Shakespeare Club is back in 2018. We are expanding to open activities up for younger students (6-7) in Shakespeare Fun and we will be creating a space for adults to come and learn a bit about Shakespeare through The Bard Book Club… And we will be taking an international field trip…
What: Two drama groups for 6-7 year olds and 8-15 year olds. The older group will present an original adaptation of a Shakespeare play and will travel during spring break to Shakespeare’s birthplace in Stratford-upon-Avon.
When: 8-15 group Tuesdays 4:30-6:00 6-7 group Thursdays 3:00-4:00
Where: the American School of Wrocław, Partynicka 29-37, 53-031
Why: Lots of reasons. Shakespeare can be fun and lead to a whole lifetime of enjoyment. Giving primary students the mindset that they can read and understand Shakespeare before they get to higher grades gives them a head start and builds confidence. Performing is a great outlet for students with lots of energy and even for those who are more timid but want to take safe risks. And finally, imagine your six year old quoting Shakespeare on a bus. Bragging rights.
How much: 50zl per session.
Contact: Interested families should send an email to hello[at]aardvarkarts.org
In order to really feel in charge of my days, weeks, and months, I need to start making clearer goals for myself. Bullet Journaling perhaps? Gratefulness meditation? I’m going to have to come up with something.
This month a teacher brought in some sculptured dolls she made which were inspired by Alice In Wonderland. She said I could play with them. So I made a 20 minute performance which had a moral of treating other people with kindness.
Neutral Masks. I am not sure how this unit is going. But my middle school students have had real physical breakthroughs.
The wheels are turning on a Commedia work. It surrounds a Polish company who are sent to Empress Anna of Russia in honor of her coronation. Loosely base on Jan Potocki’s “Pageantries.”
This week I saw five outstanding performances. Four of these shows were a part of the Dialog Festival 9th edition and the fifth was from Los Angeles at the invitation from the Grotowski Institute. Here are just some brief notes and impressions from these shows:
“En avant, marche!”
les ballets C de la B (Ghent, Belgium)
Dir. Alain Platel, Frank Van Laecke
What sweet music. I want a playlist of these songs. It was the story of a man who was dying and had to come to terms with leaving his brass orchestra in the hands of younger artists. This was presented in several languages and joyfully enlisted the help of local musicians. The movement was fabulous. A drum solo became a two man expression of the manic life of a young artist. So much joy and vitality in this story about facing our end.
An Enemy of the People
Dir. Jan Klata Poland
The director says he does not reenact classic plays but rather makes “remixes and covers of literature.” I have never seen this play and have been recently keen on Ibsen. The production had plenty of reimaginings that fit perfectly with the original themes. The show features pop music interludes and a heavy metal loving Morten Kiil. The updates of both music, set, and costuming were perfectly tuned. In the middle of the show the main actor, the brilliant Juliusz Chrząstowski, takes liberty to speak on the current political situation in Poland (and the world). Even with the knowledge that he may be preaching to the choir, this show brought urgent attention to the fact that the mechanisms Ibsen wrote about over a century ago are still at work. It was a perfect fit in this festival as the theme of this year is: “Onward – but where to?!”
les ballets C de la B (Ghent, Belgium)
Dir. Alain Platel
This was the most challenging of all the performances I saw. It was a dance piece set to the music of Gustav Mahler. The director vaguely points to a vision of an apocalyptic future. There are elements of violence and ritual but there are very few answers. It is a reminder for me to be present and to appreciate each movement in isolation. I love shows that allow me to have my own experience, that let my imagination wander. Whatever it is about for me is what it is about. The ability of a company or director to create these conditions, like Teatr Zar, is part of the reason I am in Wroclaw. Though I couldn’t help but feel a certain discomfort with how les ballets C de la B appropriated the culture of the black dancers and enacted violence upon the one woman dancer. While these are examples of my “contemporary fear, uncertainty [and] omnipresent violence” I felt like much of it was unexplained, unexplored and unresolved. I like being challenged to question my needs as an audience member (the need for story, character and context for example) but the movements by themselves were unfulfilling. If it is going to be about movement, and the thread of relationships or story will be constantly snipped, then why have a dead horse as your scenographic centerpiece?
“Jeden gest” (One Gesture)
Dir. Wojtek Ziemilski Poland
This was a highlight of the week. It reminded me of how Teatr Kana’s “Projekt: Matka” (Project Mother) simplified all of the avant-urges swirling about the Theater Olympics Last Year. One Gesture was a refreshing breeze of simple storytelling. It opened my eyes wider onto the deaf community in Poland and invited me to question the nature of Deafness and performance. There are debates which divide the Deaf community and this performance was a call to unite. There was an outstanding moment in the show when a deaf actor was rigged with body microphones and created a soundscape which then scored a mash up of anime videos.
The director of the show has a very healthy attitude towards theater that I fully embrace: “When I go to the theatre, to a place that is supposed to be different, that has laboratory conditions and can study the world, I expect to see in this space something that is an experiment, an event. And what will emerge as a result is not supposed to happen only on stage but also – above all! – within me as a spectator. That I, by experiencing this, experience something that places me elsewhere in the reality. […] It’s not that a theatrical performance has to be a religious experience for me. It does not have to be great, but evidently should change something. Make the spectators feel. It is enough for me to feel as if I were getting to know someone or something new. And theatre has excellent conditions to do just that.” -“Eksperyment dzieje się w głowie” [An experiment takes place inside the head”], Agnieszka Kobroń, an interview with Wojtek Ziemilski, Afisz teatralny
“Theatre, a place that… can study the world.” I love that.
Ghost Rad Company (Los Angeles, USA)
Dir. Katharine Noon
Last but not least, Asyerion by some new friends from Los Angeles. I lived in LA for seven years and did not see any work by Ghost Road Company. They are a devised theater company who create their works over time. From everything I have heard about them and their own point of view on cultural production, they are a wonderful example of the kind of Small Art Theater I relish. I was extremely excited to see their touring production “Asyerion” which was based on the myth of the Minotaur. (Lucky for me I had just finished Percy Jackson and the Battle of the Labyrinth, so I was imaginatively prepped.) The show was swift and powerful. There was a relentless quality about the piece and overall, the story, the characters, and the movement all felt heavy. Not finessed. There were of course, exceptions peppered throughout, moments of relationships, tenderness, blended with dynamic and subtle movement. This is not a prescription about the work of the company or of this production. I liked it. The shows I typically like the best are those that give me something to critique and talk about. “Asyeron” left me with appreciation for the work where it is in its life cycle and left me wanting more. I met with the lighting designer Brandon Baruch before the show and got caught up on LA theater scene. I can honestly say it was the best lighting design I have seen in the Grotowski Institute. And the music which was introduced in the most recent phase of development was beautiful. Thank you Ghost Road for bringing your style to Wroclaw. We need more of it!
Two websites that shocked me this week: How Many Slaves Work for You? Click here to find out.
Not one of the richest people in the world? Me neither, See where you fit in the global rich list. Click here and you might be surprised.
Best comedian I just discovered: James Veitch. I love his storytelling style. I asked him what tech he used to make his presentations and he said it was Keynote. Now if I could only find the sweet tech for a clicker… Watch this bit on Conan and if you like it, look up his Ted talks!
Quote about the future that got me thinking: Richard Branson said in a recent interview “I suspect … we’ll actually look back on the wholesale slaughter of animals, and the way we did it, and be slightly embarrassed about that.”
What podcast I’m listening to:This interview on Democracy Now! with Muhammad Yunus. He was the 2006 Nobel Peace Prize Winner and he talked about his new book, The World of Three Zeros: The New Economics of Zero Poverty, Zero Unemployment, and Zero Net Carbon Emissions. His response when asked what we need to do to effect change caught my ear – “We have to teach our children in school that … we [can] live in a way so that our enjoying life will not harm the enjoyment of life of another country or other children… Then children will learn what are the things that I do harms and affects negatively on the children of other countries and so on, so that I become aware that there’s a link between what I do, what I consume, what lifestyle I have, on the other people’s lifestyle.
New You Tube channels I subscribed to: Nerdwriter, Just Write, and Swoozie
Next week a special edition of Five Bullets will be Five Plays. I am attending the Dialog Theater Festival in Wroclaw. There is some juicy art-money-politics background on this event that I will try to write down.
Thing that moved me this week: Story Corps is a national treasure. They consistently remind me how amazing our every day lives really are.
Thing I’m listening to: Louis CK is at the top of his game. This is known. I love this old quote about the years of hard work it took to get there: “give it a minute!” This week I just heard his reflection on being interviewed by a critic who suggested HBO cancel his first show Lucky Louie. He wanted to write a mean letter in response but he didn’t. Listen to this five minute clip from Fresh Air to hear why.
Books I’m reading this week: Sea of Monsters and Titan’s Curse. That’s the kind of week it’s been.
Art work I’m inspired by: A colleague at work let me use some of her sculptures in a few storytelling sessions I had at school for Mad Hatter’s day. So I came up with a 20 minute adaptation of Alice’s Adventures in Wonderland. When teachers see my library sessions they come up to me after and say, “Wow, you could be an actor.” Check out the amazing work of Liudmyla Bezusko here. Maybe this will start a bigger collaboration.
New movie I’m excited for: New Wes. New Wes.
Honorable mention of awesomeness that stands the test of time: I’m in the middle of a Harry Potter home film festival and Prisoner of Azkaban, directed by Alfonso Cuarón is still an awesome movie. I was a projectionist when that came out and I can remember so many frames of that film. It is a beautiful fusion of storytelling and filmmmaking; an emotional roller coaster full of craft and subtlety. As the young child actors started getting better at longer scenes, Cuarón didn’t overwhelm them with carrying too much dialogue in his long takes. It seems as though he put them with some of the older, more skilled actors, and told the children to just listen. That’s a great acting lesson.
Social media post I’m thinking about: Shannon Sharpe dismantled the NFL’s show of unity from last weekend. He called the owners out for having revenue as their motivator. There is a lot in his statements that reveals what is really going on when “ownership” gets involved. I think he’s right, when it comes to the owners, this doesn’t feel like solidarity, this feels like business interests.
What I’m reading this week: Percy Jackson and the Lightening Thief.
Theater I’m seeing this week: Teraz wszystkie dusze razem… (Now all the souls together…). This is a fourth year performance by puppetry students at PWST (a local drama school in Wroclaw). It is a mash-up Zdzislaw Beksinski’s paintings, Tadeusz Kantor’s stage forms, Andrzej Wróblewski’s canvases, and the dramas of Euripides and Adam Mickiewicz. To fit all those sources in the show is 3 hours long. And in Polish. This ambitious project is directed by Pawel Passini. We’ll see… Update: Not 3 hours long, and amazing!
Favorite app of the week: Google Slides. Last year I made my first slide deck. It was an incredible tool to help me show my idea to a board room. Now I’ve discovered that you can change the size of your slide show. This makes the app quite useful. The magic button is File>Page Set Up>Custom. Bam.
I’m making a performance library. It is not for everyone.
I grew up in Franklin, MA which I was taught was the first Public Library in the country. With the advent of the internet that claim seems dubious at best. But it has never dulled the shine on my mythological fantasy with worthy collections.
Imagine a space where you can come to work on a scene or a dance or some other kind of project. Imagine that room that you are rehearsing in, is part of a library. Your movements and actions are in themselves a form of research and knowing. That work should be placed in a context of other rich, diverse histories of practice and thinking. So I want to make a library of live arts. Source material, video documentation, scholarly writings all mushed together in one.
I have the students – over 100 teenagers. Despite living in a culture which was preserved on stage, they have very little frame of reference of what theater can be. I work with them every week to try to inspire them to make things. I tell them that my favorite kind of theater is born out of thinking and doing. To fuel the thinking we need the best resources. In short, I need books.
If you have any old plays, books of monologues, History of theater textbooks, performance studies textbooks, Shakespeare’s complete works, Shakespeare glossaries, anything by or about Shakespeare, make up technique manuals, stage design workbooks, acting editions of odd plays, actor biographies, theory books…If you want to help out, give a shout. Even if all I got were a few copies of Shakespeare books I would be ecstatic and my students would start using them day one next September.