tag:blogger.com,1999:blog-38611119506938854692024-02-18T23:15:45.450-08:00Dell'Arte Adventure and Beyond: a clown in trainingNatalie Reiko http://www.blogger.com/profile/06371054186651482749noreply@blogger.comBlogger51125tag:blogger.com,1999:blog-3861111950693885469.post-21148277017951251242013-07-14T13:03:00.001-07:002013-07-14T13:04:19.645-07:00Anything can be good, if you let it.<div class="separator" style="clear: both; text-align: center;">
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<span style="background-color: white; color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 17px; text-align: left;">"Intentions and goals were always difficult or shaky--always. I don't know what happened, but more and more people are looking in the wrong directions. Maybe everything got so expensive and temporary and tenuous and competitive, so everyone thought about the immediate impact of things, the big kill. You know, Can we move this to a bigger house? Can I win awards? The other day a student asked if the play he was doing might bring him traction. I didn't know what to say, but he was utterly alien to me. He has talent, but he cheapens and degrades it by utilizing it to get a pilot or bigger applause or some coverage. Or traction! </span><br />
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<span style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 17px; text-align: left;"><b>We have to get back to doing good work that will matter to people, to the community, to our hearts. This is how we used to work, and we kept working, and we got the attention we deserved." --Uta Hagen/Interview with James Grissom</b></span></span><br />
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<span style="color: #333333; font-family: lucida grande, tahoma, verdana, arial, sans-serif; font-size: x-small;"><span style="line-height: 17px;">I think many times we get caught up in ourselves and what would work most in our favor when it comes to life paths and jobs...especially in the arts. Since we are our own 'product' we are trained to market ourselves and play the game of hiring/casting. But when rejection comes, projects fall through, or we are trying to figure out the next step...all we are left with is ourselves.</span></span></div>
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<span style="color: #333333; font-family: lucida grande, tahoma, verdana, arial, sans-serif; font-size: x-small;"><span style="line-height: 17px;">...and maybe a question: </span></span></div>
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<span style="color: #333333; font-family: lucida grande, tahoma, verdana, arial, sans-serif; font-size: x-small;"><span style="line-height: 17px;">Why. Why am I doing this?</span></span></div>
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<span style="color: #333333; font-family: lucida grande, tahoma, verdana, arial, sans-serif; font-size: x-small;"><span style="line-height: 17px;">Right now, I am facing a lot of question marks...and it is a scary, but exhilarating feeling. I often find myself asking that exact question: WHY. Why am I doing this? Here are just a few Pearls of Wisdom from my teachers here at BSA, they have helped me whenever I start to feel too scattered...they have put things into perspective and help me focus on what is really important. </span></span><br />
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<span style="color: #333333; font-family: lucida grande, tahoma, verdana, arial, sans-serif; font-size: x-small;"><span style="line-height: 17px;">So, for all of you as confused as I am, scared, scattered and stretched...this one is for you! </span></span><br />
<span style="color: #333333; font-family: lucida grande, tahoma, verdana, arial, sans-serif; font-size: x-small;"><span style="line-height: 17px;">Golden Nuggets of Wisdom from a lot of wise Brits! </span></span><br />
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<li><span style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: x-small; line-height: 17px;"><b>Our job is to give voice to those who cannot speak their unconscious mind; society's unconscious.</b></span></li>
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<li><span style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: x-small; line-height: 17px;"><b>Have faith in the journey you are on.</b></span></li>
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<li><span style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: x-small; line-height: 17px;"><b>Acting is a service and the one thing you are not serving is yourself.</b> You are never important. Serve the audience, the text, the story, the character, the space, and your scene partner. </span></li>
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<li><span style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: x-small; line-height: 17px;">Have an awareness of the audience: have a relationship with them. </span></li>
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<li><span style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: x-small; line-height: 17px;"><b>Be a citizen of the world: prepared at any turn to put yourself on the line and be vulnerable. Let it matter. Meet everything with complete openness. </b></span></li>
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<li><span style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: x-small; line-height: 17px;">Control the Controllable. Communicate. </span></li>
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<li><span style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: x-small; line-height: 17px;">Become a channel for the words/author. It becomes about the work, focus your energy there. </span></li>
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<li><span style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: x-small; line-height: 17px;">T<b>O FAIL GLORIOUSLY IS MUCH BETTER. </b></span></li>
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<li><span style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: x-small; line-height: 17px;">You can't work on being less self-conscious or critical by focussing more on your self - work on the voice and movement, then forget about it and play. </span></li>
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<li><span style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: x-small; line-height: 17px;">To tell a good story: serve your function, rather than just your character. </span></li>
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<li><span style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: x-small; line-height: 17px;"><b>Anything can be good if you let it.</b></span></li>
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<span style="color: #333333; font-family: lucida grande, tahoma, verdana, arial, sans-serif; font-size: x-small;"><span style="line-height: 17px;"><b>Lastly! I leave you with this. Neil Gaiman's Speech. It has become a mantra, a life source for me. </b></span></span></div>
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<span style="color: #333333; font-family: lucida grande, tahoma, verdana, arial, sans-serif; font-size: x-small;"><span style="line-height: 17px;"><b>I hope it helps, it certainly has helped me! </b></span></span></div>
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"And remember that whatever discipline you are in, whether you are a musician or a photographer, a fine artist or a cartoonist, a writer, a dancer, a designer, whatever you do you have one thing that's unique. You have the ability to make art.</div>
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And for me, and for so many of the people I have known, that's been a lifesaver. The ultimate lifesaver. It gets you through good times and it gets you through the other ones.</div>
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Life is sometimes hard. Things go wrong, in life and in love and in business and in friendship and in health and in all the other ways that life can go wrong. And when things get tough, this is what you should do.</div>
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Make good art.</div>
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I'm serious. Husband runs off with a politician? Make good art. Leg crushed and then eaten by mutated boa constrictor? Make good art. IRS on your trail? Make good art. Cat exploded? Make good art. Somebody on the Internet thinks what you do is stupid or evil or it's all been done before? Make good art. Probably things will work out somehow, and eventually time will take the sting away, but that doesn't matter. Do what only you do best. Make good art.</div>
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Make it on the good days too.</div>
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And now go, and make interesting mistakes, make amazing mistakes, make glorious and fantastic mistakes. Break rules. Leave the world more interesting for your being here. Make good art."</div>
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Natalie Reiko http://www.blogger.com/profile/06371054186651482749noreply@blogger.com1tag:blogger.com,1999:blog-3861111950693885469.post-6254946730339790332013-03-01T14:12:00.001-08:002013-03-02T04:58:41.873-08:00It is My Name...My Reputation<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
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<tr><td class="tr-caption" style="text-align: center;">American in the UK</td></tr>
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<span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">Recent events have made me think long and hard about the differences between the American and English cultures. Specifically about the differences between British plays and American plays. My flatmate who is English was reading me one of his monologues and all I could think was: man, this is terribly British. I then sent him some monologues that I thought would fit him, he told me they sounded funny to British ears. What is it that perks our ears to the difference between the two? What exactly IS the difference between the two styles? We are both English speaking countries with similar points of views. Americans, for the most part, were Europeans anyway....so what happened? </span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br />I have had several discussions with different English tutors and classmates about this subject. At the risk of being too general...below is what I have gathered from these conversations and my own observations. ALSO please bear in mind, while I have talked to my English tutors about this, I am still writing from a female-Midwestern-Japanese-American perspective. </span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br />SO! I have found that a lot of the differences stem from the reasons America was founded and who founded it....and what they left behind. Early Americans voiced their opinion about various issues and fought for change. We have always been able to speak our minds without the risk of getting beheaded or hanged or what have you. The Freedom of Speech is in our Bill of Rights. Expansion, exploration, change, becoming the melting pot for other cultures, the rags to riches 'American Dream'...</span><span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">(FOR EXAMPLE! Abraham Lincoln, the 16th President, grew up in a log cabin. He was raised by his father who had no education and was illiterate. Lincoln received a total of only 18 months of formal education, otherwise he we completely self-taught...and became one of the most influential Presidents) oh! and we were also founded by Puritans...each of these aspects of our very young history have engrained certain qualities in each one of us...and have given us different hurdles to jump over. America became powerful very fast and didn't have its first big international failure until the 70's while, as explained by my professor, Europe has experienced many international failures throughout its thousands of years of history. Each country has seen it's heyday and decline, ALL of Americas' being within the last couple hundred years. </span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br />From the discussions I've had, it seems big change like this is not in the English recent memory. Their culture and race have been established for a long time. They know who they are. What has developed in its theatre is a darker more cynical edge in modern writing. Americans tend to lean towards resolution at the end of the play, while many British plays work nonlinear and seem to just end.</span><span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"> Americans tend to lean towards a journey within a story; to end up in a different place from where they started at the beginning of the play. Modern and contemporary British plays tend to end unresolved or resolved in a potentially unsatisfying way (check out the playwright Simon Stephens). This throws the responsibility back on the audience to work out the story OR the playwright was just unable to solve the problem of the play...because the problem is itself unsolvable. Of course, there are exceptions to this on both sides of the ocean. There are American playwrights who have a darker, cynical edge to them: Mamet, Miller, Williams, LaBute, Bogosian...to name a few. </span><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">In American culture there is a stress on what someone DOES. This may be because of the 'American Dream': being able to come from nothing and make yourself into somebody. </span><span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">In American history, who you fundamentally are and what you Do is so important. </span><span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">However, in England, there was a more rigid class system and it is harder to move around. What developed was a focus on a person's reputation (The country is also a lot smaller...word got around MUCH faster). In English history, how you dealt with others and how others viewed you was important. You can see this contrast in Proctor's iconic line from Arthur Miller's </span><i style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;">The Crucible</i><span style="font-family: 'Helvetica Neue', Arial, Helvetica, sans-serif;"> "It is my name" and Cassio's line from William Shakespeare's Othello, "My reputation, my reputation".</span><br />
<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;"><br />The development and use of language is rich in the History of England. The English cultivated better rhetorical skills, constructing beautiful sentences and imagery to describe situations and feelings. They are also known for their 'reserved' attitude towards showing emotions. To be honest, it is something I have had to really adjust to. Americans are seen as very loud and direct. Emotions are not always hidden...there is no 'stiff upper lip', and whether good or bad and there is not as much of a focus on the use of language...AND OF COURSE, there are always exceptions to these generalizations. </span><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">In trying to break my American accent and learn how to speak in an English accent I can see how these 'personality' traits bleed into how our mouths move to communicate. The English accent is clipped, placed at the front of the mouth, you talk through your teeth more, the front of the mouth works more, MOST IMPORTANTLY there is no rhotic 'R', and the 'T's are hit...overall, the accent is lighter. Keep a stiff upper lip. The American accent is open, placed further back in your mouth (which makes us sound nasally and loud), words are chewed, the middle of the mouth including the soft pallet works the most and the accent is heavier.</span><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">The contrast with the use of language in England and America is very clear through the developments of the American Musical vs. (Musicals in England). SIDENOTE the Musical as we know it today is a truly an American construction. Prior the advent of the American Musical and it's journey overseas, theatres were producing operettas, Music Hall (the English version of Vaudeville), and variety shows and some forms of opera (German, to stray away, used singing and text). In American Musicals, characters sing because the emotions are so big that there is no other option BUT to sing. In England, the emotions are so big...that you start to use heightened way of speaking. The English, (Gilbert and Sullivan, for example) have the words to describe how they are feeling and beautiful music to underscore these descriptions. For this same reason, America and Europe embraced physical theatre and other physical vehicles such as clowning. Perhaps clown and physical theatre never took off in England in the same way because it wasn't viewed as witty or clever enough. When used, it was used in a more controlled way. </span><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">I do not think I have quite boiled everything down to completely understand the minute differences between the two writing styles and tones. I have been here for about six months and still have so much to learn and reflect on. But, for now, this is what I have. </span><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">I love discussions and learning new perspectives on culture and art. Feel free to message me! </span><br />
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<span style="font-family: Helvetica Neue, Arial, Helvetica, sans-serif;">P.S. Thank you Nick and Ben! </span><br />
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Natalie Reiko http://www.blogger.com/profile/06371054186651482749noreply@blogger.com0tag:blogger.com,1999:blog-3861111950693885469.post-21036652579043464762013-02-22T10:38:00.000-08:002013-03-02T05:36:20.735-08:00A Broad Abroad <div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFHErvQ5RrXnriR7xAn98rWsCw4Jl65TSqltMPm576r5nNhyphenhyphenBNVVz8_vPCVWDvnpyPVG2PZQSnU_tR1kTOLLwCbu6frZCDMCUj16YIwMlr9EdvLYOhL6ht3OnSWdwI71CeDwB9cZTu7rg/s1600/535708_10152518383415580_591830234_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFHErvQ5RrXnriR7xAn98rWsCw4Jl65TSqltMPm576r5nNhyphenhyphenBNVVz8_vPCVWDvnpyPVG2PZQSnU_tR1kTOLLwCbu6frZCDMCUj16YIwMlr9EdvLYOhL6ht3OnSWdwI71CeDwB9cZTu7rg/s320/535708_10152518383415580_591830234_n.jpg" width="240" /></a></div>
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Moving to a new country away from my family, friends, community and my infant theatre company has been one of the hardest things I have ever had to do. Heck, moving anywhere new and starting afresh is disorientating. I am always missing someone...and feel slightly unable to lay down roots here. It is a constant state of uneasiness....but mostly an ADVENTURE.<br />
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I have revisited this quote from my good friend, Drew several times since being over here:<br />
<i>When waging war on the battlefield of creation vs. destruction, the warrior often finds that there are those in his or her company whose patience falters in the face of a seemingly indefatigable foe. But for every hundred of those fallen disgraced soldiers, there are one or two true brothers and sisters who will fight at our side until the end of time; and it is them that we must honor and adore...the darkest shadow follow those who carry the brightest light. Be buoyant, sister-clown, eyes open, mouth wide, eyebrows up!</i><br />
I have become close with some of the loveliest souls and continually feel like the luckiest girl in the world to have such amazing friends and family back home. There have been some dark hours, but I have never been alone. Thank you. Thank you. Thank you.<br />
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I have fallen in love with England. I have fallen in love with finding my way through different cultures. I have fallen in love with the wonderful people I have met and worked with. Most of all, I have fallen in love all over again with my own country. I never thought about how much I like America. Yes, it is flawed...what country isn't? It is such an infant country...and massive. We are still figuring things out. We are still figuring out who we are. But it is the American Dream and the preamble from the Declaration of Independence that runs through my veins and has helped make me who I am today.<br />
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Random thoughts: </div>
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The grass is greener EXACTLY where you water it. Fight to be cheerful in whatever situation you find yourself in. Most of the time, our happiness or misery depends on our perspective of the situation rather than the situation itself.<br />
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There is too much in this world that wants to bring us down, fight with one another, hate, feel lonely, insecure, helpless, worthless, unhappy, entitled, angry, bitter...and you know what...it isn't worth it. It is exhausting and it wastes time. Beauty is so much more wonderful to look at. Happiness is so much more fun to feel...perhaps because it is hard to attain at times.<br />
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Acting/Theatre is Service. The one thing you are not serving, is yourself. You are never important. You are here to serve the story, audience, community, fellow actors and the space. Be a citizen of the world.<br />
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ANYTHING CAN BE GOOD IF YOU LET ITNatalie Reiko http://www.blogger.com/profile/06371054186651482749noreply@blogger.com0tag:blogger.com,1999:blog-3861111950693885469.post-2452114440904636962012-11-11T16:59:00.002-08:002013-01-19T02:53:38.872-08:00Happy One Year Anniversary, Angels! <div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjj1mk3u7mIO0pTEb7VUIZPiV7Cv7fNuCY5QZF2kLVNw0ijjNSXJ_7FYIKqbhZWj6YUpDWRV9dt2FLYD6cLdPLgCeJJiETGuQz8BH204qKmLkTAuh0M9VuEUXSQYrzxQM9kaAPo1ReZNRY/s1600/tumblr_mciyysorQH1qzvvimo1_1280.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjj1mk3u7mIO0pTEb7VUIZPiV7Cv7fNuCY5QZF2kLVNw0ijjNSXJ_7FYIKqbhZWj6YUpDWRV9dt2FLYD6cLdPLgCeJJiETGuQz8BH204qKmLkTAuh0M9VuEUXSQYrzxQM9kaAPo1ReZNRY/s320/tumblr_mciyysorQH1qzvvimo1_1280.jpg" width="320" /></a></div>
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To my dearest Angels,<br />
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Do you remember this night 365 days ago? Well, I do.</div>
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I remember the crisp fall evening. I remember the dark sky. I remember parking (for the first time) away from the theatre to make room for our guests. I remember the platter of cookies as we walked in. I remember warming up in the theatre, in our home. I remember warming up in the basement where the ghosts of our past lives and adolescent friendships lingered. I remember listening to the audience filter in, feeling their energy. I remember our group hugs. I remember opening a show with the best friends I have ever had. I remember knowing my life would never be the same again. </div>
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It has been an honor to get to know all of you and create with you. Thank you for sharing your lives with me. Words cannot express how deeply grateful I am for each and every one of you. I would not be where I am now nor half the artist I am without you. MAN did we start of a revolution! We lit a fire that WILL NOT be extinguished....it is because our team of Angels has grown....is growing! </div>
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There is so much Great Work to be done. AND IT IS HAPPENING. The Universe sure knew what it was doing by putting us together, huh?</div>
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Every time I think about you and GWB, it brings a tear (ok, maybe several tears) to my eye. I miss you all so very much...so so SO very much. I cannot wait to see you all again and create with you all again. Please keep the revolution alive until I get back. </div>
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I love you! </div>
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"Nothing's lost forever. </div>
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In this world, there is a kind of painful progress</div>
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Longing for what we've left behind, and dreaming ahead. </div>
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At least, I think that's so"</div>
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Love, </div>
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Natalie </div>
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<a href="http://dellarteadventure.blogspot.co.uk/2012/01/angels-in-america-part-two-perestroika.html" target="_blank">Angels in America: Perestroika </a></div>
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Natalie Reiko http://www.blogger.com/profile/06371054186651482749noreply@blogger.com0tag:blogger.com,1999:blog-3861111950693885469.post-5026603117161198032012-09-06T18:59:00.000-07:002013-08-24T13:27:21.887-07:00Peoria, Illinois: HEART<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizsLC2vZ0xTFKGBU782zkXtkc0N8tY5DG15E6aTkGLTRym8qKCErVKFAANl3qLECkDYaLSEN_5j7dnx8pdPgoYUfZ7HUN4qkp5J3CcZUfESXs9ylgMozlF-yxunCREQ7OcyzFFzJroFZ0/s1600/pic-13813.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizsLC2vZ0xTFKGBU782zkXtkc0N8tY5DG15E6aTkGLTRym8qKCErVKFAANl3qLECkDYaLSEN_5j7dnx8pdPgoYUfZ7HUN4qkp5J3CcZUfESXs9ylgMozlF-yxunCREQ7OcyzFFzJroFZ0/s320/pic-13813.jpg" width="320" /></a></div>
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Peoria, Illinois. Coordinates: <span style="background-color: white; color: #222222; font-family: arial, sans-serif; font-weight: bold; line-height: 30px;">40.6936° N, 89.5889° W. </span><span style="background-color: white; color: #222222; font-family: arial, sans-serif; line-height: 30px;">Population: </span><span style="background-color: white; color: #222222; font-family: arial, sans-serif; font-size: x-small; line-height: 16px;">115,234. </span></div>
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<span style="color: #222222; font-family: arial, sans-serif; font-size: x-small; line-height: 16px;">A city with a big heart and big dreams; filled with potential energy ready to be turned into kinetic energy.</span><br />
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<span style="color: #222222; font-family: arial, sans-serif; font-size: x-small; line-height: 16px;">For those who are unfamiliar, HERE is where Peoria is located: </span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggVT0q211SOFDrpslWoQghyphenhyphenKMFwsZVdBxnq8VS-_TiwIAhiwOW1jXB3vtuf43h4L3Kv2DsFGmOtWdiBBICn_t2wCupxBY6ElKJWG6gWgBbdypxRkWOehNpwmaY07iFZNNHK2rgfe4t2bg/s1600/illinois_map.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggVT0q211SOFDrpslWoQghyphenhyphenKMFwsZVdBxnq8VS-_TiwIAhiwOW1jXB3vtuf43h4L3Kv2DsFGmOtWdiBBICn_t2wCupxBY6ElKJWG6gWgBbdypxRkWOehNpwmaY07iFZNNHK2rgfe4t2bg/s320/illinois_map.jpg" width="258" /></a></div>
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<span style="color: #222222; font-family: arial, sans-serif;"><span style="line-height: 16px;">I am here to tell you why I love Peoria so much, why I am proud to have called it my home for the past 5.5 years </span></span></div>
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<span style="color: #222222; font-family: arial, sans-serif;"><span style="line-height: 16px;">Now, you may think that is very cliche of me to say, but it is true. In the short amount of time I have lived in the town and broke out of the "Bradley Bubble", I was embraced with open arms, instantly...and found a wonderful community of free thinkers. For a small to mid sized city, Peoria is filled with the arts and artists who want to MAKE A DIFFERENCE with their talents. Peoria is great for that. It is small enough where you feel like you can make a difference in the community with your art, but big enough where it can provide opportunities for you to do it. And you know what else...you can create opportunities for </span><span style="line-height: 16px;">yourself too! There are many twenty somethings who are starting their own businesses, starting their own theatre companies, working together to make music, create...and start revolutions. And this town embraces it...you just have to find the community in which to surround yourself. They will support you and help you along the way....And in no way do I think this is unique to Peoria. There are many cities like this, many communities like this. I was fortunate enough to find it here. And am eternally grateful. </span></span><br />
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<span style="color: #222222; font-family: arial, sans-serif;"><span style="line-height: 16px;">For those who go to Bradley, my advice to you is to EXPLORE, go down the hill, participate in local activities...you will be so pleasantly surprised. There is so much to Peoria. Really. I promise you. I loved my time at Bradley. I met some really amazing people, connected with my professors...my life change was set into motion because of Bradley. But there is SO MUCH MORE TO THE COLLEGE EXPERIENCE. If you are going to be living somewhere for four, maybe five years...you might as well make the very MOST out of it and maybe even leave it a better place because You were here. Experience new things, meet new friends, make new and unique memories. There are some really amazing things happening RIGHT HERE! </span></span><br />
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No community is perfect. The grass will always seem greener, but we are right here right now. And really, the grass is green exactly where you water it. We are with the people around us for such a short amount of time...we HAVE to make the most out of it. This is a lesson I had to learn...And I am so glad I did. Bradley and the Peoria community have given me the closest friends and fondest memories a girl could ever ask for. Thank you to everyone EVERYONE. I love you all very much!<span style="color: #222222; font-family: Arial;"></span><br />
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"Better to be good and courageous and bold and make a difference. Not change the world exactly, but the bit around you. Go out there with your passion and work hard at something. Change lives through art. Cherish your friends. Stay true to your principles. Live passionately and fully and well. Experience new things. Love and be loved if you ever get the chance. </div>
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~One Day</div>
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Natalie Reiko http://www.blogger.com/profile/06371054186651482749noreply@blogger.com0tag:blogger.com,1999:blog-3861111950693885469.post-34427009107041651832012-08-19T07:47:00.003-07:002013-01-19T02:54:36.083-08:00The Taming of the Shrew: WILLPOWER<div class="separator" style="clear: both; text-align: center;">
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<tr><td class="tr-caption" style="text-align: center;">artwork by the amazing Andrew Rhodenbaugh</td></tr>
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If the catch word for Midsummer was Blessed, Taming of the Shrew's has to be: WILLPOWER. Literally the day after we closed Midsummer, Andrew and I started abridging the script for Taming. We knew we wanted to do it in a bar and we knew we wanted it to be quick. That was about it. We spent the week working on the script and finding people to do the show. What you have to understand about Midsummer, is that we knew we wanted to do it for about 7 months before we we opened. For Taming, it was four weeks, three by the time we had a cast and script. It was a race to the finish.</div>
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We chose Taming because we wanted to do something more adult and bawdy and we wanted to do it in a bar. All it took was one phone call and one meeting with Kelleher's and we were all set up. They very graciously opened up for us on Sunday and agreed to serve drinks and appetizers. We had another bar in mind and THANK GOODNESS it didn't work out. (Remember the 100+ degree weather?) Everything happens for a reason. Plus Kelleher's was PERFECT for what we wanted to do AND we were able to get in their twice to rehearse. <br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgX3BWIeCzGUTMSblYt76lv0jBCQZTVoxqXB301iKre7mFDrbgVQdMLhRg5Vxl3VbmF1rS-XIYFPwvkAwpfMNDn9geQLPpBM4t13heAPP09NcttFulM_QptjuD6s43dp0ieNio2FGihbxs/s1600/IMG_0613.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgX3BWIeCzGUTMSblYt76lv0jBCQZTVoxqXB301iKre7mFDrbgVQdMLhRg5Vxl3VbmF1rS-XIYFPwvkAwpfMNDn9geQLPpBM4t13heAPP09NcttFulM_QptjuD6s43dp0ieNio2FGihbxs/s320/IMG_0613.jpg" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Waiting for our playing space to clear out</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">dang customers enjoying their dinner in our theatre space! </td></tr>
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One of Midsummer's biggest adventures was finding rehearsal space, Taming's was how we asked people to be in the show. All three of us firmly stand behind the idea that EVERYONE can act. We cast people we want to simply hang out with for a few hours every day for a month. Their ability to act is second on our minds. And you know what, it hasn't failed us yet! The perfect person for each role has surfaced (even if it is the WEEK OF the show..eeep!) and each person was spot on and AMAZING. This is the kind of theatre magic I LIVE for. Being surrounded by a group of people who are playful, passionate, and dedicated to telling a great story in a way that will appeal to an audience...seriously, WHAT could be better?<br />
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We started asking people to be in the show through calls, text, emails, facebook, etc. Andrew and I would sometimes accompany a couple photos with our texts. Here is an example of what we would send: <br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGK4FBCKI4DwgeDLooAg-vI6DTN1jOHNPvxUUiW6VYDcck6lQSJF6D0ASA5Fnhvy4ImQR3n67ktL8bwIahTcgoiDQ3caDfuvaxEhtLMg3tiy9yZSnlIN9VugUM8Th_9snr8cIpVyyMlI8/s1600/IMG_0535.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGK4FBCKI4DwgeDLooAg-vI6DTN1jOHNPvxUUiW6VYDcck6lQSJF6D0ASA5Fnhvy4ImQR3n67ktL8bwIahTcgoiDQ3caDfuvaxEhtLMg3tiy9yZSnlIN9VugUM8Th_9snr8cIpVyyMlI8/s320/IMG_0535.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">please be in Taming....</td></tr>
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You know what....IT WORKED. We were even able to do some gender reversals within our cast. Our Baptista (Victoria), Grumio (Liz) and Tranio (Sarah) were women! <br />
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Doing two Shakespeare shows is not easy. We had to get a bit extreme in the way we asked our friends to join. For example, Andrew, Jess and I literally cornered John (Petruchio) in the parking lot of Walgreens to ask, nay...BEG him to be in the show. We also asked our Pedant (Alex) to be in the show....the week of the show. He got the script on a friday and was memorized and blocked and amazing on monday. BLESSED. We were also able to get an AMAZING local band, The Dirty Gentlemen to play for us. Seriously, look them up, they are incredible. <a href="http://www.facebook.com/TheDirtyGentlemen" target="_blank">The Dirty Gentlemen</a><br />
As you can see from the picture above, they came to one of our rehearsals and then churned out some amazing sounds that fit the bawdy/ruckus-y feel we were going for.<br />
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One thing we found that worked really well to help with memorization (since we had three weeks to memorize) was that we would start our rehearsal off with a line through. Since the play was only an hour long, this served as a great way to warm up too!<br />
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I love it when two people work well and jive well as artistic collaborative partners. John and I worked on the Kate/Petruchio fight with the help of Andrew, Jess and Sarah. Our inspiration was:<br />
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It was amazing how well we were able to self direct and direct one another. When we needed to hold to fix a moment or when something didn't work or feel right, we worked on it. There was only respect for each other. We tried everything we suggested or wanted to try, justified moment and choices without any ego. All positive. Maybe the reason it worked so well, was that we had the story at the heart of everything we did. (That and John is an amazing acting partner [I am sorry for punching you in the face])<br />
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<b>Positive Artistic Collaboration is BY FAR my FAVORITE THING. </b><br />
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I am sad we were only able to do one show of Taming. It was worth every stressful minute. It was worth the late night painting session where we made all the posters, worrying about whether or not the bar will be open they days we wanted to rehearse, rehearsing in 100+ buggy weather, rehearsing at Schnuks, rehearsing in Hannah's basement, dealing with unconventional seating and having to improvise with the seating the day of the show, were all completely worth it. We took a hard (can be seen as outdated) story and attempted to tell it in a way that was more modern and relatable. MORE IMPORTATNLY, it was fun.<br />
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A big big thank you to everyone who worked on the show and everyone who came out to see it!<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgam7R62IO2tEUcwCJubx8V5JV5MQGQj4a5k8m5ZA2NVhFQR74YazKV8nXxdA_jfO9hQ-hKC3E15pkwrVMTSp2UoyJP3VJTW02-Dg_QBsE2UU5Ul6Y6x2D4QfnRtlf1MIPXrb6QXPRBj0o/s1600/IMG_0582.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="166" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgam7R62IO2tEUcwCJubx8V5JV5MQGQj4a5k8m5ZA2NVhFQR74YazKV8nXxdA_jfO9hQ-hKC3E15pkwrVMTSp2UoyJP3VJTW02-Dg_QBsE2UU5Ul6Y6x2D4QfnRtlf1MIPXrb6QXPRBj0o/s400/IMG_0582.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">our first read through, John was sick so we skyped him in!<br />
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<tr><td class="tr-caption" style="text-align: center;">Rehearsal on the Porch. Feels like home now!</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Rehearsal at Schnuks, our second home!</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Outside of Kelleher's!</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">some last minute adjustments</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">John setting up our seating. Our 70 seat house filled up in about 15 minutes. We had to add chairs along the side and people stood up around the bar to watch. </td></tr>
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<tr><td class="tr-caption" style="text-align: center;">THE BAND</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">FIGHT CALL</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Tranio and Lucentio</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Our faithful servants, Hannah and Rachel!</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">The ladies</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">The men</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Petruchio, Katherina, Bianca and Lucentio</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Petruchio, Katherina, Widow, Hortensio, Bianca and Lucentio</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdkHqwM8r-N2Md7iZ5ioOEiWCsY0bVH8D-lmr3XOFET1SiDjh-oL9MLdQu5L7DjODfmhuzU1KdCxhkMcxZSs2YvzNN9rcjlg7eoLTVWSwbVgtoyVMT8TMXUGd8KiDwatHSKoh2eUjLF-E/s1600/IMG_0637.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdkHqwM8r-N2Md7iZ5ioOEiWCsY0bVH8D-lmr3XOFET1SiDjh-oL9MLdQu5L7DjODfmhuzU1KdCxhkMcxZSs2YvzNN9rcjlg7eoLTVWSwbVgtoyVMT8TMXUGd8KiDwatHSKoh2eUjLF-E/s320/IMG_0637.jpg" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Minola family, Katherina, Baptista and Bianca</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-mwW1CclikhLYdwBH6E04m9KZJ_7uoAqn3BNwqZ3MktcRgtEath6RsI5Yg6ceh7f3im58x8VaymPj-qwQ172giVscianvcYmMsTgZVhyphenhyphen7_PzaOA-RqlohyY4G5PTzuhPF87lTgFm08O4/s1600/IMG_0639.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-mwW1CclikhLYdwBH6E04m9KZJ_7uoAqn3BNwqZ3MktcRgtEath6RsI5Yg6ceh7f3im58x8VaymPj-qwQ172giVscianvcYmMsTgZVhyphenhyphen7_PzaOA-RqlohyY4G5PTzuhPF87lTgFm08O4/s320/IMG_0639.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Lucentio, Vincentio and.....Lucentio? Whaaaa?</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtHhFa-ZOwOsSW1Irb80O8wh0m1oRbl6bmaARXVYcs8UpAFKpanwhPal0kcw_0QfyTOTXBpv54aElc13ED7BB9OCV0DyPjwV5EP-FS6S5n3xoaYs-jXBrVcFCX3WGDoOC8wtewqYbbi50/s1600/IMG_0640.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtHhFa-ZOwOsSW1Irb80O8wh0m1oRbl6bmaARXVYcs8UpAFKpanwhPal0kcw_0QfyTOTXBpv54aElc13ED7BB9OCV0DyPjwV5EP-FS6S5n3xoaYs-jXBrVcFCX3WGDoOC8wtewqYbbi50/s320/IMG_0640.jpg" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Grumio and Petruchio</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfG2r81VerFxGsUxYx7WjDa5kNK8LGwsNMfUUtAKHsH2AOL8BGiiRoQz7vwWELidxdoY8snV23M1MJF-gUrkH6gDqX2PvcgWzO67Y-0vEHgIDR3s9qIafLsOPiD68bNaPAB9OgRCUbKN4/s1600/IMG_0641.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfG2r81VerFxGsUxYx7WjDa5kNK8LGwsNMfUUtAKHsH2AOL8BGiiRoQz7vwWELidxdoY8snV23M1MJF-gUrkH6gDqX2PvcgWzO67Y-0vEHgIDR3s9qIafLsOPiD68bNaPAB9OgRCUbKN4/s320/IMG_0641.jpg" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Hortensio and Petruchio</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkCAeODHaD69kN7XIiUTqCL9nFUORlsXWdHNxpEtpJcjcE5U7kn908TOPRsmEG3IJVb1RmD7rS5mM5aAn48oQO4mlXfw2cjZa_BMlBLe8I-vZWl_ZhBjQfCtMH1R_hZ_Zec33SWFS6mnM/s1600/IMG_0643.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkCAeODHaD69kN7XIiUTqCL9nFUORlsXWdHNxpEtpJcjcE5U7kn908TOPRsmEG3IJVb1RmD7rS5mM5aAn48oQO4mlXfw2cjZa_BMlBLe8I-vZWl_ZhBjQfCtMH1R_hZ_Zec33SWFS6mnM/s320/IMG_0643.jpg" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Hortensio and Lucentio</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwfo-9kQzVL8SENO7s-ayBZtOpucuDV10MoE8wMgKFLrCk9fvA8efixCNJiWXKm6IkaZUcTfWTZhr8biTGBptQNCmU6uoGAGmDJdcSObK-hHtEix9gvYMkS5P-4ZgUaZuSYWDrbhdW2as/s1600/IMG_0644.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwfo-9kQzVL8SENO7s-ayBZtOpucuDV10MoE8wMgKFLrCk9fvA8efixCNJiWXKm6IkaZUcTfWTZhr8biTGBptQNCmU6uoGAGmDJdcSObK-hHtEix9gvYMkS5P-4ZgUaZuSYWDrbhdW2as/s320/IMG_0644.jpg" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Hortensio, Bianca and Lucentio...who is going to win Bianca's hand?</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-3Y7tzHAgz5m-KgSuHHtI0URRjRqerGcZAV4HHRtGpTu7oY3f2-5anrbMZl53iT8NUgVelERQP6tBY8QS7MCN_QU7N6nY_GvNPXoeN4GQy9k6tVKvjKb-28lXo2IOE5QRTVwody2WBBI/s1600/IMG_0645.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-3Y7tzHAgz5m-KgSuHHtI0URRjRqerGcZAV4HHRtGpTu7oY3f2-5anrbMZl53iT8NUgVelERQP6tBY8QS7MCN_QU7N6nY_GvNPXoeN4GQy9k6tVKvjKb-28lXo2IOE5QRTVwody2WBBI/s320/IMG_0645.jpg" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Vincentio and Baptista. Get it. </td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrpTwwrFkYDS69e46XDRzPnC8XBxnPoxlV7vkFGO1GF2Cr8LYJZjk4v8r_IDxvWhoO096MC2AdkapphYuLFE2go4i9BxqQXUcCsCBuJeEhp710ONrjaJjvkHMSNMUh6bvLfB_YZn-gQOk/s1600/IMG_0647.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrpTwwrFkYDS69e46XDRzPnC8XBxnPoxlV7vkFGO1GF2Cr8LYJZjk4v8r_IDxvWhoO096MC2AdkapphYuLFE2go4i9BxqQXUcCsCBuJeEhp710ONrjaJjvkHMSNMUh6bvLfB_YZn-gQOk/s320/IMG_0647.jpg" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">"Ten marks my Kate does put her down"</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiepCDWVz6cALLIpKS40gq_Hzr_p4F3r4cEliQJYrKYTbhkhPCoRJUjtqXq7rrzH0tJGava47y10q-sTqrSzH82YekTye-WyTfMiJDyBM23UHoN9eNgR09f9xAVCHwcaBCn_OgRxj4bFas/s1600/IMG_0653.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="282" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiepCDWVz6cALLIpKS40gq_Hzr_p4F3r4cEliQJYrKYTbhkhPCoRJUjtqXq7rrzH0tJGava47y10q-sTqrSzH82YekTye-WyTfMiJDyBM23UHoN9eNgR09f9xAVCHwcaBCn_OgRxj4bFas/s320/IMG_0653.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">THE GREAT WORK BEGINS</td></tr>
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<br />Natalie Reiko http://www.blogger.com/profile/06371054186651482749noreply@blogger.com0tag:blogger.com,1999:blog-3861111950693885469.post-71326324208449404972012-06-12T19:35:00.001-07:002013-03-02T05:39:50.385-08:00A Midsummer Night's Dream: BLESSED<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKwDTQXD8j976bjo1DhWMAqW-2oeAyT7bAT1YDN00gbEyorPmNa0ofOAqCnveXcvGTNcSlkXW1ogmS2kXHn_6ubXa4MejvzImJsZIwY9d6m_xtU-8YXkIF8oZnHWP3LSHjnqfp5cf3fzI/s1600/IMG_0265.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKwDTQXD8j976bjo1DhWMAqW-2oeAyT7bAT1YDN00gbEyorPmNa0ofOAqCnveXcvGTNcSlkXW1ogmS2kXHn_6ubXa4MejvzImJsZIwY9d6m_xtU-8YXkIF8oZnHWP3LSHjnqfp5cf3fzI/s320/IMG_0265.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">swimming in a sea of costumes</td></tr>
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It is absolutely crazy to think that this was our last week of rehearsal before tech week! We kicked off the week by pulling costumes. Bradley University very graciously let us go into their warehouse and pull ANYTHING we wanted. There was SO MUCH to choose from, at times it was hard to find each other in the maze of racks. We are so lucky to have Bradley as a resource. SO if anyone from the Bradley Theatre Department is reading this: THANK YOU THANK YOU THANK YOU! Our actors look amazing! <br />
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We were able to pretty much costume all of our actors! We filled up both Andrew and Sarah's trunks.</div>
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We then filled up a good portion of the porch with all the costumes and did our costume fittings on the porch! Hooray for grassroots theatre! </div>
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The week leading up to the opening of the show was filled with work, work for the show, rehearsal, work for the show. Andrew and I tag teamed flyering, making poster boards and tying up loose ends while Sarah dealt with pretty much all things costumes. All the while, it felt like we were in pretty good shape. We were able to put together the tedious little things because the big things were all taken care of. It was great! Taylor was a huge help, too! He put up our posters, wrote line notes, helped set up and clean up. It was a blessing to have him!<br />
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Andrew painting our Wall and Taylor working on line notes. </div>
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COSTUME PARADE! </div>
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tech week!</div>
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First Dress! playing games to warm up!</div>
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SPEAKING OF BLESSINGS. Our catch phrase for the show was "Blessed". No doubt, the production was being led by a higher power whether it be God, the Universe, Positive Energy...SOMETHING wanted the show to happen and it wanted certain people to work on it. <br />
Too many things seemed to just fall into place for it to not be true. Whenever we would feel this power or WHATEVER we would just look at each other and say, "Blessed". There was such peace and love and JOY throughout the process, we were SUPPOSED to do this. <br />
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Now, this isn't to say there weren't any hard times. There were actor egos, frustration over the music, and scheduling conflicts, but at the end of the day...we did it!<br />
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We were able to bring 21 people from all walks of life, with various amounts of theatre experience and even more varied SHAKESPEARE experience together. We were blessed with Cree, our musician who jumped in at the last minute. We had people from the community WANTING to help us and promote the show, we had beautiful Camp Wokanda to play in and the people who worked there helping us all along the way. And then all those who came to see the show. This included family member, co-workers, professors, friends, and people from the community...everyone brought together to be swept away in a story. A countless number of people believed in us and trusted us with a couple hours of their lives... and in regards to the cast MANY MANY hours of their lives. We were all brought together for this one purpose: to be swept away by a story. The culmination of each and every one of our lives brought us to that moment and we all shared it. Isn't that what theatre is all about? Isn't that what ART is all about? That moment, we can never get back. Even if we remounted the show...NOTHING will compare to THAT exact moment, THAT show, THAT experience.<br />
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I am still amazed that we were able to pull it off. With no one to lean on but each other. But we didn't need anymore than that. The show was blessed.<br />
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THE WORLD ONLY SPINS FORWARD. </div>
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THE TIME IS NOW. </div>
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THE GREAT WORK BEGINS.</div>
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Natalie Reiko http://www.blogger.com/profile/06371054186651482749noreply@blogger.com0tag:blogger.com,1999:blog-3861111950693885469.post-30871272883461570102012-05-20T11:03:00.003-07:002012-05-20T11:03:43.064-07:00A Midsummer Night's Dream 3Week Two has successfully concluded. We have worked and ran acts 1-4 throughout the week and are planning on running 5 and then THE WHOLE SHOW at our Sunday rehearsal! WOAH! What a fruitful week! It has been so much fun to watch Sarah and Andrew direct. For our own personalities and talents, we have the group that fits us perfectly. Sarah is directing the Mechanicals, Andrew, the Faeries including Bottom, and myself, the Royals and Lovers. When you see it, you will understand what I am talking about.<br />
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It has been really nice to have a stable location to rehearse. The porch has been serving us very well. We were able to use the grass in front of the porch, the stairs, various sides and even did a scene while walking around the whole space to get used to walking and talking throughout it. Who knew a single wrap around porch and one bench could serve as a faerie forest, a house and palace?<br />
It also has been a nice hang out space for the company during downtime. We are so blessed to have this space! <br />
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<tr><td class="tr-caption" style="text-align: center;">That's right...we have SWORDS!</td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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<tr><td class="tr-caption" style="text-align: center;">oh hai! That's me directing!</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">hanging out on ze porch</td></tr>
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ALSO we now have beautiful flyers designed by Andrew.</div>
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<tr><td class="tr-caption" style="text-align: center;">Please, feel free to download this, print it, forward it, share it, like it on facebook, email it....ANYTHING. We could use all the help we can to get the word out!</td></tr>
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Our company was also busy filling out a ton (and I mean, A TON) of notecards with information about the show on them. These have come in handy to pass out to people we meet or talk to who want a reminder of when and where the show is!<br />
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I think one of the most touching things about working on this project has been the fact the love of the ART and not just how we feel onstage or the applause we get or whatnot...brings us together to celebrate one another. It is like what Stanislavsky said:<b><i> </i></b><br />
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<b><i>"Love art in yourself and not yourself in art."</i></b> </div>
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I had been working on a Middle School Production of Wizard of Oz which opened this past weekend and a good chunk of Midsummer turned out to watch some middle school theatre magic. Eric (Quince), Kiayla (Titania), Kevin (Philostrate), Jess (Hyppolyta), Andrew (Lysander), Megan (Moth) and Sarah (Helena) were all there!<br />
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It is beautiful to watch the young theatre artists on stage. There were so many honest moments throughout the performance that is makes me excited for the future of theatre and we were here to see them, support them, and help guide them. Those children inspired me to go out and work my hardest to put on the best production I possibly can.<br />
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As we enter into this third week, I know we have our work cut out for us. Cleaning and running and working and memorizing and advertising and all sorts of challenges lay in front of us. But I know, as long as we all maintain a positive attitude, keep our egos in check and recognize that we play a small but important part of something bigger than ourselves, we will be ok.<br />
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<span style="font-size: x-small;">P.s. Please like our page on facebook and spread the word! <a href="http://www.facebook.com/TheGreatWorkBeginsTheatreTroupe" target="_blank">Our Facebook Page! </a></span><br />
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<span style="font-size: x-small;">P.P.s. Please Please invite your friends to our event! There are times and directions on how to get to Camp Wokanda on there too! <a href="http://www.facebook.com/events/224513780990576/" target="_blank">A Midsummer Night's Dream at Camp Wokanda!</a></span><br />
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<span style="font-size: x-small;">P.P.P.s. We are also asking for any donations of old bedsheets you do not want anymore. We are going to be sewing them together to create our backdrop/backstage area.</span><br />
<span style="font-size: x-small;"> Please email me: npatrnchak@mail.bradley.edu THANK YOU SO MUCH!</span><br />
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<br />Natalie Reiko http://www.blogger.com/profile/06371054186651482749noreply@blogger.com0tag:blogger.com,1999:blog-3861111950693885469.post-56774452394809082802012-05-13T08:00:00.005-07:002012-05-13T08:00:50.190-07:00A Midsummer Nights Dream 2We have officially wrapped up our first week of rehearsals! It has only been a week, but it was full of crazy adventures already. Since we do not have our own building, we have relied on the kindness of others to donate space to rehearse. Thus far, we have rehearsed in the lobby of the Bradley Theatre, the studio space in the Bradley Theatre, the community room at Schnucks, and the porch of the Park District Building. Thank goodness our cast is so generous with their time and open minded!<br />
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Not many people can say they have rehearsed in a grocery store and a porch...hooray for grassroots theatre!<br />
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This week we officially signed our contract with Camp Wokanda! It feels like the three of us bought a house together. We visit the space every week just to BE there and walk around...and I swear it gets prettier every time we go!<br />
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We started our blocking rehearsals this week! In four short days we have all but two scenes completely blocked! It has been so amazing. There are beautiful amounts of play at every rehearsal. The environment feels so safe. It is wonderful to take a step back every once in a while and look at all the different people working together and playing together. Something or someone is definitely watching over this production. Even with what could be perceived as setbacks i.e. losing our rehearsal space, random miracles would occur. For example...as the three of us were panicking about finding a rehearsal space on Wednesday, the man who delivered and was setting up my futon (which was two days late) suggested Schnucks. We called and they had a room available! It was as if the stars had to align just right. My futon HAD to be late because otherwise we wouldn't have had a space. He also offered to help out with any heavy lifting and transportation of set pieces! It is so wonderful how art can bring people together!<br />
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Here are some of our rehearsal pictures! </div>
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<tr><td class="tr-caption" style="text-align: center;">Rehearsal in a grocery store! </td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Rehearsal on a porch</td></tr>
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Sarah and I closed out the week with another visit to Camp Wokanda. After rehearsing in various locations it was interesting to go back and walk the blocking. The stage is huge!!! For any cast member reading this, we are going to be in great shape before all this is over!<br />
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<br />Natalie Reiko http://www.blogger.com/profile/06371054186651482749noreply@blogger.com0tag:blogger.com,1999:blog-3861111950693885469.post-28382554864629389162012-05-08T23:24:00.002-07:002012-05-08T23:24:44.002-07:00Midsummer Inspiration and ResearchHey guys! So, here is a compilation of Andrew, Sarah and my research pictures and videos. This will give you a feel of our world and inspiration for the piece! ENJOY!<br />
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<a href="http://www.youtube.com/watch?v=q1ep_vlfsB8&feature=related" target="_blank">Midsummer 1909 part 1</a><br />
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<a href="http://www.youtube.com/watch?v=AtwXJd6Ghsw&feature=relmfu" target="_blank">Midsummer 1909 part 2</a><br />
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<br />Natalie Reiko http://www.blogger.com/profile/06371054186651482749noreply@blogger.com0tag:blogger.com,1999:blog-3861111950693885469.post-42331182843341401782012-04-30T10:59:00.000-07:002012-04-30T11:04:56.473-07:00A Midsummer Nights Dream 1It is my pleasure to announce that A Midsummer Nights Dream is officially underway! We had a successful and hilarious first read through! As one can imagine coordinating 23+ people's schedule is very difficult. We had two different days tentatively scheduled for the read through which did not work. So Sarah randomly picked a day and booked the space. Magically it was the only day most people were able to make. The day was April 23rd...Shakespeare's Birthday! Someone is definitely looking over our production. This is a story that HAS to be told RIGHT NOW with THIS group of people. And can I just say, we have an extremely talented cast! There was already a tremendous amount of warmth and generosity in the room as we read through the script. Andrew and I could barely contain ourselves as we listened to the characters come to life. It was a bit spooky at first, looking around the room and seeing the group as a whole. Sarah and I know everyone from different parts of our lives and suddenly we are all here, together, in one room working on one project. It is truly beautiful how theatre can bring people together like this. <br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9HI5Ak7SMNNaVw3dPW_TyAwAnaVhL_GjzAdaHN_kzw0xYv4m5U1fVGiQxhgpU8YJ-H3jxidD3XYzuoLoku4S6R_wYS2Hp_EagNbz9CjWHzsI80mRxdpsFAT1t8AiAcosGdS9MjUG9x2g/s1600/IMG_0111.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9HI5Ak7SMNNaVw3dPW_TyAwAnaVhL_GjzAdaHN_kzw0xYv4m5U1fVGiQxhgpU8YJ-H3jxidD3XYzuoLoku4S6R_wYS2Hp_EagNbz9CjWHzsI80mRxdpsFAT1t8AiAcosGdS9MjUG9x2g/s320/IMG_0111.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">MECHANICALS</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">ROYALS AND LOVERS</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">FAIRY WORLD</td></tr>
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Wednesday April 25, was Chillicothe Day. Andrew, Jess (Hyppolyta), Kayleigh (Peaseblossom) and I ventured out to Chillicothe to pass out our press release and start getting the word out. We started at my apartment for brunch.<br />
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<tr><td class="tr-caption" style="text-align: center;">"My heart is true as steel" - Helena to Demetrius</td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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Then we were off! We first visited our new home. Camp Wokanda. Last time we were there, it was nearly dark. Can I just say, the space is even more gorgeous in the daylight! We are so lucky to have this beautiful space to play in and to be working the generous Peoria Park District.<br />
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<tr><td class="tr-caption" style="text-align: center;">view from the stage</td></tr>
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We then visited some vintage stores on our way into Chilli (and found some awesome costume pieces) and walked the main road once in Chillicothe.<br />
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As we made our way we came to find out the Chillicothe Independent, the local newspaper, had run a story on us already! <br />
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The Great Work has truly begun!<br />
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Now we have some hard work to do ourselves to keep this momentum up. But I know we will keep pushing each other along in this journey.<br />
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<br />Natalie Reiko http://www.blogger.com/profile/06371054186651482749noreply@blogger.com0tag:blogger.com,1999:blog-3861111950693885469.post-10426650296093467102012-04-19T22:20:00.002-07:002012-04-19T22:21:35.669-07:00The Great Works Begins Theatre Troupe is Born!<div class="separator" style="clear: both; text-align: center;">
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Hello Folks! This is the first post regarding my newest project: An outdoor production of <i>A Midsummer Nights Dream</i> / possibly the start of Peoria's own Shakespeare Festival. Myself, Sarah Tilford, and Andrew Rhodenbaugh are co-producing/co-directing/co-designing and acting in the production too....yikes! Andrew is playing Lysander, Sarah; Helena and I am playing Puck. The three of us founded The Great Work Begins Theatre Troupe which is producing this show as well as several others over the course of the summer/early fall.<br />
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This production is something that has been in the works since we closed <i>Angels in America</i> back in November 2011. Our <i>Angels </i>group jived so well with each other and wanted to take advantage of the limited time we had left together. I am so excited that it is finally a reality. The way in which the three of us came together to start this was nothing short of magical and seemed to go from theory to reality in a day. It was beautiful. Before we knew it, we had a space, a script, a press release (see below), a name for our company, list of contacts AND a cast of 21 people...INCLUDING a stage manager and props master! Whoa! Not bad for a grassroots budding theatre troupe in Peoria! <br />
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How we came across our space was a walk in the park...literally. Brenton (Demetrius) and I went for a walk at Forrest Park Nature Preserve and on a whim stopped into their office to talk about the possibility of producing the play there. They not only agreed but also referred us to Camp Wokanda which had a more secluded space that could accommodate more people. We visited it and fell in love. <br />
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We are working with the Peoria Park District who has been so very supportive of all our crazy ideas so far. We DID have to submit an audition video to secure the space. Here is Sarah performing her monologue from Midsummer!<br />
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Needless to say, we passed the audition! </div>
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Today, Andrew and I pounded the pavement in Peoria Heights handing out our press release to local businesses. So far we have had positive responses and even had our press release posted on a Peoria website see it <a href="http://thecommunityword.com/online/cwnotes/2012/04/19/new-peoria-area-theatre-troupe-the-great-work-begins-to-present-a-midsummer-nights-dream/" target="_blank">HERE</a>! </div>
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Here is our actual press release! </div>
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<b><span style="color: #222222; font-family: Arial; font-size: 13pt;">The Great Work Begins, a new
Peoria-area theatre troupe, will present an early June production of
Shakespeare's <i style="mso-bidi-font-style: normal;">A Midsummer Night's Dream</i>
to be performed at Camp Wokanda in Chillicothe.</span></b></div>
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<b><span style="color: #222222; font-family: Arial; font-size: 13pt;">This all-ages show is scheduled for
the first weekend in June, with two shows on Saturday, June 2 and one show on
Sunday, June 3. Admission is free and donations can be made to the Peoria Park
District before each performance.</span></b></div>
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<b><span style="color: #222222; font-family: Arial; font-size: 13pt;">This is the debut production for The
Great Work Begins, a troupe comprised of three friends and fellow Bradley
Alumni who came together performing in productions at Bradley's Hartman Center
for the performing arts and Cornstock Theatre's Winter Playhouse. We are
excited to offer a new chance for Peoria-area families and individuals to
experience live theatre and cannot wait to perform it at such a beautiful
outdoor space at Camp Wokanda. Theatre brought us together and we hope our
production of <i style="mso-bidi-font-style: normal;">A Midsummer Night's Dream</i>
will inspire others to take advantage of all the arts, the theatre and the
great work that this area has to offer. </span></b></div>
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<b><span style="color: #222222; font-family: Arial; font-size: 13pt;">Shakespeare's <i style="mso-bidi-font-style: normal;">A Midsummer Night's Dream</i> is a magical, family-friendly comedy that
Shakespeare newcomers and fans alike will love and laugh along with. It’s the
perfect way to spend a summer afternoon, lost in the dream unfolding onstage.</span></b></div>
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<b><span style="color: #222222; font-family: Arial; font-size: 13pt;">For further information please
contact us at: </span><a href="mailto:thegreatworkbegins@yahoo.com"><span style="color: #2a58c2; font-family: Arial; font-size: 13pt;">thegreatworkbegins@yahoo.com</span></a><span style="color: #222222; font-family: Arial; font-size: 13pt;"></span></b></div>
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<b><span style="color: #222222; font-family: Arial; font-size: 13pt;">We will be paying for all show costs
out of pocket and would be grateful to accept donations or sponsors. Any amount
of support would be much appreciated.</span></b></div>
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<b><span style="color: #222222; font-family: Arial; font-size: 13pt;">Thank you! </span></b></div>
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<b><span style="color: #222222; font-family: Arial; font-size: 13pt;">Sincerely,</span></b></div>
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<b><span style="color: #222222; font-family: Arial; font-size: 13pt;">The Great Work Begins</span></b></div>
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<b><span style="color: #222222; font-family: Arial; font-size: 13pt;">Theatre troupe</span></b></div>
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<span style="font-size: small;"><span style="color: #222222; font-family: Arial;">So, there it is folks!</span></span><b><span style="color: #222222; font-family: Arial; font-size: 13pt;"><span style="font-size: small;"> </span></span></b><span style="color: #222222; font-family: Arial; font-size: 13pt;">The </span><span style="color: #222222; font-family: Arial; font-size: 13pt;">start of an exciting and busy couple of months. I can not wait to see what more great things are going to unfold. I thank my lucky stars everyday that I have Sarah and Andrew in my life and that they are just as passionate and driven as I to put this production. I could not have gotten this far with out them. </span></div>
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<span style="color: #222222; font-family: Arial; font-size: 13pt;">We have big plans for The Great Work Begins Theatre Troupe. We want to bring a new alternative and collaborative form of theatre to the Peoria area that bridges the gap between Bradley, ICC, and the Community theatre groups. Once you see our cast list, I think you will agree that we succeeded. We are working to incorporate all the arts into one great work of art. </span></div>
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<span style="color: #222222; font-family: Arial; font-size: 13pt;">Indeed...the Great Work has Begun! </span></div>Natalie Reiko http://www.blogger.com/profile/06371054186651482749noreply@blogger.com2tag:blogger.com,1999:blog-3861111950693885469.post-52018298138610838932012-04-17T07:53:00.001-07:002012-04-17T07:53:23.670-07:00Natalie's Inspiring Quotes part 1<div class="separator" style="clear: both; text-align: center;">
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Hello! For those who do not know ...or can't tell, I am a HUGE quote person. I have decided to compile a list of quotes that inspire me. A lot have to do with art and creation, but there are some that deal with life and love and other themes as well. I hope they can move you as they have moved and helped me.....and please, if there are quotes that speak to you, share them with me! I would love to have more in my collection! And who knows what is going to spark some inspiration!<br />
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<b>So many people walk around with a meaningless life. They seem
half-asleep, even when they're busy doing things they think are
important. This is because they're chasing the wrong things. The way you
get meaning into your life is to devote yourself to loving others,
devote yourself to your community around you, and devote yourself to
creating something that gives you purpose and meaning." ~Morrie</b><br />
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<b><span class="commentBody" data-jsid="text">When
waging war on the battlefield of creation vs. destruction, the warrior
often finds that there are those in his or her company whose patience
and rigor falters in the face of a seemingly indefatigable foe. but for
every hundred of those fallen disgraced soldiers, there are one or two
true brothers and sisters who will fight at our side until the end of
time; and it is them that we honor and adore.</span>...<span class="commentBody" data-jsid="text">i heard a good quote recently that went something like "the darkest
shadows follow those who carry the brightest light." be buoyant,
sister-clown. eyes open, mouth wide, eyebrows up! ~ Drew Gilbert</span></b></div>
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<b>Life is about living to create and do; about making the world a better
place as you go throughout it. Happiness, therefore, is a by-product,
and is not something to be pursued. Do what you are meant to do with
your life, and happiness will come.~ George Bernard Shaw</b></div>
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<b>It has not been definitively proved that
the language of words is the best possible language. And it seems that
on the stage, which is above all a space to fill and a place where
something happens, the language of words may have to give way before a
language of <i>signs</i> whose objective aspect is the one that has the most immediate impact upon us. ~ANTONIN ARTAUD</b></div>
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<b> <span style="color: #073763; font-size: x-small;"><span class="messageBody" data-ft="{"type":3}">The
genius of clowning is transforming the little, everyday annoyances,
not only overcoming, but actually transforming them into something
strange and terrific. It is the power to extract mirth out of nothing
and less than nothing. ~Grock</span></span></b></div>
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<b>The
clown has great importance as part of the search for what is laughable
and ridiculous in man. We should put the emphasis on the rediscovery
of our own individual clown, the one that has grown-up within us and
which society does not allow us to express. <span style="font-size: x-small;">— <a href="http://www.goodreads.com/author/show/422583.Jacques_Lecoq">Jacques Lecoq</a></span></b></div>
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<b><span class="body">I regard the theatre as the greatest of all art
forms, the most immediate way in which a human being can share with
another the sense of what it is to be a human being. ~ Oscar Wilde</span></b></div>
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<b><span class="body">Let the world feel the full weight of who you are ~ Steve Snyder </span></b></div>
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<b><span class="body">Words were the decoration on the skirts of action. ~ Meyerhold. </span></b></div>
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<b><span class="body">I<span style="color: purple;"> have spent the day mixing greens and yellows with blades of grass, threads from my shirt, and sticks, and how I am beginning to feel I have found my own uniqueness in my own art. ~Van Gogh</span></span></b></div>
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<b><span class="body">Keep growing quietly and seriously throughout your whole development; you cannot disturb it more rudely than by looking outward and expecting from outside replies to questions that only your inmost feeling in your most hushed hur can perhaps answer. ~Rilke</span></b></div>
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<b><span class="body"> </span> </b></div>
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<b>Stanislavski</b></div>
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<b><i>"When we are on stage, we are in the here and now."<br />
<br />"The eye is the window of your soul."</i></b></div>
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<b style="font-family: Arial,Helvetica,sans-serif;"><i><br />
</i></b><i><b style="font-family: Arial,Helvetica,sans-serif;">"Love art in yourself and </b><b style="font-family: Arial,Helvetica,sans-serif;">not yourself in art."<br /><br />"Bring yourself to the part of taking </b><span style="font-family: Arial,Helvetica,sans-serif;">
</span><b style="font-family: Arial,Helvetica,sans-serif;">hold of a role, as if it were </b><b style="font-family: Arial,Helvetica,sans-serif;">your own life. Speak for your character in </b><b style="font-family: Arial,Helvetica,sans-serif;">your own person. When you sense this real kinship to your part, your newly created being will become soul of your soul, flesh of your flesh."</b><br />
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to be continued....</div>
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<span class="commentBody" data-jsid="text"><br /></span>Natalie Reiko http://www.blogger.com/profile/06371054186651482749noreply@blogger.com0tag:blogger.com,1999:blog-3861111950693885469.post-28163169321744702852012-03-12T22:35:00.002-07:002012-03-12T22:36:23.352-07:00Letters to a Young Poet<div class="separator" style="clear: both; text-align: center;">
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<i> <span style="font-size: large;">" A work of art is good if it has sprung from necessity"</span></i></div>
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<i>"</i>Nobody can counsel and help you, nobody. There is only one single way. Go into yourself. Search for the reason that bids you to create; find out whether it is spreading out its roots in the deepest places of your heart, acknowledge to yourself whether you would have to die if it were denied you to create. This above all - ask yourself in the stillest hour of your night: <i>must </i>I create?</div>
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...then build your life according to this necessity; your life even into its most indifferent and slightest hour must be a sign of this urge and a testimony to it"<i> </i></div>
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<i>Letters To a Young Poet </i>is a series of response letters from poet Rainer Maria Rilke to a young aspiring poet on 'surviving as a sensitive observer in a harsh world'. The wonderful thing about this collection is that it touches on not only poetry, but art...not only art, but LIFE: love, gender issues, society and self esteem included. Which makes so much sense. If art imitates life or reflects life...then it is crucial to rediscover how to live and view the world. More importantly, if we are to be artists...then our life should reflect our everyday work. If to make art is the thesis of my life, then everything I do should be an extension of my craft. As a wise professor once said: we GET to do this! <span style="font-size: x-small;"><span style="font-family: inherit;">and</span></span> No one can chop that wood, but you!<br />
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This has been something since reading this book, that has gotten me into trouble. I wish I had Rilke here to help me out like the person receiving the letters (who was going through the same problems) did, but since I don't...I am asking you, yes you, for help. I have become increasingly more obsessed with art and creating in anyway I can; in ways I am pretty ok at and things I am awful at. I just HAVE to do it. There are nights I can't sleep because I have pent up creative energy that hasn't been released and then I can't stop. While all this seems ok, I am afraid I am going to lose friends because of it. I get too 'intense' or 'exhausting' or a hermit. They say it is ok for a short while, but I become tiring. And I completely understand. But it still frustrates me...and gets terribly lonely. Even when I am with people...I am lonely. Help? <br />
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I have looked to Rilke to help me out.<span style="background-color: white;"> </span><span style="background-color: white; color: #674ea7;">"...perhaps we would endure our sadnesses with greater confidence than our joys. For they are the moments when something new has entered into us, something unknown; our feelings grow mute in shy perplexity, everything in us withdraws, a stillness comes, and the new, which no one knows, stands in the midst of it and is silent...</span><br />
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...many signs indicate that the future enters into us in this way in order to transform itself in us long before it happens. And this is why it is so important to be lonely and attentive when one is sad: because the apparently uneventful stark moment at which our future sets foot in us is so much closer to life than that other noisy and fortuitous point of time at which it happens to us as if from the outside. "</div>
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<span style="color: #674ea7;">" We must assume our existence as </span><i style="color: #674ea7;">broadly</i><span style="color: #674ea7;"> as we can in any way we can; everything, even the unheard-of, must be possible in it. That is at bottom the only courage that is demanded of us: to have courage for the most strange, the most singular and the most inexplicable that we may encounter"</span></div>
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There is tremendous love that pours out of Rilke's words and beauty
in the way he strings them together into sentences. He doesn't waste a
single word. I wish i could give a list of quotes like I normally do,
but I would just be retyping the whole book.<br />
The beauty of his work is that you get something new out of every time you pick it up. His work is so dense that it is impossible to get everything out of it the first, second or even third time you read it. <br />
It feels like he is speaking right to you like he knows what you are going through or what you are about to go through. he is encouraging us to go on and do what we were made to do. Artist to Artist, he GETs it...even though there is almost 100 years difference between us. He touches on this in his closing letter<span style="background-color: white;"> </span><span style="color: #674ea7;"><span style="background-color: white;">" Do not believe that he who seeks to comfort you lives untroubled among the simple and quiet words that sometimes do you good. His life has much difficulty and sadness...Were it otherwise he would never have been able to find those words."</span><span style="color: black;">And this is true. There is a short biography that chronicles what Rilke was going through when writing these letters. He had his share of being misunderstood and rejection...that I know we all have felt at some point in our lives. </span></span><br />
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<span style="color: #674ea7;"><span style="color: black;">For all those who are frustrated in their art, lost, content, yearning, seeking, losing, winning, sad, or happy...I HIGHLY recommend buying this book. It is comforting, encouraging, inspiring and less than 100 pages! </span></span><br />
<span style="color: #674ea7;"><span style="color: black;"><br /></span></span><br />
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<span style="color: #674ea7;"><span style="color: black;">Here is what my copy looks like...so much AWESOME on every page. </span></span></div>
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<span style="color: #674ea7;"><span style="color: black;"><span style="font-size: large;"><span style="color: #f1c232;">"There is here no measuring with time, no year matters, and ten years are nothing. Being an artist means, not reckoning and counting, but ripening like the tree which does not force its sap and stands confident in the storms of spring without the fear that after them may come no summer. It does come. But it comes only to the patient, who are there as though eternity lay before them, so unconcernedly still and wide. I learn it daily, learn it with pain to which i am grateful: <i>patience</i> is everything" </span></span> </span></span></div>
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<br />Natalie Reiko http://www.blogger.com/profile/06371054186651482749noreply@blogger.com0tag:blogger.com,1999:blog-3861111950693885469.post-73498019678885590822012-02-12T19:40:00.000-08:002012-02-12T19:40:09.763-08:00Clown Summit 2012 (part one)<div class="separator" style="clear: both; text-align: center;">
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This past week I had the wonderful opportunity to listen to the 2012 Clown Summit. This was a series of interviews broadcast over the internet. Each day a different clown educator was interviewed. These interviews burst with amazing views on the clown, but it wasn't limited to just the clown. The beautiful thing about each interview was how it would drift from the clown to art in general, theatre in general, or what it is like to LIVE as a human being and how studying the clown opens these doors.<br />
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Here is the website for the clown summit: <a href="http://www.clownsummit.com/" target="_blank">Clown Summit</a> You can purchase the interviews from the week. They are all inspiring. Each person had a passion and love for their work and in educating us on their clown work. I could hear the love they have for this subject pour out of the speakers. It is inspiring and empowering.<br />
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I do have a few notes from each speaker. But for the full experience, I HIGHLY suggest purchasing the interviews, they are worth every penny!<br />
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WARNING: this entry is fairly lengthy. I will do my best to keep it interesting...but it is about clowns...so how can be anything BUT interesting, right?<br />
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p.s. I am going to break it up into two parts! <br />
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<span style="font-size: large;">Sue Morrison </span></div>
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<span style="font-size: small;">Sue Morrison was the first clown educator interviewed. Here is a little blurb about her from her website: <a href="http://www.canadianclowning.com/sue.html" target="_blank">Sue Morrison</a></span></div>
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<i>Sue Morrison has been teaching, directing and collaborating on Clown and
Bouffon across the globe for more than 20 years. Her students are currently
featured in Cirque du Soleil, Slava's Snow Show, Blue Man Group, Second City
and on other international stages. Sue trained with Second City and Keith
Johnstone and performed improvisation throughout Canada and later became a
Second City main stage writer/performer.</i></div>
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</i><br />
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<i>On a 'quest to work from her heart', she met Clown through Mask visionary
<a href="http://www.canadianclowning.com/richard.html">Richard Pochinko</a>, and after working with him for many years, he asked her to
be his apprentice. Today, Morrison's unique and powerful work brings
together the diverse elements of Native American and European Clowning,
Bouffon, le Jeu, and Improvisation, ultimately creating dynamic performance
spectacles. Sue has been Artistic Director of the Theatre Resouce Centre
since 1993. She has taught at the dell'Arte School of Physical Theatre, and
works regularly with the LUME company of Brazil. During the past 3 years,
she has been a presenter at International Theatre Conferences in Brazil and
Argentina. The Bravo Arts Channel aired 'Burnt Tongue', directed and
co-written by Morrison and her work has been the focus of several
international documentaries.</i></div>
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<i>Sue collaborated on 'Absence of Magic', which was acclaimed by Time Out NY
and the Village Voice. Other recent works in NYC include John Brown
theatre's, 'The Bastard American Show', and creator of the popular bouffon,
'Red Bastard'.</i></div>
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GREAT QUOTE: "Clowns are the children of the Thunder Gods"</div>
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<i> </i></div>
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She said she works from her heart and not her head to be funny and wants to work in a way that feeds her soul. She said that she wants to have a profundity and to have the audience walk away with something. This is one of the reasons, she explained, that she started clowning. </div>
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She explained that clowns work for the delight. They are the connectors between the gods and people and they serve a bigger purpose. A clown doesn't have to be stupid. They serve as a release. They break the tension. The show us that everything is sacred and nothing is sacred, because nothing is sacred to the clown. (How beautiful)</div>
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ANOTHER GREAT QUOTE: The world is happier after the terror of the storm. </div>
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She said that the gods sent the clowns to learn how to live on the earth and to break the tension from ritual. They are here to allow people to have a release and thus, transforming them. They relate and reflect humanity and help us accept our humanity. The clown is a place you work from, it is not a style. Masks are to be revealed through and not to hide behind. Masks are to help articulate what we cannot express. If it is something coming from you, someone in the audience will feel it and relate to it too...they will put their own personal story. Being able to laugh at ourselves is a moment to moment learning experience. If you are continually dealing with what is happening in the moment...it will transform your piece rather than take you out. Shows are constantly evolving, if you want a show to always be the same, make a film. </div>
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YET ANOTHER GREAT QUOTE: Clowns live between thought and action, panic and possibilities, tension and the fact that anything can happen.<br />
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We are potentially capable of anything at any moment, let's not limit ourselves.<br />
Clowns remind us of our own limitations by always saying "Yes", by being present and available.<br />
DO NOT TRY TO BE FUNNY. DO NOT LIMIT WHAT THE CLOWN IS SUPPOSED TO DO OR NOT SUPPOSED TO DO.<br />
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Clown is important because it allows for everything and DEMANDS EVERYTHING. so, WHY WOULD I NOT WANT TO DO IT?<br />
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You need people to love you as your clown [on stage], you are taking them into their lives and their memories and engaging them as individuals. Make people feel like they were seen. In our world of mass marketing people crave to be seen as individuals.<br />
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Clown can't stop - it'll stop when people stop.<br />
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ADVICE: take the clown work into other work you do. There is a level of accountability with the clown: am I working THROUGH, am I in conversation, DO YOU SEE ME, and I SEE YOU. <u>ARE YOU DOING OR ARE YOU <i>BEING</i></u>? Build on what feeds you. What do you want to have happen? Keep a committed vision for yourself. Participate in their reality.<br />
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A Clown is the silence between the notes in jazz, clown is in Chekov. Clown is in everything. <br />
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Book to read: CLOWN THROUGH MASK<br />
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<span style="font-size: large;">Joe Dieffenbacher</span></div>
<div style="text-align: left;">
<span style="font-size: large;"><span style="font-size: small;">Our next clown interviewee! Here is a blurb about him from his website: <a href="http://magnificatbaroque.com/artists/joe-dieffenbacher/" target="_blank">Joe Dieffenbacher</a></span></span></div>
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<i>Joe Dieffenbacher is a former circus clown and elephant jumper, physical
comedian and master teacher in the art of Clown, Mask Performance &
Design, and Slapstick. He has taught at the Dell’Arte School in
California, Teater Studion in Stockholm, the Belfast Community Circus,
and universities in North America and Europe. He is the co-founder of
theater company <a href="http://magnificatbaroque.com/artists/joe-dieffenbacher/www.nakupelle.co">Nakupelle</a>, based in Oxford, England, touring Europe with their original circus and mask-based theater shows</i><span style="font-size: large;"><i><span style="font-size: small;">.</span></i></span></div>
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<span style="font-size: large;"><span style="font-size: small;">Our modern culture is cynical and aggressive. Clown engages with the world, is curious about the world, and laughs at things. While stand up comedians point their fingers at the person who falls, the clown is the guy who takes the fall. People recognize their own struggle in the clown and are sympathetic. This is what the world needs now and why clowning is so important. </span></span></div>
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<span style="font-size: large;"><span style="font-size: small;">He said said that the magical thing about the clown is that you remember the spark, then once you are in the world, you seek to find more magic. You seek to find connection and transformation in the audience and world. You develop a clown consciousness; you are more aware of the universe you live in relating to the world. </span></span></div>
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<span style="font-size: large;"><span style="font-size: small;">Find the game. Walk out onto the stage and play a game with the audience in any rold. . This is how clown work blends into the world of other areas of theatre. In clown work, anything can happen. However, it is individual to each person. It comes from their sense of play and their struggles. Clowning can include anything. You never know what is going to inspire you, so you MUST always be open. There is a shamanistic element to the clown; the transformation. </span></span></div>
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<span style="font-size: large;"><span style="font-size: small;">Ask yourself: I am growing, but is my work growing?</span></span></div>
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<span style="font-size: large;"><span style="font-size: small;">Book: the Death and Ressurection show. </span></span></div>
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<span style="font-size: large;"><span style="font-size: small;"><a href="http://circuscenter.org/" target="_blank">Circus Center</a> (clown conservatory)</span></span></div>
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<div style="text-align: center;">
<span style="font-size: large;"><span style="font-size: small;"><span style="font-size: large;">Ronlin Forman </span></span></span></div>
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<span style="font-size: large;"><span style="font-size: small;"><span style="font-size: large;"><span style="font-size: small;">with Joe Krienke & Gabe McKinney</span> </span> </span></span></div>
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<span style="font-size: large;"><span style="font-size: small;">For those who have been reading my blogs, know about a couple of these guys. They are the brilliant director and professors at Dell'Arte. I spent a month studying under them this summer and they changed my life. I am forever grateful for them. </span></span></div>
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<span style="font-size: large;"><span style="font-size: small;">If you are interested in reading more words of wisdom from these wonderful artists any of my entries from the summer will be full of pearls. </span></span></div>
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<span style="font-size: large;"><span style="font-size: small;">Blurbs from the Dell'Arte website: <a href="http://www.dellarte.com/default.aspx" target="_blank">Dell'Arte Website</a></span></span></div>
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<i><a href="http://www.dellarte.com/dellarte.aspx?id=52&staffID=32">Ronlin Foreman</a>
joined the full-time faculty of Dell’Arte in 2002 after a 20-year
association as a master teacher. His career in theatre began in 1976 and
encompasses areas of performance, playwriting, directing and teaching.
As a performer, Ronlin has received numerous awards including Alliance
for Arts in Education and Solo Artist Fellowships from the National
Endowment for the Arts. His solo works include Pigeon Show: a Play of
Fools; A Happy Fellow; Images; Adagio; Terre a Terre; and Donkeys,
Donuts, Feathers and Floats. He has been a featured performer at the
Lincoln Center in New York, Washington D.C.’s Kennedy Center, Actor’s
Theatre of Louisville and Danceworks of Toronto as well as at numerous
national and international movement theatre festivals. Ronlin’s teaching
credits include work with graduate programs at the University of
Missouri at Kansas City, the University of Tennessee, Memphis State
University and the Alabama Shakespeare Festival. Undergraduate teaching
positions include residencies at Austin Peay State University, Towsen
State University, Dordt College and the University of Ohio. Ronlin also
taught at Ringling Bros.Clown College and has conducted workshops and
lecture demonstrations extensively both nationally and internationally.
In 1991 he was invited to participate in the Playwrights Laboratory at
the Sundance Institute. As an author and director of devised works, he
has collaborated on many solo and ensemble projects including Fool and
Angels for Touchstone Theatre and The Fool of Roseles which received
Best Play and Best Director awards from the Memphis Arts Council. Other
directing/coaching credits include: The Visit at Washington’s Arena
Stage, The House of Bernarda Alba at the Center for Creative Arts APSU,
Stravinsky’s A Soldier’s Tale at Touchstone Theatre, and Virtual Reality
with K de Calle Theatre Company in Zarragoza, Spain. He is the director
of the Dell'Arte Company's 2009 production, Inverted Alba: Fable &
Roundelay After Images of Garcia Lorca. Ronlin has a BFA in
Acting/Directing from the University of Southern Mississippi. He trained
in Mime and Physical Theatre Styles at The Valley Studio and was
trained in Performance/Theatre Dynamics at L’Ecole Jacques Lecoq in
Paris, France.</i><span style="font-size: large;"><i><span style="font-size: small;"> </span></i></span></div>
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<div style="text-align: left;">
<i><a href="http://www.dellarte.com/dellarte.aspx?id=52&staffID=1">Joe Krienke</a>
has been a member of Dell'Arte's core faculty since 2006 after several
years as a guest instructor specializing in acrobatics and clown, and
five years as a faculty member in MFA Actor Training Program at
University of Missouri at Kansas City. Joe has toured nationally as a
clown with the New Pickle Circus, and as a puppeteer with Tears of Joy
Theatre. Some of his original works of theatre include: Whatnot!, a
hybrid of clown, puppetry, and mask- parts of which were seen at the
Here Art Center in New York City; Bluff, a clown play that premiered at
Dell'Arte's 2001 Mad River Festival; The Barnabies Five, a clown play
featuring an eccentric family of traveling musicians; and most recently,
Three Trees, a clown play performed as part of Dell’Arte’s 2010/2011
season. Joe is a Dell'Arte graduate, has trained at the San Francisco
School of Circus Arts, and is a certified teacher of the FM Alexander
Technique.</i><span style="font-size: large;"><i><span style="font-size: small;"> </span></i></span></div>
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<div style="text-align: left;">
<i><b>Gabe McKinney</b>: Graduate of Dell'Arte International ('10), Guest Faculty, University of Western Kentucky</i><span style="font-size: large;"><i><span style="font-size: small;"> </span></i></span></div>
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<span style="font-size: large;"><span style="font-size: small;">Ronlin started the interview with a little bit of his background and how he came to be in theatre. He said what drew him to theatre was the <b>provacative nature of the deep empty space before the people and filling the space was his great provication. </b></span></span></div>
<div style="text-align: left;">
<span style="font-size: large;"><span style="font-size: small;">He was drawn to the clown because as the clown, no one could call him out on being a 'fake' becuase that was him. </span></span></div>
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<div style="text-align: left;">
<span style="font-size: large;"><span style="font-size: small;">The benefits of studying clown for the actor is the vulnerability and availability the actor gains. A vulnerability and availability to play directly from a personal place to the audience. The actor is one who takes on the other. An actor is transformable. How I give myself to become this other: wear another mask, change of person and personality, change of center of gravity, change in tempo rhythm. </span></span></div>
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<span style="font-size: large;"><span style="font-size: small;">A clown does not derive from plot or story, it is it's own self and full in it's own self. A clown an active engagement of personal character. </span></span></div>
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<div style="text-align: left;">
<span style="font-size: large;"><span style="font-size: small;">We cannot know ourselves by ourselves, in society we then discover how we function. We get to know our clown more when they can interact. They are great then self. </span></span></div>
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<div style="text-align: left;">
<span style="font-size: large;"><span style="font-size: small;">One beautiful new idea Ronlin brought up was a different look at the concept of suspension of disbelief. His view is an abject rejection of it and that is it is an invitation to believe. What the audience sees is what is happening, but we can move reality into poetic dimensions. (I love how he and the faculty of Dell'Arte turn what we think we believe upside down to bring clarity on a subject. They tear down the old mindset we have and break away the chains we have as the viewpoints instilled in us...only to set before us a new point of view. It is beautiful) </span></span></div>
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<div style="text-align: left;">
<span style="font-size: large;"><span style="font-size: small;">GREAT QUOTE: The audience should run out of the theatre laughing and screaming saying "I want to be as real as the clowns"</span></span></div>
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The nature of the imagination: no one creates anything. We find and discover, the creation has already happened. We are to be journey-ers, provokers, inspirer-ers, and discover-ers. To move from solid to spirit. </div>
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People gravitate toward clown because it is an accommodating figure, it is non-threatening. A performer should not be ashamed to be in front of people. Performers hide behind misguided masks: they want to say something, but are ashamed of where they are, afraid of being revealed, afraid of being vulnerable. Fear can be a conduit to show what courage is; shame to show humility. </div>
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The awakening of the clown is similar to that of awakening the conscience mind. When the masks are gone, who are you. </div>
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<div style="text-align: left;">
ANOTHER AMAZING QUOTE: Laughter is a river of living water flowing out of the soul of a person. </div>
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<div style="text-align: left;">
SO MUCH AWESOME! SO, to wrap up this section I have some AMAZING NEWS! <i>Three Trees</i> the AMAZING clown play from Dell'Arte is looking at touring 2014. For those who do not know about it here is a link to a past blog <a href="http://dellarteadventure.blogspot.com/2011/07/days-eighteen-nineteen-and-twenty.html" target="_blank">Three Trees explanation</a> I had the wonderful opportunity to see it when I was at Dell'Arte this summer. I HIGHLY suggest looking into booking them, or if you know anyone who has the authority to do such a thing, PLEASE let them know. Or if it is coming to place near you GO SEE IT. It will be one of the best shows you will ever see, I guarantee it. Clowning at its finest. Joe Krienke is one of the clowns (on the far right). If you are interested, here is the website <a href="http://www.dellarte.com/dellarte.aspx?id=289" target="_blank">Dell'Arte</a>. It'll help you navigate to where you need to go. Or I can help you as well! <br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgijy6901qQ3IE0B5gz6gKK7C9C_ghHEspljWSzFFuUbZFuJfkbN7cJC9ncKITZ0DZNa9uh1cmaNy_wbl7sflR1y5mkr7qYXxZfGR81jTZtyHxVCqfGK1weVgPx88vURkP-f2ltojWzuYY/s1600/da_thumb_6.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgijy6901qQ3IE0B5gz6gKK7C9C_ghHEspljWSzFFuUbZFuJfkbN7cJC9ncKITZ0DZNa9uh1cmaNy_wbl7sflR1y5mkr7qYXxZfGR81jTZtyHxVCqfGK1weVgPx88vURkP-f2ltojWzuYY/s1600/da_thumb_6.png" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Three Trees </td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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<br /></div>Natalie Reiko http://www.blogger.com/profile/06371054186651482749noreply@blogger.com0tag:blogger.com,1999:blog-3861111950693885469.post-81256113533895298852012-02-08T09:04:00.000-08:002012-02-08T09:04:23.217-08:00UR/TA Experience<div class="separator" style="clear: both; text-align: center;">
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The past couple weeks have been consumed with thoughts of The UR/TA Auditions. Dun dun dunnnn. For those who do not know what UR/TA is, it is basically a cattle call audition for grad schools.<br />
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Here is a better explanation of what they are and purpose they serve taken from their website: <a href="http://www.urta.com/" target="_blank">UR/TA website</a><br />
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<i>The University/Resident Theatre Association (U/RTA) advances theatre
by connecting educational theatre programs with professional theatre and
performing arts industries, promoting professional practices and
artistic excellence in higher education, and assisting students with
their transition into the profession.</i><br />
<i>
</i><i>U/RTA is the nation's oldest and largest consortium of professional,
graduate (MFA) theatre training programs and partnered professional
theatre companies. U/RTA provides a variety of services and
informational programs to its members, and to non-member students,
theatre professionals and producing companies.</i><br />
<i>
</i><i>Services include the U/RTA auditions (NUA/Is), which assist theatre
artists (actors, designers, directors), stage managers and
administrators pursuing professional training at graduate programs. The
U/RTA Contract Management Program (CMP) is the largest not-for-profit
contract management service of its kind in the country. In addition,
U/RTA maintains important agreements with major theatrical unions that
provide contracts for use by universities and other institutions in
employing professional artists.</i><br />
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Pretty cool, right? There is a long list of schools that are UR/TA members, but not all grad schools attend this audition either. This is just one of the many ways to be seen by grad schools and to start marketing yourself. One of the coolest things i found about this audition, was that auditions for undergrad programs were also going on. It was awesome to see so many people who are interested in theatre and passionate enough to put themselves through one of the most nerve wrecking three minutes of their lives. Those high schoolers, although none of them knew it, inspired me so much. They inspired me to just keep plugging forward and to BE HAPPY. I just wish I could have inspired some to NOT wear heels because they had a hard time walking in them. <br />
<br />
So, here is a brief run down of how the audition process went down. If you have any questions, please email me! If you are at all interested in going through this process, I do not want you to go in blind!<br />
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<span style="font-size: large;">Signing up:</span> The form is online and extremely simple. You have to name a nominator and a coach that you will be working with, name your school, and everything else that would go on a normal application. And then you pay. That's all. I signed up on the last day which was mid-December. Start looking when the Fall Semester starts. There are limited spaces, so look early...I was EXTREMELY LUCKY I received a slot. You will then receive a bunch of emails and a packet of information in the mail from a woman named Sara Falconer who HAS to be a superhero. She was amazing. She is similar to a stage manager who not only coordinates the Chicago audition, but the Los Angeles and New York ones too. There was a mix up on my original application that I emailed her about and she responded almost immediately and fixed it! SuperWoman. The packet you get and emails you recieve are so very helpful too. It lays out the schedule for the week, places you can stay/eat at, and some Do's and Don't's in regards of what monologues to do, whether or not you should sing (very much encouraged NOT to), what to wear, etc. They lay everything out for you.<br />
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<span style="font-size: large;">Pre-Audition: <span style="font-size: small;">The auditions this year in Chicago were in the Palmer House Hotel. I am not sure if it is there every year or not, but it was a super nice hotel close to Michigan Ave. </span></span>The people there were nice and tried to be helpful. A few times, I got lost in the labyrinth of the hotel and had to ask a lot of questions...I got a couple blank stares and some people had NO clue WHAT I was talking about, which made for some funny conversations. I always found where I needed to go and had a good chuckle and adrenaline rush along the way! So, my advice: get their early so you have time to explore and find out where you need to go. There is an orientation at 8:30am on the day of your audition. Here they explain EVERYTHING to you. How the day is going to go, more Do's and Don'ts, and where to go to see your results. <br />
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<br />
<span style="font-size: large;">Audition: <span style="font-size: small;">Ok! So, the AUDITION! Here is the thing, there are several rounds to the audition process. The first is the screening audition. You audition</span></span> in front of two screening judges. These judges decide whether or not you get passed on to the finals. At the finals you audition in front of tier one grad schools. I am still unsure about how they rank the schools....but that's that. You have three minutes to introduce your pieces and perform them. They do cut you off, if you are over. The stage managers I found were all really nice and encouraging. They tell you in the orientation that these judges WANT you to be THE ONE so they are totally on your side from the second you walk in. And I really felt it.<br />
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My audition was very quick. As soon as orientation was over, I checked in, they called my name and I performed. That was it and it was perfect. I didn't have time to scare myself or overthink things. It was really nice! You have to do two pieces: one classical piece and a contemporary. I did one from Othello as my classical piece (although you CAN use other classical playwrights, not just Shakespeare) and one from Love Song.<br />
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After your audition you are free to go. There are schools all around the hotel. The majority were undergraduate programs, but there were a number of grad schools there too. They had flyers and info packets everywhere. Some of the schools had walk in auditions. You can sign up and audition for them. Some of them cost money though. I spent the time after my audition looking around and auditioning for three different schools. A couple schools worked with me; gave me adjustments, talked through my pieces...or had me sing (woof). Two then had an interview with me, where we talked through my resume, why I wanted to go to grad school, they talked about their programs...and one asked me why I found myself in theatre and why I love it (BOY did he get a passionate earful). <br />
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<span style="font-size: large;">Results: <span style="font-size: small;">SO...after a day of marathon auditioning, we all gathered together to get our results. We each received a comment sheet where the </span></span><span style="font-size: small;">judges made comments on our audition pieces and other things they saw as well as whether or not we advanced to the finals. If you do not advance, you automatically are registered for the Open Call. Open Call meets the same day as the Finals and gives you the opportunity to audition for many different grad school representatives at once. The finals and open call were held the day after the screening audition. </span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMqdiLTyizFV8u9GjsIGn-NXRhqzQHJwTPLmmgFIN1BfSE5TWtvTTBfeaH7tfnyODyCnsisBfJTMmL4Aim2H6RDVucW7yHYyaZwqhxKwwfuEyLcMkYOp-zYEQXdsqw8lzDlQRoA3rZALI/s1600/2012-02-06+19.11.32.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMqdiLTyizFV8u9GjsIGn-NXRhqzQHJwTPLmmgFIN1BfSE5TWtvTTBfeaH7tfnyODyCnsisBfJTMmL4Aim2H6RDVucW7yHYyaZwqhxKwwfuEyLcMkYOp-zYEQXdsqw8lzDlQRoA3rZALI/s320/2012-02-06+19.11.32.jpg" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">MY RESULTS</td></tr>
</tbody></table>
<br />
<span style="font-size: small;"><span style="font-size: large;">Scramble: <span style="font-size: small;">So...I MADE IT. However, I was totally unprepared. I didn't have a hotel room, any change of clothes, anything to shower with..it was a mess. But on the happiest day of my life, it didn't matter! After talking to Steve Snyder and my Mom I came up with a plan. I got a room at the hotel the auditions were being held in and made a trip to Walgreens. That night, I ran and ran and ran my monologues, trying to keep the adjustments I was given and comments in mind. </span></span></span><br />
<span style="font-size: small;"><span style="font-size: large;"><span style="font-size: small;"><br /></span></span></span><br />
<span style="font-size: small;"><span style="font-size: large;"><span style="font-size: small;"><span style="font-size: large;">Finals: <span style="font-size: small;">....were terrifying. We had an orientation in the morning again. But this time in a smaller room with far less people...and a lot more eyes. We walked through the space which had a nice stage set up and bunch of chairs. This time after the orientation I had about 3 hours to wait. I walked around the block a bunch of times warming up and running my monologue. I then spent some time in the building playing the ukulele and hanging out with my friend who came for moral support. When I went in to the auditions I felt good. Nervous...and maybe they got the best of me...but I felt like I did what I needed to do and the best I could have in that moment. Most of the people in the finals were older then me and really good, but I hope I at least held my own. </span></span></span></span></span><br />
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<span style="font-size: small;"><span style="font-size: large;"><span style="font-size: small;"><span style="font-size: large;"><span style="font-size: small;">I talked with a couple schools afterward, passed out headshots/resumes and came home. It was a long two days....and it was hard to believe it was only two days. I have my eyes set on a couple schools...and hopefully they have theirs on me, so now it is just the lovely waiting game.</span></span></span></span></span><br />
<span style="font-size: small;"><span style="font-size: large;"><span style="font-size: small;"><span style="font-size: large;"><span style="font-size: small;"> </span></span></span></span></span><br />
<span style="font-size: small;"><span style="font-size: large;"><span style="font-size: small;"><span style="font-size: large;"><span style="font-size: small;"> </span></span>UR/TA auditions were an amazing experience. Even if the only thing I got out of it was the opportunity to perform several times...THAT in itself made it worth it. Being surrounded by people who are passionate made it worth it. Seeing the different paths that are available to me made it worth it. </span></span></span><br />
<span style="font-size: small;"><span style="font-size: large;"><span style="font-size: small;"><br /></span></span></span><br />
<span style="font-size: small;"><span style="font-size: large;"><span style="font-size: small;">I want to thank everyone for their prayers and support. If anybody has any questions or wants advice on the process and weekend, please shoot me an email. I would love to help you out! </span></span></span><br />
<span style="font-size: small;"><span style="font-size: large;"><span style="font-size: small;"><br /></span></span></span><br />
<span style="font-size: small;"><span style="font-size: large;"><span style="font-size: small;">OH! and UR/TA isn't just for actors, but for designers and stage management as well! </span></span></span><br />
<span style="font-size: small;"><span style="font-size: large;"><span style="font-size: small;"><br />.....and in the spirit of putting myself out there and trying to get my name and face out in the world.....here is my headshot and resume! Please pass it along to anybody who would like to cast/enroll me! ;@)</span></span></span><br />
<span style="font-size: small;"><span style="font-size: large;"><span style="font-size: small;"><br /></span></span></span><br />
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<span style="font-size: small;"><span style="font-size: large;"><span style="font-size: small;"><br /></span></span></span>Natalie Reiko http://www.blogger.com/profile/06371054186651482749noreply@blogger.com0tag:blogger.com,1999:blog-3861111950693885469.post-58621457146291975302012-01-23T15:27:00.000-08:002012-01-23T15:27:42.299-08:00Out of Martha's House<div class="separator" style="clear: both; text-align: center;">
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<br />
It is hard to sum up this book with anything other than "inspirational". Although written about Martha Graham, the founder of Modern Dance, it provides many golden nuggets about art, performance and life. The book strips away the ego and selfish reasons to do art and reveals the essence, the beauty and simplicity of art and life.<br />
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Here are just a few of the treasures within this book:<br />
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<span style="color: magenta;">*</span><span style="color: #f1c232;"><span style="color: magenta;"> Some people when looking at the stage see lights and curtain and a floor used for presenting 'shows'. When I look at a stage, I see the world.</span> </span><br />
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*I know they are. They have had lives of their own and like anything we love we must ask of them, demand of them, and be willing to listen quietly to hear what their reply is and then be willing to give what they ask and demand of us.<br />
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*To be attentive enough to hear ourselves speak, sensitive to feel ourselves move to recognize one's self like the old proverb about a stranger at the door, knocking and being told to go away again and again until the man in the house of of desperation or exhaustion or both throws the door open only to recognize himself standing on the other side asking to come in; to battle each day.<br />
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*To stand in one place on the stage and to bring the test of the stage to me or just to walk as though one foot's fall would tell all that needed to be told.<br />
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<div style="color: #8e7cc3;">
*I AM, I LIVE, I AM A BUILDER-DESTROYER. I FIND CONSISTENCY IN CHANGE. I AM ALONE BECAUSE I AM TOO CLOSE TO HUMANITY. I WILL SING WHEN I MOURN SO YOU MAY FEEL HOW I LOVE AND DANCE WHEN I PLOT REVENGE SO YOU WILL SEE HOW TERRIBLE MY LOVE IS. SONGS OF JOY DANCES OF PASSION, THIS IS WHAT YOU MUST KNOW. MOVEMENT OF THE AGES DRAGGED KICKING AND SCREAMING INTO THIS CENTURY TO BE HARNESSED TO HER CHARIOT TO DO BATTLE WITH THE UNKNOWN.</div>
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* This work demands you to do more than listen. You must feel. It demands you to do more than see, you must taste. To know what the wind can do what the animal can do and what man is capable of doing is consuming but essential to the work. It's about artists in their own right shouldering the responsibility to discover who a character is rather than waiting ot be told. Being a part of the process of discovery.<br />
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* I love to perform a work where there is no exit until the end. But...the performer has to create this feeling for himself like taking hold of a rope at the bottom of the cliff and pulling himself up and over the top. Never letting go for a second an appointment with destiny.<br />
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<br />
*...And still they do not understand what a performance means to those of us whose performances were limited before we even started like the number of rainbows we will see in a lifetime. When i lose a performance it is gone like someone I should have met but didn't a conversation denied something I might have learned or understood but now never will. <br />
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*The animal's scream within me is never heard though it shakes my whole body dear body frail and vulnerable demanding to be strong but crying unable to respond. How long can i continue this masquerade.<br />
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*We can dream only so many dreams then we must bring some of them to reality or we stop dreaming or the dreams themselves become false and impotent, no longer as pleasant or passionate vision.<br />
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*I am an artist in a world of distraction and disillusionment To dream is to live to remain true to my beliefs, and to continue with faith and inspiration.<br />
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<div style="color: #0b5394;">
*But the works are not ours and never will be, except for the finite time allotted us during performance, and of course, then they are ours like our skin is ours. </div>
<div style="color: #0b5394;">
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<div style="color: #0b5394;">
*<span style="color: #351c75;"> Great works take on lives of their own and have voices that need to be listened to and it's hard for us to listen when we are already demanding that they give something to us before we give our full attention to them. I did not originate many of the roles i perform...They were not comfortable to my body but i wrapped myself around them and by holding on absorbed them to penetrated them and taking the challenge worked to fill and give breath to their shapes.</span></div>
<div style="color: #0b5394;">
<br /></div>
<div style="color: #0b5394;">
* I dance for them to understand or see with their intellect I ask that they see my blood, my flesh and when they see that, I will open it so they can see my heart don't ask em to explain the doing.<br />
<br />
<span style="color: #a64d79;">*Each work is like a mountain unto itself with its own gods and devils. Here, love and hate are not separated by a fine line but are laid one on top of the other like lovers. Sometimes love is on top, much of the time hate is on top, but all of the time they are both there and the product of their union is ocean, wind, desert, plain and mountain of humanity, with with all its terrors and its devastating beauty. </span><br />
<div style="color: purple;">
<br /></div>
<div style="color: purple;">
*My strength is in silence</div>
<div style="color: purple;">
My life is in the storm</div>
<div style="color: purple;">
I threw away the compass years ago</div>
<div style="color: purple;">
The four corners lost their meaning</div>
<div style="color: purple;">
Forward is my only direction</div>
<div style="color: purple;">
To simply continue whether inspired or not is the challenge.</div>
<div style="color: purple;">
Many times the goal is not the finish line but merely to </div>
<div style="color: purple;">
put one foot in front of the other. </div>
<div style="color: purple;">
When we go until there is no more strength and we continue </div>
<div style="color: purple;">
just to continue one foot one hand</div>
<div style="color: purple;">
one after the other until there is no more artifice</div>
<div style="color: purple;">
then is when the end becomes the beginning.</div>
<div style="color: #674ea7;">
<br /></div>
<div style="color: #674ea7;">
*Love is not decorative</div>
<div style="color: #674ea7;">
it is like nature's elements</div>
<div style="color: #674ea7;">
nourishing and brutal</div>
<div style="color: #674ea7;">
love is essential</div>
<span style="color: #a64d79;"><br /></span><br />
<span style="color: #a64d79;"><br /></span><br />
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<br />Natalie Reiko http://www.blogger.com/profile/06371054186651482749noreply@blogger.com0tag:blogger.com,1999:blog-3861111950693885469.post-38384192436288639052012-01-23T13:29:00.000-08:002012-11-11T03:11:11.882-08:00Angels in America Part Two: Perestroika<div class="separator" style="clear: both; text-align: center;">
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<br />
11-11-11 solidified its place in history as The Best Day of My Life. It was the day we opened Angels in America Part Two: Perestroika. As dramatic and exaggerated as this may sound...it is true. It was the day all of our hard work, an amazing story and a great work of art was to be shared with the public. Now, I can't think of anything more perfect then that.<br />
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The rehearsal process and run of the show was nothing short of amazing. Day after day I would take time to just look around the room and marvel at the vast amount of talent and love that filled the space. Rehearsals were the highlight of my day. Everyday began with hugs, the occasional Tony award and the immersion into group who day in and day out rooted for the successes in each other. This is a rare commodity. Not only did we get along in rehearsals, we all became close friends outside as well. In just a few short months we went from strangers to simple cast mates to best friends. Half of the cast worked on Part One together and already had an established relationship, however, rather than feeling like an outsider to the group, the newbies (I feel like I can speak for all the newbies when I say this) were immediately welcomed...no questions asked. I found a family in this group...and I hope they found family in me in return. This was not limited to just cast members, but crew as well. We were like a well oiled machine who was working on churning out an excellent product. <br />
<br />
The biggest thing I can attribute to this immediate bonding and togetherness was that we all stood behind the story we were telling 110%. We knew we were a part of something bigger then ourselves. We had a job to do everyday: to tell this story in the best, most honest way...and because of this, the day to day B.S. and other things that were fighting to keep us down physically, mentally, or emotionally just melted away.<br />
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<div style="text-align: center;">
Here are some photos! </div>
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Not only were we proud of each other, we received great reviews as well!<br />
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<h4 style="margin: auto 0in;">
<b><span style="background: none repeat scroll 0% 0% white; font-family: Arial;">Angels in America - Perestroika</span></b></h4>
<b><span style="background: none repeat scroll 0% 0% white; color: black; font-family: Arial; font-size: 9pt;">Corn Stock Theatre<br />
November 11-13 & 18-19<br />
</span></b><b><span style="background: none repeat scroll 0% 0% white; color: black; font-family: Arial; font-size: 9pt;"><b><span style="font-family: Arial;">By Douglas Okey</span></b></span></b><br />
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</span><br />
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<span style="color: black;"><br /></span>
<span style="color: black;">“God is dead,” Nietzsche wrote in The Gay Science in 1882.
One hundred years later, Prior Walter discovers that God, in fact, has
merely wandered off. </span></div>
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<span style="color: black;">This celestial factoid is revealed to
Prior in the second half of Tony Kushner’s iconic Angels in America.
The latter half of the seven-hour “Gay Fantasia on National Themes,”
titled Perestroika, is currently on stage at the Corn Stock Winter
Playhouse. Those who saw the first half, Millennium Approaches, last
season will find a satisfying conclusion to the saga. Others who may be
new to the story will have to work a little harder to catch up, but
there’s much in director Dani Keil’s production to reward the effort. </span></div>
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<span style="color: black;">Perestroika picks up pretty much
precisely where Millennium Approaches left off. It is 1986 in New
York. Prior Walter lies sick in his bed with AIDS. His former partner,
Louis Ironson, continues to develop a new relationship with Mormon
Republican Joe Pitt, who has left his emotionally unstable wife,
Harper. Joe’s boss, McCarthyite demon Roy Cohn (inspired by the
real-life closeted homosexual), slowly dies of AIDS in his hospital bed,
attended by nurse and ex-drag queen Belize, while Joe’s Mormon mother,
Hannah, fresh off the plane from Salt Lake City, works to bring her son
and Harper back together. </span></div>
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Oh, and there’s the Angel that smashed
through the ceiling of Prior’s apartment in the closing image of the
first part of the play. And the ghost of Ethel Rosenberg haunting Roy
as he dies. And figures from a diorama at the Mormon Museum who stroll
out of the display to talk to Harper. And the fascinating, bird-like
Principalities of the Earth whom Prior, apparently a Prophet of the Old
Testament stripe, encounters when he visits Heaven with the Angel. No
attempt to explain these bizarre elements will fit them neatly into any
preconceived idea of drama. It helps if you don’t ask a lot of
questions, or at least ask them later, when you have time to reflect. </div>
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Corn Stock’s production emphasizes the
restructuring implied in the title: of society, of politics, of lives,
of relationships—of, seemingly, the universe as God created it. The
play finds its fundamental chemistry in the volatile and riveting
reactions in the unlikeliest pairings: Verbal jousting between Roy and
Belize, played here with fierce intensity by Clark Rians and Eric Gore;
socio-political and emotional fencing between Louis and Joe, performed
by Andrew Rhodenbaugh and Aaron Hoover; and the surprising and moving
spark of affection between Hannah and Prior, in portrayals by Rebecca
Frankel Clifton and Jacob Uhlman. Sarah Tilford has a surprising amount
of fun with Harper, while Natalie Patrnchak turns in a dynamic and
athletic performance as the Angel. </div>
<div class="MsoNormal">
Overall, the performances are
electrifying. Clifton, Uhlman, Gore, and Rians shine in their reprisal
of roles from last season, while the newer performers slip seamlessly
into their parts and inhabit them fully. The play can confound at times
with its multiple levels of reality and the fugue of parallel scenes,
but the cast never misses a step. It is in part a tribute to the design
work of Liz Tanner and the direction of Keil that the evening proceeds
so smoothly. If the piece drags at times, it can be attributed to
Kushner’s style, which has been described as “overwrought.” </div>
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Theatregoers up to the challenge can
see Angels in America: Perestroika at the Corn Stock Winter Playhouse
November 13, 18, and 19. Tickets are $10 for adults and $7 for students
and are available by calling 676-2196 or online at <a href="http://www.cornstocktheatre.com/" target="_blank">www.cornstocktheatre.com</a><br />
<i><span style="font-family: Arial; font-size: 12px;"><br />
Posted November 16, 2011</span></i></div>
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<i><span style="font-family: Arial; font-size: 12px;"><span style="font-size: small;">We were also mentioned in the PJ Star's Remembering 2011 in Entertainment. </span></span></i><br />
<a href="http://www.pjstar.com/entertainment/x987652497/Remembering-2011-in-entertainment?zc_p=2"><i><span style="font-family: Arial; font-size: 12px;"><span style="font-size: small;">REMEMBERING 2011 IN ENTERTAINMENT</span></span></i></a><br />
<br />
<br />
<br />
<i><span style="font-family: Arial; font-size: 12px;"><span style="font-size: small;">GRANDPA even came to see the show!</span></span></i><br />
<br />
<a href="http://www.youtube.com/watch?v=F6UBWIZfNgc&context=C3d6636fADOEgsToPDskIfungrn6IZEY65yYm_BGf5%20" target="_blank"><i><span style="font-family: Arial; font-size: 12px;"><span style="font-size: small;">GRANDPA VISITS THE ANGELS CAST</span></span></i></a><br />
<br />
<span style="font-family: Arial; font-size: 12px;"><span style="font-size: small;">It has been a real honor getting to know and work with a group of </span></span><span style="font-family: Arial; font-size: 12px;"><span style="font-size: small;">talented, loving people. I thank my lucky stars everyday they found me. My life has been so enhanced and changed for the better. They make me strive to become a better person and artist everyday...and for that, I am eternally grateful. </span></span><i><span style="font-family: Arial; font-size: 12px;"> </span></i></div>
</span><br />
<br />Natalie Reiko http://www.blogger.com/profile/06371054186651482749noreply@blogger.com0tag:blogger.com,1999:blog-3861111950693885469.post-3212736031390004432011-10-09T16:55:00.000-07:002011-10-09T21:41:14.807-07:00RAGTIME<div class="separator" style="clear: both; text-align: center;">
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<div style="text-align: center;">
<a href="http://www.youtube.com/watch?v=AZbPdFv7qVs">CHECK OUT THE ORIGINAL CAST!</a></div>
<br />
<b>AND THERE WAS DISTANT MUSIC SKIPPING A BEAT, SINGING A DREAM...</b><br />
<br />
Sunday October 2nd, 2011 Bradley University closed it's production of Ragtime. This was more than just a show that a group of us worked on, but an experience we all shared. This was evident in the tearful, sniffly last notes we sang in the epilogue. Our director and choreographer paid special attention to the inner workings of the Ensemble. The challenge laid out before us the first day of rehearsal was to be 'the most gracious and generous cast'. In many ways I believe we rose to his challenge. Naturally, we had minor problems throughout the process, but in the end, we achieved our goal. <br />
<br />
The story of Ragtime is a hard one to not care about. It has a lot of strong characters and story lines that you are bound to find one to relate to. The themes explored are ones that are still applicable to today...perhaps even more. The ideas of looking past the outward appearance and our own preconceived notions of each other and recognizing that we are all the same, rather than an 'other', empowering one another to achieve our dreams and forgiveness are just a few themes that are explored throughout the show. While there are many sad and heartbreaking moments, the show has a hopeful tone, that one day we will be able to overcome the things that keep us apart.<br />
<br />
What touched my heart the most about working on this project was just how much we cared about each other. Many of us did jobs that was outside of what we normally do as actors and backstage crew, and went above and beyond to make sure the show ran smoothly. The more we ran through the show, the more we learned each others pathways and were then able to page a curtain, help with a quick change, grab a prop, or take someone's line if they didn't make an entrance. Not only actors, but design team went the extra mile. I know they met outside of normal rehearsal hours to make sure everything looked and sounded perfect. And more than just picking up where someone needed help, it was done with humility. HOW FREAKING AMAZING IS THAT! Above all, everything that we needed to do to protect and serve the story and our audience, was done. This is the type of theatre that I love and want to work on FOREVER.<br />
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The best part of this process was the new friendships that blossomed and the strengthening of old friendships...the artistic empowerment to create and the obsession we all had with this show.<br />
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<span style="font-size: large;"><b>Just like that tune,</b></span></div>
<div style="text-align: center;">
<span style="font-size: large;"><b>
Simple and clear,<br />
I've come to hear<br />
New music-<br />
Breaking my heart,<br />
Op'ning a door,<br />
Changing the world!<br />
New music!<br />
I'll <br />
Hear it forevermore! </b></span></div>
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<b>It was the music<br />
Of something beginning,<br />
An era exploding,<br />
A century spinning<br />
In riches and rags,<br />
And in rhythm and rhyme.<br />
The people called it Ragtime...<br />
Ragtime!</b><br />
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<tr><td class="tr-caption" style="text-align: center;">Tommy Rapley, the choreographer and I</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Reunion with two members of our Once On this Island cast! Note: OOTI and Ragtime were written by the same people!</td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
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Natalie Reiko http://www.blogger.com/profile/06371054186651482749noreply@blogger.com0tag:blogger.com,1999:blog-3861111950693885469.post-59933635039791660702011-09-04T21:49:00.000-07:002011-09-04T21:49:28.432-07:00Right Up!Read my blog to read a write up about my blog that I write up!<br />
<br />
<a href="http://slane.bradley.edu/slane-college/patrnchak-gets-physical-dell%E2%80%99-arte">a write up about my blog that I write up</a>Natalie Reiko http://www.blogger.com/profile/06371054186651482749noreply@blogger.com0tag:blogger.com,1999:blog-3861111950693885469.post-7197402104056065192011-09-02T00:17:00.000-07:002011-09-02T00:26:07.239-07:00SMILE"Smile" was composed by Charlie Chaplin for his 1936 film <i>Modern Times.</i> John Turner and Geoffrey Parsons added the lyrics and title in 1954. Nat King Cole was the first to sing the song in 1954.<br />
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<br />
Smile though your heart is aching <br />
Smile even though it's breaking <br />
When there are clouds in the sky, you'll get by <br />
If you smile through your fear and sorrow <br />
Smile and maybe tomorrow <br />
You'll see the sun come shining through for you <br />
<br />
Light up your face with gladness <br />
Hide every trace of sadness <br />
Although a tear may be ever so near <br />
That's the time you must keep on trying <br />
Smile, what's the use of crying? <br />
You'll find that life is still worthwhile <br />
If you just smile <br />
<br />
That's the time you must keep on trying <br />
Smile, what's the use of crying? <br />
You'll find that life is still worthwhile <br />
If you just smile<br />
<br />
"Hope... I'm sorry but I don't want to be an Emperor - that's not my
business - I don't want to rule or conquer anyone. I should like to help
everyone if possible, Jew, gentile, black man, white. We all want to
help one another, human beings are like that.
<br />
<br />We all want to live by each other's happiness, not by each other's
misery. We don't want to hate and despise one another. In this world
there is room for everyone and the earth is rich and can provide for
everyone.
<br />
<br />The way of life can be free and beautiful.
<br />
<br />But we have lost the way.
<br />
<br />Greed has poisoned men's souls - has barricaded the world with hate; has goose-stepped us into misery and bloodshed.
<br />
<br />We have developed speed but we have shut ourselves in: machinery
that gives abundance has left us in want. Our knowledge has made us
cynical, our cleverness hard and unkind. We think too much and feel too
little: More than machinery we need humanity; More than cleverness we
need kindness and gentleness. Without these qualities, life will be
violent and all will be lost.
<br />
<br />The aeroplane and the radio have brought us closer together. The
very nature of these inventions cries out for the goodness in men, cries
out for universal brotherhood for the unity of us all. Even now my
voice is reaching millions throughout the world, millions of despairing
men, women and little children, victims of a system that makes men
torture and imprison innocent people. To those who can hear me I say "Do
not despair".
<br />
<br />The misery that is now upon us is but the passing of greed, the
bitterness of men who fear the way of human progress: the hate of men
will pass and dictators die and the power they took from the people,
will return to the people and so long as men die [now] liberty will
never perish...
<br />
<br />Soldiers - don't give yourselves to brutes, men who despise you and
enslave you - who regiment your lives, tell you what to do, what to
think and what to feel, who drill you, diet you, treat you as cattle, as
cannon fodder.
<br />
<br />Don't give yourselves to these unnatural men, machine men, with
machine minds and machine hearts. You are not machines. You are not
cattle. You are men. You have the love of humanity in your hearts. You
don't hate - only the unloved hate. Only the unloved and the unnatural.
Soldiers - don't fight for slavery, fight for liberty.
<br />
<br />In the seventeenth chapter of Saint Luke it is written " the kingdom
of God is within man " - not one man, nor a group of men - but in all
men - in you, the people.
<br />
<br />You the people have the power, the power to create machines, the
power to create happiness. You the people have the power to make life
free and beautiful, to make this life a wonderful adventure. Then in the
name of democracy let's use that power - let us all unite. Let us fight
for a new world, a decent world that will give men a chance to work,
that will give you the future and old age and security. By the promise
of these things, brutes have risen to power, but they lie. They do not
fulfil their promise, they never will. Dictators free themselves but
they enslave the people. Now let us fight to fulfil that promise. Let us
fight to free the world, to do away with national barriers, do away
with greed, with hate and intolerance. Let us fight for a world of
reason, a world where science and progress will lead to all men's
happiness.
<br />
<br />Soldiers - in the name of democracy, let us all unite!
<br />
<br />Look up! Look up! The clouds are lifting - the sun is breaking
through. We are coming out of the darkness into the light. We are coming
into a new world. A kind new world where men will rise above their hate
and brutality.
<br />
<br />The soul of man has been given wings - and at last he is beginning
to fly. He is flying into the rainbow - into the light of hope - into
the future, that glorious future that belongs to you, to me and to all
of us. Look up. Look up."
<br /> —
<a href="http://www.goodreads.com/author/show/48136.Charlie_Chaplin">Charlie Chaplin</a>Natalie Reiko http://www.blogger.com/profile/06371054186651482749noreply@blogger.com0tag:blogger.com,1999:blog-3861111950693885469.post-90154136193247923412011-09-01T21:48:00.000-07:002011-09-01T21:49:01.062-07:00THE PARADOX OF 'PHYSICAL THEATRE'Many people ask: what exactly IS physical theatre? Most people assume it is just doing strange/trippy 'out there' pieces of art. While that can be one avenue, the bigger picture of what physical theatre IS and the importance of it is both easy and difficult to understand. It is like trying to remember a dream you just had, but as the seconds tick by, the dream fades away...you can still feel the dream, see images, and you know SOMETHING happened. This is somehow, in my twisted way of thinking, similar to trying to explain what physical theatre is.<br />
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YAY INTERNET! As I was geeking out and researching information on physical theatre, I stumbled across Giovanni Fusetti's article on The Paradox of 'Physical Theatre'.<br />
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<div style="text-align: center;">
<span style="font-size: large;">The Paradox of “Physical Theatre”</span></div>
<div style="text-align: center;">
by Giovanni Fusetti</div>
The idea that theatre can be non-physical it’s a nonsense. The only non-physical theatre possible is radio drama. And even that, is somehow not true, because some radio performances have some dynamic qualities that could be defined as physical.<br />In the moment in which an actor enters the stage, his body is there. Even if he does not move one finger and he simply tells his text, his body is there and the audience is watching it. This definition of Physical Theatre carries in itself the germ of a war, based on the old separation of body and mind.<br />Let’s see what happened. The work of Jacques Lecoq was the culmination of the experience of long sequence of brilliant theatre minds who explored different ways to reconnect theatre with the body. Lecoq’s contribution to the story was his pedagogic talent, that brought him to devise a full training program and to set it into the frame of a school, where a pedagogy could live and develop. In doing so he created a field of pedagogical excellence where many have been able to experience a life changing journey. Since its beginnings, Lecoq School has been an international setting, attracting students from all over the world, with a prevalence of European and English speaking countries. Between the 60’s and the 80’s a growing number of theatre artists who trained at there, went back to their country and started making theatre applying the principles they learnt at the Ecole. The type of work they produced was so peculiar, innovative and creative that the theatre scene found itself in the necessity of finding a definition to this particular way of theatre making. It’s interesting to notice that this need to define it as physical happened in British theatre, where the influence of Lecoq’s work has been the strongest. In no other country his approach has had more influence. The word Physical Theatre came to life, to define a movement based theatre were the physical skills of the performer and his creative use of space are dominant over the other elements of more conventional theatre like the text, the set and the directing. The preference of Lecoq trainees to create and devise their own work, rather than using existing texts, led very soon to a kind of opposition between Physical Theatre as being actor-creator based and the other existing theatre being based on texts by authors.<br /><br />So if one is physical what is the other one? The names reveals the nature of this contraposition. In English speaking countries we find, Traditional, Text Based, Conventional, Classic, but the most curious of all is the well diffused Straight Theatre. In this duality Physical versus Straight we find the explanation of this useless and damaging conflict. If we analyze the words we see that straight refers to a linear thinking based on structures and ideas, well expressed by texts. While physical involves a more fluid and dynamic movement, based on the body, in which movements are not straight but they mostly follow curves and spirals.<br />The problem of this opposition is that it hides the real issue. What is specific about Lecoq’s approach is not the body, but the body in space. His most defining principle is that the essence of theatre is the body in space. So movement in itself is not the focus. The focus is the movement in space. Movement in space means relation, play: le jeu. That’s why masks are absolutely fundamental in this work. Masks are movement structures that project the body in space and create play. If we take away the space we still have physical work, but we don’t have play any more. Meyerhold’s Biomecanic, being very physical and based on movement, doesn’t involve the space. Grotowsky work, with a very intense use of the body, doesn’t project it into space: it expands the inner space until it includes the audience, but there is no play, jeu. Therefore, speaking about “physical theatre” doesn’t make sense because it hides the real innovation of Lecoq work which was to reconnect the actor’s body with theatre space. This has amazing consequences in the very essence of the theatre action. One of the famous sentences that Lecoq used to say to his students was: “Most of all, you need not to have ideas”. In the language used at the school, “psychologique” meant something that was just in the thinking of the actor and did not have any relation with space and therefore did not have any projection into space, or “envoi dramatique”. I think this concept could be better expressed with the word ideological, rather than psychological. The application of this is that if an action doesn’t involve space it doesn’t exist on stage. It’s not theatrical. In a theatre world often very committed to intellectual contents, ideas and intentions, this approach can be almost unbearable. The necessity of silence is very hard to accept if one believes that his most important contribution to art is his own ideas. In pedagogic practice, the first experience that touches this core issue is the Neutral Mask, an amazing tool to open the actor’s sensitivity to space. In the rigorous practice of this Mask, the students learn to be silent and to listen to the space as the first form of practice. Another big issues that is connected with this split is the idea that movement simply involves gestures of the body. Nothing can be more false. Stillness is movement as well as acrobatic.<br />In doing this, we create the necessity of defining another form of theatre that can express the world of the brain, with all the words and the texts. Here we are, in the core of the split: physical versus straight. Now, words are movement, text is movement, ideas are movement, everything moves. There is no difference between inside and outside. Only a continuum of variations. A change in mood changes the space, as much as a physical gesture, sometimes more. The difficulty of going beyond this split is that in doing so we need to face a core split of our entire civilization, from ancient Greece onward, with her split consciousness between matter and spirit, body and logo.<br />This is a tremendous epistemological act and we could spend billions of pages to recover the traces of this in the history of many discipline, from physics to theology, from psychology to anthropology, from ancient esoterism to quantum mechanic. This would go far beyond our humble task of theatre makers, but, we need to know what the struggle is about. It’s about the priority of experience towards theory. On stage what I generate with my actions in space and what the audience perceive, comes first, well before my idea about my act, the director’s intent and the audiences intellectual knowledge.<br />
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<br />Natalie Reiko http://www.blogger.com/profile/06371054186651482749noreply@blogger.com0tag:blogger.com,1999:blog-3861111950693885469.post-47965293139950404102011-08-30T23:37:00.001-07:002011-08-30T23:37:49.174-07:00THE HEART OF CLOWNINGHey guys! While doing research on clowning, I stumbled across this great article. Here is a little background on the author and the website I found it on: <a href="http://www.giovannifusetti.com/en/bio.php?nav=6&lang=en">a little background on the author and the website I found it on</a>.<br />
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It really does touch on the HEART of the clown and why they are so necessary in our world. <br />
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The article is quite lengthy, but full of gold! <br />
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<b><span style="font-size: large;">THE HEART OF CLOWNING: on the use of a clown in the world. An interview with Giovanni Fusetti</span></b><br />
This is a transcribed and edited version of an interview with Giovanni Fusetti, by Matty Miller, in the summer 2006. This interview is part of the paper: The Heart Of Clowning, by Matty Miller, for the course Spiritual Models of Social Action; Naropa University, Boulder Colorado, Fall 2006. Matty has trained with Giovanni in the Boulder Red Nose workshop in 2006. To contact Matty, or to obtain a copy of the complete paper, please write to mattybird@gmail.com.<br />
<span style="font-size: large;"><b><br />
What’s the use of a clown in the world, anyway?</b></span><br />
The clown is an archetypal figure, which has always existed: it makes people laugh because of its accidents and failures and faults. The use of the clown is to remind people about imperfection and disorder, and chaos, and fall, and, eventually, death, in a way which is based on humor.<br />
As members of humanity, we all have one big common problem: we are going to die, one day, eventually. We also have another big skill that can turn out as a huge problem: we are self aware, which means that we can practice abstract thinking and know how things could be. So we have the concept of perfection, and success, and order. And we also know that most of those things will never happen, so we are constrained by life’s limitations. Therefore perfection is more of a myth, a reference point. We can either take this very badly and get really pissed off, and fight against gods, and in theatre we call Tragedy; or as the clown does, just fall and laugh about it.<br />
The wisdom of the clown is being able to fall and assume it. It is a profound answer to the main problem of death in all its forms. This is why the clown exists. It is about somebody who takes on himself the limitations, the tragedies, the contradictions, the conflicts, the stupidity, the innocence, the vulnerability, the pain, and the wounds. And consciously plays with them. So the use of clown is to process with humor the tragedy of life.<br />
I like your question: it’s good to say “in the world” because clowning is everywhere. In every human society there are individuals who exist with the purpose of making the community laugh. They laugh at the clown and think, ‘How can this clown be so simple or so stupid or so outrageous or so naïve or so loud or so clumsy or so pretentious?’ The clown is the one who makes people laugh about him. It’s a really profound teacher and it’s a very ancient archetype.<br />
<br />
<span style="font-size: large;"><b>How far can you stretch the form of clown that you teach? To how many cultures can it be brought and understood?</b></span><br />
In every society there is an order. There are rules that the community accepts because they are necessary to maintain the social structure: language, rituals, roles, taboos, etc. Every community has a very precise and specific culture. In every culture, given that there is a set of social rules, there is the possibility of breaking them, and therefore provoking outrage...or laughter.<br />
So, as long as we have separate and unique cultures, there are many different forms of humor. Laughter is universal, but the reasons for laughter are not the same. The idea of laughing because of chaos and disorder, that is universal, but what makes people laugh is different. The clown is the comic form that takes on himself some sort of disorder and imperfection and makes people laugh. This is universal, but then there are many “clown forms”, which can even have different names: fool, trickster, monkey, coyote...<br />
In our western culture when people say clowns, usually in their imagination there is a circus- based clown with baggy pants and big shoes and red nose and poofy hair and makeup with a big mouth and eyes. If you observe the costume it is about something that doesn’t fit. It’s too big and it falls apart and there’s some sort of baggy poverty in it.<br />
So, for instance, that form comes from a time when the bourgeoisie was happening. There was a minority of very rich and powerful and elegant people ruling over a multitude of poor farmers or workers. The stupid one couldn’t get there and was badly dressed. So there was a huge set of tramps and hobos and poor and the uncultivated. So there was a comedy based on wealth. Then when the society grew into culture those who couldn’t study were laughable. That is a specific comedy based on a specific historic time and culture.<br />
Then, the red nose came as an archetype of the circus clown. This particular type of clown is accessible in Western cultures. Now, because of globalization, Western culture is going everywhere. Things like television and cinema are expanding some good ideas, and also challenging and often erasing local cultures. So we need to be careful with the way we export our culture, including the clown. There are many different experiences of red nose clowns going all over the world, intervening in area of crisis. This can be a very powerful use of clown, bring relief in situation of pain and distress, support the healing of the local community through the power of laughter, and even promote a cultural and artistic rebirth of the communities. But to be effective it needs to be very tuned with the local culture. The danger is to be intrusive with forms of entertainment that are not really accessible, or with cultural codes that are foreign to the community. So I do see this clown form as very delicate form, requiring a peculiar cross-cultural sensitivity. If it is not integrated into the local community it can become another form of, sort of, cultural colonialism. For instance, the very use of red nose and make up, is not necessarily accessible, so it is very important to actually study and work on the laughter of the community and know what would make the community laugh. And you need to know a lot about the community before you know and understand what is comic. Find the clown of the region. Or look for what is common in all regions, what reunites us all as human fellows. When this happens you can see experiences of western actors performing together with local actors, using a very physical and visual comedy that is truly universal.<br />
Every community has its own clown. Clown is a social role. Somebody has to have it. It’s something like the village idiot of the past, or the poor, or the clever one, or the monk. You can see this in a group for instance. In a group there has to be somebody that is the most stupid of all. And if there is not, some sort of opportunist, or victim, will be pushed in that role because the community needs that in order to transform some sort of anguish about imperfection. If this happens unconsciously it can be really painful and can get into marginalizing people really badly. People fall into homelessness for many reasons. They fall into this role that society needs which is: you are homeless so you remind me that I have a house. It can be really tragic if there is no awareness about that.<br />
<br />
<span style="font-size: large;"><b>What becomes the clown archetype to a population of homeless people? Do they see humor in the same forms?</b></span><br />
I worked for a couple of years with the homeless when I did my civil service in Italy, where I was involved in a number of theatrical projects with homeless people and they loved to laugh about themselves. Even in that community there was one who was considered more stupid than the others. I was amazed by their tough and precise and sharp humor. They could be really nasty sometimes. Humor is double edged. You can kill people laughing at them. But then the clown comes back and if somebody assumes that role all of a sudden it becomes very, very powerful. If he is not afraid of being laughed at there is nothing you can do about him. And this is why kings and presidents and people in power always have fear about clowns and buffoons and people who don’t give a shit about power, they just laugh at it. This is the worst attack to power.<br />
<br />
<span style="font-size: large;"><b>I</b><b> heard you saying that it is difficult to do the Red Nose workshop in marginalized communities? Can you tell me more about that?</b></span><br />
Very essentially, when you work with a clown you address people to work with something very personal and very individual, and often people touch areas of their lives that are perceived as wounds, or faults, or strange, or awkward, or difficult on an emotional level. So, the point of departure is to focus on individual identity. This requires a rather strong sense of self and the idea of being able to be very different from others and unique.<br />
At the intensity of the Red Nose workshop, this doesn’t really work for children and adolescents because they are in a phase of life where they are actually building themselves on an identity that works. They are sort of building up their sense of self and its too early to tell them that nobody will ever be perfect, and we’re all going to die one day, and we all have things that are a little unusual and unique and funny and sometimes tragic and painful and vulnerable, etc. So it’s too early in the process of their evolution. When you’re young you just want to be good and perfect and accepted and build your ego very well. And you want no limit and independence. Later on, as life provokes you, you can start listening to doubts and think: “maybe I’m not perfect” and you can start looking into your wounds to become an adult, accepting limits an interdependence. In other words, you need to develop your identity and individual power, which includes your ego, before letting it go to serve a higher purpose.<br />
In marginalized communities, usually there is a lot of pain about being cut off and not recognized, and often oppressed, sometimes even violently, by other communities. To work on an individual clown in a group that is already being marginalized and laughed at is a sort of advanced work. So if you want to work on the clown, you have to first be very supportive of the group identity, to actually work on something like the “group clown”. If I had to do something like that, I would start with working towards building confidence in the sense of identity, of the value and positive resources of the group, and the link between people and the connections and the community. There is community work to start with, and only then you can touch the idea of, for instance, “Why do people laugh at us? What is our problem? And what could be funny about our problem? How could we use humor to address our oppression and marginalized situation?<br />
Thinking about Black Americans or Native Americans or homeless people, there certainly are archetypes of comedy in their world, I’m sure there are, but there is so much pain before, that you can’t really start straight into it. It would be somehow unbearable.<br />
A metaphor could be: if you have an accident, first thing you want to recover. If you are still bleeding, you first need to stop bleeding, and have a consistent dose of care and hugs and support and then you can go back and say, “What is the individual responsibility?” And then you can start understanding, “Oh that was silly of me; maybe I played a role in that accident or that disaster.” And process it at a deep level.<br />
If we want to transform wounds, first we need to still be alive, and with a minimum amount of health and wellbeing in order to do the work.<br />
So the structure would be: first you want to feel the group power and the group care, group identity, and empower it, and then you can touch the group comedy; what could be funny about the group, seen from the outside, for instance, and only later on can you address the individual clowns in the group.<br />
<br />
<span style="font-size: large;"><b>How can the form of clowning that you teach become engaged in social action?</b></span><br />
There is a continuum of levels in my experience.<br />
The first level is people who want to train to be performance clowns. These are artists who are in love with this style, this genre, and their project is to make shows where the clown character tells stories. So they use that form of comedy to make people laugh in a way that is based on humanity and something about vulnerability and stupidity. Sometimes it is geared more towards children audiences with something like gags and really basic things that children adore. Or sometimes somebody goes towards more dramatic writing—the clown as a lone human being; a clown reflects on things perceived as difficult in life. And sometimes these shows can be very moving and touching and harsh.<br />
Then there are artists who work on the clown with the commitment to bring her into society in an informal way. There are two big movements. One is the hospital clown--clowns that have training in things like psychology, relationships, process work, basic medical care, and other hospital work. Their purpose is to bring laughter into everyday life in the hospital, so they work specifically on routines based on hospitals environments, like rooms and doors and objects, and play a slapstick kind of routine with objects that are usually scary. Their clown is a doctor, often called Doctor Clown. Their work is to bring laughter, to be in character and to “de-germitize” the whole cycle of hospital life. It started in this country, in New York with the Big Apple Circus, at least twenty-five years ago, and now it’s all over the world. Some hospitals have touring acts. Another one is called Clown Without Borders. It comes from the vision of clown as sort of a peace corps. Clowns on missions in the world, particularly in areas where there is pain and suffering.<br />
There’s another group that takes political action through clowns. It started in England with the Clandestine Insurgent Clown Army and they have spread Clown Brigades all over, including in the States. They are packs of clowns trained in nonviolence, and ready to go and face the police and officers, in all sorts of public event or protest. This is a big movement of clowns and activism coming out of theater.<br />
Then there is another level, which is people who work on clown towards self- healing or self- development or therapy. In Italy they call this Clown-Terapia or Riso-Terapia which is like laughter therapy. So you use a clown technique to approach difficult things about your life, and to find where you can laugh about it. This can be either very simple or huge, specifically as a way to actually access deep wounds and transform them. As long as you can play with something you start detaching from it. So, for instance, if you feel a wound, a trauma, or something painful, the first step towards healing is being able to have a little distance from it and to put it into a metaphorical space, to represent it. And in the representation you can laugh at it or provoke laughter about it. That’s a huge healing tool. Usually the first step when we touch a deep emotional wound is wave of tears. But then, staying with them,. in the sacred space of the stage, we cross the river and we reach laughter. This is one of the most precious moment of my work, when I accompany people from tears to laughter. It’s profound an irreversible transformation. I’ve been working a lot with this, and it is a specific way of using clown towards healing. It is very intense individual work, and its also developing. You can use clown in combination with other psychological therapies and psychotherapy techniques. For instance, I use it a lot with Gestalt therapy and bodywork based on Bioenergetics. Within the clown frame there’s a very big opportunity for emotional release and a very profound healing, actually.<br />
I think the most simple of all is just people wanting to laugh, and wanting to take themselves less seriously. Sometimes I do very short workshops and often when I ask “Why are you here?” many people say, “I want to take myself less seriously. I want to be able to laugh about myself.” I think everybody has that intuition that life is difficult, yes, but it doesn’t have to be dramatic. If there is a way to go through difficulties with humor, somehow things don’t change, but they also change completely. And this a clown where he still dies, but he dies laughing.<br />
There is a Native American joke about it, between wolves and coyotes. And they say when it steps on a trap the wolf, which is a hero, I would say, will bite his paw off and run away without a leg and die. The coyote will stay there and laugh himself to death. (howls) And in fact it’s not laughing, it’s howling, it’s pain, but the coyote has a particular sound that sometimes really sounds like laughing. He’s very naughty, he steals things, and because of that he became an archetype and became sort of the clown of many Native American areas. So the coyote laughs himself to death and he doesn’t make any effort to solve the problem, but stays there and laughs. Its stupid, but in fact he dies less horribly than the wolf.<br />
For me this is the essence because in the end we have to die—we will have problems; we will have difficulties. It’s normal, it’s about life; it’s conflict and misunderstandings, and some wounds are irreversible. Most people when they arrive at some sort of personal work realize that missed something in their childhood. We’ve all had fairly dysfunctional families--most people. And when they realize that you can say, “Oh shit, if I had a better father, a better mother.” That is the hero, the “Oh shit, my life is fucked because I didn’t get enough of that.” Then you can just be miserable for the rest of your life, and die sad and regretting. Or, and this is the clown way, you say “Okay, well that is what happened,” and assume it completely, eventually laugh about it, and all of a sudden you will be living much happier with the wounds that become scars and you can paint them. They never go away, but they turn into something else. There is a profound truth in this: on a psychological level wounds will not disappear, what could be will never be, scars remain. The hero will kill himself for this loss, the clown will dance with it. And this for me is a very big lesson from the clown—healing is not about taking the wound away, but transforming it. The clown dances with the wound. You can’t change your history, but you can transform it and make use of it. This is an alchemical process.<br />
<br />
<span style="font-size: large;"><b>It’s seems that in order to create social change, you have to heal, also.</b></span><br />
Yes, it’s a necessity of these times. But remember: healing is not about erasing wounds, but painting scars. And you have to heal those who ask for healing—this is a shamanic perspective. It’s tragically important. You can’t and you have not to give healing to those who don’t ask for it. There is a shamanic proverb that says, “If somebody knocks at your door and asks for help, tell him to go away. If he comes back the second time to ask for your help, tell him to go away. If he comes back the third time and asks for your help, tell him to wait.” This is a shaman’s proverb. It means you have to commit to your healing, and you have to take individual responsibility in asking for it and investing in it; investing energy, time, and at this time of history, energy is expressed also by financial exchange. That is necessary in order to do a real healing.<br />
If you want to heal people who don’t want to be healed because they need that story, you’re doing two things. One is that you’re basically lacking respect for their history and their self; and then<br />
you’re wasting time and energy, which are precious. So you’re doing a bad service both to yourself as a healer, and to the person. It doesn’t mean to be mean to everybody. But if you have particular healing skills or abilities you have to be very careful in when you use them, and how to respect the other person’s right to not be healed because that is part of a his personal process. If you think about your own personal process, the you know, as everybody does, that sometimes we need to go until a certain level of an experience in order to hit the switching point into something else. If we encourage people to avoid going where they need to go, we are actually preventing people from getting real healing.<br />
I come from a Catholic background where this idea of doing good things for the world was very powerful. The idea of a mission, also, was very powerful and it’s totally dysfunctional. So I grew up doing all sorts of social work that was completely inefficient and hurtful to everybody. Like volunteering to go and help people who were not at all asking for it, so we were simply manipulating these good people. The homeless, they have a strong reason why they are there. The only option is to completely recognize them where they are. If they ask for something, listen to that, and if you can give something, great, but also ask something. Creating an exchange, creating participation., that is the only way that they can maybe find the taste of being reconnected.. They need to be disconnected. They are homeless; it’s a very important word that means “without home.” It means that home was unbearable; home was something horrible for them so they prefer to be home less. Most people feel like home is nice, its good thing, but everybody can also feel, if they’re really honest, some times when home was unbearable, some times when your family was unbearable, some times when your partner was unbearable, where intimacy was absolutely the worst thing in the world, and then you can understand why people are homeless and have a compassionate look and respect them.<br />
<br />
<span style="font-size: large;"><b>What gives you hope?</b></span><br />
First I would say that to be hopeless is blasphemous and self-indulgent. It means to give more priority to your personal self than to the fact that there are millions of amazing things happening all the time. I’m really sad about many things that are happening—like the wars and global injustice, the crisis of the environment, global warming, the way children are educated... all this makes me furious. Do I feel hopeless... No. I don’t really feel hopeless. I feel very sad, which is different. Sometimes I feel desperate; I might feel very angry, furious, like “Ughh !!!!”. But in fact, and this is a clown approach, everything is perfect exactly as it is...it’s not even perfect, it is. Reality is.<br />
So if I get hopeless it is because I have an idea of how reality should be and I don’t give any respect to what’s happening. So on a spiritual level I am really going far away from having any sort of faith in the movement of the spirit, or whatever you want to call it; and on an individual level I am indulging in my own fear of transformation and my lack of courage. I’m putting myself before anything, which is also self-indulgent.<br />
We should make a party every morning because somebody like Gandhi existed. We should wake up and say, “Wow Gandhi was walking on this planet. What a great planet we live in. What a beautiful humanity” If one person did something extraordinary, he celebrated the whole humanity. So if that happened, that is possible. We could all be like Gandhi, or at least try. And then somebody did something like Hitler; that also happened. But that is your personal choice, and you have to take personal responsibility, and decide which part you are. When we think of how horrible life is because of Hitler, we are doing what Hitler did. Choices are powerful. Hopelessness is lack of faith. And lack of faith is highly destructive.<br />
But I think we need to go even further than hope: the clown manifests the beauty of humanity in the present moment. Life is beyond hope. It is. This is the clown way, the Tao of Clown: faith, and commitment, and faith and commitment and failing and falling and letting go, with pleasure...and this brings more faith...and commitment...over and over.<br />
Intimate necessity.Natalie Reiko http://www.blogger.com/profile/06371054186651482749noreply@blogger.com0tag:blogger.com,1999:blog-3861111950693885469.post-82293087253844733542011-08-27T20:49:00.000-07:002011-08-27T20:49:07.609-07:00The History of Clowns for Beginners by Joe Lee <style>
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJK1swsdfdcnjZqzlp8MA1jp6gA4tP-yJFJWc1sK3NVoZDfgP58F396cwqPWatuDyqN6TlvqFpyzMG4t_IHlWVqFxCqQJ1hhm92C2_fb4K1_vJxVGGeoNwsggaeDKgIWG7epUIW8DjnGo/s1600/Photo+on+2011-08-27+at+22.49.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="309" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJK1swsdfdcnjZqzlp8MA1jp6gA4tP-yJFJWc1sK3NVoZDfgP58F396cwqPWatuDyqN6TlvqFpyzMG4t_IHlWVqFxCqQJ1hhm92C2_fb4K1_vJxVGGeoNwsggaeDKgIWG7epUIW8DjnGo/s320/Photo+on+2011-08-27+at+22.49.jpg" width="320" /></a></div><div class="MsoNormal"><br />
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</div><div class="MsoNormal">First book down in the Dell'Arte series. This book is a graphic novel and reads like a movie...if that makes any sense. The book is quite literally a history book, but in comic book fashion. What is a better way to tell the story of clowns than through tongue-in-cheek pictures and quirky text? It begins by talking about Shamans and the function of theatre as a religious tool, tricksters, animal tricksters and then to the different clowns from around the world. And when I say around the world, I mean AROUND THE WHOLE WORLD. It touches on Native American clowns, Hope and Zuni clowns, Tibet, Chinese, Indian, American, European, Commedia, Greek, and Roman...just to name a few. It is really awesome that he touches on both Western and Non-Western influences. More often than not, we are only exposed to Western/European influences in our studies. It is SO NICE to get a more well rounded history....recognition that there is more out there than the white-male centered world. Perhaps it is a reflection of the universality of the clown more so than the direction the author wanted to take. </div><div class="MsoNormal"><br />
</div><div class="MsoNormal">.....AND NOW...some notable quotes and facts from The History of Clowns for Beginners:</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">*The clown must go against order and find solutions in chaos. </div><div class="MsoNormal">*The clown had no power other than his wit of sometimes lack thereof. </div><div class="MsoNormal">*BALANCE-Need a goof off set the uptight moral order. </div><div class="MsoNormal">* The trickster was definitely the fellow between the intermediary twixt ape and angel. He was a low unto himself a law he had great difficulty keeping. </div><div class="MsoNormal">*Everything can be undone, the trickster would have it no other way. </div><div class="MsoNormal">*Fool wanted to live a harmonic whole made up of equal parts of chaos-order-unafraid of what madness lurks in every every soul.</div><div class="MsoNormal">*Human Tricksters love to assume shapes convincing the heavens of their shining glory.</div><div class="MsoNormal">* Trickster is in every mind, every heart...an integral part of each and every character. </div><div class="MsoNormal">*Folly: the only one who can delight both God and man. When she speaks, we listen and may, for a moment forget ourselves. </div><div class="MsoNormal">*There are two kinds of clowns Natural Fool's and Artificial Fool's (those who could pass as normal and might only assume folly at the appropriate or inappropriate time.</div><div class="MsoNormal">*Ecclesiastes; 1:15 - The number of fools is infinite - and you know you're in that number when the fools go rushing in crushing, that is, where angels fear to tread. </div><div class="MsoNormal">*CLOWNS ARE AS NECESSARY TO THE THEATRE AS THE AUDIENCE - INTEGRAL PART AS LONG AS IT HAS EXISTED...A LINK BETWEEN SACRED AND MUNDANE. </div><div class="MsoNormal">* "In the beginning was the fool..and in the end, as well" - Khelmer Khokem</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">That is it! Btw...........................for my senior project, I, along with two of my close friends are developing a clown show. More details to come as we develop it further. LOTS OF LOVE!</div>Natalie Reiko http://www.blogger.com/profile/06371054186651482749noreply@blogger.com0tag:blogger.com,1999:blog-3861111950693885469.post-61658469844749664642011-08-21T14:47:00.000-07:002011-08-21T14:47:11.598-07:00POOP IN MY PANTSFor the past two weeks, I have been working on the Bradley University production of Ragtime. Our team was joined by Tommy Rapley of the HOUSE theatre this week. He worked with us on Pinocchio three years ago and it is an honor to work with him again. He is an: actor/choreographer/singer/dancer/MOVEMENT COACH/DIRECTOR, MOVEMENT DRAMATURG. AAAAAAAAH! YES! (my dream life IS POSSIBLE!) He is one of the most down to earth, positive, funny, passionate people I know. He led several workshops on physical theatre and ensemble building (sound familiar?) in addition to choreographing the show. It has been so wonderful to be able to build a community with the wonderful and talented group of actors in our Ragtime ensemble. On many occasions we have been moved to tears during rehearsals. This show is filled with so much heart and touches on so many hard issues that we need to have a safe environment to fully explore and play in this world. It amazes me that in an exploration of physical theatre we have come so close to one another. LOVE IT!<br />
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</div><div>Some words and thoughts of wisdom from Tommy: </div><div><br />
</div><div>*We are giving gifts to the audience. When we reach one person in the audience, you have given the gift to everyone. </div><div>* Our blows are softened and joys magnified by a strong ensemble. </div><div>* The importance of moving past our successes and failures in a scene; to live in the moment.</div><div>* To be ok with failing, but hold ourselves to perfection. </div><div>*Stay in the game. </div><div><br />
</div><div>Just when I was getting homesick for Dell'Arte, the Universe put Tommy back in my life. The language, attitude and view on theatre and art he uses is similar to the pedagogy of DAI. I have a coffee date planned with him for when he comes back! I cannot wait to pick his brain. MORE SOON!</div>Natalie Reiko http://www.blogger.com/profile/06371054186651482749noreply@blogger.com0