Characters Who Have Experienced A Life Threatening Situation Theatre Essay Example

Johannes Klabbers on March 10, 2010, are as follows:
The purpose of the seminar and writing project is for candidates to:
- Connect the concepts informing their practice and the project being completed as part of the course.
- Demonstrate an understanding of the relationship between their own practice and the work of historical and contemporary practitioners in their proposed field of specialization, both nationally and internationally.
- Critically reflect on the process and outcomes of the project completed as part of the course, as well as their practice in general.The authorship and research project is presented as excerpts from the BANG PRE PRODUCTION DIARY. After years of workshops and discussions, the play has been written and is now entering pre-production. BANG is a new Australian play written by Jonathan Gavin, commissioned by White Box Theatre and co-produced by White Box Theatre and B Sharp for Belvoir Street Theatre. The premiere of BANG will take place on June 10th, 2010 at Belvoir Street Theatre and will close on July 3rd, 2010. What is the story of the play? It revolves around an Australian family (Belinda, David, and their unborn child), a Turkish family (Hatije, Miri, Yusef, and Kahlid), and two castaways (Tricksey and Sister Rosalie) who are brought together by a shared tragedy - the bombing of a suburban train station. They all struggle to find meaning in life beyond religious or political rhetoric. Their personal stories intertwine to develop a deeper understanding of "being alive." BANG explores themes of racial bias, the validity of religious beliefs, and our lifelong search for personal faith. As the director of BANG, my role is to coordinate the production by bringing

together key individuals in acting, casting, costume/set/prop/lighting/sound design, sound composition, marketing, and promotion. Since BANG is a new work, I may also need to collaborate with Jonathan Gavin in developing the final draft for production.In contemporary theater, the roles and responsibilities of managers vary depending on the structure and composition of companies or organizations, as well as their artistic abilities. Barrie Kosky, for example, uses his talents as an arranger, composer, musician, and decorator in his role as a manager. Similarly, Meryl Tankard draws on her dance performance history, while Tracey Letts utilizes his skills as a playwright and actor. Each new production redefines the role of a manager in contemporary theater, as the art form itself is constantly evolving and changing.

As a manager preparing for Bang rehearsals, it is important for me to interpret the actions and conduct internal analysis. Plays consist of intentional behavior and actions, even if the form may not be traditional. In Bang, intentional action is prevalent throughout the play. Understanding and deciphering these actions for each scene will ultimately inform the overall actions for the entire production. Vselod Meyerhold once stated that words are merely embellishments to actions. Therefore, it is my responsibility to illuminate the potential actions in Bang, providing the actors with both physical and emotional intent. Actions can be most effectively understood as transitive verbs. For example:

Belinda: No, come on.
David: Belinda.
Belinda: No, I'm tired of the nonsense.

Overall, in modern-day theater, managers' roles are shaped by their specific talents and skills, while each new production brings forth new interpretations and redefines the expectations placed upon them.Let's keep it. David: Don't. Belinda: Let's see what's left if we

open the door to all the things we're not allowed to say. David: I begged you not to get that train. I begged you. Belinda aggravates David. In response, David accuses Belinda.

Being able to direct the actor in communicating an action is one of the most important aspects of the actor/director relationship. Determining a character's action can only be done while also considering what Konstantin Stanislavsky named the given circumstances. What do I want to achieve through my direction strategy? The ability to create performances that are based in truth, that reflect the witness's own experiences, that reveal the complexities, the contradictions, the futility, and the passions of human behavior. Konstantin Stanislavsky described truth as being "to be right, logical, coherent, to think, strive, feel and act in harmony with your character".

What will be my essential responsibilities as director of BANG? Dramaturgical advice to the author. In that time, Bang has had several readings for small audiences which has raised interesting points about personal faith, salvation, institutionalized religions, political correctness and of course familial and personal relationships. One of the more interesting comments was that the play asked for a balanced receptivity of heart and mind; it was both confronting and alluding to something deeper.The initial idea was to extend the drama over two acts because there was a lot of material. However, through discussions and creative work, we managed to condense it to a strong draft for the rehearsal room. The casting of actors for this play is crucial. We need actors and designers who excel in their craft and have experience working on new, unproduced plays. The qualities we are looking for include

the ability to collaborate within an ensemble, flexibility, critical thinking skills in analyzing the script, a strong creative imagination, emotional agility, a shared theatrical sensibility, and the ability to portray multiple characters of varying ages and cultural backgrounds with different moral perspectives. Please refer to attachment 3 for more details. Inspired by Neil Armfeild's production of Cloudstreet in 1998, we will primarily indicate the shifting character portrayals through changes in physicality, vocal tone, and attitude. These skills, combined with the written dialogue, will make large set changes unnecessary and support strong ensemble storytelling within the play. Therefore, it is important to prioritize casting actors with a high level of skill.There are multiple ways I use for projecting, such as perusing Showcast (www.showcast.com.au), try outing, direct offer, and after some idea sing the above qualities my initial casting offers are; Blazey Best for Gracie, Hatije, and Mother Caroline Brazier for Belinda, Aunt Agatha and Mel Wendy Strehlow for Sister Rosalie and Miri Damian Rice for David, Father, and Yusef Tony Poli for Tricksy, Stranger, Doctor, R'Shaad, Margaret, Shooter, Sister Mary Helen, and Imam Ivan Donato for Kahlid and Pete Meet GRACIE: the security guard Everyone must confront decease, but it's another thing to see it coming. Gracie's occupation is to watch people, to protect them. Unlike us, she cannot turn away in those concluding minutes. But who can watch the unwatchable? "I got a decoration. Making out like I was something special...people shouting for me. They didn't get it" Meet BELINDA: the book editor She has a successful career, a caring husband, and will soon be a mother for the first time. But something isn't right.

A devastating event on a suburban train station brings Belinda to a moment that will change the course of many lives. "I wanted to go back and say, alright David I'll wait. I'll wait for you until the world ends if I have to. I won't get on the train" Meet DAVID; the University lecturer All the mothers at the pre-natal classes love David. He's intelligent. He's successful. He's a caring, devoted father-to-be.At 6.40 on a suburban train station, Corey Beaton's future dreams are shattered, plunging his life into heartache and desperation. His plea to not board the train goes unheard. Known as Tricksy, Corey has spent his life striving for acceptance in a hostile universe, oscillating between wanting to blend in and acknowledging his extraordinary nature. Then, an event occurs that makes him a part of history, leaving him with nothing else but memories of spangles and plumes.

Sister Rosalie, an ambitious and intelligent nun, has been estranged from her atheist brother since their devout Catholic mother's passing. Finding solace in literature, she has found a strong sense of devotion in her life. However, a life-threatening incident shakes her belief system to its core, leaving her questioning her worthiness for Holy Orders and feeling like a stranger to herself.

Khalid, a boy from Turkey, is not as extraordinary as his sister. Yet, the actions of his twin sister compel him to embark on a search for a greater jihad – not against heathens, but an internal battle for peace.I have decided that, like Neil Armfield's Cloudstreet (produced by Company B Belvoir and Black Swan Theatre in 1998), the changes in scenes will primarily be indicated by

the actors' change in animalism, tone of voice, and attitude. These skills, along with the written dialogue, will make large scenic changes unnecessary and will support the strong ensemble storytelling within the book. This aspect will surely be well-received by the audience, as everyone loves to be engaged by a good narrative!

To cast the production, I use several methods such as browsing Showcast, an online database about actors (www.showcast.com.au), holding auditions, making direct offers, and carefully considering the qualities mentioned above. Based on these considerations, my initial casting offers were as follows: Blazey Best for Hatije, Gracie, and Mother; Caroline Brazier for Belinda, Aunt Agatha, and Mel; Damian Rice for David, Father, and Yusef; Ivan Donato for Kahlid and Pete; and Wendy Strehlow for Sister Rosalie and Miri.Wendy has been involved in the drama since the beginning, as I had previously worked with her on another play that I directed. Tony Poli was cast for various roles including Tricksy, Stanger, Doctor, R'Shaad, Margaret, Shooter, Sister Mary Helen and Imam. Showcast reminded me about Tony. This was the most challenging part to cast because of the diversity of roles, ranging from a lover to a nun to Tricksy's mother. For set and costume design, we had Mark Thompson who is an Archibald finalist and has his sculptures displayed in the National Gallery. He has a unique perspective and is not limited by traditional theater training. Martin Kinnane was responsible for lighting design and would have also done projection and audio visual design if the play hadn't progressed past the first draft.The original projection was set to play a major role in the storytelling, but it became

clear through various drafts that images wouldn't enhance the story. Instead, the focus shifted to having an actor connect with the narrative. Steve Francis composed and designed the sound heard in the trailer. Having worked with these creatives before allowed for quick and flexible design decisions. The goal was to have the set support the material and involve the audience in the development of relationships. The intention was for the audience to be engaged, intrigued, and provoked when sitting in a theater. The resulting design is depicted in a picture of the BANG set.According to Kevin Jackson's review of BANG, he praises Ms Hardwick and her collaborators for their impressive costume and set design. He mentions that the costumes are functional yet able to create entire worlds for the actors and provide clarity for the audience. The set includes a black floor with scattered debris made up of flowers, Turkish and Australian newspapers, and bags, all referencing key points in the book. Additionally, there is a mirrored wall that allows the Lighting Designer to create powerful reflected images. The Composition and Sound Design seamlessly transitions us through different places, eras, and times. Jackson remarks that these design elements do not distract from the actors' performances in Mr Gavin's incredible play. He emphasizes the importance of non-intrusive design that can easily adapt to changes in the plot. The diary entry for May 10th states that the author arrives early at the rehearsal space for the first read-through.All cast and crew members will be present, including Jono. The reason for starting with a read-through is threefold. Firstly, it is a way to introduce and connect actors, designers,

and practitioners together. Neil Armfield, the outgoing Artistic Director of Belvoir Theatre, believed in creating a "family" of colleagues consisting of actors, writers, designers, composers, and stage directors. He believed that a production can only truly be great if it is an expression of all its participants. Theatre is a collaborative art, and Armfield's success in his rehearsal approach demonstrates this. Open discussion and a welcoming work environment are crucial in creating a production where authenticity is at the heart of the storytelling. Secondly, beginning with a read-through is important because Bang is a text-based narrative. Despite its chronological deconstruction, the words and their impact on the relationships between characters are of utmost importance.The text describes the importance of developing relationships between the artist, character, designer, and trade. It mentions Stanislavski's concept of "the magic if," which allows actors to acknowledge that the stage is not reality but then delve deeper into their own lives to connect with their characters. Additionally, it discusses a meeting between actors and designers to discuss various elements of the production. The meeting starts with everyone getting acquainted, some already knowing each other while others meeting for the first time. The gathering is accompanied by scones, which help relax people. Afterward, they begin by discussing the need for a great hero for their mission and eventually conclude the meeting with a sense of irony in the phrase "This was the end, this was the beginning."The manager's interpretation of a drama is crucial because it closely reflects the audience's experience. The impact of the narrative can be both expected and unexpected, but it is always inspiring to witness the emotional effect

it has on everyone present. The interpretive role of managers, like Peter Brook, Peter Stein, and Benedict Andrews, in reinterpreting classics such as William Shakespeare's Measure for Measure has contributed to a global recognition of their significance, sometimes referred to as "the cult of the manager". Language holds multiple meanings, necessitating interpretation. The closing lines of Bang, "This was the beginning, this was the end," are intentionally ambiguous and create a sense of unease, allowing for various interpretations. As the reading ends, I must communicate my interpretation of the play and my approach for the remaining rehearsal period. Terms like fluid, challenging, unknown, emotional, unresolved, humorous, heroic, tragic, and epic come to mind. I am unsettled and unsure, reminded of an email Jono sent me months ago about his process of writing the play where he said, "I was lost most of the time, standing outside at 3:00 am in the morning, looking up at the sky, praying for guidance."Ultimately, the manager is a leader of communities. They have the ability to inspire the very best from other creative individuals, bring them together, embrace their contributions, and make everyone feel valued and important. With this perspective in mind, I initiate the discussion. However, it is also exhilarating to consider the possibilities this evening holds.