Puppetry with Tim Gosley

On March 30^th, we met in the LLT. I was late (dinner duty), and unfortunately I miss the earlier half of his preentation.

However, of what I saw, I was absolutely blown away by the relative simplicity of the technology used in contrast with the absolutely incredible, three-dimensional images projected wildly on the walls of the LLT.

Tim used LED lights in order to project the shadows of various figures and effigies, some more complex than others, the result being fantastical, surreal, and bizarre. Many of the figures translucent, colored, or conducive to abstract visual profiles, the images portrayed an entire projected world, originally created from a simple table of unremarkable props.

He also incorporated elements of video highly effectively, and appears to have mastered various techniques of reflections off of plastics and scraps.

We watched a film describing the festivities at an international shadow puppetry festival, and thus made the realization that, while perhaps scattered, there is a worldwide community backing this highly specialized form of theatre.

I enjoyed the opportunity to experiment with the puppets and techniques, and, whether or not I do, hope that someone uses something learnt at the workshop in an IP next year.

Presentations

I was the last to present, on the work and influence of Tennessee Williams on 20th Century Realism. The others in class presented spectacularly on the following subjects:

Emily & Amelia – Musical Theatre: History, and the Rise of

Laura – Boal, Theatre of the Oppressed

Dylan & Sidingo – Junkanoo

Alžběta – Vaclav Hàvel; Velvet revolution

Danie & Amber– Molière

Great presentations by everyone!

"The Last 15 Seconds"

At the height of the One World frenzy, the theatre students, of course, took some time to appreciate the local scene.

Fifteen of us met Libby downtown, after Friday’s dress rehearsal, and caught a performance of “The Last 15 Seconds,” Co-created by Trevor Copp, Anne-Marie Donovan, Nada Homsi, Gary Kirkham, Pam Patel, and Alan K. Sapp, in conjunction with the Victoria Fringe Festival.

The scenery was stark and austere—a dimensionally-conscious array of white cloth hung in an illusionary semicircle, disappearing in the upper extremes of the backdrop.

The first scene opened, and it quickly erupted with light, sound, and A/V projection effects; simulating a suicide bomber’s explosion in a small café, it served as the exposition—dually the starting and ending place—for each of the plays characters.

Initially, I was skeptical. I was worried that it would be too “experimental” from the beginning, and that it would be condemned to the negative stereotypes associated with “fringe” theatre.

However, as the fragmented order of the scenes unfolded, their chronology nonsensical at first, I realized that the audience’s alienation by the intense and intricate special effects, coupled with the highly “cinematographic” tone of the acting, was meant to conjure notions of the corruption of reality caused by the idea of film, and failure versus success, as accentuated by some of the story’s central characters.

Bizarre at times, the overall aesthetic played to magnificent effect. Strong performances, coupled with a truly incredible original script left me blown away.

The ultimate blow—the final scene—was remarkably impacting, as it achieved the choreographic demands of “slow motion” in live theatre, and each of the actors, speechlessly, spun their characters in an emotional three-sixty.

In retrospect, I felt as if the “slow motion” was over-used throughout—it would have been most effective had it been used only in the final scene. And I’d have liked to see some sort of prologue—one declaiming, esoterically, the role of film, or cinema. In some way—so that the audience, while alienated, would not jump to the immediate conclusion that the effects were a cheap trick, as opposed to being an effective narrative and visual device.

I found the writing to be superb, above all else. It played cinematographically, sometimes to its disadvantage. Otherwise, the show was a strong one, and it struck a chord with its audience in a decidedly non-exploitative way. It did not beg for sympathy, simply for basing it’s plot on an incident associated with some of the most pressing socio-political issues of the modern world.

One World - Assistant Direction, Reflection

After returning from project week, the prospect of One World seemed daunting, to say the least. I entered into the show optimistic about the final product, but regarding its specifics, I had no expectations whatsoever, and had little idea what to anticipate.

I love the performing arts. But, when it comes to dance, I think I’m close to useless. That’s not to say I have incredibly low esteem when it comes to it—I participated somewhat avidly in waltz and foxtrot as a middle-schooler. But at Pearson, those for whom dancing is the chief most form of expression seem to rule the stage when it comes to Regional Days and One World, and I’m perfectly alright with this. Perhaps, retrospectively, I could have participated in a dance—however, I don’t think my choice not to was a reflection of insecurity; instead, it was an ambivalence to an art form highly esteemed and seemingly easily mastered by my peers with a great deal of expertise.

So instead, I settled into a role that I find most comfortable—I find that visual aesthetic and sensitivity towards the effects of the stage come more easily to me than, say, dance. And so, assistant directing seemed, and turned out, to be the perfect niche for my first One World Experience.

I nonetheless felt that I was being taken along for the ride, as opposed to guiding the ride itself. Though alienating, it was humbling to watch a sensibility for dance reign, and see myself contribute to the minutia that composed the greater spectacle.

These are my notes from the first full run-through:

-                Main choir:  Needs to be decided who/what will be the focal point while Danielle & Marc are singing—is it them? Is it Yoomi?

-                Main choir: Raid looks like he’s in a trance

-                Main choir: Felix on percussion needs to look more engaged

-                Main choir: Why are there big holes in the rows?

-                Afro Jive: Acrobats, if you’re going to do it, it can’t look like you’re just making it up as you go along

-                Itamar & Mido: Mido, you sound like you’re simply reciting a script—both could be more evocative, but Itamar is doing a better job

-                Itamar & Mido: Practice/clarify entrance/exit

-                Orchestra: Started well, but bu the end of the full orchestra it felt repetitive and lacking in purpose and emotion

-                Logan: you need to mean what you’re saying — every word must have a purpose; this could be helped by slowing down

-                Logan: “…then came the 1960s” needs to be a bigger turning point

-                Logan: You can’t let the words do all of the work

-                Polynesian: Do Nile & Aaron both have a line, or is it supposed to be one? It looks very messy

-                MCs: Before Gumboot—the script needs to be condensed

-                MCs: Gumboot should not be the last talking point, because it indicates that it will be the next act

-                Figgy: Luke looks terrified

-                Figgy: Could Danielle’s entrance be more playful or more polished?

-                East Timor: Sonya, make sure you’re conscious of the spot

-                Gumboot: Don’t look around to anticipate the other people—be confident (at the beginning)

-                MCs: Zijian, you need to make it clear that you’re yawning… it looked like you were clutching your face in pain

-                MCs: Zahida, allow for a big pause for laughs after “we don’t talk about censorship in China”

-                1030 Rule: Ramiro & Chris… look alive

-                1030 Rule: The end… indulgent?

-                MC’s: Ghazi, could you wear a big sweater instead?

-                Drama Activity: Decide on how you’re all going to stand, and where you’re going to look when you’re not talking

-                Drama Activity: Laura—make sure you annunciate on “Brazilian”

-                Drums: José, maybe rework the triplet tom runs

After several more rehearsals, the show took shape; however, throughout the week, while the vision of the final product became clearer, it hadn’t yet reached its potential.

The energy in the green room set the tone for the show immediately—early in the morning, while bleary-eyed, everyone anxiously anticipated that which would become the show that many people claimed to be “one of the best in recent memory.”

In the Royal, my role was essentially over—I simply watched. At the dress rehearsal, I took notes, but as the show played across the stage, I realized that it was the product of an incredible effort from every single performer.

There is some controversy regarding the place that the One World show holds at Pearson College—some people believe that it is a pinnacle of the experience. However, others place it under great scrutiny, saying that it is demanding, time consuming, and it fails to satisfy the demands of everyone’s niche. I would say to this: of course it doesn’t.

But as the curtains closed on the final show, the energy on the stage, and the energy that I imagine filled the tech booth and the wings, was proof enough for me that, for maybe only the slightest moment, everyone would have agreed that it was an incomparable experience.

The Group 4 Project—in my opinion, an idealistic attempt to marry the sciences—is time consuming, and failed to satisfy any of my personal niches. And yet I participated. That is was Pearson College should strive to achieve—a policy favoring experiential learning. One World may not accommodate everyone; it may be slightly commercial. However, it is the product of the efforts of so many, and it speaks to some indefinable spirit that inhabits the walls of this campus.  

Wayang - Javanese Shadow Puppetry

On February 14^th, Victoria-area resident Sutrisno, along with his family, demonstrated and performed, as an adjunct to our study of puppetry in class, Wayang, an ancient form of shadow puppetry indigenous to his play of origin, the Indonesian island of Java.

“Wayang is an Indonesian word for theatre (literally "shadow").”

“Wayang kulit, shadow puppets prevalent in Java and Bali in Indonesia, are without a doubt the best known of the Indonesian wayang.”

Sutrisno was clearly highly skilled at operating his puppets—though simple in their operational design, they require a certain deftness in personifying and characterizing them using, at most, a couple of pole-operated limbs.

The puppets themselves were incredibly intricate, and Sutrisno mentioned that a single puppet’s construction can take over a month. They are painted, and the vibrancy of their design is captured better, in many respects, from behind the screen behind which the puppeteer works. Sutrisno mentioned that an audience at a Wayang puppetry performance assembles both in front of, and behind the screen.

Traditional performances are an all-night affair, and audiences are social throughout the hours-long show. Additionally, while Sutrisno used an electric lightbulb to illuminate his screen, tradition indicated that a large open flame should be used.

Theatre students had the opportunity to play with the puppets before Sutrisno performed.

The performances of a traditional master puppeteer, or dalang, are in large part improvisational—his stories are all being retold, and his characters are archetypes. Therefore, it is his job to interpret his stories, whether comedically, dramatically, or in some combination of both. He may even incorporate elements of local folklore or gossip, in order to personalize his performance for his audience.

I appreciated the authenticity of Sutrisno’s performance, however, I wish that he’d performed in his mother tongue. In English, his story seemed too impromptu, informal, and didn’t feel as if it had dramatic purpose. However, I am conditioned by the sensibilities of Western theatrical performance, and thus cannot fully appreciate those of Estern theatre.