Elements of Theatre: Script/Text

Playwright = play-maker

Action/Plot versus Story

Playwrights must consider:

• The theme they want to convey
• Hot topics that may interest the audience
• Time limitations
• How will actions of the play be portrayed
• Stage space
• Mood/Tone--how to convey that
• story: beginning, middle, end
• conflicts, obstacles, complications
• crisis . . . climax

Antigone

Blocking--constant motion--why?

Music--how was it conceived/used?

Why such a short run?

Casting?

Why the messenger and chorus in cahoots?

Why Creon only could talk to messenger/chorus?

Costumes? Half-modern half Greek?

Show in general--why half-modern, half-Greek?

What was theme/message of this show?

Exits--construction issues? Why were the exits so small?

Arena staging decision? Why?

Why minimal props?

Why color-blind casting?

WWII guards--costumes totally modern, not Greek . . . why?

zippers and boots--huh?

why did the director decide to do this show?

What were the artists trying to do?

What were the biggest challenges for the actors in this show?

Why did the adapter of the play choose to make this version?

What was the audience experience? why?

Why not use the actual lights on the poles as motivated lighting for certain scenes? Why not more dimming during the scene changes?


Bertolt Brecht--German playwright-director 1930's to 1950's . . . calling attention to the act of staging a play--big political motivations

Elements of Theatre: Script/Text

Characters:

Extraordinary Characters--larger than life--kings, queens, etc.
They can be extraordinarly good, bad, or funny. They may also be a regular person with an exceptional personality or achievement.

• Nixon
• Creon
• Antigone
• Bright Girl

Representative or Quintessential Characters--represents a large group or type of people with real lives, good and bad combined in one person, well rounded characters.

• Dimitri
• Sergeant Tracey
• Jim
• Guard #1
• Ismene

Stock Characters--flat, not 3-dimensional.

• Tessie
• Jack Brennan
• Guards #2 and #3
• The Queen

Characters with a Dominant Trait--like stock characters, but more of a main character in the play, and more unique than stock characters.

• Officer Charles
• Swiftly
• The Nurse

Minor Characters--play a small part in the overall action of the action.

• Bernie
• Romey (teenage girl)
• Stanley (teenage boy)
• the mom
• the business lady
• Bob Zelmic
• Caroline (girlfriend)
• Waitress/Stewardess
• The Messenger
• Haemon

Major Characters--play revolves around them.

• David Frost
• Jim, the Narrator
• Richard Nixon

Narrator or Chorus--

• Jim
• Jack
• Swiftly
• The Chorus

Non-human Character--

• Louis or Louie

New Eyes

The real voyage of discovery consists not in seeking new landscapes, but in having new eyes.

Wonderings and wanderings--not final statement.

The sandwich principle.

Design- From the Inside

Okay, so the cool thing about writing about the design elements of Antigone is that I got to see the process of how they all came together. I've got the inside track, if you will. So here goes.

I thought our costumes for this show were awesome. As always, our designer, Sumi, did a great job with them. They all seemed the perfect cross between modern and period. Creon's headband was a nice touch; it hinted at his position without being too over the top. The nurse's outfit was simple and rather plain, just the way I thought it should be. And the guard uniforms actually looked official. I still have mine! But they wouldn't let me buy the hat or boots. I'll have to replace them... And I know it's not exactly costuming, but they were even so true to the spirit of the show to make sure that our hair fit. They sent me off to get an actual military haircut, and Tim (Haemon) was shipped off to the cosmetology department for a trim as well.

Another thing that I really enjoyed was the way that the stage was set up. The design of the set was fantastic. It was simple, just a square stage with four posts, but it worked really well. The designs on the floor were entrancing (at least to me... ooh, a butterfly!). And the most notable aspect of the way the staging was done, I loved the fact that the show was in the round. As an actor, I've never performed a show this way, but I can definitely see its appeal, especially in a space as intimate as our black box theater is. Though I'm sure that it was a different directing experience than most, as Rick was dealing with a 3D stage picture rather than a flat proscenium one.

And I really enjoyed the props that we used. There weren't many of them, but they were effective. The cards really gave a picture of who the guards were, playing cards while for the rest of the characters the world is crumbling around them. Not unlike Nero, I thought. I don't know where they got those handcuffs, but they were exquisite. Although they were continually pinching Antigone. (Sorry, Heather...) And all the rest were great too, from the handkerchiefs to James' notebook.

All in all, the design of this show worked hand in hand with the script to create a picture of tragedy that captured the spirit of Antigone excellently. Kudos to all those who helped us make it work.

Directing Antigone

It seems that in my absence on blogger, a little drama has erupted.... and not the drama we apprecieate... (haha a little pun on our class name and "fighting" drama).. whew... tough crowd.
Before I actually start my blog, I just want to do a prolouge. (ha wow, thats funny, im a poet and didnt even know it). I have read everything on here, and pretty much all the comments. I am swiss on this one, (neutral). I know a few people in this class from 1st term acting, but there are some I have never met. When I went to see this play, I was actually nervous about giving my opionion on it, because of the people actually in the play, are in our class, that Ive never met. I actually expressed my concern to someone (cant remember who), and finally decided that I will yes, give my opionion, but not say anything that may cause further.... frustrations. If, what I have to say, does cause offense, please remember that as a critique, and a student, I am not trying to attack anyone, and I really do understand how hard it is to be involved in a play, and I ask that you understand that I understand that.

When walking into Antigone, I was eager to see what Zimmer (the director) did for the play. As many of you know, in 1st term acting, we preformed dialouges from this exact play, so I am quite familiar with it and with Zimmer. I was first and foremost shocked at the layout. The arena seating, with 4 sides, I didnt like at first, but before I prejudged I gave it a chance. During the play, I have to say that I still didnt enjoy it. I thought that with the 2 benches the blocking was designed to fill up the whole stage. I almost felt like there was too much movement. I felt like the characters had to keep moving, because they had to entertain 4 sides. I sat there imagining what the blocking would have been like with say 3 sides. It was an interesting director choice, with the stage layout which I felt affected the blocking.

Another thing I was very shocked by was the music. From reading the other blogs I noticed that it was mentioned that it was the original score, but I have to say I wasnt a fan. I feel like the actors did not fit the music. *please remember my prolouge, im not attacking the actors* I feel like maybe the tempo and the acting did not fit the music, it was like they started playing it and then turned it off and then it started again. I did not get the feeling that it was planned and helped the dialouge. I think that maybe it was a director choice to put in the music to break up the monotony of the lengthy monolouges, but I didnt feel like it helped.

I thought the cast was surprising. Different from what I imagined, because as I mentioned before I have read this play before, so naturally I invisioned my own characters in my head. I thought that as far as choosing a hardworking cast, the director did a good job. The time spent on rehearsal and research was evident.

Im excited for the next play!!! :)

Alex Ashton

Anouilh....

Since I have studied Antigone is great depths in the past, I was expecting to be a bit bored. However, I am familiar with the Sophocles version. I was greatly impressed by the fact that Jean Anouilh's version was very true to the original but used slightly more modern references and things that an audience can relate to.  The discussions of money troubles and war crimes seem as relevant today as ever. I believe that this show is still a good choice and a good lesson to be shown after all these years of this classic dramatic piece being performed. The choice to have all important and dramatic elements of the story take place off stage is a critical decision. This all allows the audience member to create these scenes in their imagination. However, this is also a great risk because if the actors are not engaging enough, then the show will become uninteresting. I do think that our cast did a good job.

I thought that a great line that tied up a needed theme was Creon's monologue during his and Antigone's fight. He says "It is easy to say no, but to say yes, is to sweat".  This could refer to both Creon and Antigone's struggle. Creon accepted the crown and Antigone chose to fight for what she thought was right.  

While I am not usually a big fan of watching greek tragedies, overall I thought that our cast did a good job at keeping the audience engaged and portraying the overall theme.  I love the story of Antigone! I would just rather read the script and analyze it myself.

Knowing Your Space

Well, I was surprised again. I have to give the students in my class a thumbs up for the job they did in the play. I was sceptical of the play before it started, but I was soon shot down by how well of a job they did in remembering their scripts and presenting it to all of us sitting around the stage. The part I have to talk about this week is stage space. First of all when I got the entrance I was all lowed to enter alone. This gave me the sense of ownership of my part in the play of seeing it first hand. I walked in and noted that we were going to watch a play that was essentially an arena inside a black box. It had four sides, meaning that there were seats against to each other. Being that this was an arena stage, I found myself looking at the audience on the other side, which help with the emotions that I was getting with the play.
The second thing that I noticed with stage space is: there were not many props on stage. When I got there was two benches and four light post. The floor was made out to look like marble, which set the scene for royalty. I quickly learned that you don' t have a lot of props to get your point accross.
The third thing that I notece was blocking. I asked the question in class "what is blocking? I was told that blocking is where an actor turns in such a way that thier back is facing the audience. However, with areana stages, blocking is inevitable! At some point, someone is going to be forced to look at someones backside. I found it compelling though, that when block is used in a way to get the pint across, It does wonders for the corilation in the bond between actor and audience.
Again, congrates with the acting jobs on Anigone, and I wish you all well with your endevors in the acting areana

Elements of success

Critiquing a show is a difficult art form. It has recently been discovered just how much feeling is involved and how many elements come into play when reviewing a show. Often it seems your entire opinion is either rejected completely or agreed with wholeheartedly. What really makes this an awkward task is being involved in the show in question. I firmly believe that Mt. Hood Community College's production of the classic Greek Tragedy of Antigone was a stunning piece that has much to be proud of!
It is common knowledge in the theatre realm that shows of this capacity were traditionally preformed in the round, as this specific show was chosen to be. While many people have issues with this because it "breaks the first rule of stage- never turn your back to the audience!" I believe many are not realizing that a show in the round is not typical theatre anymore. It is meant to look real. Often times shows on common stages come across as clearly blocked, there are so many rules to follow. This show went back to the roots of theatre. It is a very challenging way to act and I applaud all the actors in this show for their patience, perseverance and willingness to break the mold of what is accepted and be torn apart for it later. This was truly an exceptional cast.
The stage was beautiful. It was painted with a marble look to it and was cracked and bleeding, a very symbolic choice! The stage was bathed in intricate lighting to portray moods, whether secretive and stealthy, passionate or in despair, so many emotions came through from the lighting. The set was simple, which was perfect for the round. 4 posts stood on each each corner and benches on the "twelve o clock and six o clock" sides. Anything else would have been crowded and awkward.
The music in this show, all originally composed specifically for this cast, added immensely to the dynamics of Antigone! Peter Armetta is an exceptionally talented man and did the cast all a huge service with his gift of music, giving so much to play off of and build with.
Overall, I believe this was an amazing work of art. It was not easy, in any form of the word! It was a challenging stretch for the cast but they rose above the difficulties and harsh reviews of peers, long hours and seemingly no recognition of their work. I count it as a huge honor to have been chosen to work alongside the incredibly talented artists Patrick Ford, Heather Harlan and Rick Zimmer.

Voice of Reason

When I first read Antigone, I was pleasantly surprised that the text had been modernized, which for me is always easier to understand than Shakespearean language. Not only was the text modernized, but also the script was interpreted by Lewis Galantiere, who added his own touch to some ideas in the story. I was a little confused on his choices, but still loved the play. He talked about Polynices smoking cigarettes and he even mentioned cars, but even with those modern items thrown in, the audience was still able to understand and enjoy his interpretation of "Antigone."
The script of "Antigone" really makes you think hard. You really start to wonder who was right, Antigone or Creon? There is a lot of text for Creon and Antigone, and most of Creon's lines are in large monologues that you really have to pay attention to in order to understand the whole story. He talkes about the story of Polynices and Eteocles and it really makes the audience wonder why Antigone is wanting so badly to die. Creon also has a big speech about a ship. Hopefully the audience caught on that the ship was the city of Thebes, and he was the one who was chosen to captian the ship.
The story of Antigone is very intense and dark. It is also very sad. But it is very intriguing to watch because the story really pulls the audience in and makes them think. Did Antigone become too stubborn and need to prove a point? Or in her heart, was she just strongly loyal to her own blood? Was Creon really a brute? Or was he the voice of resason? I guess it's up to your own interpretation.

I can't say much

I found the acting in Anitgone uniquely entertaining. The cast was small, and their voices echo as they traverse the sparse, multi-cornered, arena set. It feels unusual for me, as I play a character in Antigone, to write a review on acting, seeing that I did not get a chance to see the play.
What I can say is, all the actors in this production did their best to prepare for their individual roles.
I agree that the set was different and at times the actors had a vis-à-vis encounter, ergo leaving their backs facing towards the audience. But one must realize that this is an arena setting, and at times the actors back will face the audience. With that in mind I conclude that with the given stage, the actors made great efforts to make moving on stage natural.
Patrick Ford (Creon) was immaculate in performing the anger towards Antigone’s (Heather Harlen) defiance. On the other had we saw a softer side of Creon, when he tried convincing Hamon (Tim), his son, that there was nothing he could have done to save Antigone, Hamon’s lover.
Heather was beautiful in performing the intelligence and sorrow of Antigone. Through her performance we saw the courageous steps Antigone took for the love of her brother.
The same is said for all the cast. All of them gave their best to portray our director's (Rick Zimmer) vision of Antigone.


James L.

The actors of Antigone

My job is to speak on the acting of "Antigone". I was in the play, I played king Creon, it was first play as a lead and my second play overall. It was difficult to keep my momentum when I had to be so emotional throughout the play. it was damn near impossible to get use to seeing the audience as I was trying to stay in character, but all-n-all I felt I kept my mistakes minimal. My job as an actor is to follow the script and the director. I became king when Antigones' brothers (the kings) killed each other in battle, so imagine being a regular Joe and the king dies and you inherit the throne overnight. I challenge any one of yall to get those lines and the blocking down in a month, along with your outside duties (school and being a father of a new born). When you do that, come talk to me.
Antigone was concemmit professional, she worked just as hard as anyone else to give the audience the best show possible with what we had to work with. Her lines were always delivered with a passion and I never heard her complain about it.
The guards were great to me! They reminded me of a comedy relief team. Their characters don't have any stake in the play, so they don't have anything to worry about other than letting the body be burried. If that happens then they will be killed, but that was quickly resolved once they caught the culprate. They were able to relax and fantisize about the rewards they can recieve from the king once they knew that they had done their job. James has a great accent and his delivery was very believable.
Ismene was played by an excellent actress in Desiree. I have been a huge fan of hers sense we were in class together back in the fall. She was absolutely stunning in Guys and Dolls, so it wasn't a surprise that she would bring such great energy to the part of Ismene. He projection was off the charts, she has great stage presence along with being a very pretty young lady. I look forward to seeing her again.
Haemon was very dramatic in the play, In the scene with him and Creon he really delivered his lines with a passion. He made Creon have to think about his actions. His movement was fluent and his eye contact was sharp.
The "nurse" Emily did a great job! No joke, she had a lot of lines and on top of that she had to speak in a different dialect the whole time. She was so believable as an nurse, even though she's younger than Heather she gave the illusion that she was really her elder. A believable job Emily.
The messanger, well what can I say. I've had a lot of classes with Chris and he always comes with an energy that commands attention. I wish the messanger had more lines so that I could watch him work for a while longer, but I had to except what we got which was a wonderful job. He made few mistakes if any, and he engaged the audience well.
-Patrick Ford

Well... the stage looked nice...

Okay, let’s be brutally honest: the actors all could’ve been Broadway level professionals and this play still would’ve been diminished. The original idea for the show was to be transferable to the courtyard according to the director. There’s a flaw with that logic though, as the outside courtyard has three evenly sized, equally leveled and having an equal vantage point with a large set of stairs behind the stage which could be incorporated as a dressing room area or exit space. In the Black Box, however, there are four sets of audience seating, each only has the ability to see one side well, and occasionally over to the opposite side.

I guess that last point is where my train of thought starts careening towards a crashing point. I saw the play on two separate nights; one for watching my friends and seeing the show and it’s acting, the other for doing my critique and taking my notes. Seemed reasonable at the time, but as I sat in the theatre looking for things that might distract (a crucial part of stage design would be to center the attention of the audience) I got distracted. I was distracted while looking for things that distracted me. I didn’t know that was possible. I look for any issues with lighting and sound equipment and I find myself looking at a woman in the first row of the audience with what appeared to be pink hair. The stage itself leans towards serious blocking issues as is, I've only seen one show where the actors managed to overcome the four sided stage. I think it would've been a better choice to go with the less ambitious three sided stage.

For instance, if they had considered the three sided stage, it would've eliminated one issue I had almost entirely. On opposite sides of the stage, lets call them North and South, there are two benches (painted a metallic color for some reason, I can only guess to indicate a higher status) where the actors may sit. Many intimate conversations are held using these benches and that means that the actors are having an extremely personal conversation from across the room, something you'd never do in real life, or right next to each other with both backs to the audience, something you'd never do in theatre. Sadly, both rules are broken, making more problems than I think anyone was ready for. People went there looking for a sorrowful tale set in a grand palace in Thebes, instead they got lots and lots of backs.

I will say however that the stage area was beautifully painted and the light posts were interesting and new, though they were also a bit distracting (the one that Antigone is handcuffed to nearly toppled over during the Thursday performance, not to mention that they obstructed the view of the action at times) but proved to be a wise decision. I would’ve, however, changed the way the lights were presented in the Black Box area. Hanging paper lanterns or some form of suspended lights so that the issue of blocked areas of the audience isn’t as prevalent an issue. The scenery actually could’ve been complimented more with additional pieces of furniture or a backdrop piece. Something that said "this is a royal court," rather than, "we're doing a play. And I know the crew could create one Hell of a backdrop if they were asked.

I can only say that the production crew was a little over-ambitious with this show. With a show like Antigone it can be great or it can be sub-par. Unfortunately Antigone turned out to be the latter on quite a few levels. Working with the stage they had, it was almost unavoidable it seems. Thinking back, if I was told at the beginning of the production my first thought wouldn't have been "Oh cool," or "Good to see a classic," it could've been surmised in two word segments: "Uh-oh..." It would've been wiser to have started using the four sided black box stage for different shows and working forward to bigger ones like Antigone. Like many things it can't just be rushed into. As it was, the play should've been called Icarus rather than Antigone, because like Icarus they set their aspirations to high and unfortunately it all suffered because of it.