adiva_calandia: (Default)
REPRIEVE. The deadline for the thing I'm applying for has been moved to Friday, which means I have a little extra time to update my resume and finish my ghjkfdsing cover letter. After I finish my actor packet for Little Bee.

Which means, of course, I immediately have all the focus and energy in the world for the application, and none left for the actor packet. Ah, me.

(Mostly I just keep rereading the writing sample I'm submitting and being happiterrified? It's really good writing! I'm really really really proud of it! It's maybe not as polished as it could be, but dammit, it's good, and I want them to like it.)
adiva_calandia: (All will be well)
So Little Bee.

Little Bee
(aka The Other Hand in non-US markets) by Chris Cleave is a 2008 novel that is being adapted for stage by Book-It Repertory Theatre. I'm the dramaturg for the production, which I'm super, super psyched about -- in my internship interview I expressed an interest in learning more about their adaptation process, and they put me on a world premiere, and I'm meeting with the director/playwright today to talk about the project.

It's heavy material, and I'm about to talk about the research I'm doing, and probably will talk about it more in coming months -- here, mostly, I think, rather than on Tumblr or Facebook, because some of the social issues are hot button and a lot of the content is very upsetting. Below the cut is discussion of the preliminary research on immigration I'm doing today that's making me really angry. (Also talk of violence and suicide.)

Want some fury about the state of immigration in this country? Click here! )
I mean fucking hell, man. I'm not even close to qualified to help with most of the stuff NWIRP needs -- legal aid, translation services -- but I can get mad as hell and yell about it and do art about it, and I guess that counts for something.

adiva_calandia: (Default)
The other day I was typing up our script of Antigone -- the Anouilh version, which, if you haven't read, is FULL OF MONOLOGUES, so we're cutting it down.

Me: Do you mind if I make my own judicious edits?

Bosslady: Please do. Just don't add any aliens. Or make it a musical.

Me: How about a TARDIS?

Bosslady: ... I could be convinced.
adiva_calandia: (Default)
Dramaturgy III: Adaptation. We've been reading and watching adaptations of various theatrical texts all semester: The Tempest and Forbidden Planet (which is THE MOST FUN to MST), Othello and A Play About A Handkerchief, Richard III and The Resistable Rise of Arturo Ui, etc. Each student has also been working on a project in which we examine a source text (Antigone, Hamlet, A Dream Play, The Wizard of Oz) and its theatrical adaptation (Anouilh's Antigone, The Lion King, Churchill's A Dream Play, Wicked).

Now, the last part of the project is picking any source text we want and writing a proposal for a theatrical adaptation, and I find myself at a bit of a loss for what I want to do. I can think of dozens of novels I'd like to do cinematic adaptations for, but I'm having trouble thinking of something for the stage. Right now I'm considering The Cabinet of Dr. Caligari (maybe set in modern times, since the original plot is supposed to be the "re-appearance" of an 11th century myth), but I'm not sure I like it that much. There are plenty of source texts that might be interesting for a straight-forward import to stage, but I think most of them are too modern to satisfy Doc (I'm thinking here of Rose Madder, which I think could be fascinating done onstage -- I mean, a lot of the horror in that book is either the horror of person-on-person, or implied and not seen. Not to mention that the challenge of creating a labyrinth onstage intrigues me).

I might be able to make a case for that theatrical version of Princess Bride I was playing with a while ago, if I specify that I'm doing it as a feminist rewrite, but I'm not sure. Or maybe I should just do a zombie musical based on "Re: Your Brains."

What do you think, f-list? What do you want to see adapted for the stage?

(If Dean's Tam Lin weren't so freaking sprawling, I would look at that -- but it is so sprawling that I think you really need a movie for it. I suppose I could look at the original ballad, but I'd have to avoid modernizing it too much because I will end up plagiarizing Fire and Hemlock and Pamela Dean if I bring it all the way up to the late 20th century.)

More rambling about possibilities )
adiva_calandia: (iWrite)
There are pictures from Bad Hamlet up here! (You can see me as Charlotte Charke, 18th century drag king!)

Plaaaaay. It went really well, as did the concert in the evening. I feel a little bit famous within the school, which is kind of cool -- but more importantly I feel like a good artist.
adiva_calandia: (Default)
Dramaturgs watch, listen, exchange glances, think, feel, drink coffee or bottled water or vodka, smoke (less now than before), they ask questions, and, they talk. -- Geoffrey S. Proehl

Love it.

I am sick, but making an effort to remain positive and drink enough tea that my upper respiratory system will be in good shape tomorrow for performances.
adiva_calandia: (All will be well)
So I and roomie wrote this play called Bad Hamlet, which is kind of like Sita Sings the Blues meets Rosencrantz and Guildenstern Are Dead with some genderqueerness thrown on top. We have three male Hamlets -- Quarto 1, Quarto 2, and Folio -- three female Hamlets -- Sarah Bernhardt, Leea Klemola, and Charlotte Charke -- and two Ophelias, one male and one female. (Also Harold Bloom, Laura Mulvey, and G. E. Lessing, commenting on the texts. Anway.)

It's a great play, and it's going to be awesome -- it goes up Saturday afternoon.

Problem is, our male Ophelia dropped out via text message at the beginning of the first rehearsal, and we haven't yet found a replacement. And that is stressful as fuck, because it's an important role.

Um, this is not really apropos of anything besides venting about the impossibility of finding an actor. Aaaaargh.

ETA: WE FOUND ONE.
adiva_calandia: (iBook)
AHAHA this article on Midsummer is citing Skeat.

Oh I am such a dork. *face in hands, laughing*

("What's Skeat?" said Molly.
"It's the standard Chaucer text," said Janet.
"Why is that funny?"
"It's the same size as the remedial math book."
"What?"
"That's what I say, too," said Christina.)
adiva_calandia: (Default)
New blog post: "Strophe and antistrophe" -- or, Epidaurus.
adiva_calandia: (Default)
New blog post: "to taxidi tou iroa" -- the hero's journey. Adventures in taking cabs, but more importantly, Steven Berkoff's Shakespeare's Villains. And a thunderstorm.

ETA: Oh, duhr, I'm an idiot. And the review of Titus Andronicus as put on by the National Theatre, in Greek, which I never posted.
adiva_calandia: (CMU Dramaturg)
I hate cover letters and written statements and all this. >.< What do you WANT from me, OSF?! Should I sing your praises or my own?

ETA: Hokay, who wants to look at a resume and cover statement and tell me if they look okay/what to improve?
adiva_calandia: (Default)
I seem to have hit just the right level of caffeine to be manically creative for the moment. Yay!

We're doing The Winter's Tale in Shakespeare RomCom right now, and now I really want to do it back home in Anchorage. I want to cast Liz Ware as Paulina. I want the cast to sing "When In Rome" at the end (which is an idea I'm totally stealing from one of the profs here, who did something similar with a modern tune for "It raineth every day" at the end of his production of Twelfth Night last year) -- Leontes singing the first verse, Perdita and Florizel singing the bridge, Hermione singing Where can a dead man go? (It would have to be a slightly different song than the version Nickel Creek does, a little slower I think -- Nickel Creek's would make a wonderful intro, though. Maybe I could do that -- introducing the first half's characters with it, and introducing the second half's with "Green and Gray." Leontes for the first verse, Paulina for the second, Polixenes and Hermione for the bridge, Leontes again for the final verse -- or possibly Antigonus.

I need more Nickel Creek, is what I need.

WOW I am not getting any work done on my Sir Orfeo paper.

I want to do Taming of the Shrew again, in the lobby of Purnell. I want to include the Sly parts, starting with Sly tossed out of the Chosky theatre into the lobby, and from there have him taken up to the mezzanine in style, and have the audience sit in the round and do the play there in the middle of the lobby, with Sly and the Lord and the servants yelling down comments from the balcony.

I want to do these shows. I want to be in them, and I want to direct them, and I want to make people sit up and say "Oh, that's what that play is. That's what Shakespeare can be."

A common goal, I know, but I think a worthy one.
adiva_calandia: (CMU Dramaturg)
In an effort to improve my grade on my Acting I journal, I'm going to start typing it rather than doing it long-hand -- and I may as well do it on here, so I'm posting on a regular basis. (I'm writing for the audience of my teacher anyway; may as well write for y'all.)[Poll #1463617]Anyone who can name all the plays the tickybox answers are from gets a cookie. :D

adiva_calandia: (Drink of CHAMPIONS)
Had a dream that I ended up finally sleeping with . . . some boy. Possibly a conglomeration of many boys. And by "sleeping with" I mean just sleeping with, not euphemistically having sex with. There were a lot of cuddles. It was a nice dream. I think there was something about rescuing people off a riverboat, too, but obviously the Stephanie Meyers-style romance stuck with me more than that.

Things I have to do today: )
adiva_calandia: (Default)
So! Tomorrow morning at 11 I join nine other young theatrically minded folk and we drive to Valdez for the Last Frontier Theatre Conference. WOO.

I expect to have Internet access, but my time to actually be online will be way down (because there will be more theatre than you can shake a stick at! Whee!). I think all my RP stuff is already in a state of slowtime, or wrapped, but I wanted to make sure everyone knows that if I'm not tagging, it's not because I don't love you!

I'll be home the evening of the 21st. Of course, immediately after that, conservatory and Taming of the Shrew start, and after that is the Great Cross-Country Roadtrip of '09, but I'll burn those hunks of free time when I come to them.

This is going to put a real crimp in my ANTM and Gundam 00 watching. *sadface* (. . . I don't know if there's anyone on my f-list sufficiently familiar with both shows to find this as amusing as I do, but I just had this image of Orange Haro bouncing into the ANTM house going EVERYONE! GET ALONG! GET ALONG!)

--Huh. In unrelated news, the Senate has just given the FDA permission to regulate tobacco more tightly than every before. Interesting.

adiva_calandia: (Default)
Dear Bill Shakespeare:

A Grumio and a Gremio? Seriously, why? Seriously, you hated your audience, didn't you?

Love, me.

(I don't like Grumio. He's only there for those silly hyuk-hyuk word jokes Shakespeare loves so well. He contributes zilch to the plot.

Now, from a scholarly point of view, he's interesting; the relationship between him and Petruchio is an interesting foil to the relationship between Petruchio and Kate. Moreover he's a clear example of those classical ideas about what sort of comedy is appropriate for what class.

But from a directing point of view? GTFO, Grumio. If I could cut you entirely I would, but I don't think I can.)
adiva_calandia: (running down the road)
Mt. Redoubt has been erupting for the past -- week or so? There had been a wind from the southeast blowing the ash cloud away from Anchorage, but apparently the wind is shifting and it's headed for the city now. Stay safe, Anchorage peeps!

In news of broader interest, Patrick Wilson -- yes, that Patrick Wilson, CMU Drama class of '95, aka Raoul, and Joe Pitt, and motherfucking Nite Owl -- is speaking here on Friday. Evidently I will have to skip some class to go see the panel he's on. (He's also leading musical theatre workshops with the seniors, those lucky sons of bitches.)

I freaking love my school, man.

ETA: Aaand just sent a thank-you e-mail to Naomi Wallace that I hope won't come across as too fawning. And now, to go turn in my timesheet and make ze monies!
adiva_calandia: (Default)
To [livejournal.com profile] bookelfe:

LUSSURIOSO: Welcome, be not far off; we must be better acquainted:
Pish, be bold with us -- thy hand.

VENDICE: (Disguised as PIATO) With all my heart, i' faith: how dost, sweet muskcat?
When shall we lie together?

-I.iii.30-34



And there is any doubt in your mind about Lussurioso/Vendice?

Also, Wacky Incest Hijinks? *eyes Spurio/Duchess* Oh, Jacobean theatre. I love you to bits.

ETA: BAHAHAH MISTAKEN IDENTITIES. Bye, Youngest Son. Dude, if there's cross-dressing, I'll get Renaissance Theatre Bingo!

ETA: OKAY SERIOUSLY JACOBEAN THEATRE, WHAT IS UP WITH THE STOMPING ON PEOPLE. *laughing hysterically*
adiva_calandia: (CMU Dramaturg)
There are . . . not really words to describe how I feel after closing a show that I am immensely proud of, leading a talkback with one of American theatre's most important women, and being lauded for it by professors and friends.

Said lauds included a kiss on the forehead from a boy (on whom more later) and hugs from -- geez, almost the whole cast and a good many friends.

Oh, and I wore this dress and I looked damn good in it, if I do say so myself.

Man. Except for my phone dying out of the blue, this evening has been awesome.

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