snake and dies. Orpheus plays god-like beautiful music in his mourning for her. The gods are moved by his music and he is admitted to the underworld, or Hades, to retrieve Eurydice. They do not make it out of the underworld because Orpheus breaks the deal with the god of the underworld by looking back at Eurydice, and she dies a second death.
II. Purpose of Setting
A. Symbolism that is emphasized through setting
1) One of the purposes of the setting is to draw attention to the symbolism within the play. The play symbolizes the lengths of love, and it questions whether or not death can keep two people from remaining in love with one another. The setting plays a key role in emphasizing on this symbolic aspect of the play with the divide between Orpheus in the overworld, and Eurydice in the underworld.
B. Themes that are emphasized through setting
1) The themes of the play are; love, loss, death, and breaking the norms,
whether those norms may be in the overworld or the underworld.
2) The setting compliments the themes of the play because the setting is where the themes are rooted from. Without the setting taking place in either the overworld or underworld every theme would lack its beauty as well as its purpose. Overall, the setting is vital for these themes to exist within Eurydice.
III. Effect of Setting on Play’s Action
A. Effect of setting in the written play
1) Within the actual written play the characters are affected by the setting of the play. Eurydice and Orpheus are torn apart by the two separate worlds that they exist in, their newly announced marriage is abruptly ended, but their love grows into a longing love to once again be reunited.
2) Eurydice’s father is affected because he is reunited with his daughter.
3) The stones are affected because they need to upkeep the rules of the underworld, which a number one rule is to forget. Both Eurydice and her father break that rule in the world of the non-living.
B. Effect of setting in the performance of the play
1) The setting affects the way that the performance of how the play will be executed. For example, the lighting, music, or character placement may change in order to differentiate between the two different worlds.
C. Divide between characters
1) The overworld and underworld setting creates an emotional divide between the characters. Orpheus mourns for Eurydice. Eurydice’s father is relieved to be reunited with his daughter, and in his reunion afraid he may lose her to Orpheus retrieving her. Eurydice at one point is torn between returning to the overworld with Orpheus and remaining in the underworld with her father. The setting influences the emotions of the characters immensely.
2) The setting itself is like a breathing being because it presents both physical and emotional obstacles for the characters. For example, Eurydice’s transition into the underworld makes her bewildered and forgetful of her previous life in the overworld. Also, Eurydice regains her memory and realizes who her father is and that she loves and misses her husband, the setting plays into these emotions she has because her new found placement in the underworld is the obstacle that keeps her from Orpheus and ties into her missing him. And, her new found placement in the underworld brings her to the realization of being reunited with her father.
3) Ultimately the setting is alive. The setting is a mirror between the overworld and underworld, the worlds obtain similarities but are mirroring images. For example, the child is the ruler, Hades himself, in the underworld. But, the child character is also the interesting nasty man in the overworld. This character, the child and nasty man, is a mirroring image provoked by the two settings.
D. Ultimate affect on action of the play
1) Without the overworld and underworld settings the storyline of the play would not be able to move forward because the play jumps back and forth between both settings, showing what is occurring with Orpheus and Eurydice almost simultaneously. Both setting are vital for the action of the play. Orpheus would not be able to long for and retrieve Eurydice without these two settings. The Greek myth itself that Ruhl is following would not be portrayed accurately without these two settings. The overworld and underworld concept is not only vital for the action of the play, but it is also vital for the Greek myth.
IV. Utilizing setting
A. Eurydice: closing thoughts
1) Sarah Ruhl did a beautiful job of utilizing the setting in order to stay to Greek mythology. Her incorporation of the overworld and underworld settings in Eurydice was both innovative and poetic.
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