#operation theatre courses near me

[technicalinstitute]

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[forasecondtherewedwon]

Bodies in the Theatre

Fandom: The Artful Dodger Pairing: Jack x Belle Rating: E Word Count: 1021

For today's @dodgerfoxweek prompt: post-series

Summary: Jack and Belle make a new memory on the operating table where she almost died.

She lives, and he’s afraid to be near her. She probably sees it before he does, feels it before he does, frowning because he’s always maintaining a distance, clasping his hands behind his back. He thinks, for a while, that it’s a reversion to propriety; she’s been recast, a finished vase back into raw clay on a spinning wheel, made over again, and he doesn’t realize it’s him setting her up on a high shelf, out of his reach.

It’s her who shows him, of course. It can only be her. One day, when the hospital is quiet and the theatre floor is clean, she insists on closeness. One step closer and he feels the thick slickness of blood on his hands. Two steps and she’s cut open beneath him and Jack’s demanding, “Stop. Stop,” holding out a hand to prevent her coming any nearer.

“Jack.” Her eyes are pleading, but tears wobble across his vision. “Look at me.”

“I am looking at you,” he spits, crying freely. “I’m always looking at you. You’re always right there, in front of my eyes. I see you… I see you when I try to sleep…”

His hand is shaking when he lifts it to his face, covers his mouth but can’t muffle the ragged sob. He crumples and she sweeps towards him and it doesn’t matter now because his mind has already gone there, seeing the worse. Her hand is just a weight on his back.

“It’s this room,” he gasps.

She rubs.

“It’s only a room.”

“No.” His breathing hitches, but he forces himself to stand. Her hand is on him still. “You looked… I thought you were…”

“Dead,” she finishes. And it’s the worst thing, but it comes from her living lips. “You couldn’t feel me breathing. You couldn’t find my pulse.”

Hetty will have told her, after he could not. She will have asked, naturally curious about the procedure, probably put out that she couldn’t study the surgery performed on her own body. She knows, and it’s such a relief that his lungs fill properly, his panic beginning to subside.

“It’s over now,” is her promise.

“Not in my head.”

She stands squarely in front of him.

“What’s the worst thing you can imagine?”

“You on that table,” he tells her honestly, immediately.

Taking her hand from his back, she strides to the table. Eyes locked on his, she plants her hands and pushes herself up to sit on its surface.

“Belle…” he says, voice rough, gutted from his throat.

“What next?”

He walks to her slowly, face working through all of it: her fearlessness, her determination to see him through this, her strength in sitting where only weeks ago she lay while Hetty sponged the blood that coursed from her body. He takes her face in his hands. It’s been so long. His hands healed her, but he’s been too afraid that the next time they touched her skin, it would all be taken back. Her body would remember, would recoil. She lifts her face and he brings his mouth down to hers.

“Lie down,” he whispers.

This is harder yet, and easier. She lies back without shifting away from him, so her legs hang off the table. She keeps her eyes open. She doesn’t appear uneasy. He’s trembling as he braces his hands and leans over her. Not checking is impossible; he watches her chest rise and fall, pinches her leg through her loose trousers.

“Ouch.”

“Sorry.”

After a minute, she sighs. He folds over her, ear pressed to the thump of her strong heart.

“I remember this ceiling,” she says, so quiet. “I didn’t think… but I do. I remember your face. I couldn’t feel you kiss me—the pain was too much. That didn’t seem fair. But I was never afraid. If you couldn’t fix it, it meant that it couldn’t be fixed, and all the time I’d had was all I would get. I was relieved, when you put the mask over my face and I breathed in the ether. I was relieved if I’d spent the last of my time with you.”

He releases a pained gasp and turns his face into her blouse. He’s kissing the linen, and then Belle draws it up, and then he’s kissing her skin, her scar, the very line she teetered upon between life and death, his the hand she held as she walked it.

He sighs, hot, and her abdomen quivers. His name moans from her mouth like it doesn’t want to leave. Like the rest of him. That’s right, he doesn’t want to leave her.

They fumble her naked from the scar down, and he never thought he’d be here like this, and his exhausted mind has sketched too many scenes where she isn’t here at all. Because he still doesn’t trust his hands, they’re light, stroking her hips, but his mouth is brave though uncertain, his face between her warm thighs. His tongue licks generously and her hips roll with him. He can hear her breathing, because she does it loudly. On the table, she is alive as he has known her to be, knows her to be, and something in Jack is released.

“I can do it,” he exhales. “I have you, Belle. I can do it.”

Her hands rake through his hair, clutch, and guide his mouth back to her. The wetness on his face, winding trails of sorrow and lingering dread, disappears into the wetness of her. It’s joy now, joy, joy, her knees in the air because she can’t keep them down. He shuts his eyes, just a test, and there’s nothing waiting for him there. Her living presence is too commanding.

This is a theatre and the role she’s played in his life is once-in-a-lifetime. He tells her that he loves her, and he tells her that he loves her, and because she loves him, he knows that he can be loved. He knows that she loves him, and she says it, and he hears her. He hears the breath leaving her body. And he hears it surging back in.

[riaaanna]

London - 19 and 23 Nov 2023

It was late November and I was scrambling to meet as many friends as possible and visit as many places as possible, before I was due to graduate and fly home mid December. So I had the opportunity to visit London on two more occasions and visit more Queen sites!

19 Nov 2023:

The first was part of a trip to see my friend Rowe where we spent a day in Oxford (the same day I visited the Breakthru train! and Oxford is gorgeous!), I stayed overnight in Reading, and we went to see a Tintin (2011) movie screening in London the next day! So after the movie we got desserts then I dragged her to take photos of me around some Queen sites that I haven't had time to visit.

(📸 Mick Rock)

This was where Trident Studios used to be, which is at 17 St. Anne's Court, Soho, so it should be right! This is also where David Bowie's blue plaque is placed. Queen recorded here from around 1972 - 1974 for their first three albums (Queen, Queen II, Sheer Heart Attack).

Ngl this place was A Challenge to find, last time I tried to find it I was led to believe it was at 143 Wardour street where a specific photo of Freddie, Roger, and John was taken. But that was a different site around the corner, I'm not sure if Trident was once there or is there, but hey I've been to both now lol.

And just along the way to the tube, which I couldn't believe I didn't take a picture of earlier in the year, is the Dominion theatre which of course was where We WIll Rock You previously ran. Never mind the bad exposure(?) of the picture, London was hellishly crowded I was lucky to get a photo at all!

In the evening I went off to meet another friend Ribbit London for a farewell dinner. We picked a place near Euston so we can spend as much time as possible and then quickly hop on to my train (which was late and delayed anyway, when is it ever not?).

It was then when she informed me that Queen's rehearsal for Live Aid took place at Shaw Theatre, Euston, which was a nice walking distance from the station! I think it's the right one anyway, not sure if it ever moved etc, I didn't see any other Shaw Theatre around! Video above is the interview and actual rehearsal at the theatre.

23 Nov 2023:

I was still in denial that I was leaving the UK soon so four days later I booked one last daytrip to London and met up with my friend Fran, who is an absolute adventurer and somehow willingly came along as I dragged her throughout the city for me to visit different Queen studios (I am not kidding these places are spread across London). We only had little time as we had to catch the bus back home in the evening so believe me this day was an absolute race.

The first place I went to myself the Playhouse theatre, which famously appeared in the A Kind of Magic music video! The spot is actually quite close to Proud Galleries where Brian had his stereoscopy exhibition, so I didn't have much trouble finding it. I hated that there was a giant tree covering it that I couldn't get a full view from any angle, but this was the best I could get!

The next one is Olympic Studios! Which was in Barnes, an area which I visited before, but during that time I haven't had this studio on my list yet. I also did realize there were a lot of places in Barnes I should've spent more time visiting, but I just couldn't get to them all.

Queen recorded in Olympic Studios for a part of A Night at the Opera in 1975 and much later for the Miracle sessions in 1988. The place has now become a cinema, and I'm not sure if it's still operational at all as a recording studio. I wasn't even sure if I was in the right place until I came in and found this giant picture of Freddie in the lobby!

My last stop was Metropolis Studios, which is in Chiswick (I told you these studios are spread...) and is still an active studio now. This studio was most well-known for Queen fans as the studio for Innuendo sessions and a part of Made in Heaven sessions, so it's iconic for being part of the journey in 90s Queen. ❤️

This studio was a bit more difficult to find as it wasn't by the main road. It was quite hidden and didn't have any big signpost, but I saw it written on the glass door so I knew it was right! I went inside and it was very much working office vibes. I asked the receptionist if it was possible to see the studios (long shot but hey!) but of course we couldn't go in. I knew of a previous organized tour where the participants came in to see the famous Headlong shelves and I would have loved to see that... but just being there was already pretty lucky for me!

And here's a bonus...

Fran and I were both huge Sherlock fans so we made time to have lunch at Speedy's! Food was fine but underwhelming 5/10 lol, the person (barely) serving us lowkey radiated racist vibes ngl (I'm Indonesian and Fran is Taiwanese 💀). Otherwise it was great to be at North Gower Street where the set of 221B was, and after many many years of following #setlock from Twitter since the day that term was coined... I was in first year high school I think!

My last day in London very well spent. I'm sure I'll come back someday, to Manchester, to London, to places in the UK that I haven't been. For now I'm very grateful to have and be able to share these memories. 🥰

[destinyc1020]

sometimes I think the kid as in Tom was not meant to be this famous. Like his moves are suspicious to me. I would not be surprised if Harry is his publicist. He doesn’t move like a celebrity should idk the complete disregard about the discourse around his name in the last few months has made me realize that he operates in a very short sighted arena. Like I will be honest I am so dumb founded by his lack of response to this whole thing. I mean, this play is just a play right? It is not meant to make or break anything for him. But now it’s breaking him. The very community that he is entering aka the theatre community ( esp black theater in south London) is not happy. So this has now already created this persona about him to the people consuming this art.It really saddens me because I know the kid doesn’t have a bad bone in his body but he lacks foresight. I’m sure Sydney Sweeney would have made a statement if she was in the situation because she cares about pr. I bring her up because we all know Tom has better character than her but she understands her position in this business. Tom doesn’t. Im really frustrated. I wish there was something we could do but like today with his twitter he is not on top of shit! It’s hard to defend him. If Fran comes out of this and speaks and says she wishes he would have done more then it’s really really fucking bad. He missed the chance to be lauded by the community now he is being scrutinized and honestly he deserves it

I understand your frustration Anon, but I think you're catastrophizing things just a bit.

First of all, British theater will be JUST FINE, they LOVE Tom over there (do you forget he started off in British theater?? 🤔 He's not some nobody).

Second, the tickets for all play dates have already been sold OUT. They sold out in like 2 HOURS. People are gonna be sat for this play regardless of whatever "issues" are going on inside of the Twitter app.

Most ppl attending that play probably have no clue what was going on online anyway on Twitter. 🙄

The only people complaining about this casting were racist ppl who o more than likely didn't have a ticket to the show in the first place.

Third.... Sydney Sweeney is nowhere NEAR as famous as Tom is, so while she might be good at "PR", when you're SUPER famous (like Tom is) you do have to think extra hard about your actions (and non-actions).

Lastly, while it's frustrating.... You have to keep in mind that you're just a fan, and to know your place. You don't know everything, you don't see everything. We don't know what Fran might come out saying in the future. She might talk about how Tom and the rest of the cast was super supportive of her, and bought her cards and flowers, and helped her to feel welcomed.

When you make assumptions, you.... well, you know the rest lol 😆

I'm just saying, while it cad be frustrating, I think that as a fan, you have to realize that we don't know ALL the facts, we don't know what will happen in the future, and we don't need to hate on someone in retaliation.

Jmho 🤷🏾‍♀️

Either you're a fan, or you're not... It's your own choice. I personally don't feel like celebrities are perfect, so I afford them some grace, even if they've disappointed me in some way (depending on what it is of course).

Just take a deep breath and breathe.....

[pansexual-puppy-pack]

@theoraekenapperciation 's theo week 2023: day 3b: platonic relationship — corey

No matter how much time passed, Theo always had a lingering feeling that Corey Bryant would always hate him. (And he'd be completely right for it, too. You don't just forgive someone who killed your friends.)

That is, until the moment when he was about to die.

He had taken more damage than he thought he had.

Theo stepped back from Gabe's quiet body and stumbled—he almost tripped over his own feet.

"Hey!" Liam was immediately there, catching him and helping him over to a nearby wall.

"There's wolfsbane in the bullets," Theo quickly diagnosed. "Fire! Burn it out,"

"I'll get it!" Liam said, hurrying off. Ms. McCall and Mason followed, but Corey stayed behind.

Theo thought that Corey's hands were on him, taking his pain, but he couldn't be sure. He took his hand off his shoulder for a moment, just to examine the damage—

"—Fuck." He exhaled.

Corey's eyes followed his own. The blood that stained his hand wasn't red.

"But you're not a failure," Corey said, his voice wavering.

Black blood ran down Theo's palm.

"Right?"

Theo looked up at him, his heart beating a million times a minute in his ears. He held his shoulder again, tighter this time. "I don't—"

"—You're not." Corey insisted, and now Theo was sure that his hand was on his arm. Black veins ran up Corey's arm, taking the excruciating burning feeling that Theo felt coursing through him.

Liam's shouts echoed from another room, the scent of smoke and Mason and Ms. McCall's apologies following it.

"Corey, look at me." Theo said, gasping out a painful and bitter laugh. "It's a wonder that it isn't coming out of my mouth."

"Theo, I swear—"

"—I don't think there's anymore serum left," Theo told him, voice growing weak. "You'll have to check the operating theatre—"

"—Jesus Christ, you're not fucking dying!" Corey yelled.

"Aren't I?" Theo asked, defeated. "Black blood, then mercury. And we both know what happens after mercury."

Corey stared at him bitterly, his grip growing stronger. Theo breathed, shutting his eyes for a moment. The blood wasn't stopping, even with his hand on the wound.

"Anything you want me to say to Tracy and Josh?"

"No," He felt Corey stare at him, taken aback. "Because you're not dying."

"Just let me go, Corey." Theo said, twisting his arm so he could hold Corey's forearm. "Go back there and help them with Liam."

"No." Corey spat, his other hand moving to reach for Theo's shoulder. "He's going to be okay. You're—"

"—About to die, anyway." Theo interrupted. He felt a wave of weakness wash over him.

"Shut up." Corey said, turning to face the direction where Liam's shouts came from. "Hurry! He's gonna pass out!"

"I wouldn't worry about it," Theo said, leaning his head weakly on Corey's arm. "It'll just be one less thing to worry about."

Liam swore loudly from the other room.

"You're supposed to be smart, Theo!" Corey said, nudging his arm just enough so it jostled his head.

"Take care of Liam for me, yeah?" Theo requested quietly.

"Smart enough to see that you're going to survive this." Corey's voice was closer, now. His voice lowered to a near-whisper. "You're not a goddamn burden."

"I'm a cheap knock-off at best." Theo said darkly.

"If you're a cheap knock-off, then what am I?" Corey asked softly.

"A better version." It took too much of Theo's strength to lift his head to make eye contact with him. "With better powers and personality."

Corey looked like he had a bit of a smile in his eyes when Liam, Mason, and Ms. McCall's footsteps started running towards them. "I don't think you'd be able to joke if you were about to die."

"I can do whatever the hell I want," Theo said, hanging his head again. "Dread Doctors can't boss me around anymore."

"And they never will again." Corey reassured. "Stay awake for like, three more seconds. They're coming."

Theo didn't try all that hard, but Corey moved him every now and then in an attempt to keep him conscious.

He could make out the sound of Liam's panicked voice and claws in his shoulder before the fire hit him.

Intense heat, concentrated into the bullet wound instantly woke him up, his eyes glowing and a roar passing through the hospital corridor.

"Stay with me, Theo," Someone begged, and he couldn't figure out who it was.

The fire stopped, and Theo slumped back down, caught by Liam and Corey's hands.

"See? What did I tell you," Corey said, panting. "You're going to be okay."

To be fair, Corey wasn't someone who was usually wrong about things.

[playingforever]

Do you think mono would ever noncon six? Perhaps in an obsessed crazy melty way? - retrospring ask [link]

[spotlight panning to me, as I am very severe and fingers steepled] [and my head is under a bag] Considering the fact that the whole time loop 🔁 operates on subjecting Six to torment without her consent — more or less personally orchestrating her constantly being abducted and rescued only to be abducted again... Yes, I do think that Mono has this capacity within him. In fact, I firmly believe it,,,

Usually I look to canon to gauge how much duress it would take for a character to cross another's boundaries so extremely... In Mono's case, he's able to get quite far in 'the ends justify the means', even before he has reached his apex of being the Thin Man — what he does to Monster Six is deeply upsetting. As I play it, I sure feel like I'm performing a sort of noncon... Persevering through a girl screaming and belligerently resisting me until the very end.

By contrast, I think actual rape, would be a lot more preferable for the both of them-!? (knows how this sounds, BUT HEAR ME OUT.) It'd just be a lot more direct... Not needing all the convoluted theatre of the environment around them. I think it'd be a pretty good breakthrough if Mono could lower himself enough from his position of Six's noble protector, to enact on her body for his own desires — and it'd be more digestible for Six to process her harm at the hands of her friend. I think the ending of the game leaves Six in turmoil, whiplashed about by the extreme poles of what Mono/Thin Man put her through. She likely, can't even really understand what Mono's intent even is. It might seem wantonly cruel with no goal. And only when alone does Mono perhaps, reflect on his own selfishness.

[waves hands...] Of course, this isn't me saying it wouldn't be intense, or alarming or upsetting etc... Just prefacing that I think it's both a logical escalation from their current dynamic (lol.) and that also it would be cathartic.

Now, let's get into the details. ( •̀ ω •́ )✧

Between the two... well, I do see Mono as closer to processing his feelings as 'a crush'... specificity of, Attracted To Six. I think he's able to identify, when Six is near, heart goes doki doki. Like to look at her, like to touch her. His reactions to her are not incidental; he knows he wouldn't feel this way about anyone else. There's a boyish simplicity to him... which, means I think he also understands, he gets Horny about her as well. He be seeing, ha panty, sometimes, as they're climbing ladders. Lingering gaze, on her bare legs. Compulsively keying into the location of her pussy. And so on. It's not something he shies away from feeling... She's a pretty girl, after all... [quietly stares, from the safe partition of my paper bag.]

As for Six... she is unable to have that kind of awareness for her feelings about Mono. Naturally kind of, doomful, listless girl... not one to think with romantic flourish. It probably feels like a fluke that they were even able to survive this long; keeping each other company is a bonus. It's not that she doesn't care about him — I do think he's able to make her feel things she never has before-!! Six would have her own moments of raw attraction as well, drawn to Mono as something distinctly familiar, in an otherwise hostile & unfamiliar world. Buuut I think she's also a bit wary of emotional intensity too ww, so she would be scared to feel doki doki... She can't quite linger on it, like Mono does.

Generally I think of it as... Six cannot consciously instigate, because she's so far from having expectations of affection (she can't even see herself as craving it...) Meanwhile, Mono is more capable of instigating, but is encumbered by self-hate and overly obsessing about being Six's protector. Mono's love language is like. Dragging Six around violently and bashing things with a pipe. He's, one-track-minded, so I think he's in this rut of seeing rescuing/protecting Six as the ultimate expression of what he can do for her. Fantasizing about kissing her is genuinely too self-indulgent... so he doesn't-!! Even if he would like to. Instead, I think he gets off on the extent his loyalty makes him sacrifice and enduring anything 'for Six's sake'. It's a problem lol.

NOW IMAGINE WE COULD GET PAST THAT BARRIER...!! (And I imagine this would be through the sheer power of looping and accruing 1000 little scant moments with Six. Basting in unmet desire.) Well then Mono could reach the Next Step of trying to Do Something-! Regardless of if it felt, selfish and awful and antithetical to what he is supposed to be doing... No, even so, the feelings just need to well up inside until he can't take it. I think he also needs to be poisoned by how passive and permissive Six is, and how much he's constantly directing her body... A part of him should understand, it's possible to get away with, Something, here...

The atmosphere varies... I could see it being stoic, severe, ahh the mindset of 'I will just Do It. Here I Go.' Harsh low breathing, forceful, crushing Six against his body, pinning her against a surface... (They're often in tight, enclosed spaces together, aren't they?) Or, something more plaintive, trying to shush her, apologetic, 'Please just let me...' petting her, trying to hold hands during, errr but also definitely keeping her restrained and not letting her wiggle away... I've also dwelled on, like a cowardly pathetic attempt at somno, like a kind of Bargaining emotion... scoot pants down, but still be in underwear, press tented boner between her legs... please god, I just want to kind of feel it, for 1 second. [TRYING TO NOT HUFF IN MY PAPER BAG...]

Emotions I envision at the start of such a thing are mostly, lowly, guilty... though I think it could escalate midway into some sort of, entitlement, arrogance, I do so much for you please just let me...!!! and so on. And then of course, her body feels good, to fuck. So there's satisfaction gained from the sheer act. Maybe a childish belief that it can't only feel so good for him. Surely, it feels good for her too... [mentally justifying actions] Six's reflex is to run from things — maybe she just needs him to be persistent. That's how it often is, between them... ⬅ わがまま！！

For Six, on the receiving end, I like it to be genuinely pretty scary and inscrutable, whatever he is initiating with her — like she's not even fully able to grasp the sensations, she can't think 'sex' or 'rape', even. It's more disorienting than that, like, Mono is acting on my body, Mono is forcing himself inside me. Feels like he's created an opening in her, he might as well be stabbing her — just that extreme, of a gap of understanding what is happening.

But ahhh I think, her own attraction and interest in Mono means her body rawly responds to things like his touch, scent... She's already keyed into his voice as a firm anchor, something she's meant to react to, so hearing him haggard, breathing, or babbling at her, slurring, anything would make her brain feel as though it's reverberating in her skull. Draws out unconscious feelings, desperation, aching — terrible awe that she's somehow made him do this? That she isn't running away from it, either? — all this happening internally/physically would make it all feel Crazier. Like oh, Mono's lost his mind, and ig me too. AhhHHH.

For how complicated it is for these two, baseline, I see things as even starting consensual ➡ descending into noncon, midway during interfacing. A consequence of having hazy memories of multiple timelines; a kind of ability to go from 0-1000 easily, with no warning... Alsoo, I kind of, stylistically(? ??) like to imagine they do not talk aloud very much, and have predominantly nonverbal interactions. But it means, they're both often floundering with their own internal perception of things, and unable to bridge a discussion about what the other is feeling or what is happening... or what the other wants. It takes a lot of pressure to reach that event horizon, I think... The great conflict at the end of the game is their discrepancy in perspective, after all.

All that said, I think the scariest rape potential is, well. Bagless Mono at the end of the game who has just usurped power from the Thin Man and is tormenting Monster Six. That guy, I think is like uniquely off his rocker, swangin his axe around and booming HEYYY at a cowering screeching girl. God help Six if he could, just channel enough power to resist being tossed into the abyss or something. I think he could fuck her to death. He really froightens me. She is right to drop him and turn and leave. Seriously get away from him before something bad happens. [laughing...]

[technicalinstitute]

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[gihsibstitute]

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[gregorianinstitute]

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[hartxstarr]

hey so I am BONKERS late but. I just wanted to say I love your writing excerpts that you put up!! Fracas au does some kinda thing to my brain and I always love seeing more of it, and even (especially!) with the tiny other snippets I love seeing your takes on the characters in general. I know from experience it can be hard to like old writing, but like. It was really good and you should be proud of it!! Anyway I probably could have worded this better but thanks for sharing and have a nice day :)

hello hello!! thank you SO MUCH honestly i know i can be a little hard on my old stuff (ESPECIALLY fracas) but just know that i dont actually hate any of it. i just compare it to my writing nowadays and see just how different it is! it’s always nice to hear that someone likes my writing. i’ll read the comment over and over again and get so happy. and then come back later and read it again lol so for you to say this means a lot to me 💚

fracas au was something near and dear to my heart at the time. i ended up posting like three works about it (one deleted) but i spent countless school-hours writing about it in notebooks and i have so many wips in my files…in the end, i dont have those notebooks anymore and only remember the barebones of the complete story as it was. fracas would have spanned from forest-dwelling reds and blues, to them taking down a Super Secret government operation, to them returning to their home once more. with many, many, many shenanigans in between, and overlapping storylines, of course.

anyways, here’s another 2017 snippet of a fracas wip i never finished. this would have been the opening to the fic haha (i have gone in and cleaned it up just a tiny little bit but i refrained from going too hard at it, least i end up finishing the entire thing)

---

“I ain’t sharing no vegetables with no-good, dirty Blues.”

Leonard squinted into the face of Sarge while the Red raised his chin in response—more so turning his nose up already to whatever the Blue leader was about to say than to his sudden proximity.

It was like a standoff in an old western movie and, if they were in a more sparse, drier climate—where thick evergreens didn't grow and the shabby pavement beneath their feet weren’t littered with pine needles—a pinecone could take the place of a tumbleweed and roll pass them down the length of the avenue, out of sight.

But as it was, they weren't in an old-town desert outside a local tavern, readying their pistols, spurs jingling. Instead, they were smack-dab in the middle of town in each others faces, the trees parting enough to let in a few good, generous rays of sunlight; and Leonard, swimming in his hoodie, didn’t seem to have a good rebuttal.

Despite this, Michael from afar whispered with as much enthusiasm as he would atop a theatre stage, “Leonard will win” like it was, in fact, some kind of duel-gunpoint competition set up for all of their amusement.

The Reds and Blues stood in a sort of collective semicircle, watching their respective leaders size each other up. Transactions never were an uneasy affair in Blood Gulch, the mutual desire for an item far more powerful than the animosity the teams constantly lived within—but, of course, Sarge wasn’t the one usually making deals.

Richard had tried to passively refrain his leader from going with him to make business with the Blues; he had wanted Dexter—as was the standard—but Sarge seemed to be bored that day, perhaps, and mentally decided that the only way to stir the light of day was to make trading far more difficult than it needed to be. Obviously. So, it was in his wake that the entirety of Red team came to witness Leonard still unable to come up with a response to his rival team leader's declaration.

“Oh yeah?” he tried after a moment more. “Well—we don’t want your fucking vegetables—”

“Yes, we do!” Lavernius threw his hands up in despair.

“Yes, we do want your fucking vegetables,” the Blue probably thought it was a pretty good save. “So—just give them to us,” and he still doesn't know what to say. “Why are you even here?”

Sarge seemed to swell at the question, back straight and towering over Leonard not in stature but in pure aura alone. “I'm here to make sure you don't swindle my team out of valuable goods!”

“Don't worry, Sarge!” Delano called out from the back. “My goods are too precious to give away so easily!”

“Thanks for the info, Delano.”

Del was always so unwaveringly cheerful. “You’re welcome, Sarge!”

[raudeliunaite]

Gediminas Rimeika: "I think Respublika is an extraordinary theatre phenomenon in Lithuania"

Imagine you are invited to take part in a project. You are given a basic income and you have to retreat to the countryside where you and the other participants in the project have to build a community that operates outside the socio-economic structures of society. Actor and director Gediminas Rimeika had a similar experience while preparing for the upcoming premiere of Lukasz Twarkowski's "Respublika". In between intensive rehearsals, we talked to Gediminas about the casting process, the behind-the-scenes of the work and what it means to him to be part of the community of the latest production.

What are the processes taking place in "Respublika" as we speak?

Rehearsals are still going on. But I feel that the next stage is coming right now. You start to think about how the audience will see and accept what we have been working on for a long period of time. So what is happening and what is about to happen is a really exciting moment.

As the rehearsals of the play come to an end and the premiere is approaching, do you as an actor have expectations for yourself and others?

These are more assumptions than expectations, especially when it comes to the future reactions of the audience. You expect maybe one thing, but it happens differently. I think that "Respublika" is an extraordinary theatre phenomenon in Lithuania. I would call it an experience or an experience. In terms of time, it will be long enough and the audience will have the opportunity to get involved in the action. The box model of the classical theatre stage will be replaced by an interactive form.

How did you decide to audition for "Respublika"?

I always try to work with as many different directors as possible, and to get in with directors I don't know. That way I grow as an actor, and it's also very interesting to learn something new from the people I work with. As far as the selection for Republic is concerned, I had no preconceptions at the time. I didn't associate it at all with Twarkowski's previous production, "Lokis".

Tell us about the selection process? How was it different?

The selection process was similar to the one for "Lokis", although I was not involved in the latter. In the first stage, I met the director and the playwright for an interview. The next stage of the casting process was working with the camera. I was left alone in front of the camera to shoot a video. The actors were given complete freedom in terms of timing and acting. Of course, there were some rules, such as the preferred length of the video was ten minutes, but it was possible to shoot longer. Working with a camera is in itself an interesting experience in the theatre.

How did you feel in front of the camera?

I was alone in front of the camera. I turned on the camera, pressed the REC button. I didn't know what to say or do, but in my pocket I found the dice that I was carrying at the time. At that time, I used dice rolls to solve almost all questions of choice. I took them out and started rolling. For the first time, I said what number came up, but I didn't show it to the camera. The second time I said the number and then showed the dice and so on. I played with those dice and the camera. Being in front of the camera took an unexpected turn for me.

Later on, you and the actors spent a lot of time in nature, where you lived as a closed community.

For a couple of weeks, we all stayed in a space near the Grybų Manor. Our aim was to artificially create a community. I was familiar with the place from the past, as I had been part of the "Braile Satellite" festival once before. It was interesting to spend time with different people than then.

From what we had there, we created a personal environment, living together in caravans. Although we didn't have specific rehearsals, we took part in movement classes taught by choreographer Pawel Sakowich. We also learnt how to work with a camera and how to operate a DJ console. As far as DJing is concerned, I would like to add that we could not have had a better teacher than Karol Rakowski. He produces and edits the videos in the performance and is a great DJ under the nickname Spectribe. He was the first teacher who not only showed us how to work the console, but also introduced us to a wider spectrum of electronic music.

You recently opened the "Yaga Gathering" festival as a performer. Should your musical experience in this performance be your strong point?

I have gained more musical experience in the years we have been preparing for "Respublika". "Yaga Gathering" was the first big performance and experience of playing on the main stage during the opening of the festival. It was quite a challenge, but a really fun one. It's nice that everything came at the same time - the performance and the invitation to play at the festival. I wouldn't be tempted to single myself out from the rest of the cast, even though I have tried it more. All the actors are excellent and we have a great composer, Bogumil Misala.

How is working with director L. Twarkowski different?

There is no big age difference between me, the director and the others in the team. We share similar attitudes and interests. We have more in common. The creative process differs in that it is very much a visual experience. In other directors' productions, it's more about the psychology, about going deep into the role, whereas in "Respublika", the whole thing comes together. You have to be alert, you have to hear, you have to listen to what's going on and participate in it. But when you're involved in the production, you have the freedom to propose ideas. The work is based on the principle of suggestion. It doesn't oblige you to do it this way or that way.

Does the freedom to work together help you as an actor?

I am in favour of creating art collectively. Of course there has to be one person, in the case of a play, the director, who makes the final decisions.

In the case of "Lokis", there are no leading or minor roles. What about "Republika"?

The community is the essential element of the play. Its aim is equivalence, togetherness. However, there is no central or major role. Personally, I find this model of performance acceptable. Someone speaks more, dances more or plays more, but any action has to happen naturally. As much as the actor puts in, that's what will be seen in the performance. But the fact that there are no leading or supporting roles does not go unnoticed.

Speaking of community, do you feel that you are more of a team person or an individual creator in the theatre?

I start with myself, especially when it comes to creating characters from scratch. Of course, there is a team and you can't exclude yourself from the others. I am more of a group person. In the case of "Republika", I feel part of the team. It's different when you're working in plays where you have to go for individuality. Every generation is different.

How do you feel about experimental and traditional theatre breaking the mould, both as a director and as an actor?

I have a different approach. From a directorial point of view, you learn from such performances, you observe the approach to the theme, the choice of means of expression. Even as an actor, it's difficult to avoid analysing the performance from the director's point of view. From an actor's perspective, it's interesting to understand yourself as an actor on stage, to try out as many different media as possible, to learn how to manipulate them. I want to learn more and more, to gain experience and to use it.

L. Twarkowski works a lot with the camera and demands the same from the actors. Acting in front of film cameras and on the theatre stage are different experiences, which become a common means of expression for the actors in "Republika". How do you manage to work with the camera without forgetting that the audience will be there with you during the performance?

In a way, the camera is like a microscope. You have to be in front of the camera but also in contact with it, to act and not forget the spectator. For me personally, it becomes a microscope that brings the actor closer to the audience, thus giving them a greater impact to feel the change of emotions that happens during the performance. After all, for example, a greater experience is also created by seeing the actor's eyes on the screen.

The camera becomes a third eye for the viewer and for us, the actors. It is like a kind of character with whom we also interact and have a relationship. As the camera captures the life of the community, the performance becomes a mockumentary.

This time, the audience will be able to be in the same space with the actors and become part of the action. How does it feel to meet the audience face to face every time?

I like to feel the audience close to me. Without it, it is somehow very difficult. But there can be all kinds of situations during "Respublika". Suddenly there will be a fourth wall, and the performance will be composed of many different dimensions. I hope that all of them will be able to be shown and to stay, to live together with the viewer. The audience will be able to get involved in the action as much as they want. It would be even more fun for us if they get involved both by watching what is happening and, say, by dancing together.

How important and relevant is the theme of community, especially now that we are distanced from each other?

I think it's a very relevant topic. For example, there are people in the United States right now who are starting to lose faith in social media or in the government that they choose for themselves. There are many truths, but the reality is still one. That reality seems to be starting to collapse. I have a feeling that we are going seriously mad. Maybe the end of the world will not be an explosion, or maybe it has already started and we are slowly heading towards destruction.

We trust the community that is closest to you - family, loved ones - more than what is around us. In the same way, the example of the US is a huge development, people are coming together in groups, trusting who is around them more than who they would prefer to see as leaders themselves. Of course, we are not going to destroy capitalism by saying that here we have a community, but small changes are happening.

You are not only acting in L. Twarkowski's plays, but also in other directors' plays, but you are also a director yourself. Which relationship is more in you - actor or director?

I think that both directing and acting are complementary professions. In my creative life, I wouldn't tend to separate the two. I would like to complement each other as much as possible. I wouldn't even exclude other professions or fields within theatre or cinema. I don't shy away from hearing, knowing and learning as many things as possible. For example, when I was studying directing, I acted more as an actor in other people's productions. When I graduated later in acting, I realised that I wanted to go back to directing and experiment.

What is most important to you as a creator?

Trust. But in all aspects: in yourself, in others, in what you do. The fact is that there is another side of the coin. There are times when you doubt yourself. The most important thing is to move yourself to work both with yourself, your personality, and with others, listening to them.

What's in store for you right after "Respublika"? Do you have specific plans?

I will have two new productions. The next one is a movement performance in which I will play a role together with Ula Liagaite. It will be created by debutant director Aneta Bublytė, who used to create visuals and video for other productions. The next work will be my own play about a time machine, "Amazing Adventures", directed by myself at the MMLAB. The premiere should take place after the new year.

Photo: Marija Mireckaitė

Published: swo.lt

[fardell24b]

Spider Quinn 10 The New Heroes - Part 6

It wasn’t long before Joey, Quinn and Daria arrived, along with Jeffy, Jamie, Stacy and Jane.

“Even more teens,” Osborn murmured as Jane entered last.

“Daria has invited me along as moral support,” Jane added. “As well as to appraise any artworks you’re wishing to add.”

“I see,” Osborn said. “Now, as you can see, most of the work on the lobby has been done.”

“Good,” Stacy commented.

“Now, follow to the side rooms, and you’ll see that the café is also nearly complete,” Osborn said.

Brittany looked around the café area after she and Kevin entered. It certainly had an old style charm. “Wow,” she commented.

Osborn lead the group to a table. “Have you figured out a name yet?” he asked.

“The Old Theatre,” Robert said. “But then there are other old theatres in Lawndale.”

“We just called it that,” Joey said.

“What was it originally called?” Daria asked.

“According to the paperwork, the Global,” Osborn answered.

“Probably not that,” Quinn considered.

“You want a name that reflects the ideal you want it to be, right?” Daria asked.

“Of course,” Joey said.

“When I write a story, I choose a name based on the theme,” Daria said. “So, what theme are you after, other than the nostalgia?”

“The Past,” Joey mused, then shook his head.

“Historia?” Brittany asked, as she twirled a pigtail.

“Huh?” Kevin asked.

“Wait, say that again,” Daria responded.

“Historia. A place of history,” Brittany said.

“Sounds great!” Quinn said.

“Historia, a place that reflects history,” Daria said with a slight smile. “What do you think of that?” she asked Joey and Robert.

“Great, Ma’am,” Robert responded.

“Sounds better than ‘the Past’, or anything else I could have come up with,” Joey said.

“Historia, it is then,” Osborn said.

As the kitchen was already operational and Osborn had hired caterers for the day, they then had lunch. Brittany and Kevin sat across from each other, as did Angie and Robert, and Joey and Stacy, Quinn and Jamie sat next to each other, across from Daria and Jane.

“What’s wrong, Babe?” Kevin asked.

“Nothing,” Brittany said. She was thinking. Being Ninja Talon was taking up time she would otherwise spend on dates with Kevin. ‘But what excuses could he accept?’ she thought. She already knew that he would take a lot.

“OK,” Kevin said.

She continued eating and overheard Stacy saying that she would be going to an anime convention later in the year.

The rest of the lunch went well.

After the lunch, Brittany left the soon-to-be ‘Historia’ and headed to one of the town libraries. ‘If nothing else I’ll  be able to find something.’ She was soon confronted by the size of the library and the fact that she was unfamiliar with the Dewey Decimal System. As such, she spent most of the afternoon wandering around the library in confusion as she thought about each thing she read.

After dinner she headed out again, with a portable radio. She waited on Lincoln Street near Lisa Fisher’s house. She wanted to be sure that her fellow cheerleader wasn’t the new vigilante. It wasn’t long before a report came on the radio, that the new vigilante had been sighted downtown again. ‘It’s not Lisa,’ Ninja Talon concluded, as Lisa hadn’t left the house.

The new vigilante had just rescued a lady from a would-be mugger when Ninja Talon arrived on the scene at the north end of Main Street.

“Ninja Talon is it?” the new vigilante asked when Ninja Talon had approached.

“Yes,” she answered.

“SpiderGirl couldn’t catch me. What makes you think you can?”

“I have a different style to her!”

“That may be true,” the other vigilante said. “But something tells me you don’t have powers.”

“And you do?”

“I’m neither confirming nor denying,”

“Then tell me, why are you doing what you are doing?” Ninja Talon asked.

“I don’t have to tell you!”

“No, you don’t. But what is your goal?”

“I don’t have to tell you that either,” the new vigilante said, before somehow producing a fog and disappearing into it.

‘Oh great!’ Ninja Talon thought as she tried to go around the fog. The new vigilante had vanished into the night.

She looked for a while longer, but couldn’t find her again, so she went home disappointed.

Lawndale Sun-Herald

Sunday January 21, 2001

Old Global Theatre to reopen as Historia

Norman Osborn, along with Teens Robert Allan and Joseph Green announced that the theatre will reopen as a coffee bookshop next week.

SpiderGirl re-read the article. It was quite accurate. ‘Good, the Historia will be a good thing for Lawndale,’ she thought.

She put the paper back and went on patrol.

But it was a quiet day in Lawndale and Quinn went on a lunch date with Corey Bateman at a café. “You haven’t had a date with me since the dance,” Corey said.

“Well, you know about my father,” Quinn responded.

“Not since then, I meant,” Corey said, defensively. “Sorry.”

“Apology accepted,” Quinn said.

“Obviously…”

“Grieving, yes.”

Corey was then quiet, and the rest of the date was awkward.

SpiderGirl patrolled an area of the downtown after the date, thinking about how awkward it had been. ‘Not much I can do about it now,’ she thought.

SpiderGirl and Ninja Talon met later that evening, after both had had dinner.

“So, how are we going to do this?” Ninja Talon asked.

“We find out where she is and then approach from opposite directions.”

“Good idea.”

“I also remember when you came up with a strategy at that paintball excursion,” SpiderGirl said.

“It was something I was familiar with. I’m not as familiar with Lawndale’s rooftops.”

“So, you had been paintballing before?”

“Yes,” Ninja Talon answered.

“I see, anyway what I said, and I hope you can improvise.”

“I’ll try.”

It wasn’t long before they heard a news report.

“The new Vigilante has been sighted in Dega Street.”

“Dega Street,” SpiderGirl said. “That’s not helpful.”

“We could search from each end,” Ninja Talon suggested.

“No other idea, so we’ll do that.”

SpiderGirl went to the north end of the street, as that was further. They kept their radios on, so as the try to track where the other vigilante went.

It wasn’t long before there was another report.

“The new Vigilante has been sighted defending patrons leaving that Zon or Zen nightclub in Dega Street.”

Ninja Talon knew where that was. She headed in that direction.

SpiderGirl arrived above the Zon/Zen and found Ninja Talon and the new Vigilante.

“So, you’re confronting me together are you?” the latter asked.

“We just want to talk,” SpiderGirl said.

“Is that it?” the new vigilante asked.

“Yes,” Ninja Talon answered.

“About what I’m doing?”

“Exactly,” SpiderGirl said.

“I see. I don’t need to answer to you two!”

“Wait!” SpiderGirl called out.

“What?”

“We’d like to work together from time to time,” Ninja Talon said.

“Cooperate in our crime fighting from time to time?” the new vigilante asked.

“Yes,” SpiderGirl answered.

“I suppose I can do that.”

“But, what do you call yourself?” Ninja Talon asked.

“I haven’t come up with a name yet,” the other admitted. “I don’t think I need one for what I’m doing. Working in the shadows to protect people in Lawndale. Especially those who are alternative.”

“Shadows,” SpiderGirl mused. ‘If it can be used for something bad in that show Stacy told me about.’ “Maybe that could be your moniker. ‘The Shadow.’ What do you think?”

“Sounds good, Spidey,” the other responded. “I could use that.”

‘Spidey works in a pinch,’ SpiderGirl thought.

“The Shadow?” Ninja Talon asked. “I does sound good. Especially with the way you vanish into a fog.”

“Just a little theatricality,” the Shadow responded. “But that’s all I’m going to say. I’m not going to reveal something that would lead you to my secret identity. I hope you understand.”

“I do,” SpiderGirl said.

“Same,” Ninja Talon said.

“But you can trust me to help out if you find yourselves overwhelmed with whatever is going on.”

“And the other way around?” SpiderGirl asked.

“Of course,” the Shadow said.

“I have powers, but do you?” SpiderGirl said.

“I’m not saying one way or the other. I could be using the theatricality to cover that, or maybe I am not. I’m not going to say either way.”

“No problem,” Ninja Talon said.

SpiderGirl sighed. She knew that was all she was going to get.

“If anything else, it’s time go to,” the Shadow said.

“Wait!” SpiderGirl said.

“I’ll see you another time,” the Shadow said, before producing the fog and vanishing into the night.

“That’s it then,” Ninja Talon said.

“Yes. We can trust her,” SpiderGirl said.

“Yes. But…”

“There will another opportunity for that.”

“Of course. But I’m disappointed,” Ninja Talon said.

“I am too, but we can still trust her and work with her regardless. I’ll see you Monday,” SpiderGirl said before webswinging away.

Ninja Talon saw SpiderGirl swing away. She looked around but couldn’t see the Shadow anywhere. ‘Another night,’ she thought. ‘May as well head home.’

She patrolled an area between Dega Street and the Creek before heading home.

SpiderGirl arrived back at the Morgendorffers over an hour later. She saw that Daria was pacing in her room. ‘Something is up there,’ she thought.

Daria heard a knock at the door.

“I’m available,” she said.

Quinn opened the door. “Are you OK?”

“Why do you ask that?”

“I saw you pacing as I came home. You don’t usually do that.”

“How?” Daria asked.

“Your curtains are wide open.”

“Oh. It’s just that Jane has been busy lately.”

“So, she hasn’t been able to spend time with you?” Quinn asked, sitting at the computer.

Daria nodded. “I’m worried, but that doesn’t mean you have to worry.”

“Daria, of course I worry about you. I worry about Mom. I’m sure you worry about me as well as Mom,” Quinn said quietly. “And Mom about us. It’s part of being a grieving family.”

“Of course. It’s that Jane and I do seem to be drifting apart. We still interact at school, just not as much at each other’s place, the Pizza place or the Zon.”

“I don’t know to what to say there.”

“That you have come in and checked on me is enough,” Daria said.

“Thanks.”

“You have your friends, and the three mentees, who may become friends.”

“Four, including Angie,” Quinn said. “But she may become a friend also. But my grief hasn’t changed my outgoing nature. You’re still… you.”

“So, you want me to reach out to another?”

“If you want to.”

“I’ll think about it,” Daria said. “I could try to call Jane again tonight.”

“Or wait until you get to school tomorrow,” Quinn added with a shrug.

“You have a point there,” Daria said as Quinn stood.

“Thanks for hearing my concern.”

“Quinn, that you admit you’re worried about me is enough. Before what happened to Dad, that wouldn’t have happened. There was too much difference between us.”

“True,” Quinn admitted.

They hugged and Quinn left. ‘Jane, what are you doing?’

Casa Lane was quiet again after Trent and Jesse finished their practice session for the night. Jesse was in the kitchen when a black clad figure entered. “Not cool!” he said as he grabbed a rolling pin off the bench.

The figure took off her mask, revealing that it was Jane. “Relax, Jesse, it’s me.”

“Sorry, the crime has me on edge,” Jesse said.

“That’s fine,” Jane said.

Trent entered the kitchen. “How did it go tonight, Janie?” he asked.

“I had a discussion with SpiderGirl and Ninja Talon after they both confronted me above the Zon,” Jane said, for she was the Shadow!

“What about?” Trent asked with concern.

“About working together when the situation calls for it.”

“What does that mean?” Trent asked.

“Meaning that if I’m overwhelmed, I allow them to help and vice versa. They don’t know I’m me and I don’t know who they are. As far as I know SpiderGirl is the only one with powers. Ninja Talon could be what she appears to be. A teenager highly skilled in Martial Arts.”

“Sounds good,” Jesse said.

“Cool,” Trent said. “At least you’re not alone. But on that topic; Daria. She called earlier. She sounded down.”

“I know I have been neglecting her. I’ll catch up with her tomorrow.”

[greensparty]

Coolidge Corner Theatre Expansion

This past December, the Coolidge Corner Theatre in Brookline, MA celebrated its 90th birthday! It is one of my favorite movie theaters in the world and more than a few cinephiles agree with me on that. It is one of the most prominent and respected independently owned and operated indie movie theaters in the U.S. I first went there as a teen around 1991 when my friend brought me to see Spike and Mike’s Festival of Animation there. It was such a cool grand cinema and they play older films as well as indie films. Over the years, I’ve seen countless films there including the re-release of The Graduate, a midnight showing of 12 Monkeys, anniversary screenings of Texas Chainsaw Massacre and 2001: A Space Odyssey, a concert that followed Echo in the Canyon, and of course Independent Film Festival Boston screenings. But of all the awesome films I’ve seen there over the years, my favorite was in 2018 when they did a special one-night sold-out screening of my documentary Life on the V: The Story of V66! Another very special memory I have of Coolidge Corner Theatre happened in June 2021: I hadn’t been to a movie theater in over a year. My return to the cinema happened a few weeks after I had gotten my COVID vaccine and I went to the Coolidge to see one of my favorite movies of all time, David Lynch’s Blue Velvet! So I guess you could say I'm a big fan of the Coolidge!

ribbon cutting at Coolidge Corner Theatre's new expansion

But this week the big news today is that Coolidge Corner Theatre has unveiled their new expansion. The existing Coolidge Corner Theatre we know and love is still there (the big movie house, the three smaller cinemas), but now they have and extended lobby and concession stand near the back entrance by the municipal parking lot, two new cinemas (movie house 5 is red and 6 is blue!), as well as an education and community engagement center for classes, private events and more! It opens to the public today with both The Wizard of Oz and 2001 screening in the new cinemas.

Coolidge's new movie house 5, lobby, movie house 6, and reception area

Yesterday I got to attend the ribbon-cutting of the new expansion and look at the new space. The common theme from everyone's remarks was how lucky we are to have Coolidge Corner Theatre in this area. It's very true! At a time when so many movie theaters are closing, Coolidge Corner Theatre isn't just swinging it out of the park with their projection, sound, curation of old movies and new indies, they are actually expanding and going to be able to show more films and be a place for more art and culture in the area. Great news all around!

For more info on Coolidge Corner Theatre and their expansion