It was one of those sessions that should have been better. It was not good being told that your “applications was poor” by the Art director. On a happier note, the story-line was good. Though I was not convinced.
I think the problem was that I did not understand the purpose of the ensemble work. I would certainly have done a better job if I had known that what was required i.e. Application of our course work.
But it was interesting to see Areef and Teresa slither on stage again panting and yelling: “I can” and “I can’t”. Too bad I had to leave early that day because I had to stop a wedding. Alas, unlike Julia Robert, I arrived late at the wedding and it was not my best friend’s wedding. Though there was plenty of singing and a guy playing saxophone and a Malaysian idol (hopeful/wannabe). But I digress.
More about the piece that Alia and I have done:
THE WORK
The idea for our piece was about four people. In the first Act, a married couple were in a car, the wife yapping and the husband driving. At the end of it, the two were killed in an automobile accident. In the second Act, the guardian (me again as Uncle John) to the husband and wife’s daughter (Alia), explained the relationships of the four people. In the final Act, the child explains her trouble.
THE CRITIC
Art Director urged everyone to be unkind. I did not hear what Areef had to say because I was on the phone, which was a pity. Would appreciate if someone could enlighten me. Some critical points:
Poor applications: Cannot deny but it was not clear what was the piece supposed to be about. We were supposed to do something personal, which I would like to highlight: As the husband- I was attempting to play my father. As the guardian – I played (almost) myself. As Alia told me: She was essentially playing her mother and a younger version of herself. There should have been more movements and more vocal expressions.
Poor characterisations: The audience could not tell the difference between the two characters that each of us were playing.
Poor presence: Alia’s character did not have much presence due to inappropriate blocking. According to Alia – it was intentional. Why was that Alia? Tell me. Please. For the record, I thought my presence (as the Guardian) was appropriate, though Azmyr thought it was very Harold Pinter. Is that good?
LESSONS LEARNED
What I would have done differently was that I would probably have asked Alia to be the husband and myself the wife. Then we could have better range of vocals and our movements could have been more pronounced or exaggerated: Me- feminine, Alia- masculine.
The above would also have given rise to more interesting characterisations.
I am too lazy to write on Teresa or Areef’s work but hopefully Teresa or Areef will do some writing for YA’s benefit. Would appreciate if the other team i.e. Edora and Azmyr do the same.
I think the problem was that I did not understand the purpose of the ensemble work. I would certainly have done a better job if I had known that what was required i.e. Application of our course work.
But it was interesting to see Areef and Teresa slither on stage again panting and yelling: “I can” and “I can’t”. Too bad I had to leave early that day because I had to stop a wedding. Alas, unlike Julia Robert, I arrived late at the wedding and it was not my best friend’s wedding. Though there was plenty of singing and a guy playing saxophone and a Malaysian idol (hopeful/wannabe). But I digress.
More about the piece that Alia and I have done:
THE WORK
The idea for our piece was about four people. In the first Act, a married couple were in a car, the wife yapping and the husband driving. At the end of it, the two were killed in an automobile accident. In the second Act, the guardian (me again as Uncle John) to the husband and wife’s daughter (Alia), explained the relationships of the four people. In the final Act, the child explains her trouble.
THE CRITIC
Art Director urged everyone to be unkind. I did not hear what Areef had to say because I was on the phone, which was a pity. Would appreciate if someone could enlighten me. Some critical points:
Poor applications: Cannot deny but it was not clear what was the piece supposed to be about. We were supposed to do something personal, which I would like to highlight: As the husband- I was attempting to play my father. As the guardian – I played (almost) myself. As Alia told me: She was essentially playing her mother and a younger version of herself. There should have been more movements and more vocal expressions.
Poor characterisations: The audience could not tell the difference between the two characters that each of us were playing.
Poor presence: Alia’s character did not have much presence due to inappropriate blocking. According to Alia – it was intentional. Why was that Alia? Tell me. Please. For the record, I thought my presence (as the Guardian) was appropriate, though Azmyr thought it was very Harold Pinter. Is that good?
LESSONS LEARNED
What I would have done differently was that I would probably have asked Alia to be the husband and myself the wife. Then we could have better range of vocals and our movements could have been more pronounced or exaggerated: Me- feminine, Alia- masculine.
The above would also have given rise to more interesting characterisations.
I am too lazy to write on Teresa or Areef’s work but hopefully Teresa or Areef will do some writing for YA’s benefit. Would appreciate if the other team i.e. Edora and Azmyr do the same.
1 comment:
Julia Roberts is with an *s* ...
your free-of-charge mystery spellchecker,
H.D.
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