post 4- Jessica

HAha! Two in a row.
POST #4: “How does the implementation of the design elements or pending implementation of design elements affect your work?” Some things you might want to touch on: Your character development? The rehearsal process in general? Early designer’s sketches and design presentations?

The design of this show has so much going on all the time! It’s been kind of difficult working as a part of the ‘crew’ and not having been able to work with sets yet. I think it’ll be a challenge once we do get to the sets, but we’re all pretty awesome, so I think we can handle it. Because, obviously, our awesomeness has a lot to do with function. Anyway, I’m excited to work with the real set and costumes. The biggest worry is all about timing. Right now things are going smoothly, but it’ll all take a bit more time when we try real quick-changes and start maneuvering the giant set pieces. Does that address the question? Hope so.

post3- Jessica

POST #3: My rehearsal prep is pretty simple. As in, I have a cup of hot tea and just take a few minutes to sit before heading off to the Rehearsal Room. I generally have pretty busy days and it’s really nice to just have those few minutes to transition from school/work mode to rehearsal/exploration ready. That’s a really weird way to put it, but I hope it’s clear. As far as warm-ups go, I’m really thankful that we spend so much time in the rehearsal process warming up via viewpoints or whatever other activities Stacy throws at us; I just don’t have that much time to do that beforehand. I think, for me, the majority of the work happens within rehearsals. My character is not actually in the script, so that gets rid of the line memorizing bit, to an extent at least. Working with the rest of the cast/crew helps a lot as far as discovering what my relationships are with the others. I’ve had one big “AHA!” moment recently and that was with vocal viewpointing. I still haven’t quite got the hang of it, but it is so exciting to see/hear the text taking physical form.

Another Random Post from Stacy

Strawdogger Kat McDonnell tried to comment on my last random post, but her attempts to post a link were also sabotaged. She couldn't even post her link so that one could cut and paste it! Ha! HA! She is so technically challenged! How sad! My Blog savvy skills to the rescue! I will post it for her! And provide another interesting random post in the process:

From Kat:
A different, yet related blog entry about Art as a place for people to connect to each other. "Art as a Hub". Do people come to a theater to see art or to connect to each other? Perhaps both? The blogger asks "in the future the arts organizations that thrive will be the ones most skilled at turning their audience from an unrelated group of people into a community." -kat (from Strawdog)

Art as a Hub Link

Post #3--Geo

It's a good thing we do Viewpoints as a warm up. I literally go 9am to 5pm everyday. Then at 5 I go to the student union and buy dinner. After that, at 6pm is rehearsal time. In a perfect world I would have a session of Chi Gong, Growtoski animal work, and various vocal exercises.

For this show: Most of the magic happens inside the room. This is the place to play and the exercises we use at the beginning of rehearsals start the creative process going. One of my "AHA!" moments occurred last week. It happened during viewpoints and I used it later that night in the dumb show. Plus, for an odd reason I'm sure, I get out my head in these rehearsals. When I'm in the room, I'm in the room! That's probably why I'm always the happy one during check in.

The best part is that the room is a trusting environment. These people are very productive with positive and active feedback. Also, we are discovering this show together. But not as if everyone comes into the room blind. It is very apparent that everyone knows the show backwards and forwards. I have worked with people, EVEN DIRECTORS who come not knowing what the hell is going on! And at the other end, there are the actors and directors who come in with their preconceived ideas of the textual meaning, blocking, and delivery--and there is no other options in this. I must admit, I am at a happy medium. I have been blessed with fellow actors and a director who know the show well enough to present it correctly and are open enough to explore it as an ensemble.

THE BALANCE--post #2--Geo

I am poor. No money from the family cause they are poor too. Therefore I have to work to pay rent, utilities, phone and other bills of necessity....I guess food too! At the same time I am a full time student with 18 credit hours (some in subjects I have no interest in). THANK GOD for the show. The show allows me time to step away from academic and working man Geo. I get to let loose with some viewpoint work and play.
It is very challenging to tackle everything. It's gotten to the point to where I don't call my family from back home as much. I have talked to my mother or sibling in over TWO WEEKS....and I'm close with my family. They are a part of my outlet. Let's be honest..theatre people are crazy...we drive each other nuts sometimes. With my family, they aren't into theatre. They are my vacation away from the fast paced theatre life! Don't get me wrong, I love this craft! But I need to find more time to call home. There simply isn't enough time in the day.
Sad, but true, the homework is piling up. Sometimes while I'm at work, at the library, I'll sneak time in to do some of it. But, after the second week in March a lot will clear up. I just hope that I can survive mid terms.

THE TWO/THREE PUNCH - 2 Blogs for the Price of 1- JAZ

Reflections on the challenge of balancing work with life, eh?

Wow.

Well, how about the initial challenge of proving (to oneself or one’s family, friends, pets, et cetera) that this ‘theatre thing’ is even worthy to be called ‘work’? I know we all tell each other (and ourselves) that “they’re called ‘plays’ for a reason”, but this stuff is WORK. Especially this Shakespeare stuff. I mean, it’s one thing to have to dig deep and find a dark side of our selves, or really stretch to put on unaccustomed dialects and mannerisms to embody a character…but doing all of that to metered poetry in heightened language can be a WORKOUT. Plus, my character (the princely Buckingham) happens to be a combatant in the final battle scene, which adds even more to the rigors of this particular production. Try belting out four verse lines in a single breath and launching straight into a swordfight: that’s some work, y’all. Though actors maybe the glorified court jester and though theatre may be a constantly dying art, doing it really does take its toll. In a lot of ways… Wait.

What was the question?

Right: balancing theatre with life.

Well, it is very difficult.

There are 168 hours in a week. I spend about 45 of those hours at work. Around 20 hours in rehearsal. 15 hours in transit. If I’m lucky, I sleep 8 hours a night, (but don’t usually) so, let’s call it 42 hours a week sleeping. That leaves 46 hours and I haven’t even spent time with my girlfriend or my family yet. Then, I write and perform for a podcast show on Mondays. I audition for commercials and voiceovers twice or more a week (if I’m lucky), which requires preparation, travel and time. I’m currently (constantly) writing a solo performance about my life in a multi-cultural family. I have a few friends that I like to see every once in a while. On top of it all, I volunteered to do this blog. I must be crazy. Which reminds me, I spend every available moment I can with my lovely lady, who helps me work on my shows, prepare for auditions, write and just keeps me sane. Or at least she tries.

Where was I?

Time keeps on slippin’ into the future, y’all.

Yet, for as much work as I do at home by myself, I feel like the most important work happens in the rehearsal room when you are reacting to other actors and playing your perception off of theirs. However, there is an interesting flipside to that, because I also sort of feel like once the rehearsal process begins the play simply becomes a layer of my consciousness. This sounds suspiciously like what my girlfriend calls my “wizard-talk”, but the reason I call it “a layer” is because the story and the relationships are floating around in my mind all the time during the rehearsal process. And, of course, those pesky lines somehow surface repeatedly during the course of the day, under the din of the daily commute and the work at work and the chores at home, they sneak up on me, imposing themselves into my brain at any free moment and becoming my primary thoughts somehow. When other things should take precedence (some task at hand, for example, or how good this sandwich tastes), I find myself drifting off and wondering “What would Buckingham do?” or, more appropriately, “Why would Buckingham do what he does?”

What DOES he do? He exploits his many connections to his powerful family. He takes advantage of the tenuous situation of the questionable politics in his fragile government. He aligns himself with the black sheep (of a black-hearted family) and begins a campaign undermine the status quo. He kills babies. He becomes the chief political advisor and (perhaps) speech writer for a tyrant. Then, he changes his mind.

Again, as an actor, there are not many situations in my life that are directly analogous. But, seeing news stories about Chicago politics and reading articles about the United States foreign policy, it doesn’t take too much to imagine there are similar situations going on today. So, making the jump to betrayal and infanticide, is not as huge a leap as one might expect.

So, I sort of start looking at the way the world works through the eyes of the character and looking at the character through the eyes of the world. Which proves problematic. Because, I don’t really like this Buckingham guy. He’s a malicious opportunist and a spiteful turncoat. But I have to empathize with this cat, understand this character, relate to his situation and adopt his thought processes. Somehow. Which is where the work comes back into the picture.

Typically, my approach to a play is a combination of preconceived notions & total surprise. By that, of course, I just mean that there is only so much work that one can do in the mirror. Then, it comes time to get in the rehearsal room. Only when you traipse your ideas out and see if they jive with those of everyone else involved (most notably the director, of course), can one even begin to tell if those ideas work. So, as much as you might think you think you know a play or the role of your character in it, you have to go into each scene wondering what will happen and responding to it all as it does.

That is my challenge with this production: keeping it new, pretending I don’t know the outcome and pretending that the people in the audience don’t know it either.

But that’s the thing about acting, the more the actor believes it, the more the audience believes it.

Well…I guess you can always fake it, too.

That’s the beauty of it.

Imagination.

Which is how I change gears from James into Buckingham.

I go to the gym, bust a little sweat, stretch, shake off the day and try to walk into each scene imagining that I am a politician with an amicable and gentlemanly demeanor that belies the fact that I am an ambitious deviant motivated by spite and thirst for the blood of my enemies.

Fun!

Worlds Collide- From Stacy

Hey MSU Students! Do you know any alumni up in the Chicagoland area who might be interested in this? Our worlds would collide outside of the Land of Blog!
That could be fun...
- Stacy

Have you always wanted to be an Alderman? Strawdog Theatre Company is looking for 3-4 super talented people to round out the ensemble of our upcoming production of Richard III. This is an unpaid performance internship, and perfect for people fresh out of school or new to the city who are looking to get their foot in the door of one of Chicago ’s oldest and most fantastic-to-work-at storefront institutions. (Special Note: this would also be fun for people who would enjoy working with some of the finest, friendliest artists in Chicago .) In the past, our Shakespeare productions have been satisfying to put together and well received by the public (past performance is not a guarantee of future success, of course), and the “supernumeraries” have filled the critical role of adding intrigue and personality to ye olde Shakespearean crowdes, as well as enabling the traditional Strawdog slick and smooth transition from one location to another. Yes, there are scene changes, but there is also aggressive scenework (no dialogue), encouragement to develop an individual character with an individual agenda, and an awesome battle at the end!



Dates of involvement are:

Sat Feb 9 and Sun Feb 10 from noon-5p
Tue Feb 12, Wed Feb 13, Thu Feb 14 from 7-11p
Sat Feb 16 from 10a-10p (sumptuous meals provided)
Sun Feb 17 from 12-10p (again, much lovely food and comeraderie…)
Tues Feb 18 – Friday Feb 19 – from 7-11p
Opening Night @ 7p on Sat Feb 23
Performance Schedule – generally speaking, Fri-Sun through March 29, with some Monday night industry night, and a couple of Thursdays performances as well.


Please contact Nic Dimond with interest. nic@strawdog.org. Email only please.

Random Post From Stacy

Hello All!
As moderator I have decided I can jump in and randomly post sometimes. Who's gonna stop me??? MUUUHAHAHAHAH!
Anyway, I thought this was fascinating and relevant:


http://theatreideas.blogspot.com/2007/07/new-tribalism-and-theatre.html

Enjoy!
Stacy

Triumph of Love Post #3 - Greg

POST #3: Please discuss the Rehearsal Room and your preparation (if any) to rehearse. Some possible thoughts to reflect on (if you want some further guidance): How do you go from "day job/school/life" to the work of the rehearsal room? Do you have a personal warm-up or preparation to begin working? Do you have "group warm-ups" and do you find them helpful or distracting?

I am the biggest slacker when it comes to preparation for a rehearsal. My days usually consist of waking up and going to school, either working or going to class. Then I have a four hour break (which I usually sleep.) Then I wake up and go to rehearsal. It's a perfect student life. There is no reason why I should not be doing warm-ups before rehearsals. I just don't want to do them. In rehearsal, we warm-up using physical viewpoints. Sometimes, the warm-ups are helpful, especially when my mind is thinking about an issue outside of rehearsal. I think the bonds that are made using viewpoints is great (although I expected them to be stronger by now.) However, Viewpoints gives cast members a chance to take risks and tests all barriers of self comfort.

What challenges are you currently facing within the rehearsal process?
I have several challenges I am currently facing with this production. Lately, I have been in a very realistic mood while looking back at the past six years of my college experience. I have come to the conclusion that being an actor is something I may not want to do for the rest of my life. Just thinking about where I am right now and what I need to accomplish to succeed as a professional actor will take a lot of hard work and money. I also have realized that being apart of theatre has made me an atrocious person. To throw all card out on the table, another challenge is having genuine compassion for Triumph. It's not that I hate it, I am just being completely lazy about the show to a point that there is no inspiration to pick up the script.

I think all these realizations has been affecting my work ethic in and out of the rehearsal process (and it is starting to linger into classroom functions.) My kinesthetic reponse while in a show is to pick up the script twenty times a week to understand my character. Instead, my reponse has been staying up late partying. Why am I acting this way? Why am I so uninspired? Is it the show? Is it me? Am I fed-up with theatre? Do I need a break? Am I scared because I am about to graduate? Like I said, I have no idea why I am acting like this but I need to look over my actions and figure this shit out quick.

In short, I am in an artistic block right now (that was confronted last night at rehearsal. A wake-up call, and boy was it needed.) Honestly, I don’t deserve to be in Triumph. But right now, I accepted the role and need to take it like a man. I need to carry out the reponsibilites like any other show I would be in. I need to push myself and see if this is truly how I feel because this could be some rash realization. However, above with all these negative realizations, there still is hope somewhere down in my heart thinking just the opposite. My plan for the next week is not to go out every night and party. I plan to inspire myself by picking up the script and reading it at least three times whether I like it or not. I intend to find ways to love Dimas and to create a character, to love the Triumph of Love, and most importantly, love acting.

Triumph Post #3 - Addie

POST #3- Please discuss the Rehearsal Room and your preparation )if any) to rehearse. Some possible thoughts to reflect on (if you want some further guidance): How do you go from day job/school/life to the work of the rehearsal room? Do you have a personal warm-up or preparation to begin working? Do you have "group warm ups" and do you find them helpful or distracting? What challenges are you currently facing within the rehearsal process? Has there been any of those "AHA!" magical "I get it!" moments in the rehearsal room? For this production, do you feel the majority of your work happens in the rehearsal room or outside of it? 

I'M STRUGGLING! On all of the above, in fact. In a perfect world, I have a personal warm up that I could devote 30 minutes-an hour to before. Since it is far from perfect,  if I'm lucky, I have an hour to eat, do homework and get all my errands of the day run before I rush off to rehearsal with little to no outside prep. That being said, I greatly appreciate and need/crave our group warm ups. They bring me into focus inside the room and help shed the day outside. 

Challenges I currently am facing: I can't for the life of me, find the humor in Leontine. There are hit and miss moments depending on what I'm feeling before we rehearse a scene, but right now the times I am onstage are feeling more like a badly acted melodrama where the actress is taking herself much too seriously. (And this is NOTHING against Chelsea/Leonide/Phocion/Aspasie/any other alias she chooses, for I feel she is doing a magnificent job and giving me a lot to play with.) But I feel stuck. Occasionally, I get on an AHA moment, but they aren't sticking just yet. I think being off book will definitely aid in my exploration of Leontine, but I haven't found her yet.

Right now, most of my work is happening in the rehearsal room, and I don't want to say that is opposite of what my normal process is, but it is not something that I like to do. I am working to turn that around by next week. I'll keep you all posted on how that goes.

Balancing- Post #2- Jenny

I think the tardiness of my reply to this question kind of says it all - balancing all the things I have to and want to do can be pretty rough - between rehearsals, teaching, auditioning and trying to have a personal life, I can get pretty overwhelmed (you'd definitely think I'd be better at it at this point, considering how long I've been doing this juggling act!)  I've never been the most organized or self-disciplined person so the fact that all the work that I do is self-motivated can be really really challenging.

However, I'm not sure that I would want it any other way.  All of the things that I do when I am not acting inform my acting - being a teacher definitely makes me a better actor - being an actor gives me something to teach, etc.  There  have been a few times in my life when I have had the opportunity to just be an actor and I have relished them - but I really don't think that I would want that for the rest of my life - I very strongly believe that actors need a vast array of experience to draw on for their work and doing things outside of acting is really key to getting that experience.  

In terms of having a personal life, the things that I struggle with are finding time for the people in my life who are not actors - their schedules are so different from mine - and in terms of romantic relationships, I've found its really key to be with someone who isn't necessarily doing what I do but on some level, gets it.  Our schedules are so wacky and our way of working can be really confusing to someone who has never been around it.  We are asked to be pretty trusting and intimate with our co-workers in ways that people who have a more 9 to 5 kind of life seem really confused and daunted by.  

All for now - I'm on my way to rehearsal actually and have to look over my lines!

Jessica Teliczan-post 2

The challenges of balancing work on the show and the rest of life. Hm, well, this is something that I didn’t think would be too hard. At first. I have since been proven wrong. I think most of the student actors are in similar situations on this one. I am a full time student, I put in my hours at rehearsal and the work outside of the theatre, I have a part time job, I’m involved in multiple campus groups AND I have friends/family. The big deal for me is that I kind of suck at time management anyway so this is quite the challenge. I tend to procrastinate a lot, which is why this post is late; seriously, I’ve sat down to write this at least 4 times. Whoops.
I’m having trouble making a balance right now. My friends and family are the ones taking the brunt of this, I feel. I agree with Addie that the people in your cast/crew become your close friends, but those outside of the experience can’t be left behind. I’m trying to find time to go home and see the folks, but when I’m not in rehearsals or work, I’m trying to spend time with some important people here. And there’s always homework of course. As far as school and work go, I’m not a huge fan right now (except voice and movement, right?). Unfortunately, both are necessary.
So, in conclusion, I’m having a hell of a time with this particular balancing act, but it’s a ton of fun and I wouldn’t trade it for an “easy” life, which sounds more than a bit dull anyway.

Triumph of Love POST #2-Greg

Please reflect on the challenges you are currently facing balancing your work on the show with the rest of LIFE.

Right now, the challenges in my life have been a turn around for me. I am really enjoying my time rehearsing Triumph because I am not overwhelmed (for the first time in my life.) Besides rehearsing for Triumph, I am currently enrolled in 12 credit hours, work 15 hours a week at the MSU Music Library, and am apart of Sandra Lopez's Senior BFA project which I am totally excited about. That is it! I used to be involved with MANY projects (and sometimes, too many for a healthy mind.) With having so much time, I can actually concentrate on my homework, friends and family, and my life (which I never had the chance to do before!)Financially, I am not having trouble with money now, however, I do find that near the end of Triumph I will want to actually work somewhere in town. You can never have enough $$$$$$$$$$$$$!!! Overall, this has to be one of the best "starts" to a semester of school that I have I have ever had... and it has just begun! I can't wait for what is in store down the road. I am happy for the first time in about two years! I do realize that happy is an overused word, but hey, it works for me!

Triumph Post #2-Addie

Please reflect on the challenges you are currently facing balancing your work on the show with the rest of LIFE.

THAT'S at good one! Balancing life and work? Yeah...

In all seriousness, I struggle with this A LOT. I take my responsibilities very seriously and that leaves little time for other things. I'm really starting to understand the difficulty of trying to maintain my personal relationships while doing one million other things, and this semester already seems like it is going to be a disaster. To give a little insight on what I'm battling with right now- on top of going to school full time (with a course load of 17 hours), I have been (until today when we opened Dog Sees God) rehearsing two shows back to back after a day of school. This has made the length of my day approximately 17 hours long, leaving little room for homework and NO room for socializing. Add on the responsibilities of being a president of two theatre organizations and working, it is safe to assume everything else comes second...which is why I haven't cleaned my apartment since sometime last week.

I think the reason as actors we tend (or at least in my experience) to grow close to the people we work with has a lot to do with time management. I am well aware that my personal life suffers during a show, it is a sacrifice I am willing to make. That's why my fellow actors become some of my closest friends- we spend all day rehearsing and developing a relationship on stage that it either a. causes me to pull my hair out and avoid any further contact with a person after closing or b. really draws me to a deeper and more intense friendship. The only way I can probably maintain sanity is by looking to these relationships as salvation, and hope that when everything is over that i don't lose my mind of boredom.

Geo's #1 post

POST #1
1. Who are you? Give us a little bio.
I am Geovonday Jones, a Senior Theatre Performance Major( emphasis in Acting), at Missouri State University. Originally from Saint Louis, I decided to study in Springfield, Missouri—a not so colorful place! But the MSU campus is great! Currently, I am involved with a lot. I teach a section of the opera workshop class here on campus. I teach some of the opera students about going beyond singing and giving music and text embodiment. Also, with that, I teach intro to tech theatre to these opera students. In addition to opera workshop, for the next two weeks, I am directing a student written one act. For the last four years I’ve dived into directing as much as possible. Although my primary passion is acting, I find great interest in directing. Some day I plan to study drama therapy. Psychology is another interest of mine.

2. Who is your character?** Give us a little bio.
My role in the show is a member of the crew, “The Muscle”. It is his job to help run the theatre, to be the liaison with the other crew members and actors. He is supposed to answer to Harlequin, almost like an assistant stage manager to the stage manager.

3. How are you and your character similar? Where do you intersect?
I am very prompt. Nothing annoys me more than people who don’t keep to work, when work is needed. It’s okay to enjoy ourselves…that’s fine with me! I like to have a good time. But, there has to be order. Work is work! I am also handy at lifting things…maybe that’s where we really intersect. I imagine I will lift a lot during this process and that’s fine with me.

4. Currently, what is the most exciting/interesting thing about working on this production (Richard or Triumph)? What aspect of the upcoming rehearsal process are you most worried/concerned about?
I am in love with the Viewpoints! It kicks my ass in the morning, my muscles get quite the workout. But I really enjoy doing this work. Anyone that knows me, know that I am a big advocate of voice, body, and mind connectiveness. Plus, anytime I get to do floor work I’m excited. I’m concerned about interpretation of my part. I don’t want my character to fall into the trap of just being the “muscle”. This role is very simple, in a way that it isn’t a central need of the script. But, at the same time, I don’t want to treat it as such. I feel like I should do something to make it work without trying to up stage the important role in the show.

Buckinghamming It Up by jaZ

1. My name is James Anthony Zoccoli. People call me JAZ. My formal introduction to theatre came my Junior year of high school. Before I got up on my feet with a script, I thought Shakespeare was stupid. It was also during that time that I decided that I wanted to be an actor...&, more importantly, to be a member of a theatre company. Ten years after that, I walked into Strawdog. Damn near a decade later, I'm still hangin' around. The first play I did here was actually the company's first foray into the world of Shakespeare. We did it good then & we aim to do it even better now. In addition to my exploits on stage, I make what might be called art, write what might be called poetry & have worked in commercials, films & radio. Right now, my primary focus is my voice-over career & writing a solo performance piece. I drink too much coffee.


2. The character that I play in "Richard the Third" is Henry Stafford, the Duke of Buckingham. In the play, he is the right-hand man of the wicked king & is greatly responsible for both the rise & fall of Richard III. In real life, both his father & grandfather were Dukes who sided with the House of Lancaster during the War of the Roses. That fact would have put Buckingham at odds with his cousins Richard, Clarence & Edward, the descendants of York, but his marriage to Catherine Woodville, changed that. You see, Catherine's sister, Elizabeth, was Queen to Edward IV, the ruler after the dust settled. So, that forced him to befriend those in the court with whom he might have otherwise been enemies...& vice-versa. Which is, perhaps, where his diplomatic skills were developed. It has been documented that, due to his lineage (three of four of his grandparents were descended from Edward III), Buckingham may have actually had an arguable claim to the throne himself. This is particularly interesting because there is little evidence to which one can point in the play that explains why Buckingham would be so eager to assist Richard in his ascension by deceiving the people of England & killing innocent men, women & children to whom he was, in fact, related. With that in mind, there is a case to be made for the idea that (secretly) Buckingham was doing a lot of the dirty work & letting Richard take the blame for it, so that once all of the other heirs were removed, he could take advantage of the decimated house of York & use his favor in the public eye to make his move for power. Either that, or he just really wanted to help his Cousin Richard get revenge for all those years of getting picked on by the other kids. Maybe? Maybe.


3. James & Buckingham only intersect at a few fine points. Overall, though, we are quite different. Buckingham makes & breaks political alliances, arranges military maneuvers, deceives the public & puts people to death in the name of attaining a monarchy. I work in the not-for-profit sector & my greatest territorial ambition is to own my own home. So, the parallels are rather few. But, as with any play, there is plenty more to the story than meets the eye. Despite his double-dealing deception, from the clues in the text Buckingham seems to be equal parts empathy and apathy, which are points on the compass I find myself vascillating between, too. I am earnestly empathetic (to a fault, in fact) & always have been, but, at this point in my life, I am also jaded enough to know that there are moments when no amount of compassion matters. This must come into play often for politicians...as it does for physicians, the police & plenty of other people in authority. As an actor, one absolutely has to be opportunistic, which is a trait Buckingham embodies classically. So we got that one in common. He is also a classic illustration of a diplomat. Which is definitely a characteristic of mine as well. (Although, he takes the diplomacy to a level of...could you call it sophistication? Yeah. In fact, Buckingham is sophisticated in the truest sense of the word - downright duplicitous, even.) In addition, Buckingham & I are both pretty damn cool. Ask anybody who knows me, one thing they would probably all say is that I stay sane in crazy circumstances. (Which certainly helps in the world of theatre.) I mean, no matter how horribly awry their plan goes, Buckingham seems to be able to keep a smooth demeanor. I got it like that, too. What else? Oh, interestingly enough, we both happen to be Virgos. So, that's neat. I dunno what it means or how I can incorporate it into my performance, but it's neat nonetheless.


4. The most exciting thing about doing Shakespeare is the also the most dreadful thing about doing Shakespeare. It is the challenge of bringing something new to (or should I say 'out of'?) a text that is so familiar (or, depending on the play, so arcane) & is written in language so heightened (&, of course, antiquated). My goal is always to do something that nobody has ever done before with that text or to reveal something about the character that has (somehow) gone overlooked. Failing that, to incorporate something completely random & anomalous just for my own edification can be rewarding, too. As reverent as I am toward the works of the Bard, I can be equally cavalier when it comes right down to it because enjoying my experience with living in a character is just as important as the life the character was intended to live by the playwright. But, even more important that how I feel or how the playwright felt, to me creating a character with whom the audience will enjoy their experience is key & I'll do whatever I can to make the most of it. This happens to be the ninth production that I have worked on using various permutations of the Folio Technique for approaching the text, which, of course, treat the original printings of Shakespeare's plays with a great reverence & give the capitalizations & (supposedly intentional) misspellings in those first published scripts a tremendous significance to the actor. This approach is another mixed bag for me. It is lovely to think that a playwright could have that kind of foresight & develop a shorthand to assist his actors. It is loathesome, at times, to have to justify your rhythms & pronounciations to the pen of a long-dead poet. However, more often than not, though, his acting cues & emotional clues are amazing, his vision of his characters is undeniably clear & his ability to tell a story with the highest stakes imaginable (as ridiculous as they may sometimes be) is uncanny...& that's my two cents. Thanks for askin'.

Anderson Lawfer

Hey gang!
Sorry for taking so long to enter my first blog.
I've never blogged before, and certainley never before noon on a weekday.

Anyway, my name is Anderson Lawfer, and I am also a member of Strawdog. I am currently the general manager, which means I keep up with the day to day activities of the theatre and lend all the help I can to any other department that needs it. I am also in charge of our special events department. That includes making sure we have staff, food, wine, and patrons for all of our fundraising benefits. The other job I have now is as the Strawdog Liason to the Chicago Storefront District. A coalition of theatres in our neighborhood that is working to build a new sense of community to our collective theatres and neighbors, but also to increase outside patronage.

I'm playing the role of George of Clarence in our Richard. George is the younger brother of Edward and Richard. He has in the past been a very skilled warrior, and is a very educated man. George is married to Isabelle and has two adorable children, that are not very important to our cutting of this play. In the text, and historically, George is known throughout England as a ummm... how do you say... boozehound. Which is, of course, what leads to his drowning in wine.

While George is royalty, he also has the traits of an everyman. He is no politician. He places blind faith in his brothers, is very hedonistic, and knows how to enjoy money. This is where we are similar. I enjoy money and wine.

George also happens to be a very trained and noble soldier that has, on more than one occasion, killed for his family. This is where we differ.

I'm always excited about starting a new show. Seeing old friends, meeting new people, sharing new ideas, but the thing that really excites me about this show in particular is the world we are building together. This is like an entirely new place where the rules we are used to do not apply. Creating a character in that place with Nic and the other actors is really interesting, and I have a feeling that this show will continuousley grow and change up until the last night.

My concerns are very basic. I am not very good at folio. I'm not sure why, but I'm not. You spend so long in college learning how to breathe naturally on stage and somehow this knocks me for a loop. It's just learning a new thing kind of pressure.
Also, I really wanted to have a beard for this show. So I went to Nic and asked him, pleaded, begged for my George of Clarence to have a beard. Now I have a beard. It's itchy. More information to come...

Truimph Intro- Jessica

1) I am Jessica Teliczan. I’m a sophomore at Missouri State and a freshman in the theatre program. Originally I am from a super-super small town called Holt, Missouri, but I say I’m from Kansas City because it’s easier and almost true. I was involved in various aspects of theatre in high school. I acted in the straight plays and did tech/design for the musicals. At Missouri State I’ve was in Blackout Productions One Acts and The Vagina Monologues in the spring of ’07. I don’t graduate until forever from now, but when I leave I’m thinking L.A.

2) I am doing an independent study for Stacy this semester focusing on ensemble and the social vs. working relationships of actors. I’m asking how important is ensemble to a successful show? Is it necessary or overemphasized? Do the actor’s relationships outside of the theatre change the relationships of their characters? Is this good or bad or irrelevant? That sort of stuff. As far as what I’ll actually be doing in the rehearsal process, it’s a bit varied. I’ll be helping Stacy out with whatever she needs and I may end up sort of assisting Holly, our stage manager. I may go out and get coffee, who knows.
Also, I am a member of the “UberCrew”, a group of characters that Stacy has added to the play ‘Triumph of Love’. My character in this crew is a ‘skater girl’ and has been for a long time. She loves the feel of this theatre company. I’m sure there’s more there, but I was cast yesterday so I’m still developing her. Whoops.

3) Like I said, I’m still ironing this one out but so far as I can tell, we may end up being pretty similar. She’s a skater-punk, and I used to skate (admittedly, not very well). I think she is different from your main stream girl not for the sake of being different, but because that’s just what she wanted to do. Different lifestyles demand certain ‘uniforms’ as it were. I don’t imagine she got along with her mother terribly well when she was younger. Again, I’m not sure where I’ll be going with her.

4) For me the most exciting part of this production is that I get to sort of play both sides. I mean, I’m involved in the show as a cast member now, but I also get to do some more technical, but still super creative, work as well. I feel kind of like a spy (man, I’m a nerd). I’m so excited to see how this all comes together.
I’m concerned about how Stacy’s crazy vision will collide, and hopefully mesh, with the script. What we read isn’t really like what the audience will be seeing at all. It’ll be a challenge, but it’s pretty exciting. Also, as some have mentioned before, the time constraints are more than a little concerning.

Triumph Post #1- Greg

1. Who are you? Give us a little bio.

My name is Greg Faupel and I am a senior musical theatre performance major at Missouri State. I am originally from St. Charles, MO and moved to Springfield to attend school. I have done several main stage shows at MSU including A Lie of the Mind (Baylor), A Chorus Line (Greg), and now, Triumph of Love (Dimas). Did I mention I graduate in the spring!? I am excited, yet scared, about what the big bad world has in store for me. I am thinking about relocating to Chicago or Orlando at some point within the year.

2. Who is your character? Give us a little bio.

Dimas, the gardener to Hermocrate's Estate, will change his morals if money is involved. Dimas believes that approval is where money lies. Dimas will do anything to take out any competition (including servantry) to get the one thing he loves.... $$$$!

3. How are you and your character similar? Where do you intersect?
Dimas and I are similar because we are both greedy human beings. Dimas works as a servant but will do anything for money, even if he has to be a little deceitful to both authority and non-authority. I am the same way too. Life would be grand if I had a million dollars right now. Unfortunately, that may never happen (although I try to be optimistic.) Sometimes to get what I want, I have to tell little fibs here and there or act like I don't know something for the sake of getting what I want (whether it is orientated with theatre, money, etc.) As someone once said... "Don't hate the player, hate the game." I also feel that Dimas and I connect because of his lack of romance. Dimas is the only character in the show that is not approached on a romantic level (from the other characters). This relates to me because I have been single for 23 years of my life. No one has ever asked me to “go steady” with them. (I love that saying.) In some ways, it is pretty fucking depressing that I have never been in a relationship. However, romance is time, and my time is devoted to theatre because I love performing that much. The time commitment that is needed for love gets in my way.

4. Currently, what is the most exciting/interesting thing about working on this production (Richard or Triumph)? What aspect of the upcoming rehearsal process are you most worried/concerned about?

I am very interested in Viewpoints methodology. I have taken an intro Viewpoints class with Stacy and absolutely loved it. I am worried about all the aspects of the show coming into play (set, props, lights, sound, ubercrew) but very worried about the opening number. Will the structure that Stacy created actually work? If it doesn’t, what will we do instead? Will the audience understand our madness? I am worried but I feel being creative will solve all these problems! : ) Also, TIME is another issue that worries me. **TICK**TOCK**TICK**TOCK**

speak the speech a pray you...

Greetings/salut’/oy!



As long as we are going ‘round with introductions, allow me to introduce myself as a man of wealth and taste…I’m a long time friend of Strawdog, I’ve been in Chicago going on 15 years and have known some of the doggers (like Nic) nearly as long. I’m a former member of the royally deceased Defiant Theatre – best described as a bunch of bloody naked people jumping off of scaffolding (something that we never actually did but seems to encapsulate our esthetic better than any other description I’ve ever heard).

As an actor I ALWAYS start with the text. Many actors start elsewhere, but I prefer to start with a blank slate and the text and marry it with what the other actors bring on stage. My feeling is that if you bring too many pre-conceived ideas in the door with you, you are very likely to miss/lose/destroy the life of the character and the play.

Once, a long time ago in a galaxy far, far, away – I conceived the idea of Klingon MacBeth. It would have been a grand (GRAND I SAY!) production. The Combat would have been visceral, the context new and exciting. Think of the possibilities! And the hours getting into make-up! But does it really add anything? (besides hours of fun and triples your production budget). In word…no. It doesn’t add a thing to the text (though it woulda been fun to market). There is nothing about that idea that adds any depth to the characters, and at the end of the day the only thing that matters is the people of the play and their story.

Over the years I’ve seen many approaches to Shakespeare. Some like to race through the lines as if they were talking normally. Others are just so damned afraid of language that they never try and penetrate the wall that they have erected around the material. Others like to add a modern context to the material so we ‘can see ourselves’ in the play. But all of that is really anathema to doing Shakespeare well. All you have to do is understand the characters, love your character and speak to each other. (of course you should understand the text first). As it turns out, Shakespeare has given you all you need to make the play interesting and relevant because he has written real people. All you have to do is tell their story.

And that’s why I think the Folio is such a valuable tool - it’s a piece of sheet music that Shakespeare has given you to bring his play to life. It’s true that if you approach it by wrote you are likely to stomp the life out of it, but this is true of any approach. It’s also true of love. The folio offers subtle clues that (if heeded) will nudge the actor into some really spontaneous and fresh performances. And like any good piece of music, it is not rigid. Any good conductor realizes that there is infinite space between notes. The same is true of words. There is no need to try and negotiate the language and balance it with authentic emotional presence. If you understand the character and the language and are speaking to one another – there is no way that you can not be authentic in emotion and presence.

Sean Sinitski - Rivers - AKA guy with gun

Triumph Post #1- Addie

1. I'm Addie Barnhart, junior BFA performance major at Missouri State. I'm originally from Wichita, Kansas and relocated to Springfield for school. I am currently acting as president for our student run theatre organization on campus, co-president and co-creator of our stage combat club, a company member of Barestage, the theatre for social change troupe. I am involved in theatre in the community and have spent a season with Tent theatre, the regional theatre that is hosted through MSU. I love recycling and plan on going to grad school for directing.

2. The character I'm playing in Triumph is Leontine, the 40-something sister of Hermocrate the philosopher. She is a spinster (in my opinion by choice) who has shunned love and lives simply. I feel that she is wise but easily fooled and despite her age, very naive. Her frosty exterior is merely protection to keep those she encounters at bay. 

3. I think I am a lot like Leontine in the ways of her early opinions of love. A lot of what I am basing the character on is from some of my personal feelings and experiences, and I would say that the reason she has a hard exterior is because she has been hurt badly in the past, and maybe the reason she has shunned love all together. Maybe it is pompous to say, but I think that I am wise beyond my years in many areas, yet very naive in others, such as "love" and "relationships" so I think this is a role in which I will feel very at home.

4. I am SO excited to explore the concept that Stacy has chosen for this particular production of Triumph. I think it is interesting and fun, and I am a huge fan of collaborative theatre, so the whole process excites me. I am also really pumped to work though the exploration of viewpoints, which has recently been introduced to my theatre vocabulary. The only things that worry me currently are 1. the short amount of time we have to mount this show, and 2. if we can make it interesting enough to appeal to the general audience. 

Post #1- Jenny

In response to Stacey's intro questions:

1. Hi everyone - I'm Jenny Avery - I've been an ensemble member at Strawdog since 1998 (which makes me one of the "lifers" in the crowd). I currently hold a lot of titles at Strawdog, which may sound important, but really means I'm really busy and a wee bit overcommitted. Along with Michael Dailey, I am one of the Associate Artistic Directors, which means that I help Nic in selecting the season and managing the company. I am also the Director of Development, which means that I try to raise money for the Company through government and foundation grants and individual donations. Lastly, I am acting as the interim literary manager, finding scripts and arranging readings (told ya I was busy). When I am not at Strawdog, I act at other theaters around town and teach drama at a variety of elementary and high schools around Chicago.

2. I am playing Queen Elizabeth in Richard III. Elizabeth is married to King Edward, who is in the midst of dying at the beginning of the play and the mother of the young boys who are killed in the tower by Richard. I am really excited about playing her, as I think she is an incredibly smart, saavy and powerful woman - she is one of the only characters in the play who really takes Richard on, head to head. Still working on what her journey is throughout the play and I'll keep you posted.

3. How am I like her? hmmmm.....well, I like to think I'm smart - I am occasionally saavy and powerful. She definitely has a sense of her own importance, and depending on the situation, I can certainly display that quality as well.

4. I love working on Shakespeare and don't get to do it all that often - in fact, the last time was about 5 years ago - the language is so beautiful and packed with amazingly active images. I am particularly excited to delve into the Richard/Elizabeth scene as there are so many amazingly fun things for me to say!

I think the same reasons that I am excited about the play are the reasons that I am concerned/freaked out - the language is so beautiful, how do I live up to them? The situations are so large - there is so much at stake, how do I buy into it fully?

Richard III- Director's Notes & Company Goals

Director- Nic Dimond
DIRECTOR'S NOTES:

I’m a reluctant Shakespeare fan. Sure, these plays contain some of the greatest active poetry ever written in the English language, but there’s something that generally gets lost in the translation. Instead of treating these plays like museum pieces, we approach them as vital, relevant stories – stories that everyone can relate to today.

I’m particularly compelled by his stories that center around power. We will leave the lovely love stories to the more romantically minded companies, because we’ve cornered the market on the stories about control. Listen, one of the big reasons that I can’t stop doing theatre is because it gives me a place to safely explore the bad behaviors that are constantly simmering right below my surface – I’m certain that I would be incarcerated by now if I didn’t have this outlet, and these power plays provide such a fertile playground. And it gives us a chance to involve ourselves in contemporary political discussions – power and corruption are timeless, y’all – without having to get out a soapbox and try to win people over to a specific agenda.

When we cut, we don’t cut simply for time – we cut for story. In Shakespeare’s day, there was an expectation of multiple storylines and 5 hour productions. These days, we find it more effective to pick the storyline that turns us on the most, and highlight that in it’s entirety – for instance, we entirely cut Norfolk, Oxford and Hastings so we can present the “Now comes the winter” and the Richard/Anne scenes in their entirety. It’s not a nickel and dime approach – its more slash and burn. In the past, we’ve imagined it as microsurgery with a chainsaw, and we’re generally pleased with the results. By coming up with the right mix of irreverence for the Shakespearean mythology and respect for the actual work, and by applying our patented nerd/thug approach, we know we can tell this story in an entirely fresh and original way.

Richard is constantly unapologetically dissembling – there are suggestions that he’s actually quite proud of it. But where does that come from? When reading this, I’ve never imagined Richard as actually crippled in any obvious physical way – it’s always felt more psychological. And the tone of his soliloquies to the audience almost feel like he’s selling how cool it all is just a little too hard, as if he might be trying to convince himself as well. He talks about his lack of conscience too much to not actually have one.

As for production concept, we try to make it interesting and sexy, without relying on too much cleverness. I believe that for 21st century theatre audiences that come to Strawdog, period Elizabethan costumes would be distracting from the story that we are trying to present. We look at Shakespeare shows as an opportunity to really create our very own worlds from scratch, but we also want to work with some familiar forms to help people relax into the experience. This leaves us room to build up an idea by pulling together whatever various Richard III-related inspirations from all over the place – movies, music, similar historical incidents. For this one thoughts of medieval castles intersect with thoughts of high-end board rooms intersect with thoughts of private prep school politics and thoughts of Stalinistic tactics. Glamorous nightclubs. Chainmail. There might be some Iron Curtain in there as well. So, for the set I’m imagining stainless steel and rough-hewn blocks of granite. For costumes, I’m imagining contemporary lines with period fabrics. For sound, I’m imagining NIN meets a Mozart string concerto.



STRAWDOG COMPANY GOALS FOR OUR PRODUCTION OF RICHARD III

1. Theme/Strawdog Entry Point: “Power is primarily preoccupied with sustaining itself, and bloodlines can be cut.” In this production we will be examining the various weapons of family warfare, and how their use contributes to Richard’s obsessions and gradual psychological collapse. Cool quote about life in a royal family at this time: “The frailty of your reputation’s worth – tomorrow a whisper may destroy you.”

2. The acting challenges seem to center around finding the sweet spot between mastering and employing the Folio technique while at the same time basing our scenework on authentic emotional presence and fully developed relationships. We will bring these characters to life without commenting on their decisions – life is complicated and the world is not as simple as wholly glorious heroes and entirely evil villains, and we will respect that fact.

3. A la Sci Fi, we want to create an alternate history, and immerse our audience in it. We will build a whole new anachronistic world based on forms and shapes and textures that our audience will be familiar with.

4. Our Presentation Approach (Cutting Process + Production Concept + Performance Approach) makes Shakespearean stories accessible in a contemporary way. By coming up with the right mix of irreverence for the Shakespearean mythology and respect for the actual work, and by applying our patented non-partisan approach, we know we can present this as a story that anyone today can relate to. Also, our production compresses the timeline of the story to help heighten the stakes.

5. We are very close, but how intimate are we? We believe that our ensemble process results in a more powerful experience for the audience – the deeper we are able to get with each other, the deeper we are able to get into our audience. This strength of ours is especially useful while attacking a play about royal dynasties, because everyone is related AND involved in the family business of running the country, by any means necessary. We will be especially mindful to include our guest artists in our intimate process, by going out of our way to ask them questions that pull them out of the standard “hired gun” mentality.

6. Traps to avoid:
Unsympathetic protagonist
Structure – once he gets crown, keep the action/stakes up
Language trapping actors in unsustainable, uninteresting places and physical overcompensation

7. The most interesting questions
Why does everyone so desperately want to believe Richard?
Is it reasonable for civilians to assume that soldiers can flip the switch into non-war-waging mode?
What will people allow when they are tired of war?

The Triumph of Love- Director's Notes

Director: Stacy Parker

Director’s “Points to ponder” (and then share) for the first design meeting (Questions provided
by Mark Putman, Production Manager)

WHY DID THE DIRECTOR PICK THIS PARTICULAR SCRIPT? HOW DID I FIND THE SCRIPT? WHAT WAS MY FIRST GUT RESPONSE TO READING IT? WHAT WAS MY RESPONSE AFTER THE SECOND READ? WHY IS IT INTERESTING TO ME?
Cards on the table- I did not choose this script, nor, in all honesty, would I have chosen this script. This is not the kind of play that I am typically drawn to. My first gut response to reading it was “Really?? REALLY???” Then I took a breath and sat down and wrote out the big questions/challenges I had about directing this particular play-
Why would a contemporary audience want to see this play?
If this is indeed a comedy, what is funny about this play?
What is fresh, new, and interesting?
What can students learn from working on this production?

And then I read it again.
Okay, so on second & third reads I began to see some possibilities in terms of answering the above questions. Not ANSWERS, but possibilities.
What became MOST interesting to me and began to form the framework in my mind for how to approach this production is how Leonide’s journey to make these people fall in love with her parallels the actor/director/designer’s journey to make an audience fall in love with their production. We, too, often have an altruistic desire for a greater good that combines with our own selfish personal interests in terms of our reasons for putting on a show for an audience and making them fall in love with it. We, too, use deception, humor, disguise and our ability to play on the emotions of our subjects to lure them in. And at the end of the show, we too take off our diguises, put away our sets and props, take down our lights and go home, leaving our subject, the audience, to ponder what has happened. As a result I would like to add a metatheatrical element to this production. This production is a group of artists putting on a production of The Triumph of Love.

I also was interested in how Marivaux was obviously inspired by the Commedia dell’Arte and then how HIS 18th century characters and situations are familiar to contemporary popular entertainment. They are found all over 20th and 21st century pop culture, from the Vaudeville & Burlesque houses of the early 20th century, to the situation comedies of today. So as a result I am interested in having these actors who exist in the here and now create a world for their production of Triumph of Love that is inspired by Vaudeville and films of the late 1920’s-late 1930’s. They will not “set” the play in the 1930’s. I am not concerned with historical accuracy. I am interested in a world created specifically for this story that is inspired by these elements. I would also love if a few homages to the Commedia dell’Arte find their way into the world.

WHO/WHAT IS THE DRIVING CHARACTER OF THE SCRIPT?
I believe that Leonide is the driving character of the script HOWEVER, in this production I am interested in having the actor playing Harlequin function as the uber-puppeteer, so to speak, of the entire metatheatrical production. So while Leonide is the driving character of the play The Triumph of Love, the actor playing Harelquin is the driving force of the entire production.

IS THERE A MORAL TO THE STORY? WHAT IS MY GOAL IN DIRECTING THIS MATERIAL? WHAT DO I WANT THE AUDIENCE TO WALK AWAY WITH? TO FEEL? TO DISCUSS?
There might be a moral, but I am not interested in declaring it, to the company or to the audience. I am more interested in asking questions like “is there really such a thing as love at first sight?” “why do human beings need to believe in love at first sight?” “why do we tell lies?” “is deception ever truly for the greater good?” “why is humor often at someone else’s expense?” “Why do we sometimes find people in pain funny and sometimes we find it tragic?” and through our exploration, letting the audience ask, answer, and discuss these questions for themselves.

WHAT WILL THIS HELP TEACH THE STUDENTS INVOLVED? WHAT DO I THINK I WILL LEARN IN THIS PROCESS?
I hope this production will teach the students about Working Collaboratively. I hope they will learn about Anne Bogart’s Composition method and Viewpoints training. I hope they will learn about Commedia dell’Arte and its influence on contemporary comedy. I hope they will learn to think big, be brave, and dare to fail.
I think I will learn to put my money where my mouth is. I talk a big game about collaboration. I talk a big game about thinking big and daring to suck. Now is my chance to see if the methods I use to make theatre work with other artists who come from a different training background than I do. What will still work? What won’t? Can I believe enough in my vision to hold on tightly to it, even when things get tough? Can I be brave enough to admit what just doesn’t work artistically and let it go? Can I create a tight enough structure that creates a clear, concise vision, while still allowing for artistic freedom? I hope to practice on this production.

WHAT IS MY ARTISTIC VISION AT THIS STAGE IN THE PRODUCTION PROCESS?
YIKES. All right:
A Theatre Company is putting on a production of The Triumph of Love.
This Uber Company is comprised of 12 people. They exist in the here and now. They are a little rough and tumble. They are a little punk. A little hipster.

The Uber Company has this giant empty theatre space. The Uber company seems to have had access to some kind of fire sale at an old movie studio lot. They have cinematic costumes, set pieces, props, and lights from the 1920’s & 1930’s. They will use this stuff to create their production of The Triumph of Love. The Uber Company will use most items traditionally, but in a pinch can think outside of the box and use the items they do have to create an item or set piece they need.

WHAT COLORS COME TO MIND?
Black & White, along with Browns, beige, golds, purples, greens
WHAT SHAPES COME TO MIND?
Ovals, squiggles, circles
IS THERE A PARTICULAR PAINTER WHO BEST REPRESENTS THE FEEL OF THE SHOW?
Robert Rauschenberg
DOES THE SHOW LEAVE ME FEELING WARM OR COLD?
Warm
DO I FEEL THERE ARE MORE SHADOWS OR LIGHT IN THE ENVIRONMENT? More light
IS THERE A STATED TIME PERIOD IN THE SCRIPT?
No, but it was originally written in 1732.
CAN DESIGNERS MANIPULATE THE STATED TIME PERIOD?
Yes. Please. I am uninterested in historical accuracy and more interested in taking inspiration from US cinema from the 1920’s & 1930’s along with classic Commedia’Dell Arte archetypes. If you want to steal from other genres that might fit in with this, please go for it.
CAN DESIGNERS MANIPULATE THE LOCATION?
Sure. I would love some suggestion of a garden though.
DOES THIS PIECE LEND ITSELF TO REALISM, ABSTRACTISM, NATURALISM...ANY PARTICULAR "ISM"?
The Triumph of Love lends itself to Romanticism, however this piece as a whole will lend itself to postmodernism.

THE DRIVING FORCE/"THEMES" OF THIS PRODUCTION ARE:
DECEPTION & LOVE

Some Quotes to ponder:
“Making original work offers the opportunity to create A UNIVERSE FROM SCRATCH. You can, in fact, create a universe with its own laws of time, space, and logic. It is certainly possible to do this by studying and replicating an actual time and place if that is what the piece requires, but you also have the ability to say: “Anything is possible. So what should happen?” or “Why should objects fall to the ground as opposed to float upward” With a healthy sense of adventure and facing a blank page, you can set off into the unknown.”- Anne Bogart

“What is the experience that theatre gives? It is ephemeral. It disappears. On the last night of a play, the set is destroyed. There is nothing that remains…except the possibility to live life more fully, less fragmented, and more harmoniously. Why does a child play with toys and puppets? That’s how he learns about the world. When we go to the theatre, the child in us is still full of the expectation of discovering the secret of what is behind the curtain. In the subconscious, we are also trying to verify something about our lives, to find some answers. There are no answers. Only the joy of living in that mystery....” –Andrei Serban

The Plays- Who. What. Where. When.

Richard III by William Shakespeare at Strawdog Theatre
http://www.strawdog.org/
February 23rd - March 29th, 2008

Players:
Jennifer Avery*- Queen Elizabeth
Chase Barhorst- Dorset
Janet Ulrich Brooks- Queen Margaret
Brennan Buhl- Tyrrel
Anita Deely *- Lady Anne
Steve Evans- Cardinal
Carmine Grisolia *- Richmond
Lynne Hall *- Duchess of York
Anderson Lawfer *- George of Clarence
Jack McCabe- Archbishop of York
Eric Pogrelis- Executioner/Bishop
John Henry Roberts *- Richard
Mike Shields- Grey
Noah Simon *- King Edward IV
Sean Sinitski- Rivers
Rob Skrocki- Lord Mayor of London
Kevin Stark- Catesby
Anthony Tournis- Executioner/Bishop
James Anthony Zoccoli *- Duke of Buckingham

Production:
Nic Dimond *- Director
Joe Schermoly- Set Design
Seth Reinick- Light Design
Nikki Delhomme- Costume Design
Daniel Pellant- Props
Miles Polaski- Sound Design
Matt Hawkins- Fight Choreographer
Amber Bel'cher- Dramaturge
Tom Mackey- Stage Manager
Cortney Hurley- Production Manager

*-Strawdog Company Member


The Triumph of Love by Marivaux, adapted by Stephen Wadsworth at MSU-Coger Theatre
http://www.theatreanddance.20after4.net/index.php
February 21st-February 26th, 2008

Players:
Chelsea Russell- Leonide
Cassie Tweten - Corine
Adam Gilgour- Hermocrate
Addie Barnhart- Leontine
Matthew Emerick- Agis
Lenny Hernandez- Harlequin
Greg Faupel- Dimas
Geovonday Jones- Ensemble/”Crew”
Betsy Finder- Ensemble/”Crew”
Marnie Williams- Ensemble/”Crew”
Lacy Morris- Ensemble/”Crew”

Production:
Stacy Parker- Director
Alex Murphy- Asst. Director
Robert Little- Set Design
Cynthia Winstead- Costume Design
Matthew Wilson- Lighting Design
Ryan Hall- Sound Design
Andria Mantle- Props
Dr. Christopher Herr- Dramaturge
Christopher DePriest- Technical Director
Holly Marshall- Stage Manager
Mark Putman- Production Manager
Jessica Teliczan- Girl Friday