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In the Middle
May. 22nd, 2006 10:58 pmBack from a beautiful wedding -- Daniel Kleinfeld and Sally McGuire -- in the Adirondacks. Went up Friday, got lost in Albany on the way (longer story than deserves to be told), had a great time in lousy weather in beautiful locales on Blue Mountain Lake, lovely service, back home as fast as we could early yesterday to see Berit's mom and some of her relatives at the Norwegian Independence Day parade in Brooklyn. Then, a little Sunday rest.
Today, back to That's What We're Here for (an american pageant), which I should just get used to abbreviating some way or other, but since saying the acronym TWWHF actually takes longer than saying the name of the show (those damn double-u's!), I just can't get used to writing it that way either.
Now that the structure/visuals of the show are set, and I have Berit's intricate blocking notes, and I know what the dialogue has to be like, I can actually sit down and write a script for this thing. So I'm part way through it now -- translating B's shorthand notes into readable stage directions, adding some new ones and descriptions of scenes as yet unstaged, and putting in dialogue. I hope to have this done in some form to email to the actors tomorrow night.
Again, as I said before, strange show, this one. I'm a little worried that its ultimate connection to the material that inspired it (the industrial/corporate/educational/religious films/audio), which is played up in all the publicity, will be considerably less apparent in the final show than all those blurbs and statements on websites and in press releases from me would make it seem. It's gone off a bit from the original vague idea (as much as you can stray from a vague idea) into something else, I think. Something better, but harder to define, which is all for the good. I always try in the work to make it something so particular to the medium that there is no possible way of defining or understanding the work except by experiencing it. Any description will be reductive; the thing itself must be its own description. I think I've got that here, but it makes it difficult in some ways even to have a discussion in my own head about the piece -- I don't know what the pieces I need are until they appear in place, and have no way of making them except going with what seems right. Luckily, things have been happening when I need them to.
Now, the making it. As with everybody these days, affordable and appropriate rehearsal space is next to impossible to find. I have some days tentatively booked at one space, and I'm going to schedule a lot more individual meeting/small group rehearsals with the cast (which I can do in peoples' apartments), but I still have a few full cast rehearsal days scheduled without finding any space to work in on those days, and the financing of even the cheapest space is a problem. A big problem. Not even considering the building of props/set pieces for the show. Well, it'll be what it is and what I'm capable of making it within my means, and that's all I can do. Now to just do my job with what I have.
Back to the script. A sloggy process, still, right now, writing out stage directions and transcribing song lyrics.
Today, back to That's What We're Here for (an american pageant), which I should just get used to abbreviating some way or other, but since saying the acronym TWWHF actually takes longer than saying the name of the show (those damn double-u's!), I just can't get used to writing it that way either.
Now that the structure/visuals of the show are set, and I have Berit's intricate blocking notes, and I know what the dialogue has to be like, I can actually sit down and write a script for this thing. So I'm part way through it now -- translating B's shorthand notes into readable stage directions, adding some new ones and descriptions of scenes as yet unstaged, and putting in dialogue. I hope to have this done in some form to email to the actors tomorrow night.
Again, as I said before, strange show, this one. I'm a little worried that its ultimate connection to the material that inspired it (the industrial/corporate/educational/religious films/audio), which is played up in all the publicity, will be considerably less apparent in the final show than all those blurbs and statements on websites and in press releases from me would make it seem. It's gone off a bit from the original vague idea (as much as you can stray from a vague idea) into something else, I think. Something better, but harder to define, which is all for the good. I always try in the work to make it something so particular to the medium that there is no possible way of defining or understanding the work except by experiencing it. Any description will be reductive; the thing itself must be its own description. I think I've got that here, but it makes it difficult in some ways even to have a discussion in my own head about the piece -- I don't know what the pieces I need are until they appear in place, and have no way of making them except going with what seems right. Luckily, things have been happening when I need them to.
Now, the making it. As with everybody these days, affordable and appropriate rehearsal space is next to impossible to find. I have some days tentatively booked at one space, and I'm going to schedule a lot more individual meeting/small group rehearsals with the cast (which I can do in peoples' apartments), but I still have a few full cast rehearsal days scheduled without finding any space to work in on those days, and the financing of even the cheapest space is a problem. A big problem. Not even considering the building of props/set pieces for the show. Well, it'll be what it is and what I'm capable of making it within my means, and that's all I can do. Now to just do my job with what I have.
Back to the script. A sloggy process, still, right now, writing out stage directions and transcribing song lyrics.
