7/23/08
day 14 - the dandelion dance workshop
Follow Your Instinct
At times we all get trapped into thinking too much… into overanalyzing the meaning of an artistic piece whether we are creating it or observing it from a distance. I had the beautiful opportunity to step out of that realm of thought, even if it was only for a couple of hours, when the Dandelion Dance Theater came to the Institute to do a workshop on movement and voice. “Now cross the room with your body embracing the fat!” This line resonates within me as I remember all of the bodies crossing the room at their own paces, with their own rhythms. I remember this from when the workshop leaders encouraged us to move across the room in a way that we “celebrated” the fat on our bodies, in whatever way that meant for each individual. This activity was probably the most memorable because we were celebrating an element that is so often shunned in our society. I was amazed by how simple the movements were, and yet how compelling they were to watch. Additionally, we moved across the room embracing muscle, bone, and so on. Before this activity, we had done some trust building activities. For example, many activities had started with palms touching like a pancake and the assigned “leader” leading the “follower” around the room with various movements. Some people expressed feeling more comfortable as the leader, but also mentioned the pressure they had felt making sure the follower was having a good time. Others enjoyed the opposite role more. Another favorite moment of mine was the vocal exercise which made me feel as though I was in a rainforest listening and interacting with many exotic animals. What was actually happening was a cacophony of Institute students voices rockin’ out. We sat in a circle (very ritualistic), closed our eyes, and volunteered our voices in whatever ways we felt compelled to do. It was wacky, it was soothing… it was definitely fun… The last thing we did was create little improv pieces, based on certain guidelines. We worked off the movements of running, walking, stopping and falling. Later we added the distracting, yet compelling “sound chair”. The improv pieces, although sometimes a little off focus, were so fascinating to watch and to take part in. Again, it wasn’t about the specific meaning you were supposed to get from the pieces. It was art as itself, not trying to be something else. And it was so alive, because it was spontaneous and because there was lively physical movement. I very much appreciated this workshop and am grateful that the Dandelion Dance Theater Company collaborated with the Institute, for the first time, this year. I hope that future Institutes will be blessed with this opportunity.
Zohar Fuller
7/22/08
day 13 - taiga on "for all time" community reading
Writing exercise working with KJ Sanchez's method of story circle and interview, focusing on punishment and retribution
[Anna is a young woman. She is a strong presence, playfully serene, but grounded and somewhat earthy. Her eyes are clear and twinkle with mischief. She is very contemplative, and tends to choose her words very carefully. She is a “hand talker.”]
It’s fair to say that most people have seen both sides of punishment. I mean, maybe not me because I’m pretty much a goody-two shoes [shrugs]. My parents really aren’t too strict. There was – in the second grade I was talking in class and the teacher was like [her voice deepens and her expression hardens] “Anna! Go sit in the corner.” So I was kind of like “eek!” [cringes] and went to sit in the corner. [looking up at the ceiling] It was lonely in the corner.
I’m trying to think when I punished someone. [puts a finger on her chin] I’m thinking of all my camp experiences because there must have been a lot… I know I must have… Last years some kids – they had this, like, Lego toy that they really liked and [counts off on her fingers] they were playing with it and running. So I was – I just kind of yelled at them. Nothing really changed at all. I mean, I wasn’t the only one yelling, and it seemed kind of pointless, but that’s the rule at camp – no running in the hall.
7/21/08
7/20/08
day 11 - company meeting
Ruthie Fisher’s character writing exercise (edited for length)
I am Agnes Lysanthia Brown. I am an Aries, which is interesting because Aries are meant to be stubborn and I am not stubborn. I am more of a shape shifter. I am about 65. I say about because my age is confusing. . . I know I am an Aries, but not quite sure what day my momma popped me out. Well, ah, well. I live over in the grocery building, but that’s really a secret now, isn’t it? Don’t want to tip Mr. what’s his name officer off. My home is just really a landing for my behind. My home is my possessions, my trinkets. . . I am not sure why everything is little, but maybe because it is easier to move my things when the po po comes. Actually, that is not even true, because a lot of little becomes something big. . . My legs are pretty t—A--rrific if you ask me. Well, not that anyone is really asking. I used to have it. I had the moves. I know I may not be the prettiest thing on this block . . . but I got solid gold legs. I am telling you . . . I really think I will be shaking this bootie to the grave.
Cate Wiley's interview with Maria:
Maria has kindly extended an invitation to visit her in Sweden, which I would like to take up since seeing Vikingsholm at Lake Tahoe, a beautiful Scandinavian-style summer home built nearly 100 years ago at Emerald Bay. The lines, the warm combination of wood and stone, and the grass growing on the roof made me want to see the real Scandinavia!
Maria told me about some serious differences among Scandinavian countries, for example, that a new law in Denmark makes it very hard for a Dane to marry anyone outside the European Union. If they do so, the couple must reside in Sweden even if they work in Denmark.
We discussed how theater works in Sweden. There, small theater companies apply almost exclusively to the state for funding, and actors are considered unemployed during rehearsals so they can collect benefits.
Stockholm and Gothenburg (Sweden’s second city) have two big companies and each county (like a state, 24 total ) has at least one regional theater. Remember that the city of Los Angeles has nearly twice the population of all of Sweden!
Sweden has 4 theater academies, admitting only 8-12 people per class, with usually over 1000 applicants each year. Most people apply several times (Maria applied 10 times before her acceptance, and she knows on ly one person who got in her first try).
Maria says of her work that she is grateful to be an actor full time at Teatre Västernorrland (which means western northland)
7/19/08
day 10 - trip to santa monica/ the dandelions
also Cate's interview with Leyla about her role as Community Engagement person:
C: How did your perceptions of the job change over the last week?
L: I realized en route to the airport that I didn’t know what I was doing—kind of funny—I had no expectations.
C: Why did you choose Community Engagement?
L: I have experience and I enjoy doing—I’m open to almost anything.
C: What connected to the show wouldn’t you do?
L: Costumes and lighting—I would have no idea.
C: Is there any one community member you’re proudest of?
L: I’m most excited about Sherri’s role, as we saw her perform her poem, ”Fall of the Freaks,” on the street. And now she’s Bottles.
We had our first music rehearsal with the Americans and Becky. The sounds of voices singing “smoke, beer, piss” melodically filled the lofters of the sunny open space loft. I loved the juxtaposition of the harsh details of the environment of the American Hotel with the melodic harmonies produced within the group. I loved the mix of the gritty American hotel and the airy almost church like quality of the music. Becky, as musical director, did a fabulous job trying out different parts and variations of the lines from the play. For example, we sang “layer upon layer upon layer of conversation” from the script and then layered our voices harmonically. Tom, Dick (and Harry, as I renamed Danyol) gave examples of stories from the real American Hotel, like for example that you can’t microwave without unplugging other appliances or else everything gets short circuited. I also got to improvise the video scene with Tom where he will play a guitar soundtrack to Myrine making scrambled eggs in the microwave. It was fun bonding with the a few of the other actors and hearing the real life stories of the people living on Traction Ave. It also was fun to recreate “hanging out on a Friday afternoon...just chilling and eating eggs... Judy Cohenalso Music Rehearsal - "The Americans Sing the Scrambled Eggs Blues"...
7/17/08
day 8 - first rehearsal
Costume Measurements
I’ve had and conducted my fair share of costume measurements in my day but this was one of the most chill. For one I wasn’t taking measurements, so that was nice to just be measured. And I know all my sizes so I was able to answer all questions. I’m always amazed by grown male actors who don’t know their pants size. Is your mother still shopping for you? But yeah, it was pretty routine – shirt size, show size, dress size. Then they measured arms length, head, bust, etc. We soon discovered that Elizabeth, the costume designer, and I have basically the same measurements. Elizabeth told me I was pretty lucky because I would most likely never have to come in for a fitting – “Well if it fits me, it’ll fit Greer.” Although I am sad that I won’t be spending more time with the costume team because they are a fun group. But costume measurements can be an awkward time for some and I thought Elizabeth and her assistants did a great job of making people feel comfortable. There were several private stations and everyone was sort of chatting and socializing around. Then amidst all the activity they just happened to measure you. It was very relaxed. I am excited about my costume!
Greer Beckman
7/16/08
day 7 -Class #5, Community Callbacks and Casting
Class #5 : Creating Community Specific Text
Adapting Federico Garcia Lorca's Blood Wedding Exercise (led by Peter Howard):
Ching-In Chen's adaptation:
(The stagelight disappears behind the curtains at Jacques. A trans-woman who is the host of this Asian dragnight performance enters, completely covered in flimsy, dark green garments. She is barefoot. Her face can barely be seen under the folds of cloth. This character does not appear on the cast list.)
$1 miso door prize. Rubber gloves. Audience member's phone number. Floss My lighter. Diet pills. Dollar bills. Stage prop brownies. I am so tired! Where the hell did they get to!?! The show is almost done. Where's the goddamn light, Jacques! The light?
D'Lo's adaptation:
New Moon Blood
(A Half Woman/Half Man person enters stage as lights go down on a masculine figure preparing hyself for the work day. S/he is menstruating red petals.)
That moment in moonlight is gone.
He lives now in the dark where I once tried to in the light.
Green, I will prevent him from being
Or else, prevent the moon from shining.
Should’ve been a blue moon myself.
Taking the souls of my duality-driven children, and spanking them over my knee.
Crack whips and bind mouths to finally enjoy the silence that has bound us before.
Fuck the moon who dare shine hys life...
Let hym bind in the dark.
Leyla Eraslan's Writing Exercise to Create Original Text (led by Michael Garces)
I’m Susan Parker—I was named after my great grandmother. It’s a heck of a name, isn’t it? I mean, of all the names to preserve and pass down, why Susan? I’m partial to my middle name, Marilyn. My mother’s favorite film was Some Like It Hot. A lady never reveals her age, so I’m 32. I live just over on Park Lane—I know, Parker on Park Lane—serendipitous, ain’t it? It’s a lovely little house. There’s a great space for my garden—you should just see the size of my tomatoes! Oh, most of them rot on the vine—sad, isn’t it? I’m afraid I don’t have much of an appetite most nights, and I don’t know who to give them to. Hmmm. Well, anyway, my cat Tiger and I live at 23 park Lane. It’s a quiet life, I’m a secretary over at the travel agency in town, so most days I just go in, read a magazine or brochure about Peru—Parrru—I can’t roll my R’s—wish I could. I come on home, feed Tiger, work on the garden—poor tomatoes—and then I hit the hay. . . I’ve got a lot to be thankful for. . . I could never think of leaving. Besides, I bet it would be hot in Peru. . . I got this fun little haircut recently—I thought it might, I don’t know, add a little excitement to my life. The mailman said it was nice but I’m not sure most people noticed. . . . Say, would you like some lemonade?
7/15/08
day 6 - story circle
D'Lo's Five Senses Writing Exercise from Peter Howard's Story Circle class, Day 6, I-5
I realize that me being dark, brown, bald, hip hop, boi, gay, silver jewelry n nose rings can be a combined look that intimidates. I understand that my smile can shift people out of their intimidation in a snap.
When I think of I5, I smell mayonnaise, theatre, sweat, coffee, perfumes. I see white women, open hearts, expertise, Andres and love. I hear ernest-ness, laughter, white folk talk, thoughts, yawns. I taste coffee, sadness, sweat, hot sauce, plastic pen. I touch hands, sweet faces, white girls hair, sweaty skin, eyebrows.
Story Circle Questions: I-5 Day 6
We had an informative class on the process of leading story circles with Peter Howard. These are the questions that arose from the class in the process of creating our own story circle about our I-5 experience.
Talk about a moment when you learned something about yourself that you had not been aware of before.
Tell us about a time when you connected with a specific person, place or object.
What is the oldest thing in your home?
Moment of great joy with this community?
Since you have been here, what experience have you had that has put you our of your comfort zone?
Describe a time when you felt supported by this community.
How do you think you will respond to your first disappointment with Cornerstone?
What were your fears coming in?
What was the most exciting canvassing moment you've had?
Tell us a time where you shared a sense of community?
Tell me about something that happened to you during mealtime (or when not working).
Moment when you wish you had a video camera?
How has your perception(s) of LA changed since being here?
What do you envision as a moment of potential or possibility that could happen tomorrow?
7/14/08
day 5- community auditions
Cate Wiley’s audition experience
It has been something like 25 years since I auditioned for a play—graduate exams and job interviews are not quite the same. I was surprised to be introduced (again!) to Michael, but after that I had a good time hamming it up with my newspaper line about “bad guys not having access to information.” I feel as if I was asked to read it about six different times and I recall running up to whisper in the ear of each auditioner. I felt brave and incredibly talented as an actor for those few minutes!
Audition Recruiting
Tuesday night was the second night of auditions. All Sunday and Monday nights we’d been canvassing for auditions – walking around the neighborhood with fistfuls of audition flyers, stopping anyone we found to lure them over to the audition room. It was exhilarating to be out in the street, steeling up the nerve to walk up to complete strangers and lay out our mission. It was our first real contact with the neighborhood, and as outsiders to the community, it was both terrifying and empowering. The number of people I met who were immediately enthusiastic about the project was unexpected to me, and inspiring. But we got a lot of no’s also – polite smiles and shakes of the head, people with “no time” or who “weren’t actors,” and nothing we said could change their minds. By eight o’clock Tuesday night, it was getting dark and I was starting to get tired. I was standing on the sidewalk outside Cornerstone with the rest of the recruiting team, beginning to start the fourth round of trying to get the couple who kept walking past us to audition. We failed, as we had the last three times, but then, a car pulled up. People jumped out, slamming the doors behind them, and I stepped forward to catch them before they sped off to wherever they were headed so quickly.
“Hey, have you heard about the play we’re doing at Cornerstone?” I asked, brandishing a flyer.”
“Yeah, that’s where we’re going!” They answered, hurrying past me.
I stopped, stunned, and watched as they rushed excitedly into Cornerstone. Gradually, more people trickled in. People walking in out of the darkening street, into the waiting room full of community members talking and laughing as they waited to audition. There weren’t a lot of them, but suddenly people were turning the tables on us, as we approached to tiredly invite them in, telling us offhandedly that they already knew. Some of the people who said they had no time but would come back later, the ones we’d given up on, were emerging from the street with excited greetings and smiles. By the end of auditions, we had 74 people. As Michael said later in class, the eagerness we found seemed to reflect a hunger in the community – for the story to be told, and to be the ones telling it. On Thursday, when we packed nearly sixty people into the rehearsal space for our first read-through, that story began to come to life.
Taiga Christie
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