Thursday, March 18, 2004
Wednesday, March 17, 2004
just got an email from a director in New York who's about to put up a production of The Collected works of Billy the Kid. he's looking for andre.
i'm feeling very melancholy now, thinking of that time. performing that show outside under the night sky, spring winds blowing, oleander bush blooming and dripping it's deadly juice, the sound of the stringed instruments, the movements...quick, sharp, lazy, fluid, languid.
i was 15 pounds lighter and was sally chisholm, in love with Billy the Kid. what a wild ride into the west that was!
Review
i'm feeling very melancholy now, thinking of that time. performing that show outside under the night sky, spring winds blowing, oleander bush blooming and dripping it's deadly juice, the sound of the stringed instruments, the movements...quick, sharp, lazy, fluid, languid.
i was 15 pounds lighter and was sally chisholm, in love with Billy the Kid. what a wild ride into the west that was!
Review
CRAFT NOTES
SCRIPT ANALYSIS
Script analysis is a tricky thing. On one hand, an actor must know his character inside and out but, on the other hand, too much analysis can lead to over-intellectualization. An actor must portray the character in real time, not write a book about him. At the end of the day, acting is more a matter of feeling than of thinking. It is more a matter of doing and allowing than it is causing and analyzing.
With that proviso, I want to share with you a script analysis I prepared a while back. It is for Tennessee Willliams's play "A Streetcar Named Desire" and I'm attaching it to this newsletter. If for some reason you cannot open the attachment, drop me a note and I'll paste it into an e-mail for you.
In preparing this analysis, I used only the play itself and a dictionary. My objective in writing it is to demonstrate how much information you can piece together from the play alone if you know what you are looking for. This particular analysis covers all of the characters in the play and, in that sense, perhaps more representative of a director's notes. When you prepare analysis of your own, you need only do it for the character you are portraying. Think of it as a bio of the character. What you are looking for are character traits that will stimulate you emotionally. Ideally, you will be so much inside the character's skin that it will come to feel like your own. For example, you know whether or not you are a vegetarian, and so too should your character know. You know how much education you have had, and so too should your character know. You know if you are allergic to wool, and so too should your character know. You remember your first kiss, and so too should your character.
Script analysis is actually fun to do. The challenge is in getting it off the page and onto your feet. And remember: What the audience sees is the theatrical equivalent of the tip of an iceberg. Eighty-five percent of an iceberg is under the water line. You have to create everything below the water line or you will not have an iceberg. You'll have ice cubes.
Until next month...be safe!
Ed Hooks
773-929-1667 (Chicago studio)
"Actors are Shamans"
SCRIPT ANALYSIS
Script analysis is a tricky thing. On one hand, an actor must know his character inside and out but, on the other hand, too much analysis can lead to over-intellectualization. An actor must portray the character in real time, not write a book about him. At the end of the day, acting is more a matter of feeling than of thinking. It is more a matter of doing and allowing than it is causing and analyzing.
With that proviso, I want to share with you a script analysis I prepared a while back. It is for Tennessee Willliams's play "A Streetcar Named Desire" and I'm attaching it to this newsletter. If for some reason you cannot open the attachment, drop me a note and I'll paste it into an e-mail for you.
In preparing this analysis, I used only the play itself and a dictionary. My objective in writing it is to demonstrate how much information you can piece together from the play alone if you know what you are looking for. This particular analysis covers all of the characters in the play and, in that sense, perhaps more representative of a director's notes. When you prepare analysis of your own, you need only do it for the character you are portraying. Think of it as a bio of the character. What you are looking for are character traits that will stimulate you emotionally. Ideally, you will be so much inside the character's skin that it will come to feel like your own. For example, you know whether or not you are a vegetarian, and so too should your character know. You know how much education you have had, and so too should your character know. You know if you are allergic to wool, and so too should your character know. You remember your first kiss, and so too should your character.
Script analysis is actually fun to do. The challenge is in getting it off the page and onto your feet.
Until next month...be safe!
Ed Hooks
773-929-1667 (Chicago studio)
"Actors are Shamans"
Thursday, March 11, 2004
Dark Goddess 2004
extended through March 28
An all-new theatre ritual
Conceived and Directed by Bonnie Cullum
Presented by VORTEX Repertory Company
When: February 20-March 28, 2004—
Held-over two weeks due to popular demand
Thurs-Sun 8pm
Where: The VORTEX
2307 Manor Rd. Austin, TX
Bus Route. Wheelchair access. Free Parking.
Tickets: 512-478-LAVA (5282)
$18 full price /$15 discount
General Admission. Advanced purchase highly recommended.
Thursdays: Pay What You Wish
Sundays: Half price with donation of 2 cans of food or baby formula for
Safe Place
During the first three weeks of the run, hundreds of people have packed
The VORTEX to experience the theatrical magic of Dark Goddess. Due to
popular demand, the run has been extended through the end of March.
Don’t miss this exciting opportunity to see Dark Goddesses
live-on-stage.
Check out Robert Faires's review in The Austin Chronicle:
http://www.austinchronicle.com/issues/dispatch/2004-03-12/arts_exhibitionism.html
Live original music, dance, and text blend to bring forth the essence of
each goddess. In a magical ritual setting, these dark Goddesses create
balance by telling their stories and sharing their wisdom. In this
all-new theatre ritual, Dark Goddess 2004, VORTEX Producing Artistic
Director, Bonnie Cullum, teams up with 11 dynamic priestesses and
goddesses to create a brand new theatre ritual, similar in genre, but
entirely different in content than the previous three productions of
Dark Goddess.
The stunning gathering of goddesses in Dark Goddess 2004 includes a
global array of the Divine Feminine: Ishtar (Babylonian), Kali (Hindu,
Indian), Sheila-na- gig (Irish), Medusa (N. African), Star of the Sea
(Oceanic), Circe (Greek), Bear Woman (N. American), Morgan Le Fay
(Celtic), Blodeuwedd (Welsh), Hine Turama (Maori Star Goddess),
Tonantzine (Aztec), and the Virgin of Guadalupe (Mexican/Catholic).
VORTEX launched the initial production of Dark Goddess in January 2000
and then created new productions in 2001 and 2002. Over these three
years, thousands flocked to The VORTEX to experience this theatre ritual
which honors the energies of dark goddesses from diverse cultures.
Advance ticket purchase is recommended, as this show has sold out more
than any past VORTEX production.
Dark Goddess 2004 features veteran Dark Goddess performers and
priestesses Sassafras, Jo Beth Henderson, Content Love Knowles, and
Traci Laird. New performers and priestesses include Nadia Feltes, Kate
Michael Gibson, Le Easter, Heather Huggins, Dawn Larned, Natalie
Villarreal, and Selina Wright. Designed by the award-winning VORTEX
team Ann Marie Gordon (scenery), Jason Amato (lighting), and Kari
Perkins (costumes).
Dark Goddess contains strobe, smoke, fire, nudity, blood, and snake.
For tickets call 512-478-LAVA.
www.vortexrep.org
extended through March 28
An all-new theatre ritual
Conceived and Directed by Bonnie Cullum
Presented by VORTEX Repertory Company
When: February 20-March 28, 2004—
Held-over two weeks due to popular demand
Thurs-Sun 8pm
Where: The VORTEX
2307 Manor Rd. Austin, TX
Bus Route. Wheelchair access. Free Parking.
Tickets: 512-478-LAVA (5282)
$18 full price /$15 discount
General Admission. Advanced purchase highly recommended.
Thursdays: Pay What You Wish
Sundays: Half price with donation of 2 cans of food or baby formula for
Safe Place
During the first three weeks of the run, hundreds of people have packed
The VORTEX to experience the theatrical magic of Dark Goddess. Due to
popular demand, the run has been extended through the end of March.
Don’t miss this exciting opportunity to see Dark Goddesses
live-on-stage.
Check out Robert Faires's review in The Austin Chronicle:
http://www.austinchronicle.com/issues/dispatch/2004-03-12/arts_exhibitionism.html
Live original music, dance, and text blend to bring forth the essence of
each goddess. In a magical ritual setting, these dark Goddesses create
balance by telling their stories and sharing their wisdom. In this
all-new theatre ritual, Dark Goddess 2004, VORTEX Producing Artistic
Director, Bonnie Cullum, teams up with 11 dynamic priestesses and
goddesses to create a brand new theatre ritual, similar in genre, but
entirely different in content than the previous three productions of
Dark Goddess.
The stunning gathering of goddesses in Dark Goddess 2004 includes a
global array of the Divine Feminine: Ishtar (Babylonian), Kali (Hindu,
Indian), Sheila-na- gig (Irish), Medusa (N. African), Star of the Sea
(Oceanic), Circe (Greek), Bear Woman (N. American), Morgan Le Fay
(Celtic), Blodeuwedd (Welsh), Hine Turama (Maori Star Goddess),
Tonantzine (Aztec), and the Virgin of Guadalupe (Mexican/Catholic).
VORTEX launched the initial production of Dark Goddess in January 2000
and then created new productions in 2001 and 2002. Over these three
years, thousands flocked to The VORTEX to experience this theatre ritual
which honors the energies of dark goddesses from diverse cultures.
Advance ticket purchase is recommended, as this show has sold out more
than any past VORTEX production.
Dark Goddess 2004 features veteran Dark Goddess performers and
priestesses Sassafras, Jo Beth Henderson, Content Love Knowles, and
Traci Laird. New performers and priestesses include Nadia Feltes, Kate
Michael Gibson, Le Easter, Heather Huggins, Dawn Larned, Natalie
Villarreal, and Selina Wright. Designed by the award-winning VORTEX
team Ann Marie Gordon (scenery), Jason Amato (lighting), and Kari
Perkins (costumes).
Dark Goddess contains strobe, smoke, fire, nudity, blood, and snake.
For tickets call 512-478-LAVA.
www.vortexrep.org
Wednesday, March 10, 2004
A SPECIAL INVITATION TO AUSTIN ARTISTS § § §
Be Wildly Creative as you create Angel Bras and/or Breastplates (think Roman Empire) to be auctioned of at a Blue Lapis Light Fundraiser!
(No, they don’t have to be wearable)
Read on.....
Angel Bras and Breastplates Fundraiser
Place: Green Studio
1401 East 6
June 3
7 PM
Refreshments available
We are inviting Austin Artists to create their Angel Bras and or Breastplates (think Roman Empire)! to be auctioned at a Blue Lapis Light Inc Fundraiser, now the new name for Jacques Productions.
The exhibit will be held at The Green Studio on June 3 for a week, as well as at the performances which will open on June 9-13 and June 16-20
Artists will receive 30% of the proceeds from their work.
Instructions.
Size Does Not Matter
They do not have to be wearable.
Any types of materials can be used.
The art pieces will be hung on display. So if it is a heavy material please prepare your piece for hanging safely.
Contact: ammathyst@thelivingtarot.com
Call:281.2096 for further information
Cell:731.3794
That’s Right, Be Weird!
Be Wildly Creative as you create Angel Bras and/or Breastplates (think Roman Empire) to be auctioned of at a Blue Lapis Light Fundraiser!
(No, they don’t have to be wearable)
Read on.....
Angel Bras and Breastplates Fundraiser
Place: Green Studio
1401 East 6
June 3
7 PM
Refreshments available
We are inviting Austin Artists to create their Angel Bras and or Breastplates (think Roman Empire)! to be auctioned at a Blue Lapis Light Inc Fundraiser, now the new name for Jacques Productions.
The exhibit will be held at The Green Studio on June 3 for a week, as well as at the performances which will open on June 9-13 and June 16-20
Artists will receive 30% of the proceeds from their work.
Instructions.
Size Does Not Matter
They do not have to be wearable.
Any types of materials can be used.
The art pieces will be hung on display. So if it is a heavy material please prepare your piece for hanging safely.
Contact: ammathyst@thelivingtarot.com
Call:281.2096 for further information
Cell:731.3794
That’s Right, Be Weird!
