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Have you seen Wow....? This thread was updated by aimeeo Sep 28 2010, 5:46 PM EDT and has 0 replies.

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aimeeo

Wow....

Sep 28 2010, 5:46 PM EDT by aimeeo

theatregrl

Colours and relationships

Aug 15 2010, 11:24 AM EDT by JordanMorris

Thread started: Aug 1 2010, 2:29 PM EDT Watch

Hey Jordan,

I hope you don't mind, but I was thinking of your colour idea and came up with some personal thoughts. I started thinking about the relationships between the characters in relation to the colour spectrum - complementary colours, colours that naturally clash, and similar colours etc.

What really strikes me is the importance of Ferdinand and the Duchess' relationship as twins. I love your idea of putting the Duchess in violet. I also feel that the colour violet would help portray her as a noble and truthful figure. I am also intrigued by the spiritual qualities of violet as the dialogue of her death is very much portrayed as a martyrdom. At the same time, violet has a very sensual, rich nature and would also show the feminine and romantic side of the Duchess.

I believe that Ferdinand, as her twin, and having such a close connection with the Duchess that he personally cannot kill her, should be side-by-side in the colour spectrum. To me, Ferdinand is blue because he is the plotter. He is very intelligent and thinks up many different schemes to find his sister out. I believe that after her murder, Ferdinand is broken by the loss of his twin and that is why he loses his sanity and enters a violent mental state. Also, dark shades of blue seem to be associated with the nighttime and the moon. This ties into Ferdinand's change into the wolf-like character.

The Cardinal I would personally associate with red. Not only is it the typical colour of the position of a Cardinal, but I believe that he is the most responsible for the deaths that take place in the play. He is personally responsible for Julia's death and is also responsible for the death of the Duchess. I think out of all the villains, his hands are covered with the most blood. The Cardinal also lusts for power and sex and is a master puppeteer.

I really like your other colour choices. These are just my thoughts.

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RE: Colours and relationships
By: JordanMorris, Aug 15 2010, 11:24 AM EDT

Of course I don't mind! I really enjoy reading about or listening to other ideas from different people. And I appreciate you spending the time to share your thoughts.

First off, I apologize for the slow response. It's been a little wonky around these parts, but I hope that's all behind us now.

Everything that you said makes perfect sense and follows a very linear logic. I can't fault it at all. I was exploring a colour theory that was not rooted at all by the arrangement of the classic colour wheel or the outer world. The colours were chosen only as the psychological expression of each character without any thought to practical, third dimensional issues like Cardinal uniforms or bloodline pairings etc.

The Duchess and Ferdinand are twins and your suggestion of them being placed next to each other on the wheel makes sense from that perspective, but I have issue with it i regards to their personalities and psychological tendencies which I believe are very different. Related by blood, but not very alike otherwise.

I'd also challenge the idea that Ferdinand is the plotter of the two brothers. I'd vote strongly for The Cardinal as the cool-headed strategist. Ferdinand seems much too wild and dangerous for that kind of label. It's Ferdinand's slavery to his own passions that make Red seem the most suitable (to me-so far).

The bottom line is that there really is no perfect or air-tight choice. There are dozens of options that could all be well explained and logically or at least artistically supported by other design choices. But that will be up to our Director and his instincts. Watch what happens when we try to place this concept in the 1930's! We are far from done!

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Kismah

The Art and Science of Storytelling

Aug 5 2010, 10:08 PM EDT by Kismah

Thread started: Aug 5 2010, 10:08 PM EDT Watch

I have often thought that writers of books had an easier task of telling stories than creators of theatrical productions. A writer can pen stories that tell tales complete to minutia (ie Guy Gavriel Kay) or weave tales that merely hint at details forcing the readers imagination to create the mental picture (ie H.P. Lovecraft).

Rarely can Theatrical productions have such luxury (cost & time prohibitive) but great teams can employ techniques of both styles. Is it Art, Science, or both?

I look at a production - and see obvious science, in the sound engineering, lighting and staging. But these technologies require artistic impression to achieve desired affect.

One can assume that the actors rely on artistic talent to portray their characters - but here too is science - chemistry is crucial. I have been involved in productions where the cast was incredibly talented - but lacked cohesive chemistry amongst themselves - and the productions did not achieve potential. On the other hand, I have also seen directors make choices while casting - choosing unknown or inexperienced actors over more experienced ones because they recognised raw talent - & more importantly perhaps, real chemistry. If the cast cannot bond with the audience, the production, no matter how well written, rehearsed or produced - will fail.

I once saw an amateur production that left me in absolute awe. The cast - out of costume - were very different people from different walks of life - but in costume - telling their story - they were mesmerising. I BELIEVED they were who they portrayed - & they drew me into a story of innocence lost, pain, redemption and healing. The set was virtually non existent - two benches. The costumes were simple. Creative lighting, sound & the intimacy of the casts' interaction with one another & the audience was spell binding. Thoughts?

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Kismah

Colours

Jul 24 2010, 7:14 PM EDT by Kismah

Thread started: Jul 24 2010, 3:47 PM EDT Watch

Hey Jordon - you asked for thoughts - so here are mine (worth the proverbial 2 cents I imagine ;-)

I agree with your thoughts on Bosola, Cariola, Delio and the Duchess. I have differing thoughts on others. I would put Antonio into neutral colours such as a tan colour. He is neither indistinguishable, nor does he outshine the people around him - principally the Duchess. I would see the Cardinal in Black, Crimson and White - which represent his darker side - his bloodlust/sadism and his 'position' as a 'man of the church. Ferdinand - would be muted versions of the Cardinal and the Duchess' colours - greys, less rich reds/ purples. He is, the weaker foil, and by using their colours - but dulled reveals his permanent station as 'less' then his siblings. Julia, my favourite character here as well, I would perhaps see in very dark rich greens and reds and/or blues. I can't see Julia in pinks/ white, her character has become predatory in a sense - colours of innocence do not feel right .

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JordanMorris

What if live Theatre dissappeared forever?

Jul 14 2010, 3:09 PM EDT by Kismah

Thread started: Jul 13 2010, 1:54 PM EDT Watch

In this day and age with modern media being literally at our fingertips, entertainment is more accessible than ever before. We can watch the absolute greatest film and TV art ever produced performed by the greatest actors in the world living and dead without leaving the home. And we can watch them over and over whenever we wish, even for free. Some people would say that live theatre is too expensive, too much of a bother, culturally inaccessible, and just plain too much work.
If a day were to come where live theatre just died out completely like the Latin laguage almost has, what would we as a people be missing?

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JordanMorris

Why do actors act?

Jul 14 2010, 2:02 PM EDT by Kismah

Thread started: Jul 13 2010, 2:00 PM EDT Watch

This particular production is classified as an "amateur production". In regards to amateur theatre, or regional theatre, or community theatre, generally speaking monetary gain is pretty elusive. It's rare to get paid and when we do, it's often far from even minimum wage considering the hours invested. Without a way to "make a living" and knowing that so much of these productions almost evaporate completely without a trace after the performances are done, why on earth would ANYONE put so much time, effort and emotional investment into what many would describe as a "hobby"?

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JordanMorris

How is Theatre different than TV, Film or Online Entertainment?

Jul 14 2010, 9:58 AM EDT by Kismah

JordanMorris

The difficulty of classic text for modern audiences

Jul 14 2010, 9:56 AM EDT by Kismah

Thread started: Jul 13 2010, 2:10 PM EDT Watch

Many people today will treat a production of Shakespeare's work (or our Author John Webster) like a script written in a foreign language. Subtitled films are considered box-office poison in North America, and Live Theatre Productions written in this type of text are often treated similarly. Is this knee-jerk reaction to the material simply a sign of dulling intellects? Is it a fear of looking ignorant and being "lost" during a performance? What would you say to people who are resistant to attending this type of production and why is it still important to perform this material in the modern age? Also, how can we convince the younger audiences to come out and give it a chance?

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RE: The difficulty of classic text for modern audiences
By: Kismah, Jul 14 2010, 9:56 AM EDT

There are several problems with classic text - 'dulling of intellect' being one unfortunate factor. Changes or differences in dialect - and references to obsolete tools or technology can confuse audiences (even in modern dialects - ask a 16 year old Canadian what a perambulator is, then pose the same question to a 16 year old from Britain). Some directors will address this by 'modernizing' the text and venue to make it relative to a newer audience. (Alex Moses, directing Jesus Christ Superstar in an amateur production in Stratford recruited several local kids he saw hanging around, with punk hairstyles and clothes to play his Roman guards. Uncertain about the idea (and music) at first, by the end of the production these kids were avid fans of theatre, and had grown within themselves.
I have seen 'Coles' notes included in programmes - or displays front of house that show/explain specific items or terms. Marketing a classical show is the critical first step - generate interest, excitement, anticipation. Aside from inviting reviewers, try inviting high school audiences (English classes, or drama clubs). Once the audience has arrived - draw them into the world by way of creating atmosphere (set, music front of house presentation). Deliver a production that leaves the audience emotionally charged (whatever genre) and wanting more (not to be confused with wanting more for their money ;-) A good actor, can show you a story. A great actor draws you into it with them. Once the audience connects with the characters (suspension of disbelief) and becomes INVOLVED observers - you have succeeded.

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JordanMorris

The Value of "Darker" material.

Jul 14 2010, 12:48 AM EDT by Kismah

Thread started: Jul 13 2010, 1:47 PM EDT Watch

Many patrons consider tragedies and the "darker", more challenging material too intense for them and avoid it.
What would you say to someone who only wants to "escape" for a couple of hours, have some laughs and not be "brought down" by anything "heavy"? If you knew someone who was sitting on the fence, what would you say to them to convince them that tragedies are well worth the emotional risk and can more often have audiences leave feeling much more rewarded than the lighter fare ever could.

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