#i will also definitely think more on this specifically about dramaturgy but i can also give general theatre/film/performance studies/other | Explore Tumblr posts and blogs

wormtime123 · 1 year ago

Note

AAAAAAAAAAAA DRAMATURGY EPILOGUEEE

I love the lengthy wrap up of so many loose ends, the slow mend of things torn and that utter contentment to be found with people just existing right there. This is going to be my go-to comfort fic for found family to re-read over and over and over and over

Now I wanna pick your brain on all the bits; worldwalker shapeshifting Gem? Its so coool I love it. When did you decide to give her and others (Scar, Cub?) powers? What did Cub actually do at the end of Grumbot there? What was your favorite part of the epilogue to write? And which part was the most emotional for you? (tough question, I know I can't choose between Pearl & Gem's or Pearl & Grian's conversations)

WHEW dear god thank you for presenting me a pass to go insane on a silver platter. i’ll be putting my answers under a read more so i don’t explode people’s feeds with nonsense

most of the magic decisions made are based ~mostly in what i know about canon, i just ended up filling in some blanks and playing around with what’s already there! i’m endlessly fascinated by gem’s dimension-hopping (empires isn’t addressed in dramaturgy, but i operate on everything she said about her powers in e2) and i think the idea that she can open portals at will and freely travel between worlds/universes in a way that other players can’t is amazing. then the shapeshifting just made sense to me in how she changes her appearance around to fit into whatever character she wants to take on in each world.

cub and scar lore i’m a lot less familiar with since i only know of certain clips about their vex deal, but i kind of treat it similarly to gem in that i assume they can shift their forms around (ie. how often scar changes to fit a character like gem does, cub going from old man to s8 e-boy skin) and have a peculiar knowledge around portals (ie. the big dig, scar using his “wizard portals” to travel between seasons.) however i think gem has a different kind of expertise working with portals with how often she dimension-hops, so those two were kind of just doing unethical science at the rift to see what stuck lol.

the rift on its own is its whole thing in my Fanon Brain, but i have a strong image of it as a living, breathing entity that sucks things in and spits them back out in other spaces indiscriminately. dramaturgy scar describes it as hungry and i think that’s about as apt as it gets. stuck perpetually wanting to consume yet unable to hold anything in. then one of my biggest plot problems to solve was making the story line up with grian’s lore, aka grumbot (prime) getting tossed in the canon timeline ominously hinting at the other grian’s crimes, so i asked myself how dramaturgy hermits could have weaponized the rift and that’s where i landed! i admittedly don’t have a specific answer to how cub would have aggravated the rift enough to make it go hogwild in chapter 10, but i personally just imagined him figuring it out at one point or another by throwing shit in until something worked

dear god this is already getting long but epilogue!!! my answer for favorite scene to write is a little anticlimactic but i love writing all the evo flashbacks. if you couldn’t tell i am completely evo enamored. i love the strange, off-putting, nostalgic innocence of “something unpreventable and life-altering is about to happen and they Don’t Know.” i love them working together to get to the stronghold and entering the end portal thinking it’s going to be another task of teamwork as always and then just *silence* on the other end. amazing incredible tragic love it

(also on that note i loved writing the scene atop the mansion. just one last hermit acting entirely too normal while subjecting pearl to cursed knowledge before we go)

and lastly for most emotional to write i’d definitely say the scene at the hobbit hole! i’ve had that one as well as the sleepover at impulse’s in the back of my mind for so long i’m just glad i got it out. getting there was like the end of an era for me. everything with grian and pearl finally being back together but still not quite on the same page. i think pearl seeing grian so taken aback in the face of the tangible proof of his actions and mumbo’s feelings was the straw that broke the camel’s back, because at this point in the story pearl’s finally willing to see herself in mumbo’s situation. she’s finally realizing how badly she needs this specific closure but grian’s too busy going ???my actions… have consequences? i can’t just run off into the night with no negative impact on the people around me?

(which is of course also a matter of a warped sense of self-image and understanding emotions, but grian will go on murder sprees in the 3rd life time loop box before exercising an ounce of self-reflection, more at 11.) and only after seeing pearl shaking like a sad wet chihuahua clutching this random notebook of his like it’s the sacred texts does he really start to grasp how genuinely bad it’s been for her. like that would have been obvious to anyone who’s normal but whatever. i love studying skyblings like bugs

ANYWAYS. i hope you enjoyed this thought dump and thank you again for the ask i owe you my life

#dramaturgyAU #i hope this is interesting! or at least comprehensible. you know.

20 notes · View notes

bibiana112 · 3 years ago

Note

"tbh I've got SO many more songs on zero escape" PLEASE SHARE THE ZE PROJECTION SONGS... I REQUIRE THEM

Oh shIT did NOT expect this xD BUT AIGHT *rubs hands together*

I'm gonna limit myself to 9 recommendations, okay? Both so I don't expose myself too much and so we're not here all day, also like a good part of them are Kurashiki sibs centric but if you came to me for this that's probably to be expected lmao

🕰️Chronexia and the Eight Seals Opening - Rewind Sooo if you don't know the deal with this one, it's from an anime directed by a youtuber that Absolutely Bombed and got trashed as soon as it's only episode came out, but the song is genuinely good. So, call that recycling when I heard the lyrics and gave it a super deep meaning by associating the vague time travel bs with Junpei as he's going through 999. Yo, it literally has a line that is "Till I find the right road. Once more, for Love and for Hope, for fate not known" like aww, it's like, half the leaf words :3

⚰️Marina - Pandora's Box Marina songs are always top notch, can't recommend her enough, and I often think her songs have Akane vibes. Though this one in particular feels like a Junepei song more so from Junpei's perspective, the bridge "I don't wanna be the bearer of pain just so we can survive" and so many other bits that are sung softly while being a clear jab remind me how much he wanted Akane to acknowledge the emotional pain she put him through All while praying that not all hope is lost for them to be together in the end

🎭 Splendiferachie- Reversible Campaign Certified Akane song, Hatsune Miku is even wearing a gas mask on it. This cover is so good and the lyrics very much have Junepei vibes too. It has a bit of a stageplay motif at times and many bits have SUCH Akane realizing it's another wrong path energy like "Oh... is this the end? Of course it's Not! Can't take it anymore-". Also like, the ending bit I don't even want to spoil because the lyrics break my heart within the context of, specifically, vlr Akane thinking about Junpei because at that point she would Really rather not have her feelings getting in the way :'3

⛓️Chicago - Cell Block Tango It's a bit of a meme song, and I definitely recommend the No Talking edit, but I LOVE IT. Vengeful but Justified ™ Kurashikis my beloveds. The bit "If you had been there, if you had HEARD IT. I bet that you would have done the same!" Makes me directly think about Light because yeah he was there, yeah he heard what went down, and yeah, if it was his sister he probably would have... Yeah. Man I could keep going with the lyrics on this one but it's very on the nose, no need of me spelling it all out lol

🎟️ JubyPhonic - Dramaturgy Kurashiki vibes because the song goes SO Hard with the whole stage play motif. Like, this one I could pick apart to draw parallels, like, Eeverywheere, gosh. I mean that, but for the sake of brevity I'll just say there are bits that sound like they'd fit Akane's perspective better, bits that'd fit Aoi's better, and even bits where I imagine them having an exchange! The briefest example I can muster is all the bits of "Well, take a breath 'cause you'll need it, so c'mon." or "Take a deep breath, you know how this will all end." as they're like getting ready and psyching themselves up to Do the Things. Aaahh there are like SO Many other good bits hhh this is one of my faves x3

🌹BlackBriar - Snow White and Rose Red This one is honestly just one of my favorite songs in general and i wanna recommend it, Friend shared it and let me know that the story is about two sisters after I thought they were wives at first because the singers are so gorgeous had no idea but, yeah, Rose Red is just apparently a way less known fairytale than her sister Snow White :v I don't care much for the chorus with the context of the Kurashikis, but the bits where they introduce themselves makes me think about how they saw each other before everything went to hell. And the whole story about them being forcefully separated... it honestly makes me emotional to listen near the ending when they're crying out for the other with these two in mind :'<

🌌 The Walking Dead Game - Don't be Afraid/The night will be over soon I almost didn't wanna mention this one since I can't quite pin down a specific version, there's a few depending on which characters sing and how far it goes, but I feel very strongly about it so here. The ominous short version used in the official ps4 trailer is one that makes me think about the endings leading up to vlr because it goes up to "Nevermind the blood red moon, the night will be over soon" HOWEVER the full version that is a duet by different characters is much more soft and hopeful and makes me think of the aftermath of every game Other than vlr, funny how that clicks together. Like, I can think of almost every character having the smallest bit of peace at next morning light after such terrible experiences, since the lyrics go up to "Beyond the dark comes something new. The Sun will be rising soon." All the kids after being saved, Lotus with her daughters, Clover and Light resting, Kurashikis relieved to have pulled it off, Akane and Junpei engaged, D-Team hugging, just.... all the fluffy feels man

🖱️Penelope Scott - Rät Phi vibes from this one just from the like how much bite the singer puts into this one? Like the attitude is So Phi and it has some bits that make me think about Sigma is some way too? I don't really have a consistent interpretation of how this would fit their situation but the vibes are So Strong. Like "I come from scientists, and atheists and white men who killed god. They made technology, high quality, complex, physiological. Experiments, and sacrilege, in the name of public good." and "When I said take me to the moon, i never meant take me alone. I thought if mankind toured the sky it meant that all of us could go." for example

☕ Penelope Scott - Lukewarm Again, not much of a consistent interpretation and has quite a few non family-friendly and/or intense bits that can be upsetting if themes of suicide are a big trigger for you (so uh headphones on, at the very least) it just makes me think of shifting as the concept is presented in general with stuff like "Slit your throat and die and wake up the next day" and other things on that vein, the way the songs goes it's about there being a repeated bad thing™ that starts to get numb "Oh what I would give to care enough to scream." so yeah, very close to what a bunch of characters go through so it depends, mostly I think of Phi, Sigma even ztd Junpei while listening to it

And that's it! Hope you enjoy giving these a listen Anon! This was fun and I STILL have many others if anyone wants to know Shout-out to all the songs I left out cause I'm making art based on them, fingers crossed for me actually finishing all of that!

#oh damn i just read through this again and realized how many times I went :3 #I dunno what to tell you but that's what best represents the emotion i get from sharing this so Thanks for the ask :3 #goddamn i love zero escape #a tag for asks #zero escape

15 notes · View notes

insanityclause · 5 years ago

Link

Exactly two months to the day they closed their acclaimed run in London, the cast of Harold Pinter’s “Betrayal” is stepping into the Bernard B. Jacobs Theatre on Broadway for the first look at their new surroundings. On Aug. 14, they will begin previews of the drama for a 17-week limited engagement of what is widely regarded as one of the Noble Prizewinning writer’s greatest works.

Directed by Jaime Lloyd, who has become one of the foremost interpreters of Pinter, this version is designed so that none of the actors ever leave the stage. The trio are all recognizable from their screen exploits — Tom Hiddleston and Charlie Cox are beloved characters from the Marvel universe as Thor’s trickster brother Loki and blind attorney Matt Murdock in “Daredevil,” respectively. And Zawe Ashton recently made a splash opposite Jake Gyllenhaal in Netflix’s “Velvet Buzzsaw.”

Told backwards in chronology, the play tracks married couple Robert (Hiddleston) and Emma (Ashton) as their relationship unravels after Emma begins an affair with her husband’s best friend Jerry (Cox). But it also dives into the destruction of Emma and Jerry’s affair, as well as Robert and Jerry’s friendship. As with most Pinter, the characters are often sparse in their language in emotion, and words left unsaid often cut the deepest. A simple game of squash takes on much significance — the camaraderie, the competition, and ultimately what it means when they stop playing together.

The cast sat down with Variety to discuss squash and other games people play, with what Pinter means to them, and how their paths have crossed in the past, leading to this moment.

What does it mean to you to be here in New York, making your Broadway debut?

Zawe Ashton: It is a dream come true, actually. I’ve seen some of the best things I’ve ever seen in this very theater, including the show previous to us, “The Ferrymen.”

Tom Hiddleston: I first came to Broadway with my dad and my sisters when I was 17. It was my first time seeing the city and I remember going into Times Square and we went to see “Follies.” This was before I was even thinking about being an actor — or maybe in the back of my head I had decided. The first time I was in this theater I saw Samuel L. Jackson and Angela Bassett doing “The Mountaintop.”

Charlie, you actually live out here, are you planning on showing them around? Charlie Cox: Oh, yes. There’s a few places I want to take them.

Ashton: [Laughs] How can you make that sound sinister?

Cox: I’m not sure the places I like will be what you’re imagining. I want to take them to Bubby’s. It’s a restaurant with a great all-American brunch.

What does “all-American” mean to Brits?

Cox: Fried chicken and waffles.

Hiddleston: And big portions.

Cox: And coffee that keeps being filled up. You have to put a napkin over it to stop them.

Hiddleston: Right. If you have a second coffee in the UK you have to pay for it.

Cox: It’s crazy. When I get my coffee, I need to put my milk and sugar and the proportions have to be right. When they fill your coffee up over here, the proportions are all off. Also, you feel like you’re on rocket fuel and you don’t know why.

Ashton: Anything else we need to experience?

Cox: Well, these two are too healthy but I’d love to introduce you to half-and-half. It’s one of the best inventions in the world. It’s cream and milk.

Hiddleston: I know about that. This isn’t, like, my first time in America.

Cox: Oh, and I’d love to introduce you to McDonald’s. [Laughs.]

Hiddleston: I’m really excited about the seasons. I’ve spent time in New York before but it’s only been for like two weeks at a time. To be here from summer into fall into winter…

Cox: Fall is an illusion in New York. You get a weekend in the 70s, and that’s it.

Ashton: No, but the colors and the trees! And Thanksgiving is going to be amazing!

How did you first become familiar with the work of Harold Pinter and specifically “Betrayal”?

Hiddleston: For my A-Level English literature, we did a play of Pinter’s called “The Homecoming.” What I found so interesting was “The Homecoming” was so spare and so precise and so grown-up. I remember my teacher encouraging us to think about this play as about power and sex and family, all in a very brutal way. That it’s a father and sons competing for supremacy. I remember thinking: “This is reading a bit too much into it, isn’t it?” But it isn’t. As a 17-year-old, I just didn’t realize there was a writer engaging so consciously at this level.

Then I read “Betrayal” at the Royal Academy of Dramatic arts as an exercise for a dramaturgy class. I read it in one sitting and I did think, at the age of 21, “This would be an amazing thing to do one day.”

Ashton: We did a couple months of scene study at drama school and I played Anna in “Old Times.” I was 19 and I loved it and we actually nailed the scene study. I mean, we were 19-year-olds, maybe it was terrible. But my head of year said to me: “If I had known how easy Pinter was going to be for you, I would have given you something else.”

Was it easy?

Ashton: No! It wasn’t easy! But what I think he identified that if you vibe with Pinter, you’re kind of a special breed of person. If you can lean into all the violence and brutality and also see the tenderness and experience the special viewpoint he has of human relationships, you have a friend for life.

And you vibed with him from the start? Ashton: 100%. And now I love him even more. Doing “Betrayal” is about having to invest in a love affair with these two men, but I also feel I’ve invested in a love affair with Pinter. I’ve wanted to read his poetry, I’ve wanted to think about him, I’ve wanted to read the books Joan Bakewell and Lady Antonia Fraser wrote about him. Just to try and piece together the man who I’ve never met. Charlie has.

You’ve met Pinter?

Cox: The first play I did in the West End was with Jaime Lloyd, “The Collection.” Harold was part of numerous rehearsals and came to see the play many times. I got some great Harold stories that I’m still dining out on! During that time, I read “Betrayal.” Harold died the following year. It’s funny, my wife and I live in Connecticut and when I was offered this play I walked into my local bookshop and it was sitting right there.

A year ago, you didn’t know you’d be doing “Betrayal” in London, let alone here.

Cox: Four weeks ago we didn’t know we’d be here! It all happened very fast. When we closed in London, we thought we were done.

My understanding is this all began last October, when Tom and Zawe did a reading from the play at the “Pinter at the Pinter” gala?

Ashton: It sprung from that gala and people thinking we were rehearsing it already. People kept coming up to me and asking if we were doing a full production. So at the gala I basically came up to Tom and said, “What are you doing in March 2019?” And you were like, “Uh, get away from me, crazy lady.”

Hiddleston: It was an interesting night because it was celebration of all his work as a gift to [his widow] Antonia Fraser and it was 10 years after he died. But it wasn’t a heavy night, it was a celebration. And people came back to do extracts. The production Jaime Lloyd directed of “The Homecoming” came back. Jeremy Irons came back to do “No Man’s Land.”

Wait, Jeremy Irons starred in the film version of “Betrayal.” Were you intimidated to do a scene in front of him?

Hiddleston: Well, less intimidated because I played his son in “The Hollow Crown.” There were several “Betrayal” alumni. Sam West was there, who played Robert at the Donmar Warehouse. Kristin Scott Thomas, who has played Emma, was also there. There was something very generous about this company of great, established actors who had made a great impact with Pinter’s work saying to Zawe and myself, “If you’re not doing it, you should do it.”

Ashton: It was such a compliment.

Hiddleston: Then Antonia Fraser also said, “Would you like to do it?” And Jaime leaned across and said, “Let’s do it!” So it came together very fast. And Jaime’s first suggestion for Jerry was Charlie, but he said you couldn’t do it.

Cox: The show I was doing [“Daredevil”] was going to be scheduled for another season at the time. So they went out to find somebody else. Then my show got cancelled and I called my agent and said I would love to do a play. I didn’t hear for a bit and I finally got him on the phone and was about to say “I’ve been trying to call you!” — but in a very nice, English way. And before I could say anything he said, “How would you like to do ‘Betrayal’ with Zawe Ashton and Tom Hiddleston?” I paused and said, “I’d like that very much.”

Ashton: If “Daredevil” hadn’t been canceled you wouldn’t have been able to do it.

That has to take some of sting out of cancellation.

Cox: It did, yeah.

This play doesn’t work without the chemistry between the characters, even when they are constantly competing and one-upping each other. Did you know each other prior to working together and was that chemistry pretty instant?

Cox: Tom and I knew each other. We were bouncing around L.A. at the same time early in our careers.

Hiddleston: The truth is, we first met bumping into each other auditions for the same films that neither of us would get. After like the fourth time, we said, “Let’s go get a burger.”

Ashton: We’d been intersecting for years. Weird things have happened: Tom and I sat next to each other years before at the theater. We did the gala but weirdly, we’d also done a reading a couple weeks before that. And then Charlie and I realized we had auditioned together years ago.

Cox: I’m almost sure it was you. I didn’t get it.

Ashton: I didn’t either. And it was definitely you.

Hiddleston: That’s how most actors know each, they audition for things they don’t get.

Ashton: This could be the most unpleasant experience; it could really be toxically bad. What has happened is it has been the most joyful experience ever. That’s not to say we’re not completely embedded in the raw pain of the play. But I think you realize when you get to a certain age that you don’t need it to bleed into your lives and you don’t need to carry it home. I don’t want to do that with Harold Pinter because you can and you will go mad.

Hiddleston: It’s one of those things, you can’t put your finger on why it works, but it works and it’s a great pleasure

Cox: That one-upmanship you talked about that’s in the text; if that were to manifest between us as actors, it would be awful.

Ashton: However….there was a squash game.

Cox: Let’s not talk about that.

Ashton: It did spill over into that game.

Cox: Look, it’s not about who wins or loses, it’s about who’s fitter. And Tom is fitter than I am.

Hiddleston: It was very instructive, playing squash. Some of those scenes, the competition is in the subtext, the brutality to each other is underneath it while they’re being civil on the surface. After we played squash, those scenes played themselves.

Cox: I still have a buttock injury from that last game. I was desperately trying to reach a ball because I was so determined to keep up! We had one day where we had five solid sessions and then Zawe joined us for the spa.

Leaving behind these characters at the end of the day could be a challenge. Are you able to do that?

Cox: Sometimes I’ll be at the end of the day and I’ll be agitated in some way and then I remember; of course, I just got off stage.

Ashton: I’ve often said I’ve felt like a baby who needed to be burped. There’s so much repression in the play and people aren’t saying what they mean and you want to cry but you have to hold it in. Sometimes I want to cry for three days.

Hiddleston: My favorite actor of all time Paul Scofield said: “The emotions are real, but they aren’t mine.” Which I think sums it up. Actors investigate something real but the situation doesn’t belong to them. So I know consciously I’m not Robert, I know I haven’t been betrayed. But when I investigate his sadness, some aspect of that belongs to me. It sometimes leaves a shadow.

“Betrayal” has been performed in America before, obviously, but are you curious about how Broadway audiences will respond versus London audiences?

Cox: We get a lot of Americans in London. I don’t think it’s going to be radically different.

Ashton: I think it’s going to be radically different. I think there’s going to be some exciting new things having an American audience is going to illuminate. I think it’s going to be interesting.

“Betrayal” runs at the Bernard B. Jacobs Theatre through Dec. 8.

#Tom Hiddleston #Betrayal #jenelle riley #Charlie Cox #Zawe Ashton #do trees not change colour in the UK? both Tom & Zawe have mentioned this

153 notes · View notes

maryxglz · 5 years ago

Link

Directed by Jamie Lloyd, who has become one of the foremost interpreters of Pinter, this version is designed so that none of the actors ever leave the stage. The trio are all recognizable from their screen exploits — Tom Hiddleston and Charlie Cox are beloved characters from the Marvel universe as Thor’s trickster brother Loki and blind attorney Matt Murdock in “Daredevil,” respectively. And Zawe Ashton recently made a splash opposite Jake Gyllenhaal in Netflix’s “Velvet Buzzsaw.”

The cast sat down with Variety to discuss squash and other games people play, with what Pinter means to them, and how their paths have crossed in the past, leading to this moment.

vimeo

What does it mean to you to be here in New York, making your Broadway debut?

Zawe Ashton: It is a dream come true, actually. I’ve seen some of the best things I’ve ever seen in this very theater, including the show previous to us, “The Ferryman.”

Charlie, you actually live out here, are you planning on showing them around? Charlie Cox: Oh, yes. There’s a few places I want to take them.

Ashton: [Laughs] How can you make that sound sinister?

Cox: I’m not sure the places I like will be what you’re imagining. I want to take them to Bubby’s. It’s a restaurant with a great all-American brunch.

What does “all-American” mean to Brits?

Cox: Fried chicken and waffles.

Hiddleston: And big portions.

Cox: And coffee that keeps being filled up. You have to put a napkin over it to stop them.

Hiddleston: Right. If you have a second coffee in the UK you have to pay for it.

Ashton: Anything else we need to experience?

Cox: Well, these two are too healthy but I’d love to introduce you to half-and-half. It’s one of the best inventions in the world. It’s cream and milk.

Hiddleston: I know about that. This isn’t, like, my first time in America.

Cox: Oh, and I’d love to introduce you to McDonald’s. [Laughs.]

Hiddleston: I’m really excited about the seasons. I’ve spent time in New York before but it’s only been for like two weeks at a time. To be here from summer into fall into winter…

Cox: Fall is an illusion in New York. You get a weekend in the 70s, and that’s it.

Ashton: No, but the colors and the trees! And Thanksgiving is going to be amazing!

How did you first become familiar with the work of Harold Pinter and specifically “Betrayal”?

Was it easy?

And you vibed with him from the start?

Ashton: 100%. And now I love him even more. Doing “Betrayal” is about having to invest in a love affair with these two men, but I also feel I’ve invested in a love affair with Pinter. I’ve wanted to read his poetry, I’ve wanted to think about him, I’ve wanted to read the books Joan Bakewell and Lady Antonia Fraser wrote about him. Just to try and piece together the man who I’ve never met. Charlie has.

You’ve met Pinter?

Cox: The first play I did in the West End was with Jamie Lloyd, “The Lover/The Collection.” Harold was part of numerous rehearsals and came to see the play many times. I got some great Harold stories that I’m still dining out on! During that time, I read “Betrayal.” Harold died the following year. It’s funny, my wife and I live in Connecticut and when I was offered this play I walked into my local bookshop and it was sitting right there.

A year ago, you didn’t know you’d be doing “Betrayal” in London, let alone here.

Cox: Four weeks ago we didn’t know we’d be here! It all happened very fast. When we closed in London, we thought we were done.

My understanding is this all began last October, when Tom and Zawe did a reading from the play at the “Pinter at the Pinter” gala?

Hiddleston: It was an interesting night because it was celebration of all his work as a gift to [his widow] Antonia Fraser and it was 10 years after he died. But it wasn’t a heavy night, it was a celebration. And people came back to do extracts. The production Jamie Lloyd directed of “The Homecoming” came back. Jeremy Irons came back to do “No Man’s Land.”

Wait, Jeremy Irons starred in the film version of “Betrayal.” Were you intimidated to do a scene in front of him?

Ashton: It was such a compliment.

Hiddleston: Then Antonia Fraser also said, “Would you like to do it?” And Jamie leaned across and said, “Let’s do it!” So it came together very fast. And Jamie’s first suggestion for Jerry was Charlie, but he said you couldn’t do it.

Ashton: If “Daredevil” hadn’t been canceled you wouldn’t have been able to do it.

That has to take some of sting out of cancellation.

Cox: It did, yeah.

Cox: Tom and I knew each other. We were bouncing around L.A. at the same time early in our careers.

Hiddleston: The truth is, we first met bumping into each other auditions for the same films that neither of us would get. After like the fourth time, we said, “Let’s go get a burger.”

Cox: I’m almost sure it was you. I didn’t get it.

Ashton: I didn’t either. And it was definitely you.

Hiddleston: That’s how most actors know each, they audition for things they don’t get.

Hiddleston: It’s one of those things, you can’t put your finger on why it works, but it works and it’s a great pleasure.

Cox: That one-upmanship you talked about that’s in the text; if that were to manifest between us as actors, it would be awful.

Ashton: However…there was a squash game.

Cox: Let’s not talk about that.

Ashton: It did spill over into that game.

Cox: Look, it’s not about who wins or loses, it’s about who’s fitter. And Tom is fitter than I am.

Leaving behind these characters at the end of the day could be a challenge. Are you able to do that?

Cox: Sometimes I’ll be at the end of the day and I’ll be agitated in some way and then I remember; of course, I just got off stage.

“Betrayal” has been performed in America before, obviously, but are you curious about how Broadway audiences will respond versus London audiences?

Cox: We get a lot of Americans in London. I don’t think it’s going to be radically different.

“Betrayal” runs at the Bernard B. Jacobs Theatre through Dec. 8.

#tom hiddleston #betrayal #betrayal broadway #harold pinter #bernard b jacobs theatre #broadway #theatre #jamie lloyd #zawe asthon #charlie cox #variey

67 notes · View notes

tomhiddleslove · 5 years ago

Text

Betrayal Cast Tom Hiddleston, Zawe Ashton and Charlie Cox on Pinter, Broadway and Fate

The cast sat down with Variety to discuss squash and other games people play, with what Pinter means to them, and how their paths have crossed in the past, leading to this moment.

What does it mean to you to be here in New York, making your Broadway debut?

Zawe Ashton: It is a dream come true, actually. I’ve seen some of the best things I’ve ever seen in this very theater, including the show previous to us, “The Ferryman.”

Charlie, you actually live out here, are you planning on showing them around?

Charlie Cox: Oh, yes. There’s a few places I want to take them.

Ashton: [Laughs] How can you make that sound sinister?

Cox: I’m not sure the places I like will be what you’re imagining. I want to take them to Bubby’s. It’s a restaurant with a great all-American brunch.

What does “all-American” mean to Brits?

Cox: Fried chicken and waffles.

Hiddleston: And big portions.

Cox: And coffee that keeps being filled up. You have to put a napkin over it to stop them.

Hiddleston: Right. If you have a second coffee in the UK you have to pay for it.

Ashton: Anything else we need to experience?

Cox: Well, these two are too healthy but I’d love to introduce you to half-and-half. It’s one of the best inventions in the world. It’s cream and milk.

Hiddleston: I know about that. This isn’t, like, my first time in America.

Cox: Oh, and I’d love to introduce you to McDonald’s. [Laughs.]

Hiddleston: I’m really excited about the seasons. I’ve spent time in New York before but it’s only been for like two weeks at a time. To be here from summer into fall into winter…

Cox: Fall is an illusion in New York. You get a weekend in the 70s, and that’s it.

Ashton: No, but the colors and the trees! And Thanksgiving is going to be amazing!

How did you first become familiar with the work ofHarold Pinter and specifically “Betrayal”?

Was it easy?

And you vibed with him from the start?

You’ve met Pinter?

A year ago, you didn’t know you’d be doing “Betrayal” in London, let alone here.

Cox: Four weeks ago we didn’t know we’d be here! It all happened very fast. When we closed in London, we thought we were done.

My understanding is this all began last October, when Tom and Zawe did a reading from the play at the “Pinter at the Pinter” gala?

Hiddleston: It was an interesting night because it was celebration of all his work as a gift to [his widow] Antonia Fraser and it was 10 years after he died. But it wasn’t a heavy night, it was a celebration. And people came back to do extracts. The production Jamie Lloyd directed of “The Homecoming” came back. Jeremy Irons came back to do “No Man’s Land.”

Wait, Jeremy Irons starred in the film version of “Betrayal.” Were you intimidated to do a scene in front of him?

Ashton: It was such a compliment.

Ashton: If “Daredevil” hadn’t been canceled you wouldn’t have been able to do it.

That has to take some of sting out of cancellation.

Cox: It did, yeah.

Cox: Tom and I knew each other. We were bouncing around L.A. at the same time early in our careers.

Hiddleston: The truth is, we first met bumping into each other auditions for the same films that neither of us would get. After like the fourth time, we said, “Let’s go get a burger.”

Cox: I’m almost sure it was you. I didn’t get it.

Ashton: I didn’t either. And it was definitely you.

Hiddleston: That’s how most actors know each, they audition for things they don’t get.

Hiddleston: It’s one of those things, you can’t put your finger on why it works, but it works and it’s a great pleasure.

Cox: That one-upmanship you talked about that’s in the text; if that were to manifest between us as actors, it would be awful.

Ashton: However…there was a squash game.

Cox: Let’s not talk about that.

Ashton: It did spill over into that game.

Cox: Look, it’s not about who wins or loses, it’s about who’s fitter. And Tom is fitter than I am.

Leaving behind these characters at the end of the day could be a challenge. Are you able to do that?

Cox: Sometimes I’ll be at the end of the day and I’ll be agitated in some way and then I remember; of course, I just got off stage.

“Betrayal” has been performed in America before, obviously, but are you curious about how Broadway audiences will respond versus London audiences?

Cox: We get a lot of Americans in London. I don’t think it’s going to be radically different.

“Betrayal” runs at the Bernard B. Jacobs Theatre through Dec. 8.

#Tom Hiddleston #Zawe Ashton #Charlie Cox #Betrayal Broadway #Variety interview #August 08 #hiddles 2019 #Jenelle Riley #bernard b jacobs theater #new york city

45 notes · View notes

aboutlouishofmann · 5 years ago

Text

MYP Magazine - Of Time And Truth.

[Original interview here.]

22/07/2019

Interview by Jonas Meyer. Photos by Steven Ludtke

[I skipped the introduction and went straight for the interview]

Jonas:

When the first season of “Dark” was released in December 2017, viewers and critics alike have literally fallen over their enthusiasm. So far, many had not expected such quality from a German production, especially in terms of dramaturgy and visuality. How did you, as a Netflix consumer, experience the series start then?

Louis:

Luckily I’ve been able to enjoy the series as a relatively normal, objective viewer - and that’s true of the current season two. In “Dark” there are several roles and plot-lines, in which my character Jonas does not take part and which I accordingly did not know about from the shooting. During the shoot, I tried anyway to push aside all the other plot-lines and focus only on Jonas Kahnwald. Otherwise, I would probably have gotten pretty confused because the content of the series is so complex.

Jonas:

What is the difference between the current season two and the first one?

Louis:

In Season 1, it’s all about something that happens individually to each character which they have to deal with. In the second season, these characters are much more active, especially Jonas. At the very beginning of the series he is still very passive and in the course of the episodes he has to learn how to handle the issues himself. In the second season, he already knows who he is, what he means and what he needs to do to achieve his goals - and of course, what he has to sacrifice. But all the other characters learn, too, overall, the knowledge of each character acquires in the course of the second season is much larger. In addition, I would say that this second season is also more emotional. Now much more information will be passed on to others which changes their view of the world.

Jonas:

On the platform kino.de there is an episode guide to the first season, in which it is said that a single viewing of the series is not enough to recognize all the contexts and hints: “Often, a short distraction like reaching out to take drink or a look at the clock is enough to miss an important detail." Do you see it the same way?

Louis:

The series is definitely complex, I agree. And with so much information to be conveyed in Season 2 to drive the story forward, this second season may be even more complex than the first one. Jantje Friese and Baran bo Odar have always emphasized that with "Dark” they wanted to create a series that challenged viewers in a certain way. By the way, that did not happen until then in Germany - here one tends to play it safe. After the release of the first season, funnily enough, there were critics on the one hand who said that the series was too complicated. And at the same time there were critics on the other side who complained that we were guiding the audience by the hand way too much.

Jonas:

How did you deal with the high complexity, which is created solely within the character Jonas Kahnwald? Is there always an overview, even if you concentrate only on your own narrative thread?

Louis:

Of course we all lost the thread every now and then. But thank God there is Jantje, who has the complete perspective. She knows down to the last detail how, where, what, and when something happens. During the shooting for the second season, we also had a Script Supervisor, to whom you could always turn. In addition, there were special screens on the set, where you could play the entire first season - in the event that you wanted to look, which specific point refers to a scene for which one is just in front of the camera.

Jonas: Lars Montag, director of the Netflix series “How To Sell Drugs Online (Fast)”, revealed to us in an interview recently that he has the feeling that since Fassbinder there is actually no German narrative anymore. He said: “All are just trying to imitate Hollywood in any way.” Do you think it requires a special German narrative style - just as the Scandinavians, French or English people attributed to their very own cinematic narrative style?

Louis:

Definitely, no. I think we live in times when everyone is trying to make something special. This alone starts up more and more narrative styles. This can be observed even among the Scandinavians, who are said to have a particularly strong stereotype in imagery and narrative style. The reason for this development is that we all talk more and more international - but that does not explicitly mean that we are more Hollywood-oriented. For me, telling an international story means that we can address viewers across countries by means of certain narrative styles and therefore do not have to reduce ourselves to our local schemes.

Of course, it still needs different narrative in film - but not to emphasize the national location, but to be able to address the most diverse types of spectators. Quite apart from that, there is not one big secret recipe of the Hollywood narrative that you have to use to reach out to people. Rather, I believe that it is much easier today to break out of this Hollywood compulsion - simply because the audience has become much more diverse.

Jonas:

The trailer of the second “Dark” opens with a gloomy, post-apocalyptic landscape in which a destroyed nuclear power plant can be seen. Is it not strange how realistic and quite imaginable such fictional images are when viewed in the context of the current social debate about climate change and impending environmental catastrophes?

Louis:

When talking about the future, there are two main scenarios that seem possible: one is an extremely modern and thriving science-fiction world of flying cars, where everything flashes and shines. The other is just the opposite: a dark scenario in which everything is destroyed - because we humans have destroyed ourselves. In this scenario, nature slowly regains the upper hand and runs us down. With “Dark 2” there was not necessarily the intention to create parallels to this second possible scenario. But it is actually noticeable that these pictures do not seem so unrealistic in this day and age.

Jonas:

You recently appeared in the Arte short film series “Couples” with Dutch actress Hannah Hoekstra. You play a young couple who discusses whether it is appropriate to paint the German flag on one’s face, such as at a game of the national team. He gets mad about it, she does not understand his problem. How do you personally look at this country at the moment?

Louis:

With shame and concern because the most important and threatening topic in the world - climate change - is not taken seriously. There seems to be a kind of change of heart, which is also expressed by the fact that the Greens temporarily lead in the polls. Nevertheless, I always feel stifled when I realize how climate goals are ignored and Germany - which has a certain role model function - fucks it up. I think that’s really sad. I sincerely hope that this green trend will not be short-lived and will continue because we simply have to make sure that this earth is not doomed to destruction in 30 years’ time. When I deal with the predicted, catastrophic consequences of climate change, it scares me. In view of this threatening situation, I do not understand why young politicians are not getting much more involved in Germany. Their job gives them a huge stage! Unfortunately, this stage is only used by the fewest. But now they have the chance to finally speak out truths. But it is only blabbed. If you listen to some of these politicians, you want to shake them and wake them up.

Jonas:

In recent years, you have greatly reduced your social media activity. You could use your popularity and the associated reach to give more space to certain issues in public discourse. Why did you decide to withdraw from the social networks? Don’t you feel like you could’ve made a difference?

Louis:

Of course, with a certain amount of followers and the range involved, it is possible to spread your own opinions and influence those of other people. But for me it has always been difficult to position myself in the social networks on specific political issues. Although it was relatively easy for me in the run-up to the European elections to call with my posts to go to the polls. Otherwise, I’m more careful. I’ve probably missed the chance to tell people my opinions for a long time. By the way, others manage to do really well, which I admire very much. But in my case it was a very selfish decision to delete my Facebook account and withdraw heavily from Instagram.

Jonas:

To what extent?

Louis:

It just did not do me any good. I always had the feeling that I must post something to entertain people. That totally unsettled me and put me under pressure. That’s why I decided to get rid of it. I did not think Facebook was necessary anyway. The decision to stop using Instagram came last year during the shoot for the second season of “Dark”. At that time, I was generally under a lot of pressure. And when there are other components, such as social networks, that add pressure to me, it all got too much. My Instagram account still exists and I post pictures from time to time, but I have to reinstall the app every time because I delete it after each post. In principle, I myself have no access to my Instagram profile. When I want to post something, my girlfriend has to sit beside me because she has the password.

Jonas:

What was the reason that you were so under pressure last year?

Louis:

There has not been any time in my life when I felt more pressure than in 2018 - pressure was my word of the year. That’s because the year before was the craziest and most extreme year I’ve ever experienced, in any way. I have tried to tell myself over and over again, “Louis, 2017 will not be repeated. Take care and get ready! "But I was not ready. 2018 has completely overrun me - due to the extreme expectations, which were suddenly felt from all sides. For the audience, the journalists and the critics, it is a natural fact that you are always good. If you’ve played some good roles, everyone expects you to keep doing your job properly. This matter of course has affected me much more.

Jonas:

How do you feel about seeing yourself on the screen?

Louis:

That’s OK in principle - I really want to see the work I’ve done. But I can really enjoy a movie as a viewer only if I do not have to rate my own work. Overall, I am very critical of myself and therefore quickly dissatisfied. Sometimes I would wish that I am not so hard on myself, because that would make me more free in the way I work. It hampers you a lot when you’re too scared of failure or too much pressure - you realize, pressure is a big issue in my life.

Jonas:

In a few months, the film "Deutschstunde” will start in the cinemas, for which you have taken on a supporting role. In the film adaptation of the novel by the same name by Siegfried Lenz about an expressionist painter, where a prohibition of the profession was imposed by the Nazis in 1943. This repression existed in Germany not only at the time of National Socialism, but also in the former GDR. In some countries, such as China, even today, professional bans are being imposed. How would you react if you were no longer allowed to be an actor?

Louis:

I have never asked myself this question. It makes perfect sense to consider it. I suspect that I have never dealt with the question because here in Germany we are in a very privileged situation where we are allowed to practice what we want as a profession. If that were forbidden, I would be completely at a loss. Acting is what I do best of all activities and what I like to do most. There never was a plan B in my life either - so I would not know what to do with myself.

Jonas:

Can you “not act” as an actor at all?

Louis:

Of course, in everyday life you can stop it. However, every actor is inclined to be a permanently on game, such as with jokes, gestures or certain behaviors. It is easy to express oneself. I believe that in order to give the truth to a person, one must draw truth from oneself. And if you no longer have truths, you can not play them. On the other hand, I have the experience that I always take parts of my characters into my own life or discover new things about myself through them. In other words: through the role, I open a box, which then remains open a bit. As a result, my roles always change a bit for me as well. For example, I feel like through the many sensitive characters that I was allowed to play, I have embraced the sensitive side in myself more - unfortunately I can not find a word in German with which I could better express that. What I mean by that: Had I not played so many sensitive characters, today I would be a sensitive person, but not to the extent that I have become in the end.

Jonas:

Which of your projects has been the most emotionally charged so far?

Louis:

I would say that was “Prélude” by Sabrina Sarabi, which will be released on August 29th. In the film, I play the young piano student David, who suffers from strong self-doubt and feels a huge pressure of expectation - a situation that I can understand very well, as already mentioned. However, with David, he loses control of his life and threatens to break under the pressure.

This movie is the first one I for which I have prepared with a coach. When working with acting coach Frank Betzelt, it was especially about how the energy between the individual characters felt, what these energies wanted and how they influenced the characters. That helped me a lot to dig deep into my role. For example, I have discovered a much greater access to the feeling of anger, mainly to self-rage. I personally did not know that feeling before. Until then, I have never felt the need to be angry, let alone gain access to this emotion.

All in all, during this time I let David’s emotional world come close to me - and literally took it home with me. That put a strain on me not only during preparation and shooting, but also for almost a whole year afterwards.

Jonas:

How exactly?

Louis:

For example, a few months after filming, there was an incident that happened when I was visiting my parents in Cologne with my girlfriend. After watching a couple of episodes of “Babylon Berlin” with Liv Lisa Fries - Liv plays my girlfriend in “Prélude” - I felt an extreme unease in the next morning. I was kind of aggressive and in a bad mood, which kept increasing throughout the day, until I finally just collapsed in the evening. Probably the situation with my parents at home and with my girlfriend on the side gave me such a safe space that I could process all this again. There was apparently no real opportunity to do that before because after the “Prélude” shoot exciting things kept happening. I had the impression that I had dragged this topic for months and only let everything out during my visit in Cologne. But I did not really get rid of it. When I saw the movie for the first time some time later, I was really sad for two or three days and did not know why. So I called Frank Betzelt, who had coached me then. He just asked me one question: “What really bothers you? The fact that you are so sad or that you do not know why you are sad?”

Jonas:

What a clever question!

Louis:

An incredibly smart question! My answer was, “Because I do not know why this is happening to me.” And then Frank said it was fine and I did not have to fight it. The reason for this is that I have grown so fond of the character and thereby experienced the suffering of this young artist even more intensely. We talked about it for a while - and after that phone call it was OK.

Jonas:

Kat Frankie, a singer-songwriter living here in Berlin, wrote the interesting sentence: “People that write sad songs are a little happier.” Is that similar to actors who play sad roles?

Louis:

You can say that the other way around too - look at Robin Williams, who was hilarious in his roles, but must have been extremely sad in his private life and finally took his own life. Basically, I think that actors who play a lot of melancholic roles, also need a certain fascination. And if you have that fascination in general, you have it when you’re not acting as well.

Jonas:

If you ignore the expectations of other people: What is your own claim to yourself?

Louis:

I have a very high standard of myself and I am extremely ambitious.

Jonas:

That means you’re also prone to criticism?

Louis:

I’m trying not to be that. It’s a bit strange to me anyway: I’m really excited about criticism and sometimes find it strange when there’s none at all - especially when I know for sure that there’s something to criticize. At the same time, it is not so easy for me to handle criticism when it is actually voiced, especially if it comes from myself. I wish that was easier.

Jonas:

Are you someone who takes things from peers?

Louis ( smiles ):

Off or on? No, seriously, I think you have to make sure that you can focus on your own work and not get too confused by the hype that is often justified by some of your colleagues. But I also think it’s just right as an actor to keep your eyes open and to be inspired by what’s being done elsewhere. But we should all be in this world anyway, no matter if actor or not.

#louis hofmann #dark netflix #jonas kahnwald #prélude

14 notes · View notes

aki-chan2014 · 6 years ago

Text

And So It Begins playlist

imiSome of you might know that I started a new DanganRonpa fic called ‘And So It Begins’, which happens to be an SYOC. A lot of songs have inspired my writing of it so far, as well as some of my planning, so I figured I may as well begin a playlist of sort. It is a work in progress, so more songs will be added over time, and the links (put in the song name) to the videos will also only be put in as and when I can. But yeah, I hope you enjoy: (Quick note 11/11: I have also decided to add some quick notes next to certain songs to explain why they have been chosen for the playlist, where I did have specific things in mind for them. If anyone else has interpretations of how certain songs relate I’d be all for sticking those in here too-with credits, of course)

Mafumafu-Keep Out

Fantastic Youth- DAYBREAK FRONTLINE (rap arrange ver) (This song is for the happier moments in the story, particualrly those between the whole group/ larger parts of the group, and any moments that, in a different story, would have simply been carefree and youthful. Also check out this dance version, as I will be making an Ending Song chapter based on it)

Nuyuri ft flower-Proto Disco (This song is meant to be reflective of how the characters are descending down a dark path in the choices they make and the events that draw them closer to creating a killing game.)

HENSHIN ft GUMI- One Moment’s Crime (This song can relate somewhat to the system Hope’s Peak has in this story. It is also the ‘opening song’ for the story, as you may have noticed)

THE SIXTH LIE- HIBANA

Eve-Dramaturgy

Jonas Blue ft Jack and Jack-Rise (This one is about the rebellion aspects of the story)

Police Piccadilly ft Miku Hatsune-Separate (This song is meant to relate to certain pairs and possibly trios in this story, and the bittersweetness of the fact they have developed such closeness in such bad circumstances. I’d say I have Mizuki and Mokomichi in mind particularly here, but it could easily apply to others too. This is also the first ED song of the story)

Do As Infinity-Kenshin no Kemono

Foreground Eclipse-When Innocence is Just a Mask (This one is definitely also about the rebellion aspects of the story, but perhaps at a later stage of the story, where some characters may be more fatalistic about it. When they are further down the rabbit hole, so to speak.)

Natsushiro Takaaki-Endroll (also check out this chorus cover done by CATINABOX for round 2 of the Ascencion Chorus Battle 2019-my personal headcanon is that Reirei’s voice is like Emiko’s singing voice)

brave elements-Bakudan Ma (cover)

Zutto Mayonaka de ii no ni-Humanoid

Wowaka-Unknown Mother Goose

Luschka-Moratorium (This song is related to the remorse some people might feel from being involved, wondering if they’d ever be forgiven)

Sayuri x MY FIRST STORY-Reimei

Dima Lancaster ft BrokeN-Feed the Fire (cover) This one is definitely related to the point of the story where everything gets awful and there’s no turning back

ONE OK ROCK-We Are (This song can relate in some ways to how some characters see themselves as doing something good in the situation. Also a song for how they may have started off feeling when setting off on this endeavour, or the general feelings of Reserve Course oppression. )

AmaLee-Again (English Cover) (This song could link to some relationships within the story)

Cepheid ft Un3h-Chronos (this one is about feeling helpless about the situation, and how some characters are having regrets about it)

Minstrel-Fiction

AViVA-Blame it on the kids

Hanatan-Niwaka Ame

Misumi ft flower and Miku Hatsune-FAKE (see also this cover)

Dean Lewis-Waves

nameless-Toumei Elegy (cover)

HarryP- 泥中に咲く(blooming in the mud)

MurasagiYT-Little Parade (English Cover)

DECO*27 ft Miku Hatsune-Otome Dissection

Three Days Grace-Riot (Thanks to tobi-is-an-artist-too for this one. I am sure the reason for it’s inclusion is self explanatory lol)

Yunosuke ft Miku Hatsune-Spiral

2NE1-Come Back Home (Japanese unplugged ver)

Tears of Today-Corregret

Zutto Mayonake de ii no ni-mabushii DNA dake

Pizuya’s Cell X Barrage Am Ring ft Meramipop -my temperature is zero degrees

Rupert Pope and John Robertson ft Isla Meller-Coming Round

After the Rain (Soraru x Mafumafu)-yuudachi (evening rain) (this one could relate to some of the character dynamics between certain pairings, particularly between cast members and some side characters as the relationships become more distant/deteriorating. It can also relate to the feeling some characters might have at their youth slowly slipping away as the story continues)

ONE OK ROCK-Mighty Long Fall

Akiakane-FlashBack (I am planning to use this for a second OP song chapter at some point ^.^, and the actual PV of the song will inspire the sequence I write for that. Also, this is such a good song about falling apart and grief and betrayal so it fits really well with later events)

*Luna ft 來 -Epilogue (Also check out the chorus cover done by EncripT for round 1 of the Ascencion Chorus Battle 2019. Anyway, this one is about being able to make one’s own choices and how the idea of doing this has served as a motivation for some characters)

Fractured Light Music-These Final Words

Fractured Light Music-We Dream of Stars

Fractured Light Music-Goodbye

Ludovico Einaudi- I Giorni

Eve-Yamiyo

Tokyo Teddy Bear English Chorus Cover

YURRY-CANON ft GUMI-Humanly

Eve-This World To You (For the bittersweet moments and the bereavement)

CYPHER-Redmoon (another one for the rebellion themes, and also the theme of doing something that you cannot go back from)

Misumi ft Hatsune Miku-Weird Beast

chorus cover of ‘Bolero’

Zutto Mayonaka de ii no ni-Seigi (justice)

After the Rain (Soraru x Mafumafu)-The equation for the beginning of love (a particular couple relationship is what I have in mind with this song, because the song characters are sweet awkward dorks and so are the characters of the couple)

Fantastic Youth-Mairieux (acoustic arrange)

Nathan Wagner-Innocence (because well, they will end up losing it, won’t they?)

Fantastic Youth-I thought I was an angel (cover and rap arrange) (Kinda self explanatory-they started out trying to do the right thing, thinking they were the ‘angels’ in this. Of course, they aren’t really, are they?)

Jayn-With Love (for the slightly more supportive/positive aspects of various character relationships, both platonic and romantic) UVERworld-Touch Off Dasu x Ensou ft Len Kagamine-Jet Ammo

Memai Siren-Ajisai

Crusher-P ft Miku Hatsune-Propaganda! (both about the elitism of Hope’s Peak and how they’re trying to present this very particular image, and also how dangerously close-knit the cast get)

ALEXANDROS-Pray (There’s a lot of cases of characters wanting to help each other, and not knowing how. So this song is about that, and those particular relationships)

FELT-Until Tomorrow

MAN WITH A MISSION-Remember Me

Aron Wright-How You’ll Be Remembered

JubyPhonic- Häagen-Dazs Ika no Sappuukei (English Cover) (This inspired the scene with Keiko on the roof in Party Time, part 1. I guess this could be a song for the main event of Preparation/Party Time in general)

BRAVES ft Nikki Reed-World’s On Fire

Fantastic Youth-Totemo Suteki Na Rokugatsu Deshita (cover)

Wolpis Kater-1% (Melon soda no hoshizora wo)

Studio Yuraki-Mukanjyo(English cover) (this fits with the themes of the story so well in general)

Misumi ft Hatsune Miku -Alter Ego (there’s something about the darkness of Misumi songs that fit so well with ASIB aaaaa)

chorus cover of ‘0verf10w’

Raon Lee X KOBASOLO-Philosophy of Adversity

chorus over of ‘Yankee Boy Yankee Girl’

Eve x Rib-Lear

Pizuya’s Cell-Midnight Liberty

Studio Yuraki-MAYDAY (cover)

Mitei no Hanashi-Drown in the Night

YOASOBI-Racing into the Night (check out this group cover too)

Fantastic Youth cover of no title

chorus cover of Los!Los!Los!

Sou-Mr Fixer

Techniken ft Lollia and Sohly-Make Me, Hate Me

Eve - ‘Love & Destroy’ (cover ver-originally by Mi8k ft GUMI) There are a fair few good covers of this really, but I picked this one because Eve.

FUZI x Neru ft Luschka and Mas Kimura-Optimi2er

Chorus cover of ‘RENEGADE’ (come on, tell me this isn’t a Shino song. Or even an Emiko song, for that matter. I dare you.)

SYND!CATE-In The Elegy (a chorus cover mash-up of ‘In the End and ‘愛迷エレジー ‘. Yes, really.)

Nathan Wagner-New Horizon

Neru ft Len and Rin Kagamine-Becoming Potatoes

Wild Fire- Everybody Knows (cover) (about the elitism, obvs)

Harry-P- 徒花の涙

Ivy Adara-Rebels

GRIMES- We Appreciate Power (feat Hana)

Opening song for ‘Get Even’ (BBC drama)

THE BINARY- 花に雨を、君に歌を

MILGRAM-Undercover

Mafumafu- 悔やむと書いてミライ

Sou’s cover of ‘Penguin’s Detour’

HANDEAD ANTHEM-Why Not?

MARETU- ドクハク (The link leads to a dance cover because why not? But this one would link to the more violent events and mindsets that develop over the story)

Stray Kids-District 9

KIRA-RISE UP NATION (Quite a few of the cast could be seen as misfits in some way, and they are all for causing trouble and making changes)

*Luna ft GUMI-Black Out Stray Kids- SLUMP (English Ver) (Deteriorating relationships of all sorts, and the emotional conflict that some of the characters are going through especially as they realise that they are at the point of no return.)

Red-The War We Made (Well, it’s more or less a war anyway)

Citizen Soldier-Hope It Haunts You (I’ll let you all theorise over this one lol) Citizen Soldier-Would Anyone Care? (Suggested by PainX65, as fitting certain characters, moments and even Hope’s Peak’s actions over the story)

Eve-How to Eat Life

MYTH&ROID-Remembrance (Goes without saying that Remembrance is in a way one of the stronger motives behind what our cast are doing, in a macabre way)

No Resolve-What You Deserve

Nine Lashes-Guilty Hands (They all have them)

Nathan Wagner cover of ‘The Kill’

Mako Niina-Sensen no Realism (The implications/consequences of what they are all doing hitting them)

After the Rain-Kono Yubi Tomare

Mashiro cover of ‘That Summer Saturates’ (the heady fallout of being involved in a crime with friends, and the general intensity of adolesence, and how the two combine)

chorus cover of ‘Nocturnal Creatures’

Fumiko Uchimura-Dotte Koto Nai Sympathy

#fanfiction #my fanfic #Dangan Ronpa #SYOC #music reccomendations #playlist #fanfic playlist #AndSoItBeginsSYOC

14 notes · View notes

catrobinsson · 4 years ago

Text

Weekly Task Nine

Why do you think the company asked us to watch the play on a phone and what did that add to the performance and the dramaturgy?

By incorporating the aspect of the performance being viewed on the narrators phone, allows the audience to have an immersive, intimate experience. Our phones can be a very private place and almost an extension of ourselves, so allowing the audience to view his screen adds an element of realism to the performance. It also adds to the dramaturgy as there is no escape from the screen. Traditionally, when watching a performance you are observing it as an onlooker, however in this particular performance you are submerged in his screen, with nowhere else to look. The audience is seeing exactly what the narrator/performer is seeing. For example, there is a moment where you are being bombarded with messages of condolence, but you or the narrator doesn’t yet know why. By seeing these messages flood your entire phone screen, it makes you feel as if it’s on your screen, rather than just simply watching a performance online. This puts you in the same position of the narrator triggering a more empathetic responses than you may have had in the theatre.

If you were to describe this play to a friend how would you describe it?

I would describe this play as an immersive, and in places, uncomfortable experience. The plays layout is in the comfort of your own phone, a place where people go everyday for leisure, communication or even procrastination. However, the element of familiarity is taken from the audience member, and instead you are peering into someone else's world. I almost felt I was intruding on the narrators phone, as he reminisced about his ex-lover that was now deceased. By having the shared ability to see and hear what the narrator is seeing and thinking, you can almost embody the narrator and be apart of his grieving process. This play demonstrates the grief process, in all its highs and lows, through technology.

What specific dramaturgical choices were made in the piece – which made it feel immersive as an audience experience?

A specific dramaturgical choice that impacted me as an audience member was the use of sound. I felt fully immersed in the performance when I could hear the phone notifications and vibrations going off. It added a suspense and also put me in the shoes of the character. Those familiar sounds of a phone made me relate to the character more intimately that I would have if I was watching a performer on stage. Another use of sound was background noises, for example the narrator describes sitting in a coffee shop trying to write, in the background you can hear the sound of a busy café. This gave me a sense of location, especially with the added experience of headphones on, this made me genuinely feel transported to where the character was with the addition ability to hear the narrators voice as if they were my very own thoughts. These devices truly made you possess the character.

Another pivotal moment was the more subtle indication that time was passing. An observation that I made was on the shared phone screen the date and time kept changing. This made me feel that I was completed absorbed in my phone screen, and there was no escape from social media and looking at the narrators, now diseased ex-partner. It made me feel trapped and that time was passing me by. This for me inferred the journey of grief and the thought process of the someone loosing a person close to them. As an audience member I also found the visual aids of photos dissipating into a dark screen, fill me with an empty feeling. The photos displayed were ones of the recently passed ex-lover called ‘Luka’. It makes me feel as if I knew him personally and the prospect of this photo moving away from me, with the understanding of that there will never be a new photograph of ‘Luka’ filled me with dread. As an audience member I felt I was inhabiting the narrator.

What specifically might you take away from this piece when developing your own final performance?

When considering all of the dramaturgy and devices incorporated in the performance of Dante or die’s ‘User not found’, there are many characteristics I would like my own performance to possess. Specifically, I loved the concept of a shared screen. It made me feel I was completely engulfed in the innerworkings of the narrator mind. It also added an element of realism which added to the over all performance, as it showed the harsh reality of the abruptness of loosing a loved one. I would also incorporate their use of sound. They used a variety of different audios throughout the entirety of the show. A sound can transport you to any location and can also evoke different emotional responses. I would definitely incorporate this element into my own work, as it will have the ability to make the audience feel they are somewhere new, rather than just in their own environment watching the performance. The device of audio in the context of performance, can massively impact the feeling of an audience member. When developing and creating my own final performance, I want my performance to hold that same ability.

0 notes

libbieswmp1 · 4 years ago

Text

Week 9

1. Why do you think the company asked us to watch the play on a phone and what did that add to the performance and the dramaturgy?

I feel like this request was made because of how much it makes the audience feel personally involved in the story that is being told. With the layout being on a phone screen that you’re holding, of the character’s phone screen, it made it feel rather familiar as it is a sight that I often see, although obviously slightly different as it is someone else’s phone with different contacts, apps, etc. This, in itself, is a reminder of how individual and personalised every person can be and also how much something as simple as a phone screen can tell of a person’s characteristics and personality. For example, the character’s phone that was displayed during the performance did not seem to show many social media apps and, other than the section of the play where a lot of people were contacting him to offer their condolences, the man did not receive much contact from people on a regular basis. This is then contrasted with the section later on in the play where he is talking about his previous partner’s interest in apps like Twitter, for example, talking about how he himself had not fully understood the point of it, however the character of Luka was a regular user of the app and therefore used it to show off many elements of his life, unfortunately also causing the character to discover that not many of those elements included him. In relation to the dramaturgy of the play, the use of headphones was definitely the most effective aspect for me. The ability to use them almost as a barrier against everything around me, allowing my attention to be fully committed to the play in front of me, made not just the story being told but also the character’s being introduced and described feel so realistic. There were times throughout when I felt like I knew these people that were being talked about and felt the main character’s pain and loss, causing me to simply want to comfort him for some reason.

2. If you were to describe this play to a friend how would you describe it?

I would describe this play as the type that really makes you start to unintentionally think deeper or question elements of your life that you can reflect on. These could be either where you may possibly have lost contact with someone over time, regretted not acting on certain situations or certain people, wished you had dealt with something differently or even just treasured particular moments more while you were there experiencing them. If I was describing this play to a friend, I would warn them that it is a very emotional and touching piece, even if you cannot necessarily relate to the happenings throughout. I would also describe it, without a doubt, as the type of play that needs your undivided attention within every single second of it, not just to be able to keep up with or to understand the story, but just to be able to really appreciate the messages of love, loss and also humour that it is very successful in portraying to the audience.

3. What specific dramaturgical choices were made in the piece - which made it feel immersive as an audience experience?

The dramaturgical choice to include sound effects did occasionally cause me to feel slightly uncomfortable and on edge, especially the part when the character was talking about drowning and the sounds of the water crashing in my ears was getting louder and louder. Another particularly effective part was when the character claimed he saw a magnificent lioness enter the cafe where he seemed to spend so much of his time, and the noises created from that lioness panned from side to side across my headphones, making it feel as if this animal was quite literally stood behind me, preparing to inspect me like a meal. It was amazing to experience how genuinely scared it had me feeling for a brief moment, proving that even though I was fully aware that it was just a play created for people like me to watch, it completely encapsulated me to a point where I felt like it was real life. Even with everything completely stripped back, so as only to hear the sound of the character speaking, it was very touching and highlighted a sense of fragility as it caused me to feel as if everything he was revealing to me was a secret that it was my responsibility to keep. Another dramaturgical choice that caused the experience to feel somewhat immersive was the way the play went back in time to enlighten the audience of the character’s life and how it has led up to the current moment and the way he is handling the death of his ex-partner. Even something as small as the date and time visible on the phone screen was a massive indicator of how quickly time passes and can result in people being in places they never expected to be.

4. What specifically might you take away from this piece when developing your own final performance?

I really liked the specific use and technique of switching between time frames at certain intervals throughout the play. Not only did this allow more of a story to gradually build up and include various characters from both the past and the present circumstances, but it also allowed the audience to feel like they were a part of the character’s life all the way through. I also feel like, personally, this is a very effective technique when used successfully as it allows the audience to feel a journey of emotions while watching the entire piece, particularly the final emotion of some kind of completion and satisfaction. If I take that away to use in my own final performance to highlight the opportunity that is presented for the audience to take and follow, then I will be very confident in knowing that my audience will be left feeling very emotionally affected by whatever my piece ends up being, and whatever the overall imagery and messages are that are portrayed to them.

Bibliography:

Dante Or Die (2020) USER NOT FOUND: A video podcast. Available at: https://www.youtube.com/watch?v=kcCvR4y2yk8 (Accessed: 3rd December 2020)

0 notes

vileart · 7 years ago

Text

Burrowing Dramaturgy: Andy Edwards @ Tron

In Burrows

A new performance in BSL and spoken word, created by Andy Edwards, presenting at Tron Theatre on March 23rd and 24th.

credits: Julia Bauer

The performance frames the act of description through a series of choreographies, investigating the relationship between spoken language, sign and meaning, and exploring perspective and how we engage with the world around us. In Burrows will be accompanied by a number of guest performances. Musician Blair Coron will perform a composition developed especially for the event. Petre Dobre and Adriana Navarro will present the short performance Words, who needs them? What was the inspiration for this performance?

In Burrows began as a short piece, first performed at Only Skin’s SCRATCH back in October 2016. In the work I would describe an image to the audience, an image that was placed onstage so that they couldn’t see it, in 1500 words. What inspired this performance was a desire to make the easiest piece of work I could possibly make, that offered the maximum amount to the audience it could while carrying with it as little as possible. So it made sense to work with an audiences imaginations. Then I also wanted a piece of work I could just turn up and do, make up on the spot, so it made sense to play with improvisation.

The method of improvisation I employ was developed as part of the ground, the highest point a duet of text and dance I performed with Paul Hughes at a couple of festivals during 2015. Initially it very strongly drew from (or, less charitably, stole) Tim Etchell’s solo practice but since then it has departed considerably, and I’ve improvised poetry across a wider range of contexts, developing my own particular set of enquiries. Those enquires are primarily linguistic – I’m interested in how language works.

When offered to present In Burrows at Tron I was posed with the problem of how to take a very solid short work and evolve it into something three times the length, without just dragging it out. I’d been curious about working with a British Sign Language interpreter for a while, largely out of a desire to make my work more accessible to an audience I’d previously not made any work for and also because I was curious about the language itself. Placing Amy Cheskin into the work has been brilliant. A simple act that has produced lots of tensions, questions, that have driven the work forward. Thinking about translation, interpretation and the fuzzy areas in

between has given the project a new lease of life – and certainly inspired me to push forward with it. Rehearsals are thundering along and we’re both pretty buzzed by how fascinating language is, and how it intersects – both producing and being produced by – what you’re thinking, what you’re feeling, how you’re trying to position yourself to others and the world around you.

Is performance still a good space for the public discussion of ideas?

It is a good launch-pad for the public discussion of ideas – and then, that discussion, happens after the performance has taken place. Any good discourse is advanced by someone making a claim about something, and then other people assessing that claim. Me saying that I think this gives you something to react off of.

The way I go about making performance is to think that each performance I make is an act of making a claim about something, taking up a position, and that by taking up a position I’m inviting others to observe, discuss and criticise that position. That’s the basic task that I’m up to – trying to hold someone’s attention long enough for them to know what it is I’m claiming but with a relaxed enough grip so that they can react to it. And then things that I’m doing are hugely informed by the ideas I’ve previously discussed that have led me up to this point.

I think that’s why art in general is a good space for the public discussion of ideas – because it is often people making statements about the world that have a smaller impact on that world. That isn’t to say that impact is negligible. Not at all. Or that it doesn’t have a significant impact on the world. It most definitely does – and that isn’t always a positive one. But there’s something both flimsy and robust about art that means the stakes are low enough so that we can discuss it but that also our discussion of it won’t kill the thing stone dead. So yes, in that sense, it’s has the potential to be a great space to discuss ideas.

That’s all potential though, because if only a small segment of people can access the space in which the discussion takes place then it won’t be much of a discussion at all. So, it depends on what the performance is, where it is being held and who is allowed in.

How did you become interested in making performance?

I’m not particularly sure. I came about it the long way around and avoided it for a while, in part due to a certain type of pressure applied to me when I was younger, and in part due to being scared that I’d be totally rubbish at it. As a teenager I found acting, with characters and lines and arcs, such a release for a build up of emotions I’d not learnt how to deal with. I did a GCSE, then A-Level, in drama. Then fell in with the theatre crowd at University – after a brief attempt to avoid doing it – then did a masters – after another brief attempt to avoid doing it – and since then I continually flip flop between wanting to knock Shakespeare off his perch and “getting a job in a bank”, forgetting of course that getting a job in a bank is probably quite difficult / the banks might not be particularly in desperate need of my services.

Is there any particular approach to the making of the show?

Me and Amy work in a manner where the creative responsibility is a little imbalanced. Given Amy is a translator, that’s a really necessary thing for her to do her job, but it leads to the interesting tension where if the work is crap it isn’t her fault, it’s mine. So it is interesting how labour divides up as a result of that. The pattern is that we meet once a week and for three hours throw things about, try something and note what happens. Then I’ll go away and write something, some notes, a script, or whatever – and then we’ll come back together again and throw what’s left together again. So we move forward like that – and it’s going super well I think.

Thinking about our general approach, we spend a lot of time asking what the audience will be getting from the work, and how audiences with different abilities will receive the work differently. The work will be accessible to a range of audiences including those who are D/deaf, hard of hearing, partially sighted or blind, with integrated BSL interpretation and audio description. This desire to make a piece of work that offers a rich theatrical experience to these audiences informs a lot of decisions we make. Rather than to offer one blanket experience of the work, we’re curious as to what we can offer each of these specific audiences in turn. The work, as a whole, is concerned with a very specific relationship to each and every one of its audience members. It’ll be a bit different for everyone, given that a lot of it will take place inside their heads.

Does the show fit with your usual productions?

While I’ve performed my work before, most recently as part of Andy Arnold’s group show NOWHERE during Take Me Somewhere 2017, I am more commonly found as a playwright. Typically I write text for others, in a ‘New Writing’ context, whereas for In Burrows I’m speaking text that has never been written down.

There’s a thread that runs through all this work though, which is about being in control of language. That sentence sounds a bit gross, reading it back. With In Burrows I’m making that process more explicit to the audience then if I were to write a play, which I’d typically do out of sight.

So while it will look very different to a lot of my other work, I think the underlying mechanics are fundamentally the same.

What do you hope that the audience will experience?

The dramaturg for In Burrows, Paul Hughes, wrote this note to me after a development weekend: “I’m looking at a photograph by Andy Goldsworthy currently on display in the Glasgow Gallery of Modern Art: a line of upturned leaves placed on dense patch of bracken, the stark white undersides standing out from the vivid green of the forest. It doesn’t impress the viewer in how it has acquired huge or rare or precious materials, or on how many people the artist holds in their command, or even in how it has hoodwinked and mocked the institution that houses it. No sustained physical commitment was required to produce this; in fact, the action so simple that we can imagine the exact steps with which it was undertaken. The gesture points towards the artist themself as much as any material circumstance or image.

Is this an alchemical transformation? Do we perceive the artist as a magician, effortlessly transforming reality around them? This can only be determined on a case-by-case basis, depending on the individual viewer’s tastes, affiliations and readiness to go along with the trick. What’s more clear is the particular sense of romance, of the poetic, within the artist: of the ways in which they read charm and delight in the world around them. Perhaps in this work - and obviously I’m talking about In Burrows too - the artist is inviting us to briefly see the world through their eyes - not as a way to seduce us, but to share with us a way in which we might allow ourselves to be seduced. We stand before an intimate proposition; the individual’s un/abashed offer of their very personal relationship to beauty”

So perhaps that sums it up, perhaps it doesn’t. I’m wanting the audience to have the experience of observing something very personal to themselves, namely their relationship to language, memory, imagination and image. It’ll be small, quiet, and hopefully full of stuff for them to latch on to and play with.

Both In Burrows and Words, Who Needs Them? have been created for the enjoyment of hearing, hard-of-hearing and D/deaf audiences. In Burrows also features integrated audio description for blind or partially sighted audiences. from the vileblog http://ift.tt/2ohvYuv

#Theatre #Blogger #visual art #Edinburgh Fringe #Experimental Critique

1 note · View note

devilishdewitt · 6 years ago

Text

“Ladies of Burlesque”, March 2019.

~The Eternal Disclaimer~

It is hereby declared that this little nook of the world wide web shall be devoted to the praise & critique of the art of burlesque, specifically in Russia.

Let it also be known that I am first and foremost a benevolent force, and every single criticism is documented solely for the purpose of evolution, growth and inspiration, darling.

Never forget - it is fantastic that the burlesque scene in Russia has grown so much in the last few years. Brava, ladies! As a fact and a statement, it is absolutely fabulous.

However, I volunteer to wear the heavy crown of expertise, having seen many a show in many a place, and having a keen eye for detail and a heart hungry for that wow factor. I always come with an open heart, am quite easily entertained, and know how hard the craft is - I can overlook many a fault when there’s stage presence, charisma and that fire of passion. Oh, and self-irony.

All is sickly without self-irony.

Without further ado, onto our beautiful first show!

“Ladies of Burlesque” is the creation of Anja Pavlova, a shining star on the Berlin scene who descends into Moscow in attempt to elevate the world of Russian Burlesque.

The Venue

Quite splendid. Conveniently located minutes away from Taganskaya metro station, Dorfman karaoke drowns in luxury (it is painfully evident in the ludicrous lavatories). An atmosphere of glamour is immediately created - the view is good from all seats, the stage is well-located, the lights are a bit mad, but tolerable.

It is absurd for a Muscovite to complain about the price of anything, but the money demanded for the simplest things is aggressively silly.

The Wait

The producer of the show, who chose the somewhat childish moniker Konfetki, was at the door, checking the lists and being wonderful. She is delightful, but good God, please dress her better. The ensemble she chose did not fit the venue nor the atmosphere. She is gorgeous - let her outfit be gorgeous, too!

The magnificent lady selling pasties was exactly that - magnificent.

I wish there was a lady like that everywhere I went.

The Performers

Anja Pavlova is undoubtedly a ray of jazzy 20’s sunshine. “This is the show of my dreams”, she announces, and you can tell it’s true - she is simply glowing. She clearly knows what she’s doing and she loves it completely. However, at times her beaming adoration for the performers seemed over the top - especially when her words were far from the truth.

When one thinks of a chorus line, the mind is immediately alight with synchronised wonders, radiant smiles & fascinating costumes. That is how Anja introduced the Ladies of Burlesque Chorus Line.

But oh boy, it was a spectacle for all the wrong reasons. The costumes do not flatter the ladies at all and look quite sloppy. They were saved by the gorgeous headpieces and smiles, but the moves…seemed incredibly random. Rare moments of synced movements provided some sense of relief, but over all, for chorus line dancers, they have an abominable sense of rhythm and don’t dance that well. The girls seem very nice, but don’t have the oomph & electricity to really capture the audience. Also, they left in what seemed to be an embarrassed hurry. Never!

Also, you’re doing a burlesque show & you’re not cinched? Girl, bye.

As a wise professor used to say, “It’s not about the size, it’s about the line”. Take care of that silhouette, mademoiselle!

Then came the singer, Marie Weinberg. If only she was as good as our charming host promised…remarkably, her stage presence was close to nil. Both of the dresses were gorgeous, but she should’ve worn the green one first - the black & diamanté ensemble should’ve been saved for dessert.

The choice of songs was excellent, but she did nothing with them. Her version of “Oops I Did It Again” was surprisingly charmless. One mustn’t even do much to make it a hit, it’s all there - the dramaturgy, the humour, the irony, but somehow she managed to make it gloriously bland.

I was bored! At a Burlesque show! Nonsense.

Does she have a good voice? Yes.

Does she sing well? Yes.

Is she entertaining? No.

Does she know what do with an audience? No.

Do I want to see her again? No.

On to the deshabillants!

In general, I want to say that most of the acts were extremely similar. I know, I know, this is Burlesque, the main mechanism is quite predictable - but it seemed like 90% had a version of a wrap-around dress with pretty much the final look underneath. It is so fun to play with expectation in this genre, and somehow most of the performers completely overlooked this opportunity. However, this is only the beginning. Everyone started somewhere!

Ellisha Fox, I salute you. I can’t even imagine the amount of raised eyebrows and hurt pseudo-masculine egos you had to encounter on your path. His style is reminiscent of glorious anime characters, his moves are impressive, and those heels!! Those heels!!!! Good Lord, he’s a superhero!!

However, a pinch of self-irony would not ago astray. Perhaps, for a future act. I’d recommend taking a leaf out of Jett Adore’s book - specifically the Zorro act with which he travelled all over the world as part of Dita’s show.

Still, Ellisha had one of the best acts of the evening, Bravo!

If we were to speak about lack of self-irony, Tamasina Beansun is the queen of it. Her acts have excellent ideas - the Eve one she showed at last years’ Moscow Burlesque Festival, or the Little Red Riding Hood she presented this time - but her performances are so self-absorbed, at times one feels like he’s the third wheel. Like a party for one that you somehow found yourself in. And sure, it can be a style choice, but it’s not working. Sometimes it simply becomes vulgar. And it’s not a question of confidence, for it is always felt.

This is not the case. Simply put, she does not need the audience. Her self-indulgence feeds every appetite that she herself has.

Her Siberian Prime ally, Katerina Sahara, is an exact opposite. She loves the audience and it shows. Her acts range from witty & ironic (The Bunny), to majestic & mesmerising (the newest addition, The Dragon). Her moves are hypnotising, she always looks impeccable. She knows her worth and yet is the first one to laugh at herself. I must admit, her Dragon act amazed me. It was so well thought through, so gorgeous, utterly hypnotising. I often use her Bunny act as an example of brilliant Russian Burlesque. Can’t wait to see what she does next.

The Stage Kitten, our charming engineer, was quite good. I do wish she had a bigger moment though, you know, the moment. Also, perhaps it would be wiser to opt for a pair of more comfortable heels - the chance of a fall loomed over her in a quite a terrifying way.

Jeva Noir. I was particularly excited to see her, as I remember how sad she was at last years’ Moscow Burlesque Festival, sharing that they didn’t include her in the programme. Well, I must admit I can see why.

Does the act have an idea? Oh yes.

Is she gorgeous? Absolutely.

Is the costume marvelous? Quite.

The music? Good.

But something just didn’t click. Nerves? Perhaps. Some of her moves seemed forced & mechanical. In Burlesque, every move has a meaning, a purpose, a storyline to unveil. Also, a better wig is strongly advised.

If it is not a wig, better hair care is strongly advised.

Radmila Rocky Zombie got somewhat lost amongst the midst of performers. I was looking forward to this voluptuous beauty, but didn’t really get much. Caravan is a fantastic song, and she definitely has the skills, but something just didn’t work. There was no “wow” moment. I have a strong desire to see her other acts, this one seemed quite bland.

Well, Anja Pavlova is a treasure and a wonder. Not many leading ladies can shift between MC & performer with such ease & elegance. Her performances are a time machine, she exudes excitement. It is a treat to watch her.

However, when she gushed over the “kinky Burlesque” of Blanche De Moscou as something wildly original, I couldn’t help but wonder if she was convincing herself. In an industry where Dark Burlesque & Fetish Burlesque are huge, kinky Burlesque isn’t novel at all. Not even a little bit. Also, what was kinky about her number? A small demonstration of a few rather tame objects? The mask in the end? The spilling of the milk on her dainty bosom?

Blanche is a true enthusiast and her entrance look for this act is jaw-dropping. But the transformation that takes place in this performance can be made bigger, better, bolder.

THE FINALE

The show has a signature atmosphere of luscious elegance. It may not be thoroughly consistent, but it’s very clear that Pavlova knows what she wants and is working to fully fulfil her dreamy fantasy.

Perhaps if she were more strict and demanding, the results would be even more fabulous.

✶✶✶✶

#ladiesofburlesque #burlesque #burlesqueinrussia #anja pavlova #tamasina beansun #katerina sahara #eva noir #elisha fox #dorfmann karaoke #blanche de moscou #radmila rocky zombie #ellisha fox #marie weinberg

0 notes

ninaycyu · 6 years ago

Text

Culminating Entry

If I were to be completely honest, when I found out that one of the requirements for the class was to maintain a blog, I definitely thought of it as a hassle and a mere requirement rather than something that could actually help me. Personally, it’s hard for me to commit to something like a blog simply because I’d rather be doing other things in my spare time; however, as I continued to write about my learnings for the course, I’ve found that it somehow exudes a therapeutic feeling-- it’s a feeling I believe one gets in terms of writing a journal or a diary. The process of writing down my learnings, my experiences, and what I’ve come to realize throughout the course I guess also shows the growth and increase in understanding I’ve had compared to when the semester first started. Now, following the course on Understanding the Self, I believe that I’ve come to understand that the self I am now was shaped by the environment, relationships, and interactions that I’ve had in the past and will continue to be fluid in terms of being able to change as I journey through life. I don’t think the “self” is something that’s entirely concrete, that even if I’d grown accustomed to something in the past, that I am also given the choice to let it go and try new things in life. Of course, this freedom of choice doesn’t necessarily apply to all things in life and lifestyles.

At the beginning of the semester, I remember the professor tasking us to jot down any question about life, and from what I recall, I think what I wrote was if the choices/decisions we make define ourselves as a person. In a way, I do think that this rings true. When we are faced with a situation, it is natural to have a specific choice or a reaction based on impulse. This is seen in the Mindful Self, wherein it is exhibited that people are susceptible to their choices being influenced by the flow of their emotions, that is why people come to regulate themselves and think about choices first before doing things out of impulse. An example of this, I guess, would be if a person decides on ending a relationship with someone else, that he/she would need time to think about what to say first before completely acting out on a whim.

Based on the discussions in class, I think that Erikson’s theory of Psychosocial development is what I really came to “agree” with, in such a way that the self is developed through many, different factors, one of these being a person’s interaction with others. There is complexity within identity and the search for it, and that we may spend our entire lives trying to get ahold of who we truly are. However, I find that it’s futile. Even though truly getting to know oneself seems like something that would make our lives easier, I don’t think we can ever pin ourselves down only to certain characteristics and traits. This complexity is also an advantage. Identity, then, is fluid.

If I were to pick out the lesson that’s struck me the most or what I’ve come to somehow “resonate” with, it would be the theories on Dramaturgy, since I really do think that people view life as a stage. As human beings, I think that we are all scared and have a sort of ingrown want to please other people or to look good in front of other people because this makes us feel good about ourselves. Personally, I can relate to this quite well and to me it’s a natural thing of life. One can never not be “acting” in front of others. People act differently among different groups of people, depending on who they’re with. When they’re with a superior, they may act more formal; when they’re with a friend, they may act laid-back. In the end, it all boils down to who we’re with.

Essentially, the class on Understanding the Self displays a variety of perspectives and theories regarding the very nature of the self- from theories like Freud’s psychosexual theory and Erikson’s psychosocial theory. All the lessons being discussed has just led me to think that there are various different ways of perceiving life, and that my idea of a certain “self” can constantly be changed. Really, it all just depends on me as I go through life and continue making decisions. Coming into the course, I didn’t really expect anything much, but now that it’s ended, I’ve become ‘informed’ of a few aspects or point of views of the self that I may come to think about and carry with me as I live.

0 notes

vreasystreetboots-blog · 7 years ago

Text

Everything you do need a complete plan

Companionship is often invested in recommend boot, specially the revenue from running shoes, in 3 q10 ordering within a gathering, cheap air jordan shoes shoe purchases fushia 21% twelvemonth-regarding-season, adding athletic shoes even blogged some quarante% change. Retro jordan sneakers for sale type garage at 2015 towards 6103, will owners is provided with in 2012 will rise right from eight hundred to be able to thousand department stores. Gain edge help improve 2% to be able to thirty nine.1%, in keeping with targets, basically stemming from falling over sweeping price reduction and effective amount to dominance. In regards to shoes and boots products and services, each selling lower price try 68% near 2007, killing toward 62% using 2015, has reached sãu mæ¯æ i% inside 2009, though still staying stable in later life. Seeing that has finished 2010 a long time ago, three quarters on regulate, closure the price tag on raw materials, in addition to megascopic margin in 2011 would certainly remain full progressly. Keep up fat as well as arouse niche charge at hk $7.1.

These figures lower than 135 text from inside the phrase with high in sorrow. Air jordan shoes women supplier unveiled lately talked about: throughout the fourthly british capacity unit over shoe models price tags will certainly go up past 7.8 ﹪, outfit values will certainly rise as a result of xvii.9 ﹪, aside from recent Nike Tennis Shoes Federer unveiled available at a getting together with when you look at the request point, 5 wide every day better-identified sports activities trademark proper footwear furthermore tops more in 20%. To put it accurately, right from needs to at present, 5 play brand name during the amount of every day has actually gone up aside 10% to be able to 10%, presently precisely why agglomerate terms once again,? Positive aspect can continue to keep your amount of household features business? We bugged super observez boys jordan retro 8 share regarding the italian.

FLASH JORDANS CHOOSE LISTING COERCE INSTITUTIONS ASCERTAIN MILD MEETING PLACE MENTALITY

Explore its definitely purpose, the typical consensus can be: is going to be our period of time on manufacturer victor, end user brand name decision features, household establishments ought submit "make or model", transform patron knowledge - they think city mark "dirty". Indeed, area manufactures have realized this concern, together with practiced a few campaigns, not surprisingly, he extremely need to make increased initiative. Regional services together with the improvement your attainment details along with region of Nederlands having goods market is particularly super fast, number one, second to tertiary segment climb and the volume of almost began to change additionally, it provides the growth markets about local firms. Along the lines of Greek deity and additionally adidas currency-borrowed small businesses to input netherlands, for starters, while using complete manufacturing as opposed to revenues maturity. The solution could be to busy the principal promote, headquartered main store, prime quality elevated rate alignment, above the new design of buyers, execute a variety of pursuits close to owners, shape individuals' receive approach, establish name understanding of potential customers. Forex make or model is truly an extensive-terminology planned strategy, to the take really powerful heights with the make or model, to start with jump into your junior-grade in addition to a tertiary marketplace.

On top of parade 1, discounts on nike shoes dioxyde de carbone., LTD. (Islande) held in authentic retro jordans cheap conventional recreation area marvelous putting their signature to wedding, basically was crowned the business curling organization and so the Scandinavian country team's formalized spouse. It is a first-time initially the spanish manufacturer sponsored across the globe regarding coke and/or sparkler the big players Sweden squad and the worldwide straightening federation. Our world federation regarding curled, Sweden's crews and then Sequin sneakers with rainbow laces (notre pays) co., LTD., the relevant individual accountable for a together arrived at will putting their signature to wedding service. Nh furniture store can be planned during quelques années-2014 world men's straightening f1, lady's curled champion, each 2014 cold season Olympic Games, on quelques années-2014 Western european straightening tournament, as the Swedish ladies, house personnel, since the earth curled förbund (WCF) to provide experienced contest plus approve the gear, and provides wearables for all of the global curling constitution officials. At the same time, more become the 2009 entire world women's straightening tournament important standard partner. Discount athletic shoes online and/or game have turned that come with several years. In '09, finalized an official jordan raptors cheap end up being the French people status professionals standard girlfriend. On town Olympic Games inside 2015, increased women of all ages on portugal seen will Olympic Games the very first time these types of people acquired many copper-base alloy medal, making the styling earth growth of the globe this specific traditional time being. By semidarkness towards baseball organizations on this planet, all metamorphosis regarding the French people womens game from home bring about an excellent surge styling, right here is great portraiture authentic retro jordans cheap pursuing one psyche among fancy once more: simply adding unique recreations supplies, supporting the brief-put into use fitness, moreover on pursuit of good and then public, foster each extensive continuing growth of Espagne in addition to the business football.

In addition to a buy air jordans online cheap underscores a flow on the happy, could be very wonderful harnessed our sum of the exercise, will your enjoy additionally loosening within games, versus move if post, perhaps the method superb know how to vibrate further. "movement subsequent: network nauseating, furthermore, cheap air jordan 8 on top of" sports leading + aol ads "all rule over disruptive invention, also reflected within your" excited forego celebrity, advocating ". Of the dilemma of suggestions get hold of fresh shopper classes, my colleagues built an in-depth analysis also done again data." it is obvious which a web is the most essential state, web pages communicate expertise position (CNNIC), our own inform found united kingdom web-based populace over to four hundred trillion, when young netizens to almost 500 million, the appropriate guy answerable for merrell shoes for men triggers type a journaliste, "QQ, online, gaming, may be the youth's many chief search engines job application. Hassle-free about enjoying video clip, interactive, fun, great credibility aggregation place become preferable. "As being the basic native exercise root online have fun with, there's undertaking will be able to mean" biological initiative "at April, 5th login youku cheap air jordans online elite dramaturgy. 8-10 kits shortstop movie says it situation about a small group of caucasian-equip operate in activities pdf, to deal with press within frustrating job, maintained a series of baseball plot. Together with plenty of current electronic network buzzwords, furthermore accompanied by laughing out loud" subversive transfer ", "biological action" will 8 weeks very nearly hundreds of thousands of bites towards the introduction of a good solid take from youku main clear run." neither of the two submit an spoof, images, eye-catching some sort of deed to get quality past play and / or after thief, don't take quick tough ad have an effect on society taking in suffer from, and even star does not have a large finest. All organic and natural rock 'n' roll trend is certainly remarkable inflammed! "Arsenic a strategic companion, youku, chief of selling team declination," white shoes for women heels that usually runs during the thought of "happy sporting events". Practically 1000s of gos to and then happy observations, thousands of netizens when you look at the family unique interlock might end up being heralded while a single benchmark when you look at the use. Of recent entertainment internet marketing has to offer reside circumstances - originating in clientele, not on the basis on simplified draw eye itself, then again to create the center note given that a place to start, just like advertisements, that success rate is supposed to be far more then casual news manners ".

0 notes

kiss-shotheart-under-blade · 7 years ago

Text

Kizu Rambles and Some Meta Discussions (feel free to add any thoughts to continue the conversation):

So this is mostly just a list of my thoughts as I finally get to the Kizu movies I’ll be adding as I watch.

○ Part 1: Tekketsu-hen “Iron-Blooded” • The slow jazz combo with the fanservice kills me. I’m dead. • Dude, I’m super vibing the character designs for this. Like Hanekawa is so fucking cute, but not in an overwhelmingly cutesy way that I’m personally not a huge fan of. • This definitely gives a different feel to the Monogatari Series if you started on this first, which I knew some people have. • Araragi looks so much more fashionable here (probably from the style change). Like I can’t get over his peace necklace right now. • God, Shinobu, well Kiss-Shot in this case, crying breaks my heart. • Seriously though, this is so beautiful. I love the character designs for this soo much. Gosh. • Not gunna lie, I miss the long monologues. I have always loved character driven, dialogue heavy pieces of works. • They’re really playing up the horror aspect of this as expected. It’s neato. • Knowing context means everything you see makes a lot more sense and is way sadder too, like the name and the head rubs. Also, Kiss-Shot is soo fucking cute♡ Best girl~ • I know Shinobu speaks in an old-timey manner, but these subs are laying it on thick though the quality is great. 👌 • I understand this is a prequel, but damn if you think I won’t cheer from seeing Oshino Meme. I miss that man. Also, man I cannot get enough of this art style. Definitely art inspo♡♡♡ • Man, this is soo good. God, understanding the finale of their exchange and watching Kiss-Shot just silently bare it leaves the viewer with so much tension and drama, or at least for me. • The ending theme 👌👌👌 Now onto part 2!

○ Part 2: Nekketsu-hen “Hot-Blooded” • Oh shit bois, ohh shit. A fight! Like jkay, not yet. • Dude, the Aikido for Dummies part kills me. • I saw the baby hand, and all I could think of was the Deadpool movie. • Dramaturgy gave up really quickly. I wanna know why he hunts other vamps. • Every fanservice scene this time is super over dramatic in the movies. I’m crying. Also, Hanekawa seriously got the cutest lingerie. Like girlll~ • Kakakaa, the leg scene. Ahahahahaha~ • I really do prefer the designs in this for the vampire hunters than the og ones. Ngl. • Thanks, Araragi, for asking questions I’ve been wondering like about the limbs 👍👍 Better than leaving it as some weird mystery. • My dudes, I’m living for the Bake music remakes are♡ • I know it uses a lot of jazzy music, but I’m crying at the sexy jazz that starts planning as Oshino looks at Araragi. I know there’s a ship for it out there. • Dude, young teen Shinobu doing some nice acrobatics here got me feeling those Breath of the Wild Zelda vibes~🌹 The pointy ears help with that image. • Super confirmed: I’m weak to Jazz. Reminds me of Transistor music. • Their conversation about running away from reality, and Hanekawa looking down reminds me of a meta I read about how people can probably start seeing oddities not only from having a trauma, but also from choosing to avert one’s eyes from reality, allowing them to shift their gaze into that realm in which oddities exist. Once you’ve seen one, it’s hard to leave that ‘night world’ since you can’t unsee what’s happened once before. I really like that explanation for oddities since it seems to fit the most. Oshino often describes how oddities are what we make of it; that they basically have to live by their reputation, our perspection of them. Makes sense why Shinobu isn’t acting like an oddity because she wasn’t being viewed as one anymore. • Always nice to see a gratuitous body shot of guys lately. It’s nice to see the sexy fanservice not limited to the girls. Also, thanks half sleepy grumbles of Shinobu about how being a vampire makes you hot. It was amusingly adorable, and also informative about why Araragi is fucking shredded! I always wondered why he was so ripped. • ‘Course I’m just checking to see how human you are. *slowly strokes every ab* Yuuuuuppp, suuuper humab. *circles some more* Wow, so human. Glad to know they’re both lusty after each other’s bods • The part I paused at when Hanekawa falls into the chair after being accused of touching other men’s bods frequently show that she is thicc 👌 Or at least she is from the angle. • I just did this awful screech laugh when he did the sexy lean down on chair and go, seriously thanks, like a typical fucking bishounen. Then Hanekawa’s reaction. I’m dying, Squirtle! Makes the weirdest fucking character ever, but also makes him super weirdly endearing and weirdly hot. Thanks NishiOisiN. 👍👍 • I’m CACKLING~! A glasses girl porno. Why always so specific? Like I’m not into loli’s so lemme grab this hot, sporty milf mag, hmm, just like that one woman, hmmmm. I’m super enjoying the :3 face Hanekawa makes as she glances at him knowingly. More cat-like pre-cat. • Teen Kiss-Shot has such a nice aesthetic, but jesus fuck that head imploring scene, like girl has no chill. I’m always uncomfortable with those types of horror-y scenes. • All I can think everytime I see that ridiculous big ass cross is something along the lines of, ‘lol, I’m not overcompensating all.’ • Forrealz, like how isn’t that cross hurting Mr. Half-Vamp himself, Episode? Real questions. Also, his life and crazed looks kill me. • What the fuck, Episode!? That explains why Hanekawa seemed so put-off when she saw him again in Tsubasa Tiger! Bro, she’s human, chilllll~ Also, must every brilliant character have a Kakyoin moment? Honestly this could be a Jojo reference for all we know since we know NisiOisiN enjoys his references, including those to JJBA. • Oshino really plays up his true neutral nature here. Okay, lemme correct myself, I think he’s more chaotic neutral or even chaotic good then true neutral which is more Gaen. • Again with the head plunging. Geeze. I love this literal use your brain. • I’m gay for young adult Kiss-Shot. She’s hot. Best girl 👌 • You gotta props Araragi for being smart, even if he’s really dense. Also, the more human, the deadlier. I really wanna know why they’re hunting Kiss-Shot down. • Hanekawa was wild during Golden Week. Also, dick in pants, Araragi. He’s totes gunna worship those panties. • This explains even more Tsubasa Cat, and his obsession with dying for her. Her selflessness (ish) influences the development of his own. Did she already like him? Like I am curious why she helps him since she’s not as saintly as he think she is. • Guillotine Cutter is a right up ass. Man, I wish we can get more Koyomi Vamp fighting scenes in Monogatari, but alas he’s half human for now. • I love these titular character arcs barely show the characters. Yeah~ It’s not uncommon, but damn, lemme see my vamp girl! • Ending theme is super jammy♡ French music is so pleasant to listen to~ I’m now on part 3! I do really enjoy the standalone nature of these. I wish they would air them in theater like Kimi no Na Wa did. (And also completely caught up for the first time in years since I’ve started since I have such a bad habit of starting and not finishing even if I really like it. Honestly, all I wanna do is rewatch this series over and over again to analyse every part. Also, gotta read those light novels~)

○ Part 3: Reiketsu-hen “Cold-Blooded” • When??

To be continued…

#kizumonogatari #monogatari series #random ramblings #animus and mangos #i guess i should tag this as well #kizumonogatari spoilers #monogatari series spoilers #spoilers #long post #monogatari

1 note · View note

vileart · 7 years ago

Text

Common Dramaturgy: Elliot Douglas @ Edfringe 2017

Find love and heartbreak in a hotel room at this year’s Edinburgh Fringe Festival

Duchess Theatre with Mermaids Performing Arts Fund presents

Commons

Debuting at this year’s Edinburgh Fringe Festival is a newly devised theatre piece about the failed romance between an MP and his rent-boy, and the consequences they must face for acting upon their desires.

Show Listing Information

Venue: theSpace @ North Bridge (V36)

Tickets: £8 (£6), special 2 for 1 deal on the 7th and 8th of August

Preview: 4-5th August 2017

Dates: 7-19th August 2017 (not on the 13th)

Time: 17.10 (50 minutes)

Price: £8 (£6), special 2 for 1 deal on the 7th and 8th of August

What was the inspiration for this performance?

This performance was inspired by the current political situation in the UK. Concerning the relationship between an MP and his rent-boy, the idea is to look at the current divide in the UK political scene between the generations and between the political elite and ordinary people.

Is performance still a good space for the public discussion of ideas?

I think performance is one of the best spaces for the public discussion of ideas. We're experiencing huge cuts in the funding of the arts at the moment in this country but we're also seeing a whole lot of new performances that are getting people really involved in what is going on in the world.

It's amazing and so important that the same year that Donald Trump became President a show like Hamilton can become the most popular show on Broadway; people are protesting in their own little way by going to experiencing performance.

How did you become interested in making performance?

I always loved acting but writing and producing is relatively new to me. I think seeing how theatre is made from the other side is really interesting when you love watching it too. I love the possibilities that theatre gives to transport an audience anywhere.

Is there any particular approach to the making of the show?

We are workshopping the production a little at the moment; I believe that theatre is a collaborative medium and that the say of every voice in the room is equally worthwhile.

Does the show fit with your usual productions?

This is the first time that we've worked together with this exact group of people: but I like to think that I've taken the best of every other production I've been involved in. As a writer, the show is definitely a lot more personal to me than anything else I've been involved in.

What do you hope that the audience will experience?

The most important thing to me is that the audience go away and have a conversation about what they have seen and the issues that have been raised. Nothing is worse than a silent audience or an audience who have no opinion about what they have seen.

What strategies did you consider towards shaping this audience experience?

We are aiming to shock and interest people in equal amount through the fast-paced dialogue and unique staging.

Commons begins at the very end: when love is lost, families are destroyed, and individual lives are forever altered by the actions of two lonely men, Marcus and Sam. The story unfolds within one claustrophobic hotel room and moves in reverse chronology, taking the audience through the highs and lows of Marcus and Sam’s relationship, probing deep into the emotional and psychological workings of both men.

Humorous yet heartbreaking, this unique play offers its audience both the scandalous gossip and serious political discourse that one looks for in a modern political drama.

Author and producer Elliot Douglas began writing Commons shortly after the Brexit referendum: “The idea was to encapsulate the growing divide and sense of dissatisfaction between generations, those of different political beliefs and members of different social classes in a story that is both ubiquitous and yet specific… Despite the uniqueness of their relationship and circumstances, the intent is that we can all relate to the figures of Marcus and Sam and reflect on the status of UK politics in 2017.”

Duchess Theatre is comprised of current university students, and receives its funding from the University of St. Andrews’s Performing Arts Fund. This is the Fringe debut for well-received writer, Elliot Douglas, and acclaimed director Louis Catliff.

The show features an innovative set and lighting design from Golden Seashell winner Amy Seaman, whose work was featured in the award-nominated Delay Detach in 2016. Sarah Chamberlain is also returning to the Fringe after a role in the well-reviewed ‘Tis Pity She’s a Whore last year.

Box Office: 0131 226 0000

Website: https://www.thespaceuk.com/shows/commons/

from the vileblog http://ift.tt/2tqIfBK

#Theatre #Blogger #visual art #Edinburgh Fringe #Experimental Critique

1 note · View note