Workshopping the Script II

Yesterday was the big day...and boy was I surprised! I have to say, much of the dialogue flowed well (which was the biggest issue for me) and I was so relieved. I just closed my eyes and listened to how it sounded. I wanted to hear the ease of the dialogue. The actors were great--really did a great job being the characters so it colored the script in. Got a lot of feedback from the group--mainly character issues, likeability, questioning motives, but all in all it is a sound piece! It was exhausting for me, though--3 hours of people looking at your work. But I have to say, it's a lot less traumatic than testing comedy material onstage!

Also, am nearing the end of obtaining a venue, so I am so relieved with that. I absolutely can't wait to see this show live. I believe it's relevant and poignant.

So, I still have a lot of work to do, but I think with my timeframe it's manageable. Keep ya posted!

Workshopping the Script

Been furiously working on last minute changes to the script. I really want to show the best dialogue that I can at this point. I've been poring over the dialogue, really trying to snap it up, really thinking about what each character is thinking (and therefore translating) with their body language as well as dialogue. It's as if you must be able to breathe with your character. If you don't know where his/her breath is, you can't time the dialogue. This may seem like a weird thing, but my experience has borne this out. Breath is also timing, and when you see the scene you see the timing which includes their breath.

I'll no after Sundayif I'm off in my tempo...

Theater's Future

OK, another really great article from Theatre Ideas, discussing the future of theater in that it will become smaller and less consequential. Scott goes on to say, "theatre will rediscover the fact that its lifeblood is not drawn from the mass culture, but from the local culture." I agree with theater realizing its foundation is local, not mass culture, and I think it already does this as it has to respond in some way locally. Local audience attendance demands that.

Scott continues: "[future theater professionals] will have to be taught to see themselves as facilitators, community members". I actually think this is occurring right now. I think that if you ask presenters at this point in time if community outreach is a significant part of their season, there would be a resounding yes. I think it has to and will continue as people seek relevance as opposed to mass media.

AD's and American Theater Company

This article from the Chicago Reader discusses the resignation fof 23 of the 28 ensemble members of ATC due to "adminstrative and artistic differences", then proceeds to go in depth about the divisions. The point I want to highlight is: should one person be the point 'man' to determine an artistic season? The equivalent in the comedy world is the club owner, who typically books the comics.

In other words, should that structure be reviewed? IMHO, it seems to me the best determination of what a season should look like would include a committee of, say, actor, director, producer, tech (set) person to start with. This way issues such as feasiblily (financially and physically realizing the play), artistic value and perhaps social relevant themes would be satisfied.

Scriptwriting

Been working on the script unceasingly. Even when I go to sleep, I'll get an 'Aha!' moment about another scene or character in the script. Most of it is like sewing, though: I think "oh, there's a hole here, I haven't adressed this back in scene xxx", and I have to put it in. This invariably means I have to 'sew' that piece of knowledge into later scenes. It is the worst when it is a concept you need to address (example: important real fact must be addressed) in one of the first few scenes: you need to add that knowledge AND how each character will react (if they are privy to that knowledge). It is to the point now that when my editor says, "did you back this concept up" I can now say, yes, look in scene xxx, page xxx. It's pretty sad from an overall life point of view, but fantastic from a screenwriter point of view.

I workshop the script in two weeks with actors and have a lot of angst...I'm just hoping that with all the problems they'll see the storyline holds up.

Automating a Rehearsal Schedule

In my readings, I have looked at Marshall Mason's Creating Life on Stage. In the back, he lists a character/beat breakdown. From this he generates a rehearsal schedule. I did this by hand a week ago, and the geek in me knew it could be automated, so wallah! I trudged through Visual Basic and created a macro that will calculate 1) the number of scenes; and 2) the number of scenes shared between characters. Item 2 will give me the throughlines to concentrate on and from these statistics (applying an algorithm) I will create a rehearsal schedule. At least I accomplished the first part of the task. More later...

Songwriting

Had to come up with a couple more songs for the play. Wrote one in two days, and it was solid. Have used Sheila Davis' Lyric Writing book--excellent. I incorporated a number of rules immediately, of which I was very proud. Concepts like the surprise ending, plot progression, making the chorus answer the verse, etc., so I am ecstatic that as least one aspect of this 'musical' is coming along well!