Magis Theatre Company

Spy Back

2011-12-03T11:55:00.001-08:00

Chekhov emphasizes that as actors in rehearsal and performance, when we are properly concentrated we are one with our images and intentions. We are accessing full creativity. We are present enough to allow this flow of creativity to be realized and to get out of our own way.

We want to be led by our imagination not by our intellect. This is not necessarily easy since our intellect is used to being in control, in charge of our lives. But Chekhov said the intellect is an enemy to the artist - he called it the "little intellect." This is the critic, the judge, the divisive one that lives in us. While it can be useful in many areas of our life, it works against us when we are working in the creative state.

So, we can analyze it later. When we have finished a particular rehearsal or exercise, then we can take the time to evaluate what was working and how it was working in us. This is the time to put the little intellect to work, and then it is contributing to the creative process in its proper way. Chekhov called this spying back.

I have mentioned this term in the couple lessons I have led, but here I would like to post the questions he recommends you ask yourself after every exercise or rehearsal. The answers are meant to be shared with one another as we all grow and learn together in the technique. Here they are:

~ What was I concentrated on?
~ What does this movement mean to me?
~ What was my experience of this?
~ Where do I feel/experience a connection to this?
~ Is this something I recognize or know?
~ Can I do it again?
~ Where/How can I use it?

The Four Brothers

2011-12-02T13:21:00.000-08:00

Hello all,

I would like to introduce to you the Four Brothers. The brothers are actually feelings and they are always present(or should be) in our work. They are:

Feeling of Ease
The actor finds this ease as an inner thing much like a feeling. It begins from a desire to have it and it comes because we will it to be there. Once we will it and find it - once we accomplish the task or perform the action with ease - we know it. It is there, and it will be there once you allow it to be there. No matter how difficult the task or movement or exercise, if the feeling of ease is present, we discover just how much energy it takes to accomplish the task...

Feeling of Form
Everything that needs understanding needs form. We work with form in our training all the time, and oftentimes when we are looking for something to work on, we fall back on form. We can always work on form. But as you do, I urge you to experience form as a feeling. After all you are human, and your human body is a form. What does it to feel like to be in your body? Know the particulars, discover the unity, feel the form...

Feeling of Beauty
It's nice to feel beautiful, isn't it. But it's not necessarily easy to feel, it can be elusive since "beauty is in the eye of the beholder" and there are many values attached to the feeling of beauty. My teacher Lenard Petit likes to substitute the word authentic for beautiful. Great substitution. Because this brings us to the purity of things, doesn't it? And purity is beautiful, almost unarguably. Chekhov notes that animals in nature are beautiful because they are true to themselves. So in your work, I urge you to play with this feeling of beauty. Remember, it's a pathway to authenticity - there is no need to try to be beautiful or to show us your beauty, just be beautiful...

Feeling of The Whole
This is perhaps even more elusive than beauty, as it can easily become a concept versus an experience. Chekhov was very interested in the Whole of the actor's experience and subsequently the technique was conceived out of the idea that the emotional and psychological can be discovered and explored through the physical. The inner can be found through the outer. As you work, remember that you are a whole actor. And that as a whole actor, you make whole movements and whole sounds, or at least have the possibility to do so. I urge you to put your attention on the whole. What does that feel like...?

*****
If you think about it, every great work of art possesses these four qualities, leading us to a satisfying experience of some sort. Each of the brothers complements and informs the other and are tangible feelings that we can apply to the work. Remember, these are not hard and fast rules; they are simply guideposts to which we can come back, to help us along the way...

See you in training...
Taylor V

Introducing the Michael Chekhov Work

2011-11-12T14:14:00.000-08:00

I’ve wanted to bring the Michael Chekhov work to Magis for some time now. I first studied it in grad school, and since then, I have always revered the technique as an accessible way of approaching the work of an actor. Then about a year in to my time with Magis, one of our now cross-country members, Casey, incorporated into training some work built around the Psychological Gesture. This is the most well-known and most associated aspect of the Chekhov technique. It was that training session where I got re-energized in this technique and vowed to myself that I would bring it to the company as a regular aspect of training, as it is so complimentary to what we already do as a company.

In the last year, I have been studying with a great teacher named Lenard Petit, who is very committed and dedicated to the work and the studying of the technique. He has developed some variations on the work, as well as some deepening of the technique that I have found to be very useful. So, as I embark on this process of integrating the Chekhov technique to Magis, I owe both Mr. Chekhov and Mr. Petit honor in the teaching.

So, just a brief intro about Michael Chekhov himself: as you may already know, Chekhov was a star pupil of Stanislavksy. But, if you can believe this, he outgrew the great acting teacher in a way. While he agreed with a lot of what old Stan was preaching, Chekhov was really focused on activating and enlarging the psychology of the character & the actor through the physical realm.

He said, “the actor...must not only find another attitude towards his physical body and voice, but to his whole existence on the stage...His kind of thinking must be different, his feelings must be of a different kind, his feeling of body and voice, his attitude to the settings – all must be enlarged...”

So how do we achieve this? Concentration, said Chekhov. It is through concentration that we give ourselves the ability to access and discover the power that is greater than our everyday sense of being. If our true work as an actor “is to transform personal experience into a universal form of expression that changes something in our audience members,” if this is our ultimate objective, then how do we achieve it? By practicing. So through our practice, we have to find alternative, non-pedestrian, non-feeble ways to increase our sense of self as we experience transformation into various characters.

So, I think a lot of what we do in our Training helps us to accomplish that. Recognizing, developing, and understanding different energies inherent within ourselves and expanding our imagination to realize anything is possible. This fits in perfectly with the MC work; and so as we embark on this work together, remember that there is always a radiant energy within us, and this energy is just waiting, ready and willing to be formed, transformed, and made active.

Go with ease...

Taylor V

Why do we train?

2011-10-17T10:01:00.000-07:00

I was speaking to someone recently about our training process-- the fact that we meet once a week or more year-round, even when we are not in rehearsal for a specific project.

So, why do we train?

In most North American productions, actors are cast in a project shortly before rehearsals begin. Projects are usually scheduled to have between 3-6 weeks of rehearsal, with most rehearsal schedules lasting about four weeks. Actors in any given show may come from many different schools of thought regarding theories of acting, different attitudes about the rehearsal process, with different artistic backgrounds and wildly disparate vocabularies.

Obviously this doesn't mean that wonderful theatre cannot occur even under these circumstances, but it does mean that these rehearsal processes have to cover a lot of ground. Sometimes it is hard for actors and directors to communicate with each other when they come from different educational backgrounds or have different ideas about the way theatre should work. Actors are asked not to "give notes" to each other or talk in a critical way about the scene when they are not in the presence of the director, as egos can be easily bruised. Actors are usually powerless within the casting process-- they can audition, but beyond that they must simply wait, hoping that they will be "picked."

With Magis, some of us have been working together for more than 6 years within the group, and for as much as 14 years total, dating back to the founders' days in graduate school at the Columbia School of the Arts. In fact, the main idea behind the founding of the company was based on the wishes of the founders to continue some of the group activities and exercises we had learned at Columbia and to discover new ways of combining these training modalities to make new connections. After we had been working together for a few years, we started the process of formalizing as a company, but training has always been at the heart of the company's mission. Training brings us together as an ensemble and gives us a common vocabulary we can use during the rehearsal process.

For instance, Margi Sharp Douglas and I have each played parts, some large, some small, in all of Magis' productions so far. She has played my mother, my father (check out the pictures of her in drag as the Old Shepherd in The Winter's Tale!), my sister, my rival, my disapproving aunt-in-law-to-be. The relationships we create on stage are of course going to be richer because of our long history together. But this is not just because we have known each other for a long time. We have taught each other in class, discussed what we wanted for the company, sometimes argued and sometimes competed, and over the years we have developed a vocabulary to talk about any issues that may arise. Sometimes in a joking way, sometimes in a serious way, we can say, "Oh, this is like that scene in The Great Divorce," or "Remember the exercise with the tabla rhythms?" Training together has given us a great respect for each other, and a history that we can each refer to when questions come up. We can give each other feedback without being afraid of offending each other.

When projects are considered, we can look at a script, and think about what parts might be good for different members of the company. I can say, "Oh, that would be a great part for Wendy" or "Does this part have to be played by a man?" or "I know I wouldn't usually be cast this way, but I'd like to read for the villain." While the final casting decisions always rest with the director, we try to make room for actors to put themselves forward for specific roles-- to have some agency within the process. We are going to be starting our formal rehearsals for Shakuntala in January, but we have been experimenting with the play and learning Indian storytelling techniques since September, and thinking about the play for several years. Training year-round gives us an opportunity to play around before making final casting decisions.

But beyond the benefit for the ensemble, training is also beneficial for me as an actor in any venue. In the past, I often felt totally unsure about whether I would have a good performance on stage or not. Some days, I would feel like "the muse" was with me. My timing would be on, my energy would be good, I could feel a real connection with the audiences. Other times, I would stand up on stage and feel like I had nothing to give. My performance would meet acceptable minimum competency standards, but wouldn't be anything special.

Training gives me a way to encourage the muse to show up more often. At an audition, in rehearsal, or in performance, I know that I have been given a set of tools that will enable me to do my best. Sure, there are still times when I feel especially "on," and days when I may not be as brilliant as I might be on another occasion, but I know that I can trust my training background to be there for me. I can choose from the many ways we have worked on text in our classes to help me through any challenge. By training, I am clearing the way for the muse, and while she may not show up every time, I am better prepared than if I had not given her room to arrive. I am setting a place for her at my table, and opening the door.

--Erika

Dramatic, Lyric, Epic// Momentum, Suspension, Gravity

2011-10-17T10:00:00.000-07:00

Three Basic Energies

Magis Theatre Company's work with the three basic energies started with a bringing together of the very physical work done at Columbia University's MFA Theatre program with the work of Robert Taylor, a Shakespearan Actor trained in Britan and a lecturer at PTTP program at University of Delaware, Carnegie Mellon and Moscow Art Theatre.
Columbia Trained actors worked with Niky Wolcz to establish a plasticity of the body and an openness of the instruments. Much of Wolcz' work comes from Grotowski and Meyerhold but blended in Niky's own way.
At Columbia, a variety of different ways of working gave the actors a chance to explore the resonance and dissonance of some of these training methods. In a sense, the students bodies were the crucible where different acting approaches melted and became its own "alloy" of these elements. Le Coq mask work, Wolcz work on physicality came face to face with Ann Bogart's Viewpoints and Tadashi Suzuki's regiment of training.
What all of these had to work on together was a raw "energy", a term which was so important to Stanislavki.
Allowing energy to flow freely and putting it in the action combined very well with Robert Taylor's instruction on the three basic energies which he terms
Dramatic, Lyric and Epic... corrsponding to the the three basic forms of Poetry. Taylor gets these categories from the work of Rudolf Steiner, particularly his book SPEECH AND DRAMA. And while we need not agree with Steiner's metaphysics, it is useful to understand and his observations.
Those observations are aimed at a kind of engagement which translates to "presence."

Tapping the Energies

Each of the 3 basic energies has its own locus.. where it lives in the body... where it comes from and where it passes through on its way out to the audience.
The energies are accessed, opened, and focused through a shape/action that is particular to each energy. Training in these shapes and practicing them regularly opens the channels of energy very much in the same way a pianist practicing scales allows for a proficiency in executing step-wise progressions in a piece of music.
The aim of this practice is not to "do" the energy (worse yet to "act" the energy) but to open the channels so that when I am doing the physical actions of my score, these energies will support and fuel the action.
This is the difference between an action that has presence and one that does not. Allowing the free-flow of energy in the action draws the attention of the audience to what is being done.. what is being embodied in the moment.

Once before a show with Ralph Lee’s Mettawee River Company, we warmed up with our usual routine of exercises, one of which was “the body swing:” a simple exercise I had done many times before, though never before with the awareness of the instrument I had developed in grad school. I had also just begun working with the Robert Talyor, and so was able to see this exercise in a new context.
The exercise is a reaching up in the body, allowing oneself to fall over at the waist and swing back, and then allowing the contained energy of that action to propel the body forward to a standing position again. What immediately struck me was a feeling of suspension at the standing point, just before gravity pulled the body down again. My body remembered the sensation of "Lyric Energy" from the work with Robert Taylor.
It was unmistakable for me that this Lyric Energy WAS suspension. As I continued in the exercise, I then made an investigation to the other energies...Gravity, the force pulling the body out of that suspension felt like "Epic Energy," and the swing back up which I will call momentum was the sensation of "Dramatic Energy." It was exciting to have this connection. The energies suddenly seemed even more organic, more basic... this began to inform much of the physical work I did with my own teaching at Fordham. Connection to Stansilavski's later work on physical actions began to emerge as well.
While this realization can seem theoretical, it is entirely practical: gravity, momentum and suspension are constants in any action. The energy shifts based on the instrument’s relationship to gravity at any given moment. As such, the actor does not manufacture energy, the actor merely taps the energy that is there.

Shakunatala's Rejection: Kalidasa’s presentation of complex moral dilemmas in this single scene

2010-07-14T08:06:00.000-07:00

The situation of the curse taking Dushyanta's memory of Shakuntala sets the stage for one of the most poignant demonstrations of a moral dilemma that we read about in literature.
What are the moral choices in this scene?
Dushyanta has no memory of marrying Shakuntala. He sees her pregnant and since he does not remember his making love to her, he assusme (as anyone would) that she is the wife of another man.
Yet Shakuntala knows the truth of his actions, but does not know that he has no memory of them.
The scene sets up Dushyanta to be the arch-hero or the arch-scoundrel depending on the perspective with which one views the circumstances:

Not knowing whether I be mad Or falsehood be in her, which is the heavier sin: Shall I desert her having proven herself a faithful wife, or take her not knowing if she is mine and risk being an adulterer?

Karma, Fate, Predestination, Curses, Blessings, Action, and Consequences

2010-07-14T07:52:00.001-07:00

As we look at the plot line and dramatic action of Shakuntala, we can see that the unseen forces of destiny are constantly operative:
The king arrives at the hermitage following a deer arriving there just in time to protect them from an onslaught of demons
Shakuntala is chased into his arms by a bee, and they share their first touch over her fallen bracelet.
It is this dream of love come true that actually makes Shakuntala get lost in her own thoughts and her neglect of Durvasas brings forth the curse.
Or is it the ever-present shadow of the demons that are trying to keep Dushyanta and Shakuntala separated? Do they know that the child born of these two will be a great vanquisher of demons, and so work extra-hard to prevent this triumph of goodness? Is is some demonic work that makes Durvasas get so angry that he curses her?
Yet, grace and blessing seem to come back with equal force to meet the challenges of fate. The sage is softened by the intercession of Anusuya. And yet the blessed ring is lost. And yet a carp finds it and it is returned to the king. But too late. The circusmstances create a dynamic tug-of-war between good and evil and keep manifesting in these ways in the action.
Is all of this preparation for the couple to give them what it takes to raise an emperor son?
Are they pawns tossed around by battling forces? Or is the entire nation blessed because of their triumph over suffering through patient faithful endurance?

Separation and Longing in Hindu tradition

2010-07-12T22:05:00.000-07:00

In Shakuntala, the consummation of the love of Dushyanta and Shakuntala is put off several times before they finally get together. This shows the place of "longing" in this tradition.
Spiritually this is a metaphor for separation from the divine.
Longing for us today seems as if it is merely a nuisance, or worse a privation, but in the Hindu tradition, the idea of longing is presented as beautiful and potent.

The following reflections come from an article by Anantanand Rambachan
The Svetasvatara Upanishad (4:6-7) uses an interesting analogy to describe the human separation from and discovery of God. It describes two beautiful birds who are inseparable friends residing on the same tree. One eats the fruits of the tree with relish while the other looks on without eating. Sitting on the same tree, one bird becomes sad, entangled and deluded. But, when he turns and sees the other, the contented Lord and the Lord's majesty, his grief disappears. The two birds are the human being, and God and the tree is the life itself. God's attention is always on the human being, but the human being, absorbed in the world, ignores God. He is unaware of the divine who is close by and patiently waiting. Human ignorance and inattentiveness to God, however, is the fundamental cause of misery which ends only when one turns round and recognizes God at one's side.

Ignorance of God is the source of our suffering and from this we must be awake. Awakening to God is consistently associated in the Hindu tradition and texts with freedom from sorrow and the attainment of joy. "Only when people shall roll up the sky like a piece of leather," says the Svetasvatara Upanishad, "will there be an end of misery for them," often used to describe the absolute. "The Infinite Itself is joy. There is no joy in the finite. The Infinite alone is joy," says Sanatkumara to Narada in the Chandogya Upanishad (7.23.1). On a particle of the bliss of God, teaches Yajnavalkya in the Brhadaranyana Upanishad (4.3.32), other beings live.

Knowing God and the bliss which is God ought not, in the Hindu tradition, to lead to selfish absorption in oneself. This is where the Assembly theme challenges us as Hindus. One cannot and ought not to turn to God without, at the same time, turning to creation and to all human beings with love and reverence. To turn to God is not to turn away from the world, but to see the world as infused by God.

"Penitence" in Shakuntala

2010-07-12T21:21:00.000-07:00

This seems to be a constant theme in the production:
Dushyanta meets his love in a grove of penitence... and even before this receives an omen of happy love. Why does the story have this in a "penitential grove?" Remember we spent a good deal of discussion on how to name the grove in our adaptation.
Some thought penitential sounded to prison like.
Others said it was too negative, too much focusing on sin.
Yet the balance seems to lie in Dushyanta's affirmation:

Yet to inevitable things

Doors open everywhere.--

Is it therefore "inevitable" that there will be a need for penitence in their relationship?
Or is it just dramatic contrast?
Either way, the idea of penitence does not seem negative to the inhabitants. They seem to be earnest folk who do penance not only for themselves but for others.
Remember that Shakuntala and Dushyanta reconcile in a different place of penance.. this time on Golden Peak.
Dushyanta's long self inflicted penance after rejecting Shakuntala is perhaps the thing that sets the stage for his doing battle with the Kalanemi. Is he facing his own demons?
I wonder if we experienced this a little in our own engagement of this text.
Likewise when he confesses to Shakuntala, she is ready to forgive and to take the blame upon herself:

Surely, it was some old sin of mine that broke my happiness--though it has turned again to happiness. Otherwise, how could you, dear, have acted so? You are so kind.

Significant as well: both Shakuntala's "father" and Dushyanta's mother are engaged in prayer ceremonies at the time of the meeting of the two.

In our process we spoke about the demon forces working as distractions to the good fortune of these two lovers, perhaps as an attempt to avert the birth of Bharata the "all-tamer."
This realization led us to compose the storyteller's line:

How fast upon the heels of good do evil forces strike!

It is important to note as well that Shakuntala was born from an moment when Vishwamitra was distracted from his austerities. Why was Menaka sent? As a test? A challenge? An attack on his good intentions? Or a humbling of a spiritual pride that was sterile?

What is the message about penance/prayer that Kalidasa is aking us to consider?

Presentation at the symposium on encountering the sacred

2010-07-11T19:09:00.000-07:00

Hello Everyone,
Here are some notes that I will be using for our presentation this week based on the first section. I hope to do the same with subsequent sections in the next day or so.
Feel free to add, to discuss
George

First section:
Discussion on the sacred nature of performance in Natyashastra,

Natya: the sacred Hindu musical theatre styles, whose theory can be traced back to the Natya Shastra of Bharata Muni (400 BC).
Dances performed inside the sanctum of the temple according to the rituals were called Agama Nartanam. Natya Shastra classifies this type of dance form as margi, or the soul-liberating dance, unlike the desi (purely entertaining) forms.
Even though the art of Natya includes nritta, or dance proper, Natya has never been limited to dancing and includes singing, abhinaya (mime acting).
The term "classical" (Sanscr. "Shastriya") was introduced by Sangeet Natak Akademi to denote the Natya Shastra-based performing art styles. A very important feature of Indian classical dances is the use of the mudra or hand gestures by the artists as a short-hand sign language to narrate a story and to demonstrate certain concepts such as objects, weather, nature and emotion. Many classical dances include facial expressions as an integral part of the dance form.

and the place of Shiva in Sanskrit performance
the temple arts were dedicated to Shiva. Bharatanatyam and Odissi are mentioned in the Natyashastra as sacred arts.
Shiva is often depicted as Natyaraja or Lord of the Dance triumphing over the demon Maya (ignorance)

We used Saju's invocation which was done before each session:
Translation of Angikam Bhuvanam…
Whose body is the three worlds? Whose speech is all language? Whose costume/adornment is the sun and the stars? It is you: the conscious one Shiva.

But Kalidasa’s text begins with:

BENEDICTION UPON THE AUDIENCE

EIGHT forms has Shiva, lord of all and king:
And these are water, first created thing;
And fire, which speeds the sacrifice begun;
The priest; and time's dividers, moon and sun;
The all-embracing ether, path of sound;
The earth, wherein all seeds of life are found;
And air, the breath of life: may he draw near,
Revealed in these, and bless those gathered here.

The stage-director. Enough of this! (Turning toward the dressing-room.) Madam, if you are ready, pray come here. (Enter an actress.)

Actress. Here I am, sir. What am I to do?

Director. Our audience is very discriminating, and we are to offer them a new play, called Shakuntala and the ring of recognition, written by the famous Kalidasa. Every member of the cast must be on his mettle.

Actress. Your arrangements are perfect. Nothing will go wrong.

Director (smiling). To tell the truth, madam,
Until the wise are satisfied,
I cannot feel that skill is shown;
The best-trained mind requires support,
And does not trust itself alone.

Actress. True. What shall we do first?

Director. First, you must sing something to please the ears of the audience.

Actress. What season of the year shall I sing about?

Director. Why, sing about the pleasant summer which has just begun. For at this time of year
A mid-day plunge will temper heat;
The breeze is rich with forest flowers;
To slumber in the shade is sweet;
And charming are the twilight hours.

Actress (sings).

The siris-blossoms fair,
With pollen laden,
Are plucked to deck her hair
By many a maiden,
But gently; flowers like these
Are kissed by eager bees.

Director. Well done! The whole theatre is captivated by your song, and sits as if painted. What play shall we give them to keep their good-will?

Actress. Why, you just told me we were to give a new play called Shakuntala and the ring.

Director. Thank you for reminding me. For the moment I had quite forgotten.
Your charming song had carried me away
As the deer enticed the hero of our play.

Here we see both a respect for Shiva, and a desire to get on with the play... yet even in the first scene, Dushyanta is compared to Shiva:

Your Majesty,

I see you hunt the spotted deer

With shafts to end his race,

As though God Shiva should appear

In his immortal chase.

Shiva's presence is always a presence in this play... Kalidas's ending to the play is Dushyanta's speech:

King. Can there be more than this? Yet may this prayer be fulfilled.

May kingship benefit the land,

And wisdom grow in scholars' band;

May Shiva see my faith on earth

And make me free of all rebirth.

Feel free to make comments!

See you on Wednesday!

George

Trust in Breathing

2010-03-22T18:39:00.000-07:00

First, I can't explain how ... honestly, I can't even find a word to describe how training is for me. What follows is a list of words that flows ... exciting, embodying, mind-blowing, tingling, absorbing, relaxing, releasing. I can't pick just one. To watch the actors of Magis accept everything in the space during training and to be able to let go for two hours and just follow my natural impulse was exactly what I needed on sunday.

I did have two words that kept flowing through my mind afterwards.

Trust. and Breath.

In college I felt very trusting and in tune with my body, breath, and voice. I could tap into my elbow and trust that it could lead me through a space or rehearsal, because touching base with my elbow was something I did on a weekly basis. Not having spent much time with my elbow, or ribs, or ears, I'm finding a disconnect that is intriguing.

There is one exercise that (each time) has allowed me fully connect all elements of body, breath and impulse. I don't know what it's called, but it's when one person pushes you and you have to allow your body to move in whatever responce it wants. I find that in the exercise there is a series of steps that must be followed by two parties in order for this to fully work. I will use my spin with Wendy as an example:

*Wendy looks up from her last spin.
*Wendy Sees me.
*Wendys' energy move her toward me.
*Wendy Makes eye contact.
*A dialoge is exchanged without either of us knowing it:
-W:can i push you?
-M:yes you can!
-W:I'm going to push you.
*Wendy pushes my right shoulder.
*My body reacts.

I find my energy is forced and unnatural when I am the person pushing. But when I am pushed my body takes over in a strong way and at the same time I'm heavy and light. It's really amazing. I see images as I move through the space. It's a trust in my whole being that I am enjoying. Something I haven't tapped into in years!

It's nice to feel my breath again. To see how it applies to all elements of the actor. Especially to trust.

When we had to take in air, hold in and then release it across the room, I was relieved to know that many people feel they are going to pass out. I almost didn't contiune the exercise because of that sensation and then George made the comment, "If you feel like your going to pass out tell your body your not going to die, and that it's only 20 seconds!" I would have never thought of doing this. But the next time we went through the exercise I started to get black spots again and I paused my thinking for a moment and said, "It's only 8 more seconds. Relax, trust your breathe!" And the spots went away, my lungs relaxed, and I felt very connected.

There are so many instances when I feel like I have to push for a responce or an impulse, or struggle through an exercise when all I really need to do is ask my body for 8 more seconds and trust that it will take over!

I'm still in my head for many of the drills that we do at training, but i'm hoping with time that I can allow myself to really begin to trust what will happen, will happen. Wether it be an amazing connect with my toes, or the feeling of nothingness, that I can accept that that's where I am that day and find a trust in it!

It's a long first post, but I felt like sharing!

-Stephanie

Shakuntala and The Ring of Recognition reviewed in The New York Times!

2010-02-16T16:24:00.000-08:00

The New York Times reviewed our production of Shakuntala and The Ring of Recognition! Please read the review at the link below:

http://www.nytimes.com/2010/02/17/theater/reviews/17shakun.html

About the Shakuntala Logo

2010-01-22T08:06:00.000-08:00

This line drawing is an attempt to express the spirit of the woman for whom this play is named. The hands are in the "mudra" of ketakikusume, a flower. The extended fingers of the mudra hold a heart with the first letter of Shakunatala's name in Sanskrit.
This woman, connected to nature, offers her heart as a sign of hope amidst despair, and as such remains a flower for all who look upon her.
Come see our production to find out why some of the greatest artists in the world have fallen in love with this woman over the centuries.
"Shakuntala and the Ring of Recognition" runs Feb 11-28 at La MaMa.
Tickets online at www.lamama.org

Director's Statement

2010-01-22T07:52:00.000-08:00

I remember the first time I read Kalidasa’s “Shakuntala,” and how the story of this ancient play gripped me immediately. It begins with a fairytale encounter between a king and the beautiful daughter of a hermit, but as in so many fairytales, the fates work against them. Having professed their eternal love, they are drawn apart with the hope and promise of being reunited soon. But when they finally meet again at the palace, the king does not remember his bride.

Every time that I recount this story, when I get to this detail, the person hearing it for the first time groans—literally, immediately, and viscerally groans. What can be a greater blow to the heart than not being remembered by one we love?

This story, and the reaction of those to whom I tell it, make me feel it is a story we need to hold in our collective memory, and it deserves another telling.

Few things can kill the spirit as completely as being forgotten, being exiled from the minds of others. What we find important in our lives we constantly call to memory, and the retelling of our past is often constitutive of our present. Yet day after day, in politics and business, in relationships and friendships, we see irresponsibility, corruption, complicit action and personal commitments brushed aside under the gloss of conveniently “not remembering.”

Over the period of time that we as a company have been working with this text, we realize that it is a rich tapestry of emotion, symbols, and lessons about love, life, hope, honor, longing, and above all, mindfulness. Trying to understand this story in its original context, and then communicate it to a contemporary audience is an exciting challenge in which we are learning something new every day.

The cultural fabric of our adaptation, altering the original text only to make the author’s intention more accessible to an audience different than his own, has involved our engaging and learning from other disciplines as well. Working with other artists, Bharatanatyam master Saju George, and Jazz musician Rudresh Mahanthappa gives us the necessary artistic bridges we need to unite ancient and modern, eastern and western, traditional and contemporary. Bringing this work back to the stage provides the Magis Theatre Company with a lavish opportunity to engage some of the most beautiful traditions of the past and some of the most exciting innovations of the present.

It is with great gratitude that we present this piece at La MaMa’s Annex, newly renamed “the Ellen Stewart Theatre.” I dedicate this piece to Ellen, and am honored that my own company, Magis, has been welcomed into this “second home” of mine. Over the past fourteen years I have had the great privilege of working closely with MaMa, and have travelled as a member of Ellen’s Great Jones Repertory Company half-way across the world and back, thankfully bringing home many of the wonders that Ellen’s unique vision has imparted on me and on anyone lucky enough to have worked with her. It is my sincerest hope that “Shakuntala and the Ring of Recognition” brings our audiences more deeply into Ellen’s guiding principle: we are all one world, a world of shared joys and sorrows, hopes and dreams.

George Drance

Artistic Director, Magis Theatre Company

Kaushika question

2009-12-29T19:09:00.001-08:00

While reading earlier posts, I came across a comment of Colista's that answers my question about Kaushika and whether or not he may have become more compassionate after succumbing to the temptation of the nymph Menaka. The answer is clearly, no, he abandoned his very own daughter.

This is also an interesting theme for parents and teachers, and all of us who in a sense are parents to the new generations of young people who come after us. How do "we" as parents, elders, shame, judge or abandon people? What makes us turn our heads and walk away from things or issues we don't want to see about ourselves or others?

We don't hear about Kaushika again, so we don't know if he ever experiences regret or a change of heart that would make him a more compassionate human being. But we can look to see how we abandon and what we abandon and we could ask ourselves why do we abandon.

Shakuntala: human and divine

2009-12-29T15:54:00.000-08:00

I was reading Colista's post as well as other people's comments from Nov 27th, and I decided to create a new entry in response.

I think it's important to remember that Shakuntala is both human and divine. She was born from a nymph who took human form to tempt the sage Kaushika away from his concentration in meditation because the Gods were jealous that his power was beginning to equal their power.

This point alone is quite inviting. Shakuntala's entire existence is the result of one man seeking spiritual liberation through meditation. What ever happens to Kaushika? What does it mean that the gods are jealous? How would Kalidasa or anyone claim to know what the gods think? I do believe, however, that when a person seeks spiritual liberation, they will come up against every obstacle that remains a personal hindrance for them. It is not so much the gods' jealousy, as it is Kaushika's own struggle with his judgments about sexual intimacy and passion. A beautiful person is born because of Kaushika's so called "weakness" in succumbing to the temptations of the nymph. Is Kaushiaka made a more compassionate person as a result of doing the thing he believes is wrong? How many good things come from our own humanity? Does grace constantly transform our shortcomings into something productive?

When Dushyanta learns about Shakuntala's birth story from her friends, he responds, "This quivering lightening flash is not a child of the earth." This is an essential detail. Shakuntala is different from her friends and from the other hermits at the hermitage in that she was born from a relation between the human and the divine.

This spiritual endowment empowers Shakuntala in a way that other women living and working within the cultural norms of 5th Century patriarchal Hindu society could not have experienced. She is different from the queens, she is different from her friends. I feel that she represents this "difference" that we all are called to be, but so often fail to be.

She lives out her truthfulness and transparent existence even in the face of complete rejection and humiliation from both Sharngarava and the King, and she is saved. This act of grace is incredibly powerful, more powerful than any human force of ego or desire. I think we are being reminded of the necessity of becoming our best selves and of living from this place even in the midst of great adversity.

Impressions

2009-12-14T00:11:00.001-08:00

Welcome to any of our audience members who may be logging on to this blog for the first time. You can scroll down the dates of the posts to read thoughts and views that have been a part of our ongoing conversation. Be sure to click on the "comments" of each posting so you can hear the broader scope of ideas as well. We would love to hear your impressions: they teach us so much. To make it easier for you to share your ideas I am creating this post so you can just click on "comments" at the bottom of this message and add your comments in the text window. You can check any box to "sign" your comment. Anonymous is fine, Name/URL is fairly easy, and I still have not figured out what open ID means... but you might know better than I do about that! You can also comment on previous posts also by simply clicking " comments." Thanks for joining our conversation!

Articulating

2009-12-14T00:09:00.000-08:00

One of the things I hear myself saying again and again in the classroom is that the act of articulating something is an act of freedom. The clear expression that results from the demand of deliberate and chosen words teaches us something in the very act of articulating.A friend asked me in an email about my vision for the piece and here is what I wrote back:My vision truly stems from three things:
1) the music of Rudresh Mahanthappa, a rising star in the Jazz world who has given us his blessing to use his music in the show 2) The hand gestures of Bharata Natyam (classical Indian theatre) and 3) The creation of different worlds big enough to hold a fairy tale and real enough to show us ourselves. The last phrase really helps me understand what it is that we are trying to do with the creation of our 3 worlds. Each world will have different demands. Each world will have different solutions.I am excited in seeing what is coming out of the audience feedback from Thursday. I look forward to trying some of it in our showing today, and in getting new information from our audience.

Why do we train?

2009-12-13T19:25:00.000-08:00

I was speaking to someone recently about our training process-- the fact that we meet once a week or more year-round, even when we are not in rehearsal for a specific project.

So, why do we train?

In most North American productions, actors are cast in a project shortly before rehearsals begin. Projects are usually scheduled to have between 3-6 weeks of rehearsal, with most rehearsal schedules lasting about four weeks. Actors in any given show may come from many different schools of thought regarding theories of acting, different attitudes about the rehearsal process, with different artistic backgrounds and wildly disparate vocabularies.

Obviously this doesn't mean that wonderful theatre cannot occur even under these circumstances, but it does mean that these rehearsal processes have to cover a lot of ground. Sometimes it is hard for actors and directors to communicate with each other when they come from different educational backgrounds or have different ideas about the way theatre should work. Actors are asked not to "give notes" to each other or talk in a critical way about the scene when they are not in the presence of the director, as egos can be easily bruised. Actors are usually powerless within the casting process-- they can audition, but beyond that they must simply wait, hoping that they will be "picked."

With Magis, some of us have been working together for more than 6 years within the group, and for as much as 14 years total, dating back to the founders' days in graduate school at the Columbia School of the Arts. In fact, the main idea behind the founding of the company was based on the wishes of the founders to continue some of the group activities and exercises we had learned at Columbia and to discover new ways of combining these training modalities to make new connections. After we had been working together for a few years, we started the process of formalizing as a company, but training has always been at the heart of the company's mission. Training brings us together as an ensemble and gives us a common vocabulary we can use during the rehearsal process.

For instance, Margi Sharp Douglas and I have each played parts, some large, some small, in all of Magis' productions so far. She has played my mother, my father (check out the pictures of her in drag as the Old Shepherd in The Winter's Tale!), my sister, my rival, my disapproving aunt-in-law-to-be. The relationships we create on stage are of course going to be richer because of our long history together. But this is not just because we have known each other for a long time. We have taught each other in class, discussed what we wanted for the company, sometimes argued and sometimes competed, and over the years we have developed a vocabulary to talk about any issues that may arise. Sometimes in a joking way, sometimes in a serious way, we can say, "Oh, this is like that scene in The Great Divorce," or "Remember the exercise with the tabla rhythms?" Training together has given us a great respect for each other, and a history that we can each refer to when questions come up. We can give each other feedback without being afraid of offending each other.

When projects are considered, we can look at a script, and think about what parts might be good for different members of the company. I can say, "Oh, that would be a great part for Wendy" or "Does this part have to be played by a man?" or "I know I wouldn't usually be cast this way, but I'd like to read for the villain." While the final casting decisions always rest with the director, we try to make room for actors to put themselves forward for specific roles-- to have some agency within the process. We are going to be starting our formal rehearsals for Shakuntala in January, but we have been experimenting with the play and learning Indian storytelling techniques since September, and thinking about the play for several years. Training year-round gives us an opportunity to play around before making final casting decisions.

But beyond the benefit for the ensemble, training is also beneficial for me as an actor in any venue. In the past, I often felt totally unsure about whether I would have a good performance on stage or not. Some days, I would feel like "the muse" was with me. My timing would be on, my energy would be good, I could feel a real connection with the audiences. Other times, I would stand up on stage and feel like I had nothing to give. My performance would meet acceptable minimum competency standards, but wouldn't be anything special.

Training gives me a way to encourage the muse to show up more often. At an audition, in rehearsal, or in performance, I know that I have been given a set of tools that will enable me to do my best. Sure, there are still times when I feel especially "on," and days when I may not be as brilliant as I might be on another occasion, but I know that I can trust my training background to be there for me. I can choose from the many ways we have worked on text in our classes to help me through any challenge. By training, I am clearing the way for the muse, and while she may not show up every time, I am better prepared than if I had not given her room to arrive. I am setting a place for her at my table, and opening the door.

--Erika

Looking forward...

2009-12-09T21:50:00.000-08:00

Just a quick post to say that I am really looking forward to getting feedback from our audiences on Thursday and Sunday at the workshop presentation. It will be very interesting to see how much audiences understand, how they react to the use of the mudras, perhaps to hear from the composer about our use of his music!

Even more so, I am looking forward to the presentation of the show in February. As some of you know, I had a difficult summer for various reasons, and for the first time in a long time I really started to consider leaving the city, questioning my skills as an actor, contemplating a future that was feeling extremely uncertain. As I sat in the room tonight, I felt a real sense of ensemble-- I am especially impressed by how generous the newest company members have been as we embark upon this adventure together. I thought at one point about taking myself out of the show, as I will miss some important family gatherings in February that conflict with our run at La MaMa. But I was just too excited about the possibilities for the show, the chance to reconnect with my almost-forgotten training as a dancer, the opportunity to present this story on a grand scale that a venue like the Annex presents. Thank you all for your brilliant heads and open hearts. There will (no doubt) be bumps along the way but I am looking forward to the journey and the road ahead.

--Erika

Mysogyny and Memory

2009-11-27T06:05:00.000-08:00

So...I've been thinking a bit about the relationships between the men and women in Shakuntala, and I have noticed a bit of mysogyny in the story. For instance, the main text we've been using only briefly alludes to Queen Vetravati's frustrations after being 'abandoned' by her husband- I wonder why this is so? Was polygamy the norm in the 6th century? It seems like an awkward blip in what would otherwise be a classic love story....
Also, Shakuntala herself has very little agency, and always seems to be at the mercy of men. Her father abandoned her because she reminded him of his 'unholy' actions. Dushyanta's rejection renders her powerless... The feminist in me cringes when- in the end of the rejection scene- Shakuntala cries out "He has deceived me shamelessly. And will you leave me too?" and Sharngarava says, "...Do you dare show independence? If you deserve such scorn and blame what will your father with your shame?" If it weren't for the Chaplain and the protection of the Gods Shakuntala would be left out on the streets to fend for herself.
This leads me to the theme of memory which we've been exploring in the piece- George mentioned that in the Mahabharata, there is no curse from Durvasas which makes Dushyanta forget Shakuntala- he just does. Kalidasa could not bear this, so he adds Durvasas and his curse to the play to provide a kind of dramatic reconciliation of what is unclear or vague in the original story. But what if King Dushyanta really just forgets? He forgot his first wife easily enough, it's likely he could forget Shakuntala just as easily. Is Kalidasa simply making excuses for Dushyanta in the same way we make excuses for modern politicians who claim to 'forget' why they make choices which prove harmful to their constituents or engage in corrupt practices?
As artists, are we using the story to address one social concern, while 'forgetting' to address another?
What are your thoughts Magisties?
~~~Colista

Sunday Training

2009-11-23T10:58:00.000-08:00

Wow! I just wanted to say Thank You to the ensemble. I can't tell you how much I enjoyed training yesterday. The energy in the room was dynamic and vivacious and very palpable. We started small but focused, and as we accumulated, the readiness was all. As George's impulse challenges in Text Circle were met with open arms, and we gained momentum for Tommy's wonderful guidance through the viewpoints work, I really felt the sense of a fully fleshed Ensemble. I am sorry that I could not continue into rehearsals, for I have no doubt they were productive with that force of energy behind them...

Yesterday's awakening (a name for my experience yesterday) is one of discovery. Both physically and actor-brain-ly, I realize that not only am I truly building a vocabulary for which to use in process, I am beginning to use it. Well, of course, right? I mean that's why we're doing this, right?! But so often we can get lost in the idea or ideal of what or why we're doing something. And this for me was, "Oh wow, this is real. This is happening. It's not just an idea anymore. " Isn't that wonderful and terrifying and inspiring all in one...?

So thank you to all. May there be many more awakenings...

Taylor

What's in a name?

2009-11-22T19:55:00.000-08:00

Hi All -

Not sure this has already been covered by George or Saju at rehearsals. If it has been, skip to the next entry!

As I've been exploring the play - as well as dusting off the cobwebs of high-school Hindi (Hindi is similar to Sanskrit; I sooo wish I spent more time paying attention in class and less time writing love notes which of course were never written in Hindi!) thanks to our Mudra exercises - I've become more aware of the meanings of the names of the various characters:

Anasuya - One without envy
Priyamvada - One who talks sweetly; this I was reminded of in rehearsals today when Erika as Shakuntala verbally sparred with Priyamvada 'I know why they call you the flatterer'
Dushyanta - The destroyer of evil. Thank you, Google :-)

I was intrigued by the possibility that the name meanings could inform the character choices that we make as we work on our roles. Thankfully, many of the meanings can be found on Google with some digging.

Sajeev

Two Great Sources for further reflection

2009-11-07T15:07:00.000-08:00

Hi Everyone,
Thought I would share these links with you all:

http://www.sacred-texts.com/hin/sha/sha02.htm
http://www.wsu.edu:8080/~brians/love-in-the-arts/sakuntala.html

Some good stuff to consider as we go forward with the text.

Shakuntala's Influence

2009-11-07T15:03:00.001-08:00

As we explore this text, I just wanted to bring up again what a sensation it caused in the West when it was first introduced. Goethe was particularly enthralled with Kalidasa's Epic and wrote the following:
Willst du die Blüthe des frühen, die Früchte des späteren Jahres,
Willst du, was reizt and entzückt, willst du was sättigt and nährt,
Willst du den Himmel, die Erde, mit Einem Namen begreifen;
Nenn’ ich, Sakuntala, Dich, and so ist Alles gesagt.

Wouldst thou the young year's blossoms and the fruits of its decline,
And all by which the soul is charmed, enraptured, feasted, fed?
Wouldst thou the earth and heaven itself in one sole name combine?
I name thee, O Shakuntala, and all at once is said. (Eastwich translation)

What is it that inspired the writer of Faust to take all heaven and all earth and find its fullness in the name of Shakuntala?
What is it about her that inspires you?
What is it about her story that can inspire an audience today?

Shakuntala for today

2009-10-25T07:40:00.000-07:00

The word theater comes from the Greeks. It means the seeing place. It is the place people come to see the truth about life and the social situation.

Stella Adler

When we start to come together with scenes, what will we hope to tell our audiences about life and our current social situation. What aspects of Shakuntala mirror or society today. I have found that classical plays last because they remain relevant to the human condition. Ibsen dealt with women's liberation in a male dominated society ( A Doll's House), witch is still very relevant today. Shakespearean themes of love, jealous, biggotry, abition, and the human natures propensity to violence.
Shakuntala surely deals with love and social standing. But what else? I am not making a statement merely asking a question. What aspects themes Shakuntala can relate to people today. What is the overall theme this production will be using or conveying.

Jarde

Robert Taylor and Shakuntala Text

2009-10-15T11:25:00.000-07:00

Last Sunday we started to work with the Shakuntala script in the Robert Taylor Text Circle. It was exciting to hear the characters speak out loud to each other. We heard from and saw a great mix of people: Shakuntala, Dushyanta, Priyamvada, Anusuya, the Charioteer, the Clown, Durvasas, Hermits, and Guatami to name a few. I was struck at how modern the dialogue sounds, and I felt inspired to dive further into the text and to explore the colorful array of characters.

I felt an impulse to use the Saju walk for a few exits in the text circle. I'd like to explore entering and exiting the text circle with the Saju walk, and maybe even some jumps. George suggested that we stay open to the impulse to use mudras while we are working on the text. I thought it would be cool to substitute mudras for the 6 different Robert Taylor gestures. For example, how about a "direct" using kangulasca or bhramarascaiva, "sympathy" using alapadmakaha, or using pataka for "retreating," "antipathy," and "feeling forward", or whatever mudra presents itself in the moment.

We might also want to begin to learn some text using mudras, or learning text from different energy centers depending on the character we are studying.

Wendy

Connectivity

2009-10-15T08:57:00.000-07:00

So yeah. Connectivity. Everything is connected to everything else, right? Somehow...

Watching George at training on Sunday, and then hearing Walker compare him to a cop straight out of a Chaplin film, it just furthered my sense that, first, what we do as a group is amazing, and second, that I need to scratch this itch that's been nagging at me...

We are in the process of learning and cultivating a style of Indian dance that's new to us but that's been around for ages and ages and ages. And throughout this past month and a half, I have heard several comments (and made them myself) how this style/approach "reminds me of" Grotowski, Suzuki, etc. And George's proposition was proof in the pudding (you like those p's, don't you?) that Commedia Dell'Arte (also around for ages and ages!) is immediately applicable and transferable as well...

I suppose my point is this: (I can only speak for myself, but I imagine there's similar sentiment amidst the ensemble.) I must embrace the fear of the unknown. Yes, Bharata Natyam is a beast of a style, but I must trust that both my physical body, my life-body, and the collective body of the ensemble will know what to do. Because I/we do know or have dabbled in these other styles and techniques that give me the power and knowledge to meet this production and style full on, from the inside out.

The dots are beginning to connect even more for me. I can use what I know to create a template from which to launch/pull/work/push/play/reach/create/throw/dance in order to discover that which I do not know.

Embrace the fear and trust the connectivity to pursue the continuity...

See you Sunday
Taylor

Shakuntala Character Propositions

2009-10-05T17:59:00.000-07:00

This Sunday we started our first round of sharing character propositions for Shakuntala. It was exciting to see Magis actors integrate the mudras, the bhavanas, the eye work and various poses from the Bharatanatyam workshop with Saju, into ourselves, as we began to play with different characters and scenarios from the script. When George asked us to look at the script and bring in a 60 second proposition, I felt like it was impossible, where to start? Which mudra? Which character? We have a tremendous supply of both!

I began by working on the dance steps, and I found myself obsessed with the jumping and the walking. I'm wondering if we will incorporate the Saju walk for all of the characters, and if we do, I think we all need to practice walking that way a little bit every day so that it becomes natural for us, in the same way that George wrote about the mudras becoming natural out of repetition. I spent a good amount of time just walking at different speeds with the Saju walk, imagining myself as different characters. I contrasted the paces of the hermits and the palace dwellers.

Then I focused on the jumping that we do in the dance piece. Saju often said that we needed to jump, "Really jump!" I slowed down the dance just to work on jumping, and didn't worry about the arms. In doing this, I realized that I need to spend some time each day working on TA-KI-TA and the different beat counts, because if I don't, I will forget it. I think that the different footwork and the different number of beats could be a spark for character development.

While watching everyone present their propositions with mudras and various poses and gestures, I felt encouraged to trust my soul body, and trust what my intuition brings to me as a way of finding direction in where to start with a character proposition. I've also found George's advice of listening to the music to be super helpful. Rudresh and his fellow band members create rich and emotionally provocative music.

Wendy

Mudras in Daily Life

2009-09-28T19:47:00.000-07:00

OK... so its happening finally. I find myself if conversations with people or when I'm teaching with students that I'm gesturing with the mudras. Not trying to, not planning. It's just become part of what the body can do when we let it. Lots of Mukula, Alapadma, even a Kartarimukha every once in a while.
This is exactly what we've been hoping will happen. That our "naturalistic" impulses will be subconsciously tied to "technical" expression... in other words, the crafted gesture has become completely natural (not casual)
Are others finding this? I hope so. It makes everyday conversations a little more beautiful.
Let's here how you find them popping up here and there.

Beginning Shakutala Explorations

2009-09-27T10:40:00.000-07:00

As described at training on Sunday, we are moving into our next phase for Shakuntala. We will be spending more time in training on the text. Here is your "homework" for Ocotber 4:
Part 1
Pick a character you are interested in. Create a one-minute character proposition (improv, sketch, performance) that expresses your impression of the essence of the character. You can use music movement situation abstraction ... whatever
Part 2Memorize at least 10 lines that you feel a particular connection to.
Feel free to ask for clarification here on the blog... Everyone feel free to chime in: float ideas, dovetail, give others feedback etc
--George

Training: East meets West

2009-09-09T14:22:00.000-07:00

Working with Bharatanatyam master teacher and performer Saju George has been a great way to get back in the swing. I am amazed at some of the similarites in principles with the training that we have been exploring and the training that Saju brings.
A few quick things from me:
Awareness: Calling our attention again and again to not only the doing of the action, but having an intention of what you are doing. After a rigorous work of some of the choreography, Saju quite calmly will call us to close our eyes, quiet ourselves and look inside. "See what you are doing." A great moment of breath that removes the momentary panic of encountering the new. Taking stock again and again. Noticing and adjusting.
Repetition: Amazing to note the amount of new vocabulary we have appropriated just by committing to the discipline of going over it again and again. Very much like the "scales" we've created for our work with western techniques, these "scales" of gestures and movements from Bharatanatyam work within us on a deep level just by allowing them the time and space to do over and over again.
Any other insights from training from others? Let's hear.

Upcoming "Joan of Arc" Performance at Lincoln Center

2009-03-10T14:09:00.000-07:00

In preparation for our presentation at the Performing Arts Library at Lincoln Center on Monday April 20 at 6PM, I thought it would help to have a forum where the actors working on Shakespeare, Schiller, Shaw, Brecht and Anouilh could throw around ideas about their scenes.
Let's do that on this post: we can run a thread of comments here, ask questions, continue discussions.

Anatomical Metaphors for Actors

2009-03-10T13:53:00.000-07:00

Anatomical Metaphors for Actors

This week we began a slow, intentional look at the foundations of Magis Training and began deeper explorations and connections from one component to another.
Margi Sharp let us through and anatomical grounding of the work we do with “Voice and Pilates” … a fusion of her own work and experience.
Looking at the length of the psoas muscle, I was visually engaged in an ideas that others have tried to talk me through for years, but being a visual person I needed to see it. Seeing the psoas connecting to the muscle groups that go from head to toe (literally) I understood now why we stretch the leg to the side while at the same time stretching the tongue in Linklater training. Seeing a side view of the anatomical diagram of the psoas and the “inner front line” or “the core” as we refer to it in describing actors’ movement, I understood the connection of this muscle whose function (as Margi pointed out) is to lengthen, as opposed to the “superficial front line” whose function it is to fold. Working with the image of the psoas like a hammock that holds the weight of our organs as we move I was able to imaginatively visualize allowing this muscle to do its proper work, thereby letting go of unproductive tension in the ribs, chest and lats.
As the work went on, Margi pointed out that many of our core exercises quickly engage the superficial front line into our habitual “folds” that we know as sit-ups and crunches.
These outer muscles engage automatically and almost immediately, instinctively. As if the organism says “oh I know what this is… it’s a sit up.” The habitual folding of the outer front line can make us think we are strengthening our core, when in fact what is happening is that we are perpetuating the bad habit of engaging the outer front line to do the work that is more properly done by the inner front line.
Now here is the “Eureka-moment” for me. Margi mentioned that the inner front line takes longer and more deliberate attention to engage than does the outer front line, but once the inner front line is awakened and properly engaged in its proper work, it will remain engaged and working properly for lengths of time that would otherwise wear down the superficial front line. Deliberate attention. Longer time, but greater payoff.
These are basic principles that theatre masters have been offering to students for centuries.
Yet in our “short-cut” culture that values speed and immediacy, we usually do not get to the deliberate because we settle for the immediate. Subconsciously we wonder why we ought to take a longer time with something when it can be “done” in a shorter time? Of course “done” here is a relative term and it is easy for us to think we are done with something when we see superficial results and we stop before we can see deeper results.
This is a metaphor for our creative work, and I dare say for much of our everyday work. Perhaps the particular working of the psoas and its specific demands have something to teach us on several levels.

First: on the practical, bodily, organic level we must understand that different muscles in our body require different kinds of attention to awaken them. This seems to change every day. A yoga teacher we had would always begin with simple arm raises on breath just in order to find where we are today. What do my muscles need at this moment? How must my attention search for what it is that the particularity of my organism is demanding at this moment?

Second: on the level of craft, we notice that it can be very easy for us to think we are “done.” Sometimes we engage only superficially and the semblance of engagement fools us into thinking that we are engaged so we do not search more deeply. This anatomical realization asks us to constantly be aware of this trap, to distinguish a superficial engagement from a true engagement and once recognized, to press on through the superficial, the habitual, the easy to the more painstakingly deliberate use of the body that characterizes so many forms of traditional theatre and dance forms.

Third: on the personal level, we must ask ourselves if we give into short-cuts too readily. Can we see patience as something that is in fact very practical? Is the immediate response always the best one? Or is there a deeper, truer response lying just under the surface of that habitual response?

Dramatic, Lyric, Epic// Momentum, Suspension, Gravity

2009-01-31T06:26:00.000-08:00

Three Basic Energies

Magis Theatre Company's work with the three basic energies started with a bringing together of the very physical work done at Columbia University's MFA Theatre program with the work of Robert Taylor, a Shakespearan Actor trained in Britan and a lecturer at PTTP program at University of Delaware, Carnegie Mellon and Moscow Art Theatre.
Columbia Trained actors worked with Niky Wolcz to establish a plasticity of the body and an openness of the instruments. Much of Wolcz' work comes from Grotowski and Meyerhold but blended in Niky's own way.
At Columbia, a variety of different ways of working gave the actors a chance to explore the resonance and dissonance of some of these training methods. In a sense, the students bodies were the crucible where different acting approaches melted and became its own "alloy" of these elements. Le Coq mask work, Wolcz work on physicality came face to face with Ann Bogart's Viewpoints and Tadashi Suzuki's regiment of training.
What all of these had to work on together was a raw "energy", a term which was so important to Stanislavki.
Allowing energy to flow freely and putting it in the action combined very well with Robert Taylor's instruction on the three basic energies which he terms
Dramatic, Lyric and Epic... corrsponding to the the three basic forms of Poetry. Taylor gets these categories from the work of Rudolf Steiner, particularly his book SPEECH AND DRAMA. And while we need not agree with Steiner's metaphysics, it is useful to understand and his observations.
Those observations are aimed at a kind of engagement which translates to "presence."

Tapping the Energies

Each of the 3 basic energies has its own locus.. where it lives in the body... where it comes from and where it passes through on its way out to the audience.
The energies are accessed, opened, and focused through a shape/action that is particular to each energy. Training in these shapes and practicing them regularly opens the channels of energy very much in the same way a pianist practicing scales allows for a proficiency in executing step-wise progressions in a piece of music.
The aim of this practice is not to "do" the energy (worse yet to "act" the energy) but to open the channels so that when I am doing the physical actions of my score, these energies will support and fuel the action.
This is the difference between an action that has presence and one that does not. Allowing the free-flow of energy in the action draws the attention of the audience to what is being done.. what is being embodied in the moment.

Once before a show with Ralph Lee’s Mettawee River Company, we warmed up with our usual routine of exercises, one of which was “the body swing:” a simple exercise I had done many times before, though never before with the awareness of the instrument I had developed in grad school. I had also just begun working with the Robert Talyor, and so was able to see this exercise in a new context.
The exercise is a reaching up in the body, allowing oneself to fall over at the waist and swing back, and then allowing the contained energy of that action to propel the body forward to a standing position again. What immediately struck me was a feeling of suspension at the standing point, just before gravity pulled the body down again. My body remembered the sensation of "Lyric Energy" from the work with Robert Taylor.
It was unmistakable for me that this Lyric Energy WAS suspension. As I continued in the exercise, I then made an investigation to the other energies...Gravity, the force pulling the body out of that suspension felt like "Epic Energy," and the swing back up which I will call momentum was the sensation of "Dramatic Energy." It was exciting to have this connection. The energies suddenly seemed even more organic, more basic... this began to inform much of the physical work I did with my own teaching at Fordham. Connection to Stansilavski's later work on physical actions began to emerge as well.
While this realization can seem theoretical, it is entirely practical: gravity, momentum and suspension are constants in any action. The energy shifts based on the instrument’s relationship to gravity at any given moment. As such, the actor does not manufacture energy, the actor merely taps the energy that is there.

Magis Auditions: Frequently Asked Questions

2009-01-08T20:19:00.000-08:00

Why does Magis place an emphasis on training?
Our company started from a desire to continue the kind of training we received in our advanced studies in theatre and from a desire to place this work in dialogue with other forms of training. What has evolved for us is a year -round plan that has three modes of training: fundamental skills, exploration of new work, and readiness for performance. We have found that these three components challenge us to stay fresh in our technique, provide a means to prepare others to become Magis trainers, and put us in contact with innovative approaches that deepens the integration of each actor’s personal craft.

What should I wear to training?
Comfortable clothing that allows you to move freely and rigorously. Some of our training requires gym shoes.

What do you mean by heightened language?
Any text that is bigger than our every day speech. Classical texts, poetic texts, some absurdist texts or non-linear texts… any of these show us that you can embody language that is just a little bit above and beyond our everyday way of speaking. We want to see you engage the imagination, and yet at the same time present the text fully and truthfully.

I don’t have a Shakespeare piece, should I memorize a new piece for the audition?
We would rather see you show something that you are already comfortable with. If you have different monologues that you regularly show, pick the one that you think makes the greatest demands in engaging your imagination and showing your range.

How is Magis training different than other forms of training?
Magis takes a holistic/ integrated approach to training. While some techniques focus on aspects of performance in isolation from each other, Magis training has developed a single vocabulary that unites seemingly opposed theatrical techniques. By using the same vocabulary for our work with voice, body and imagination, it provides ready channels to unite different approaches, some of which were previously thought of as inconsistent. Check the training page on our website to read about how our training has grown and how we have presented our training at national and international conferences and for theatre professionals and educators.

Is Magis a Union Company?
Currently all the actors of the Magis Theatre Company are members of Actors’ Equity. We operate closely with the union and have produced shows under Showcase, Mini, and LOA contracts.

Does Magis operate year round?
Yes. While we do only one production per year, and our typical run is 3 weeks, the company trains every week together. This is one of the goals of our company and we make a commitment to providing training through out the year. We take a 6 week hiatus in the summer. Our school outreach program operates for six months of the year as well.

Does Magis pay its actors?
Yes, we strive to pay our actors. This takes the form of a stipend for their work in our yearly production, but also part of the way we pay our actors is providing training free of charge. You can consider our training like a yearly membership to a gym or a studio. While other companies charge for workshops and training, we offer this freely to members of our company. We also regularly invite special guest instructors to lead workshops for our actors. All this is part of the way we give back to our actors who make a commitment to the company. Magis Company members who are administrators as well do not receive salaries for administrative roles in the company.

If I am selected for the company will I have to pay for workshops or training?
No. These are offered free of charge to members of our company.

If I am selected for the company, when can I expect to start performing?
We ask that members show proficiency in technique before taking part in a performance. Because we have only one production per year, typically actors are cast in the production after completing between 6-12 months of training with the company.

I am interested in teaching , can I be a part of the Magis Theatre school outreach program?
We welcome Magis actors to work with the students at the school where our company is in residence.
We provide materials and mentoring for Magis actors who are interested in teaching.

What kind of commitment am I expected to make to the company?
We expect our actors to be at training each week. We understand that there are exceptional circumstances that sometimes prevent full attendance, but we expect that when ever possible, the company training time be respected.
We also expect that our actors will bring themselves to our work by maintaining our work environment, sharing in what ever capacity is possible to facilitate training, and participating in projects that we provide for the school which hosts us. Each year we hold two workshop days for our students and we expect all company members to be in attendance to work with the students at these two workshops
Because we are a self-producing organization, company members all help out in realizing our productions.

If I am cast in a show outside the company will that affect my status as a company member in Magis?
Our actors are all working actors. When working outside Magis, we ask that people make it to training when they are not called for rehearsals of other shows, and if there is flexibility in those rehearsals, that a commitment to being at Magis training on Sundays is maintained whenever possible.

Viewpoints Sunday Nov 16th

2008-11-15T19:34:00.000-08:00

Warm-Up: (7 minutes)
1. Walk through the room. Feel your feet, notice others around you, notice the gaps between you and move into those gaps. Find the empty spaces in the room, while also moving between the gaps between you and the others.

2. Pick a person to follow, don't let them know you are following them. Follow a new person. Now form a triangle with two people in the room. Move to make it a perfect triangle. Drop those two people and walk. Now find two new people and create a straight line with you on one end.

Lanes: (5 minutes)
3. Walk, run, jump, stop or fall.
A) Tempo...how fast can you do these activities? How slow?
B) Duration...how long can you lie down for? How long can you jump for, explore the extremes.
C) Kinesthetic Response....notice and respond to the sounds and movements of the others in the room.

Grid: (5 minutes)
4. Open it up into a grid of straight lines. Walk, run, jump, stop or fall on the grid.
A) Continue to work with a focus on tempo, duration and kinesthetic response.
B) Spatial Relationship...notice the space around you, in you, between you and others. Allow yourself to be a moving body in space, free, spontaneous and infinite. Notice the shape of your body, notice the shapes all of our bodies make together.

Open Viewpoints (5 minutes)
5. Open it up to the whole space
C) Gesture. Add in everday behavioral gestures. Physical gestures you see in the pilates studio, the Met, the elevator at Fordham, the office, the zendo, the subway, the street. Let them be bigger. Let the gestures expand, let them transform.
D) Repetition...repeat the gestures of others.
E) Architecture. Use the room, the floor, the walls, the stage, be aware of the ceiling and the huge space above your head, be aware of the floor, and your feet and your breathing and the wave.

Viewpointing with audience (8 to 10 minutes)
6. Divide into two groups. Some up some down. Begin. Use all of the different aspects of viewpoints: Tempo, duration, kinesthetic response, spatial relationship, gestures, repetition, architecture
7. Switch.

Tayloring our Viewpoints

2008-11-08T18:41:00.000-08:00

I would like to lead Viewpoints after Gabe leads us in the Robert Taylor work. I will follow a similar pattern to the Viewpoints session that I lead 2 weeks ago, however this time I would like to add in the Taylor energies and gestures.

1. Lanes. Stand in your lane. Become aware of your body taking up space in the room. Feel your feet, allow your breath to naturally come in and out. Feel your feet. Let go of any tension. Notice where you have muscular tension and breathe through that area. Do the wave forwards and backwards. Can you be aware of other people making waves? This time let the energy pool at your feet, but instead of the wave, let us find the JUMP.

Movement possibilities: a) Walk b) jump c) crawl d) lie down e) reverse direction f) dramatic jump g) lyric jump h) epic jump.

2. Lanes. Introduce: a) tempo b)duration c) repetition

3. Freestyle: Introduce: a) Gestures: Robert Taylor: direct, thoughtful, sympathy, antipathy, feeling forward, retreating...allow more freedom with these gestures, let them organically emerge from your body, can you find something completely new in them?

b) spatial relationships

c) architecture

4. Big Group viewpoints

5. Small Group viewpoints

Gabe leading Taylor. Lesson II for 11/9

2008-11-03T08:11:00.000-08:00

We will start with the breath then leading to the shape.

1) Sipping breaths into each chamber of the body.

2) Breath count to 8, then 12, then 16, then 20.

3) Dramatic:

A) Inhaling and then exhaling on the rhythm of Dramatic first. Next, going over the form by drawing the parallels of the wave; how momentum, suspension and gravity are prevalent in the shape and its release.

B) Doing four dramatics.

C) Inhaling and exhaling on the rhythm of dramatic; drawing the parallels of Cicely Berry’s work which will pertain to "releasing the thought" and "pursuing the thought".

E) Inhaling then exhaling with text; reinforcing “releasing the thought.” Using one line of text—using the same line throughout.

F) Finally, with “releasing the thought” in mind and using the form of dramatic, the exhale is the text and the entire action of performing the shape of dramatic is the "release of the thought".

G) Review the forms of the 6 Revelations of Speech; 1)Direct 2) Sympathy 3) Antipathy 4) Thoughtful 5) Retreating-to-one’s-own-ground and 6) Feeling-forward-against-the-hindrance. We will use the line of text with the Energy of Dramatic with each Revelation.

H) I will now focus on "pursuing the thought". Continuing using the same text (going onto the subsequent lines) and using the different revelations to “chase” that thought.

4) Lyric- Steps A-H using the Lyric shape.

5) Epic- Steps A-H using the Epic shape.

6) Text Circle.
A) Zip-Zap-Zop
B) “Text”-“Text”-concentrating on not compromising speed for connection.
C) One line in, one line out
D) Full open exchanges/freestyle!

After the Taylor session, if time allows, I am volunteering myself to go first on “Monologue/Proposition feedback” (as we discussed last week in Training (11/2) and in our meeting in June). I would still like to employ this aspect into our training. Thanks for your time and have a fabulous day.

Gabe :)

Viewpoints for Aria da Capo by Wendy

2008-10-24T13:01:00.000-07:00

Goal: To use Viewpoints as a means of warming up for our evening performance of Aria da Capo.

Warm-Up for Viewpoints:

A) Individual: Stand in a line. Become aware of your breathing. Notice your natural breathing rhythmn, and see if you can notice it without controling it. With soft eyes do a body scan. Where are you tense? Can you breathe through that tense place? Now I will take us through a body scan. As I mention the different body parts, notice if there is any muscle tension there. If there is tension, release it, and then breathe through that particular body part.

Feet, ankles, calves, knees, thighs, pelvis, hip sockets, lower abdominals, solar plexis, ribs, heart center, shoulders, arms, elbows, wrists, hands, neck, 7 vertebrea, throat, head, forehead, top of head.

B) Group: Still standing in a line, use your peripheral vision and your body sense to feel everyone's presence. Feel the desire to jump. Feel it with your whole body. Really want to jump. Without initiating and without following, see if you can jump as a group. The jump will initiate us into line viewpoints.

C) Line viewepoints with suggestions of character:

1. Walk, jump, fall, crawl, reverse direction. Move in a straight line.
As I call out different characters' names, see how the suggestion of the
name affects the way you walk, jump, fall, crawl or reverse direction.
PIERROT
THYRSIS
COTHURNUS
COLUMBINE
CORYDON
Pause. Breathe. Check in. Say your own character's name to yourself.
Repeat your character's name inside your head. Notice the affect your
character's name has on your body.
Walk, jump, fall, crawl, reverse direction.

2. Tempo: how fast can you go? how slow can you go?

3. Duration: how long can you lie down for? how long can you go slow for?
how long can you move quickly?

4. Kinesthetic Response: Allow yourself to be affected by the movement and
and sounds of others in the room.

5. Gestures: Do a gesture that your character would do. Remember you have
hands, arms, legs, head, mouth, eyes, feet, stomach, chest. Repeat it.

Break free of the line. Move where you like

6. Repetition: Repeat the gestures of others in the room.

7. Shape: What shape does your body make in space?
Lines/Curves/Stationary/Moving

8. Architecture: How does the architecture of this space affect your
movement? Floors, Ceilings, Walls, Stage, Furniture, Windows, One another

Texture
Light, Dark
Color

9. Spatial Relationship

Gabe's Taylor Work for 10/19

2008-10-17T08:08:00.000-07:00

Hey Gang, this will be for 30 minutes. I'll be going back to the three basic shapes of Dramatic, Lyric and Epic. I will re-visit these shapes as if it were for the first time. Why? In order to improve our body as the channel/conduit for that particular energy to flow.

How will I do this? We usually start with the shape. I would like to first start with the breath then leading to the shape.

1) Sipping breaths into each chamber of the body.
2) Breath count to 8, then 12, then 16, then 20.

3) Dramatic:

A) Inhaling and then exhaling on the rhythm of Dramatic. I feel if we first get in tune with the breath it will improve our ability keeping the form while performing the physical apparatus of dramatic.

B) Going over the form Step by step. During this section I will attempt to draw the parallels of the wave. How momentum, suspension and gravity are prevalent in the shape and its release.

C) Doing four dramatics.

D) Inhaling and exhaling on the rhythm of dramatic.

E) Inhaling then exhaling with text. During this section I will attempt to draw the parallels of the work of Cicely Berry which will pertain to "releasing the thought", "pursuing the thought" and "speech as the physical movement of thought".

F) Finally, with this in mind and using the form of dramatic, the exhale is the text. The entire action of performing the shape of dramatic is the "release of the thought" the "pursuit of the thought" as well as "speech as the physical movement of thought".

4) Lyric- Steps A-F but using the Lyric shape.
5) Epic- Steps A-F but using the Epic shape.

Conclusion:
I feel this is a start in assisting the body to become more of an open channel for the energy and thought to flow through rather than imposing our own ideas. I feel it will allow a more organic flow of an idea because the instrument is open to the possibilities that are found in the language of the text.

Peace kids, looking forward to Sunday!

Gabe :)

Casey's Viewpoints Session for Back to Basics

2008-09-20T09:44:00.000-07:00

Forty Minutes

Overall goal- to ground the group in the basic elements of Viewpoints

1. Goal To open physical awareness
Method- (5 minutes)
Walking- heel flat toe, heel flat toe with soft eyes and peasant feet
Find the empty spaces in the room.
Enter the passages or windows between people.

2. Goal To engage the body/mind in specific physical actions and tasks
Methods- (6 minutes)
Follow one person without them knowing it. Then choose another person and follow them.
Choose two people in your mind and form a perfect triangle with those 2 people.
Choose two different people and form a straight line with them with you being on either end of that line.

3. Goals- to provide clear guidelines and specific actions in order to focus the flow of the Viewpoints. To establish personal choices while heightening awareness of the whole.
Methods- (6 minutes)
Line up at the back of the space in a line facing forward to form lanes.
In the lane work you have the following options- you can walk, run, jump, or stop
Now enfold an awareness of Tempo... now Kinesthetic response... now Repetition... now Duration.

4. Goal- To heighten interactions with others while maintaining structure, direction, and purpose.
Methods- Open up to a grid- (6 minutes)
Walk in straight lines and make right angle, 180, 270, or 360 degree turns.
Add the Viewpoint of Spatial Relationship.
Heighten Tempo, Kinesthetic Response, Repetition, Duration.

5. Goals- To allow free flow of creative impulse.
To build ensemble.
To develop trust and confidence within the context of free play.
Methods- Move into open Viewpoints- (6 minutes)
Become conscious of Floor Pattern
Add in Shape- angular shapes and curved shapes
Become aware of your body's relationship to Architecture.
Heighten Viewpoint of Kinesthetic Response... Tempo... Spatial Relationship.

6. Goals- To heighten awareness of relationship to audience
To witness and be witnessed while staying with the work of the moment.
To focus the free play within the fire of performance.
Methods-
Four up/ Four down- (12 minutes total)
Listen for a starting point based on your awareness of your self, each other, and the space.
You have already begun.
Use all the Viewpoints.
Heighten Kinesthetic Response and Repetition.
Ask- How was that?
-Next group-
Listen for your starting point
You have already begun
Use all the Viewpoints.
Heighten Gesture and Spatial Relationships
Ask- How was that?

You've seen the show, now share your thoughts!

2008-06-03T15:39:00.000-07:00

It was great fun bringing Frances Burney's text into the limelight with our production of "The Witlings." The company enjoyed great response from our audiences, kudos from Burney scholars, and interest from the press.
While some critics felt the emphasis on the comedy of the piece eclipsed our intent to highlight Burney's thoughts and concerns, many others commented how the satirical farce was well placed and made Burney's ideas accessible to audiences who otherwise would not have been exposed to them.
Send us your thoughts: we would enjoy good a dialogue about your experience of "The Witlings"

Innovative Theatre Award Nominee!

2008-05-23T07:31:00.000-07:00

The Innovative Theatre Awards recognize outstanding work off-off Broadway. We are very pleased to be considered for this honor. Please go to their site to cast your vote for The Witlings!
http://www.nyitawards.com

Two more weeks of Witlings!

2008-05-19T11:00:00.000-07:00

Don't miss Frances Burney's The Witlings, playing for the next two weeks at the West End Theatre in Manhattan! Burney scholar Dr. Peter Sabor, Director of the Burney Centre at McGill University in Canada, joined us for our show on Sunday and spoke at our talkback. "This is a historic event," he said, "this premiere performance of The Witlings will be mentioned in journals and books in the years to come."

Please join us! And if you do see the show, please vote for us! We've been nominated for an Innovative Theatre award!

http://www.nyitawards.com

photo credit: Brian Diaz, www.briandiazphotography.com

Why Witlings?

2008-05-13T04:01:00.000-07:00

We first met this play when several of us were in graduate school in Columbia’s School of the Arts. An anthology of women writers of the Restoration had just been published, and our teacher, Priscilla Smith was interested in exploring status using this text.

Anne Bogart, a teacher of ours, always asked a very important question after considering work. That simple question was "so what?" Looking at where we are with the Witlings now, I thought it might be good to answer this question for myself.

Of course the immediate thing that stood out was the fun that Frances Burney had with the language and characters. Quite an influential novelist in her time, it is easy to hear echoes of her works in subsequent and better-known classics such as Jane Austen’s Pride and Prejudice and William Makepeace Thackeray’s Vanity Fair.

When we began working on the play in class, I noticed how courageous Frances Burney was in taking on the unchallenged assumptions of her own time, boldly putting them in word and deed on stage: or at least on the page, since we later found out that the play was never produced in her own time. One cannot help seeing human nature’s best strivings and worst pitfalls in this piece, written ripe with the ideas and principles of the era when our country shook off the yoke of colonialism and asserted our independence from “the kingdom” in which Burney lived. Perhaps her theme of Beaufort’s choosing to risk independence from Lady Smatter was that which made everyone around her too nervous. Revolution still hung in the air, and her own family was not so independent to avoid the material repercussions that her play criticized.

In principle, the triumph of reason was to liberate us. The language of our nation’s birth is the language of Pope and Swift, of Dryden and Addison. But as Lady Smatter’s actions show, it is possible to rationalize anything. Her own favored author, Jonathan Swift, wrote a satire that is still well known to us: A Modest Proposal: For Preventing The Children Of Poor People In Ireland Being A Burden To Their Parents Or Country, And For Making Them Beneficial To The Public. His clinical and rational tone of the title is a set-up for the unmasking of the power to rationalize anything when we let reason divorce itself of compassion. Swift’s grotesque satire suggests, with chilling utilitarianism, that poor children be sold to the rich to eat. In doing so, he demonstrates that the literate, educated, enlightened are capable of still behaving despicably if it can serve their own interest.

Lady Smatter’s treatment of Cecilia is not as extreme as Swift’s suggestion, but in essence it stems from the same attitude. Today we can look at our own “enlightened” attitudes and yet still see uncountable examples of how we continue to rationalize behavior and policy that feeds on those less fortunate. Burney’s “Witlings” shows the ridiculousness of misspent attention and resources-- a ridiculousness that can still serve as a challenge to us today.

George Drance

TalkBacks following the first two Sunday Performances!

2008-05-12T09:32:00.000-07:00

Magis is pleased to announce that there will be talkbacks with the cast and special guests on Sunday May 18th and 25th after each 3pm performance. Stay after the show and participate in the discussion!

When: Following the 3pm show on Sunday May 18th and Sunday May 25th.

Special Guests Include:

May 18th: Dr. Peter Sabor, President of the Burney Centre at McGill University

May 25th: Dr. Betty Rizzo, Professor Emeritus, CUNY Graduate Center.

Where: The West End Theater at the Church of St. Paul & St. Andrew 263 W 86th St., 2nd Floor

Tickets: $18 at www.theatermania.com or (212) 352-3101

Tickets for The Witlings now available online!

2008-05-01T12:38:00.000-07:00

http://www.theatermania.com/ticketing/index.cfm/show/143625

Purchase tickets now through TheaterMania.com- we anticipate several sold-out shows, especially the last weekend, so get your tickets soon!

The Witlings on Springer

2008-05-01T12:30:00.000-07:00

http://www.youtube.com/watch?v=hU_DA09RUqo

Cut and paste this link into your browser to behold the glory that is our very very silly trailer for The Witlings. Or search You Tube for "Magis Theatre" to see both of our creations.

Frances Burney on Shopping

2008-04-23T08:09:00.001-07:00

"At the milliners, the ladies we met were so much dressed, that I should rather have imagined they were making visits than purchases. But what diverted me most was, that we were more frequently served by men than by women; and such men! so finical, so affected! they seemed to understand every part of a woman's dress better than we do ourselves; and they recommended caps and ribbons with an air of so much importance, that I wished to ask them how long they had left off wearing them."

(Frances Burney (1752-1840), in Evelina, letter 10 (1778).)

Witlings Intrigue

2008-04-21T08:45:00.000-07:00

Ooooh, fellow Witlings, I have discovered some interesting dirt on Frances Burney and The Witlings. The link pasted below is to an essay written in 1843 by Thomas B. Macaulay describing Burney's life and writings. It describes the poor reception that Burney family friend Samuel Crisp's play was met with upon its publication. It goes on to say that Mr. Crisp was "wiser for [Frances] than he was for himself" and that this is part of why he discouraged the production of her new play, The Witlings, afraid that it would ruin her literary reputation as his play had done for him. Who knows how The Witlings would have been received by a 1779 audience, but it's interesting to note that it might have been produced after all if Frances Burney's "other Daddy" had not met with literary failure himself. I'll post in full the following excerpt about her education, which I found very interesting considering our present discussion about the Virtues of Books, characters of varying social status, and Frances' attraction to the theatre.

-Erika Iverson

http://www.worldwideschool.org/library/books/hst/european/CriticalandHistoricalEssaysVolume2/chap40.html

"It was not, however, by reading that her intellect was formed. Indeed, when her best novels were produced, her knowledge of books was very small. When at the height of her fame, she was unacquainted with the most celebrated works of Voltaire and Moliere; and, what seems still more extraordinary, had never heard or seen a line of Churchill, who, when she was a girl, was the most popular of living poets. It is particularly deserving of observation that she appears to have been by no means a novel-reader. Her father's library was large; and he had admitted into it so many books which rigid moralists generally exclude that he felt uneasy, as he afterwards owned, when Johnson began to examine the shelves. But in the whole collection there was only a single novel, Fielding's Amelia.

An education, however, which to most girls would have been useless, but which suited Fanny's mind better than elaborate culture, was in constant progress during her passage from childhood to womanhood. The great book of human nature was turned over before her. Her father's social position was very peculiar. He belonged in fortune and station to the middle class. His daughters seemed to have been suffered to mix freely with those whom butlers and waiting-maids call vulgar. We are told that they were in the habit of playing with the children of a wig-maker who lived in the adjoining house. Yet few nobles could assemble in the most stately mansions of Grosvenor Square or Saint James's Square, a society so various and so brilliant as was sometimes to be found in Dr. Burney's cabin. His mind, though not very powerful or capacious, was restlessly active; and, in the intervals of his professional pursuits, he had contrived to lay up much miscellaneous information. His attainments, the suavity of his temper, and the gentle simplicity of his manners, had obtained for him ready admission to the first literary circles....

Garrick, too, was a frequent visitor in Poland Street and Saint Martin's Street. That wonderful actor loved the society of children, partly from good-nature, and partly from vanity. The ecstasies of mirth and terror, which his gestures and play of countenance never failed to produce in a nursery, flattered him quite as much as the applause of mature critics. He often exhibited all his powers of mimicry for the amusement of the little Burneys, awed them by shuddering and crouching as if he saw a ghost, scared them by raving like a maniac in Saint Luke's, and then at once became an auctioneer, a chimney-sweeper, or an old woman, and made them laugh till the tears ran down their cheeks....

With the literary and fashionable society, which occasionally met under Dr. Burney's roof, Frances can scarcely be said to have mingled. She was not a musician, and could therefore bear no part in the concerts. She was shy almost to awkwardness, and scarcely ever joined in the conversation. The slightest remark from a stranger disconcerted her; and even the old friends of her father who tried to draw her out could seldom extract more than a Yes or a No. Her figure was small, her face not distinguished by beauty. She was therefore suffered to withdraw quietly to the background, and, unobserved herself, to observe all that passed. Her nearest relations were aware that she had good sense, but seem not to have suspected that, under her demure and bashful deportment, were concealed a fertile invention and a keen sense of the ridiculous. She had not, it is true, an eye for the fine shades of character. But every marked peculiarity instantly caught her notice and remained engraven on her imagination. Thus, while still a girl, she had laid up such a store of materials for fiction as few of those who mix much in the world are able to accumulate during a long life. She had watched and listened to people of every class, from princes and great officers of state down to artists living in garrets, and poets familiar with subterranean cookshops."

In case you were wondering...

2008-04-18T13:07:00.000-07:00

wit·ling (wĭt'lĭng), n.
1. One who aspires to wittiness.
2. One who has little wit.

Witlings Rehearsals Officially Begin!

2008-04-18T12:20:00.000-07:00

After studying the play for roughly nine months, Magis Theatre Company is officially beginning the rehearsal process which will culminate in our performance of The Witlings May 16-June 1at the West End Theatre in Manhattan. Frances Burney's play, written in 1779 but never performed before in New York, gives us a unique opportunity to examine an 18th century comedy in a fresh new way. It is as if the play has been waiting for us in a time capsule, a treasure waiting to be discovered. We are having a great time thinking about what this play might have meant to its author and the society she lived in, and how it speaks to us today. We have a team of fabulous designers who are incorporating both 18th century and contemporary references and a brilliant young director, Deborah Phillips. We couldn't be more pleased to have her on board. Keep checking in here for more reports on the rehearsal process!

--Erika Iverson

The Witlings, arriving soon at a theatre near you!

2008-04-11T12:36:00.000-07:00

Rehearsals will begin soon for The Witlings, which makes its New York City premiere May 16th at the West End Theatre (86th Street and West End Avenue). Posts to this blog may become less frequent, as we'll all be busy learning our lines, but I will try to update you with news about the production now and then. If you have any questions about Magis or about the show, feel free to leave a comment and I'll respond as quickly as I can! Hope to see you at the theatre in May!

--Erika Iverson, Director of Development

Darling, you look fabulous.

2008-04-07T06:32:00.000-07:00

Thanks for joining us at the Magis Fundraising Party! It was truly an evening of fabulousness. Keep checking here for updates about The Witlings, premiering May 16 at the West End Theatre!

Faaaaabulous Prizes!

2008-04-02T21:19:00.000-07:00

We've gathered some pretty remarkable jewelry, scarves, art books, vintage clothing, children's books, international folk art, and much more for our silent auction. Plus we have some prizes you might just be lucky enough to win if you buy a ticket on Friday...

RAFFLE PRIZES INCLUDE:

Gift certificate for one hour training with Margi Sharp Douglas ($70.00)
Gift certificate for Tarot Reading with Dylan Goodrich ($60.00)
Vintage “Audrey Hepburn” jacket and Audrey Book ($60.00)
Rose Velvet Burnout Scarf ($125.00)
Etched Glass Bowl ($125.00)
Gold Bracelet ($65.00)
Southwestern Jewelry ($65.00)
Beaded necklace ($65.00)
Sterling-Silver Earrings ($65.00)
Grapevine Hat ($65.00)
Enameled cufflinks ($50.00)
In Character: Actors Acting ($50.00)
Collection of Tiffany Prints ($50.00)
Cambodian Tea in woven basket, wallet ($45.00)
Butterfly Scarf ($45.00)
Matted Prints ($40.00)
Contemporary beaded wire bracelet ($35.00)
Wild Pansy Scented Candle ($35.00)
Trevor Exter 3-CD set ($25.00)
Hawaiian scented soaps and lotions ($20.00)
Prints and Posters ($10.00-$20.00 each)
Notecard boxes ($17.95 each)
CD’s ($15.00 each)
Journals, Gift books ($8.00-$15.00)
And more!

Don't miss the Fundraising Party this Friday at the Pilates Garage!

Which shoes are most appropriate for the fundraising party? Discuss.

2008-04-02T12:01:00.000-07:00

a)
b)
c)
d)

Clearly, the answer is e) all of the above. Wear your dancing shoes of choice to the fundraising party this Friday, April 4, at the Pilates Garage!

Thoughts a' Jack

2008-04-02T09:39:00.000-07:00

So, I was thinking, or rather feeling, the following as I was working through Jack’s text in its entirety; from tearing the faluldrums of Ms. Sapient to the smearing serenade of Smatter.

I feel Jack has this androgynous-Alan Cumming-MC of Cabaret energy going on. I feel Jack wears face & eye make-up. Not a lot, but enough to notice. He’s zany & wild eyed yet tender underneath. I keep coming back to Alan Cummings MC performance in Cabaret years back.

He’s always hanging out with Will Scamper & Billy Skip. Are they best friends? Party friends? The likes of Merry & Pip in Lord of the Rings? Boy toys? Boys to toy w/girls? Both? Gay? Bi? Straight? I feel Jack could be any of these things.

Is he striving to identify himself because he’s confused and not sure what he is? Is this another reason why Codger & Beaufort get so infuriated with him so quickly, because he does not “fit” in their norm circle? Does not fit the family mold? Jack, the Black Sheep of the family?

I think these would be interesting things to play with other than just the “haste” of his nature.

I actually feel this feeds well into what Deborah told me last week, that Jack values the information he has so much, that it allows him to escape from his identity crisis? Is that what the constant partying and socializing does for him? Distraction from dealing w/himself? I know that’s what it did for me many times.

Codger said of Jack to Smatter “Madam, he is so giddy pated he never understands me.”

I think this may prove my point. See you Friday. Huzzah!

Gabe :)

Don't forget the Fundraising Party this Friday!

2008-04-01T06:17:00.001-07:00

Trust us, you'll feel silly if you miss it.

Join us at the Pilates Garage-291 8th Street in Park Slope, Brooklyn for a spectacular fundraising event for the Magis Theatre Company.

Beer and Wine included in your $20 admission!

Musical acts include Trevor Exter, Justin Badger, Jason Sagebiel, Ramelan, The Millay Sisters...plus special appearances from The Witlings...
Doors Open at 7pm, Performances Begin at 8pm

In the last few days we have recieved some truly spectacular contributions for our silent auction and raffle, including designer clothing, beautiful jewelry, scarves, art books, and children's books. If you have shopping for Moms, Dads, or Grads to do this spring, this is a great time to find a unique gift and support your favorite theatre company! Hit the ATM on your way here!

Esprit Night

2008-03-26T10:03:00.000-07:00

Yo Witlings...
Quite a fascinating exercise in the "emotional experience" department, yo.
Last night, for all you outside blog readers, we met as the characters at a mock-Esprit night, to deepen a bit of the experience of what would the dynamics be like with these characters on previous/other/unscripted Esprit nights
Some things worth noting. The GENUINE desire to comment, critque, and share ideas based on what was presented was fascinating.
What was great in doing this were the questions it raised:
are there members who used to come and don't any more?
how do we deal with that?
each character looks on comment/critique with different comfort levels... what is mine?
what pushes my "creative-person" buttons as a hot topic when it comes up? what offends me?
when is it correct/incorrect to speak?
when have I simply judged the party who is speaking to be not worth my effort?
when could I no longer hold my tongue (positively or negatively)
Another thing that took on a life of its own: SIDE CONVERSATIONS
Do I know what's being said? Am I aware of how I am perceived? Do I deny, invent, overhear other's comments?
Good stuff.
What was good for y'all, yo?
--the Dabs

Chanel Apres-Ski Boots

2008-03-25T13:09:00.000-07:00

I suspect that Lady Smatter really really wants these boots. --Erika

Vices and Virtues

2008-03-20T08:48:00.000-07:00

Illustrations by Remy Hétreau

The Esprit Party

2008-03-19T18:55:00.000-07:00

I was doing some research on Lady Smatter's extremely intelligent remark about Pope's view of women (ha ha) in the Esprit Party scene, and I found an interesting tidbit about feminism borrowing from Woolf, that seems to apply to our play and the power struggles going on between the sexes. I found it particularly interesting in regards to our discussions and exercises on status:

In A Room of One’s Own Mrs Woolf was angry. Her fictional narrator Mary was having problems researching her lecture. A man ordered her off the grounds and library of Oxbridge: “Only Fellows and Scholars are allowed here, the gravel is the place for me.” The rebuff at Oxbridge set off a thousand questions in her head. “Why was one sex so prosperous and the other so poor? What effect has poverty on fiction? What conditions are necessary for the creation of works of art?” So off went poor Mary to the British Museum with a heading on a blank piece of paper, Women and fiction. On the shelves she found an astonishing number of books written by men - about women. Many derogatory. She read Dr Johnson’s dictum: “Sir, a woman’s composing is like a dog’s walking on his hind legs. It is not done well, but you are surprised to find it done at all.”

Then Mary discovered that men were angry with women. Here’s Pope: “Most women have no character at all.” Was his an objective statement? Rebecca West who had described a feminist as someone who refused to be treated as a doormat was dismissed by a man as “an arrant feminist.” Yes, men were angry. Fifty eight years later men are still angry and not only in England. An amused Thelma Henderson of CAFRA says the group has been abused by some as a bunch of “man-hating, ugly, lesbians.” Why are men angry with us? I dip into A Room of One’s Own.

Mrs Woolf suggests that life for both sexes is a perpetual struggle. “It calls for confidence in oneself. And how can we generate this quality? By thinking that other people are inferior to oneself. By feeling that one has some innate superiority - it may be wealth, or rank, a straight nose or the portrait of a grandfather by Romney - for there is no end to the pathetic devices of the human imagination over people.”

Mrs Woolf continues: “Women have served all these centuries as looking glasses possessing in the magic and delicious power reflecting the figure of man at twice its natural size. Without the power probably the earth would still be swamp and jungle. The glories of all our wars would be unknown.

“This serves to explain in part the necessity women so often are to men. And it serves to explain how restless they are under her criticism. How is he to go on giving judgment, making laws, writing books, dressing up and speechifying at banquets unless he can see himself as twice the size he really is.”

But women are also angry. Adventure, experience, solitude was not their lot, dreary housework and childrearing and modesty were. And today this anger is gearing women up for the Beijing Conference where women will meet to discuss the poverty, education and health of their sex. But anger makes women poor artists. For Lady Winchilsea, a 16th century noblewoman, “The human race is split up. Men are the opposing faction.” Her writing remained mediocre. Anger crippled her. And here, another unknown writer who despite her genius wrote badly. “One sees that she will never get her genius expressed whole and entire. Her books will be deformed and twisted. She will write in a rage where she should write calmly. She will write foolishly where she should write wisely. She will write of herself where she should write of her characters.”

Mrs Woolf tells us: “Some collaboration has to take place in the mind between the woman and the man before the act of creation can be accomplished... There must be freedom and there must be peace.”

-Margi Douglas

Mark your calendars now: April 4 party, May 16 premiere!

2008-03-18T08:20:00.000-07:00

Fundraising Party April 4th at the Pilates Garage!
Join us at 291 8th Street in Park Slope, Brooklyn for a spectacular fundraising event for the Magis Theatre Company-- wine and beer, musical entertainment, and a silent auction! If you have shopping for Moms, Dads, or Grads to do this spring, this is a great time to find a unique gift and support your favorite theatre company!

Frances Burney's The Witlings makes its New York City Premiere at the West End Theatre May 16th!
Why has it taken 229 years for this comedy to open in New York? From its genesis, Frances Burney’s scathingly funny satire of the foibles of the “Enlightened” met with opposition and censorship from the status-quo, including her own father! Magis actors join with director Deborah Phillips to bring this neglected gem to light. New York City Premiere at the West End Theatre, 86th Street and West End Avenue, May 16, 2008.

Fashion Statements

2008-03-13T07:58:00.000-07:00

Christian Lacroix, Haute Couture from Elle.com

We're not sure what they're saying, but whatever it is, it's fabulous.
(Just don't let Jack tear off any of your falaldrums.) --Erika

I just don't know what to wear to the Magis Fundraising Party!

2008-03-11T12:01:00.000-07:00

Don't worry, you can come as you please, although rest assured that Lady Smatter will be dressed to kill. (That's just a metaphor, of course.) If you feel underdressed, there will be several opportunities at the silent auction to spiff up your look...

Fundraising Party April 4th at the Pilates Garage!
Join us at 291 8th Street in Park Slope, Brooklyn for a spectacular fundraising event for the Magis Theatre Company.

Beer and Wine included in your $20 admission!

Musical acts include:
Trevor Exter
Justin Badger
Jason Sagebiel
Ramelan
The Millay Sisters
Plus special appearances from The Witlings...

Beautiful jewelry, scarves, art books, children's books, posters and prints and much much more have been collected for our raffle and silent auction: admission is just $20, but there will be many opportunities for you to spend your money inside if you so choose! We will be accepting cash and personal checks only, so hit the ATM on your way.... Come by, spend an hour or stay until the wee hours, but please come if you can.

Doors open 7pm, performances begin at 8:00. See you there!

Save The Date: April 4th at the Pilates Garage!

2008-03-04T06:20:00.000-08:00

Mark your calendars now: a spectacular fundraising party will take place one month from today at the Pilates Garage in Park Slope! Jewelry, Children's books, Art books, posters and prints and much much more will be available as part of a silent auction and raffle. Bring your checkbooks! It will be a fun evening of music, art, and theatre.

You do not have to dress as grandly as this "young lady of quality," but it is encouraged.

--Erika

Iliana Paris Won the Audience's Pick!

2008-03-02T19:26:00.000-08:00

Our very own Iliana from the Magis Student Actor Training
Institute was voted by her fellow actors as
the best monologue and sonnet performance February 28!
At the end of the event, all of the students who
performed vote for their favorite piece, and Iliana
was the winner. She was given a bust of Shakespeare
for her efforts.

Congrats to Iliana and St. Jean Baptiste School!

Magis Student Actor Training Institute

2008-02-25T12:49:00.000-08:00

Members of Magis had a great day yesterday working with the students of the Magis Student Actor Training Institute. Our students are preparing monologues which can be used for college and professional auditions, and made great strides yesterday while working individually with the Magis actors. The students will present their monologues at the Notre Dame School in March. Keep checking here for further details!

Plumage for high-status birds

2008-02-20T12:50:00.000-08:00

Junya Watanabe (Japanese, b. 1961) for Comme des Garçons (French, founded 1969). Ensemble, fall/winter 2000–1. Pale greige polyester organza and silver polyester and cellophane panné velvet. Costume Institute, Metropolitan Museum of Art.

Christian Siriano for "Project Runway" during Fashion Week, Friday, Feb. 8, 2008, in New York. (Peter Kramer, Associated Press / February 8, 2008)

www.planetfabulon.com

Thom Browne, Couture Menswear

Sophisticated Ladies

2008-02-13T13:46:00.000-08:00

Telegraph.co.uk, John Galliano for Christian Dior

Style.com, Valentino Couture

Style.com, Armani Privé

Costume Institute, 18th Century American

Dandies: Period and Modern

2008-02-13T13:18:00.000-08:00

Costume Institute, 18th Century Fashion

Thom Browne, Couture Menswear

Possible inspirations for Jack, Dabbler?

Magis Student Actor Training News

2008-02-13T13:14:00.000-08:00

The first big success from our new student program!

Iliana Paris from the Magis Student Actor Training
Institute won the Shakespeare Monologue Competition at
St. Jean Baptiste High School on Friday February 8th.

Iliana used the monologue that she has been working on
with Magis, Viola from "Twelfth Night", Act 1 scene v.
She will go on to compete at the English Speaking
Union Of New York's Borough of Manhattan competition
on Thursday February 28th at the DiCapo Opera House on
East 76th and Lexington Avenue from 3 to 5pm.

Good luck Iliana!

"Poet of Fashion = Famous for being famous"

2008-02-10T09:39:00.000-08:00

There is something of the "glam" nature of Dabbler's celebrity that is intriguing. And since he really is not published, but is undoubtedly the object of the affection and attention of all the ladies of wit, it makes me wonder about the idea of his "cult of personality." Is he, like so many today famous for being famous?
Here are some inspirations to choose from:

Kevin Federline - Former husband and back-up-dancer of Britney Spears and father of her children. Federline's own forays into music are viewed as failures. Similarly to Kato Kaelin, Federline is most known for epitomizing the slacker image.

Zsa Zsa Gabor - Her sister, Eva Gabor was a popular actress on the television show Green Acres. Zsa Zsa (who also attempted acting) however had no particular success being mostly famous for her multiple marriages.

Paris Hilton - Great granddaughter of Hilton Hotels founder Conrad Hilton.

Kato Kaelin - Friend of O.J. Simpson who enjoyed brief fame arising from his testimony during the O.J. Simpson trial.

Nicole Richie - Adopted daughter of Lionel Richie and close friend of Paris Hilton. Achieved national fame by co-starring with Hilton in the reality TV series The Simple Life. More recently, the press has attacked her for her dramatic weight loss.

Anna Nicole Smith - Stripper who married an oil tycoon of advanced years shortly before his death. Later built up commercial success by capitalizing on her "dumb blonde train wreck" image. Many figures in the media claimed her death in February 2007 was one example of "the price of fame".

-- George

Worship of False Idols

2008-02-07T18:58:00.000-08:00

Erika and I met tonight to discuss Lady Smatter, Cecilia and how their journeys connected to the overall center meaning of the play: the what is the what of the play.

As we worked, I began to realize that the first scene between Lady Smatter and Cecilia aside from setting up a lovely sea-saw of status play, also felt a bit like a religious zealot looking desperately for a convert. And the more she, Lady Smatter, is "shunned" or questioned by Cecilia the harder she tries to defend the specialness of her purpose.

I discussed this with Erika and it became clear that this religious feeling of Lady Smatter's toward her authors and criticism was used again and again. When Beaufort says he has no interest in her authors -- she cries out that he has blasphemed! Her passion for literature and "knowledge" is so strong that is seems her only life purpose. Her authors are her Gods and her Esprit Party is her church.

Erika felt that her character Cecilia, and Beufort's devotion to the ideal vision of Love was also a bit overworked and zealous - and without any ground in reality.

Both Lady Smatter's devotion and Cecilia/Beaufort's seem to be full of passion without any real matter or ground to stand on.

(It reminded me of the image/gesture I came up with in our last Sunday meeting....that all of these characters are dancing as fast as they can on a cloud because if they slow down or really stop to look at themselves or each other -- they will fall right through the cloud -- so they have to keep their little dangling legs and floppy feet on the move)

We started then to play with some potential themes around this idea:

Religious devotion to false idols makes idiots of us all.

Religious devotion to false idols leads us to worship false wisdom.

Passion for passion and Passion for knowledge that are not grounded in wisdom lead us to ruin.

We then noticed the last line in the final scene of Act II between Lady Smatter/Cecilia as Smatter exits...

Lady Smatter: Tis vain to reason with a person in passion

If Censor is reason and all the rest of the people are lost in various modes of passion -- this line really speaks to the whole.

Finally, I am reminded of something Casey brought up a couple weeks ago -- that the role of the "Censer" in mass is to purify the earth -- he is the one that comes through with the incense.

Censor blows Reason into the dancing faces/groundless feet of Passion so that maybe Wisdom can prevail.

Margi

What is the play about?

2008-02-05T12:36:00.001-08:00

Sunday's discussion consisted of an interesting exercise-- try to tell someone what the play is about. Our esteemed colleague Ralph joined us for the afternoon, and served as our guinea pig. We tried to discuss the action of the play to him, sometimes talking over one another (sorry about that, Margi) and stopping at the end of each act to try to determine what, if anything, had actually happened. For instance, the first act is full of information that sets up the rest of the play, but in terms of events that advance the action, really one thing happens: Cecilia doesn't show up for her appointment at the milliner's shop.

What is this play really about? We have been encouraged to come up with one sentence or phrase to which we can refer, so we can make sure that all of our actions as actors support that theme. As he pointed out, it would be quite easy to get caught up in all of the silliness and ornament and completely lose the action of the play. My teacher Arden used to refer to the "gesture" of the play, and would ask us to try to construct or find something three-dimensional to represent this essential gesture in our design classes.

I would love to hear other company member's opinions about what the "gesture" or "theme" of this play really is. Some of the suggestions Sunday had to do with Passion tempered by Reason, or similar formulations. Cecilia and Beaufort's love story is clearly at the center, but they also clearly get saved by Censor's quick thinking and good sense. Cecilia's romantic ideals (or naivete about what true love is: i.e., if he really loved me, he'd come to me right away) jepordize her real-life relationship with Beaufort-- she nearly leaves the country without even confirming that he has in fact abandoned her.

The strength and fire of Love tempered by the common sense of Reason? Or is the play ultimately about Censor, someone whose love seems to be entirely confined to his brotherly love of Beaufort, but who has little patience for romantic love? What would have been the story if he had not come to Cecilia's rescue with his five thousand pounds? Is the message then "Only love where you can afford it"? The epilogue has to do with Self-Sufficiency, an ironic theme for a play which was never performed during its author's lifetime because she was not in fact self-sufficient.

Costume research: 18th Century

2008-01-31T11:56:00.000-08:00

Referred to as "stays" until the late nineteenth century, the corset was the basic garment of every woman's wardrobe. It was never worn next to the skin, but over a knee-length T-shaped garment known as a shift. The stays were most often laced up the back but could also have a laced opening down the center front, in which case there was usually a boned stomacher piece that slotted in behind the lacing. The bone running down the center front of the stays was known as a busk.

By the beginning of the eighteenth century, the stays, which had come into fashion thirty years earlier, were worn long and pointed at the front, sitting over the front of the skirt, with the back of the stays cut much higher. The waistline often featured small tabs at the side and back, which splayed out over the hips and helped to keep the skirt in place.

While early examples of stays were covered in elaborate silks and often featured as a visible part of the dress, they gradually retreated to being mainly an underwear garment, with the outer layers comprised of plain silks or linen. By mid-century, stays featured less boning, and by the 1770s a new emphasis on the bust meant that several horizontal lines of boning, often metal, were introduced to give a more rounded form. The diarist Horace Walpole recorded the dangers of such garments in 1777: "There has been a young gentlewoman overturned and terribly bruised by her Vulcanian stays. They now wear a steel busk down their middle, and a rail of the same metal across their breasts." By the end of the century, stays had fallen out of favor. Fashion now looked to the ideal of the classical Greek figure and natural lines inspired by the vogue for the classical world. Rigid boned bodices were abandoned entirely or replaced by light canvas stays with cording for support.

The production of stays was a male industry due to the heavy-duty work involved. They were made from several layers of linen or canvas treated with a paste to stiffen them and then hand-stitched with vertical and diagonal channels into which strips of whalebone were inserted. The whalebone, also called baleen, was not actually bone but came from the roof of the whale's mouth; this would also have to be cut into strips by the staymaker. In France, trade restrictions meant that until 1776, only tailors were permitted to make stays; however, after this date couturieres (female dressmakers) were also allowed to produce these garments.

For less wealthy women, stays were still an essential item of clothing. In rural areas, stays were often made from scored leather and worn as an outer garment, offering support to those involved in manual labor. In urban areas, large secondhand markets offered a wide variety of garments for those who could not afford to have their stays specially made. (from The Timeline of Art History, Metropolitan Museum of Art)

Costume historians have seen the lavish plenitude of handwoven silks consumed in the design of such gowns to be an explicit pronouncement of wealth and status. In addition, the nature of the gown’s construction, its tightly fitted and corseted bodice, and the wide expanse of its skirt dictated the privileged woman’s movements and imposed a number of challenges. The management of an eighteenth-century gown in as simple an act as sitting down “could highlight a person’s physical grace,” according to the historian Mimi Hellman, but it could also “expose the imperfections of the ungainly body.” From this perspective, the gown was not only a pronouncement of elite membership; it was also an instrument that tested a woman’s worthiness for society through the graceful choreography and negotiation of her dressed body. (from blog.mode: addressing fashion, Metropolitan Museum of Art)

Interesting to think about the stilettos of today compared to the stays and panniers of yesterday-- in what ways do they display status? Change the way a woman moves? How can we play with these ideas as actors? Is one character more restricted in her movement, or altering her body shape to a greater degree than another? I'm already thinking about corsets and platform shoes...

--Erika

Dressing for Success

2008-01-30T13:36:00.000-08:00

Working on the Upper East Side is like being trapped in a high-end shopping mall. There's nowhere affordable to eat lunch, and I often feel like I'm not dressed for the occasion.

Growing up in Laramie, Wyoming, I had a kind of reverse snobbery about expensive clothes. We made fun of the one girl in high school with nice clothes and a fancy car. "Oh, Abby," we said. "She's the one who leaves all the price tags on so we'll know how much she spent." My grandparents are cattle ranchers from western South Dakota, and while I was a "town kid" (my parents taught at the University) I had a kind of rural pride about sewing my own clothes when I wanted something, buying cheap underwear from the JC Penney and tank tops from the local Kmart, having fun with clothing but not really feeling the need to impress anyone with the way I dressed.

But now... I sometimes find myself struggling with a kind of materialism that up until a few years ago was more or less foreign to me. Part of it is walking up Madison Avenue and knowing better than to even look at the price tags, even in the most deceptively casual stores. ("Wow, $55 for a cotton tank top. Really?") Part of it is the fact that most of my college friends are making big bucks (or at least medium bucks) and I'm still deferring my student loan payments. Part of it is that most of my college friends are married with two kids and a house and a dog, and I'm still alternately amused and angered by online dating websites and struggling to keep my one houseplant alive.

Sometimes I find myself admiring expensive logo bags or overtly expensive clothing worn by other women, and then end up silently chastising myself for wanting such trivial things, even for a moment. In my heart I know that I will not necessarily find true love even if I have the perfect first-date outfit. In my heart I know that the people who care about labels on clothes are not ultimately the people that I want to care about me. In my heart I know that part of the reason I don't have a high-powered job is that I have chosen to devote my energy elsewhere, and that most of the time, I am happy about that. But still I find myself wanting these things, not wanting to want them, but still wanting them, in spite of myself. Perhaps it's because owning and wearing these status objects seem to guarantee their wearers a membership badge in some kind of secret club. They command any room they walk into. They feel entitled, and because they act entitled, they more often then not get what they want-- at least in the venues in which I see them.

I think New York may be unusually taxing psychologically-- would I feel quite so dumpy if I lived in a different city and wasn't constantly comparing myself to the socialites and model-wannabes getting out of taxis on Park Avenue South? Maybe. Maybe not. I see these women, often on dates with older men, teetering in their stilettos... and part of me, in a kind of perverse homage to my Suzuki teacher Ellen Lauren, wants to sneak up behind them and just give them a little push on the shoulder to see if they can keep their balance. I feel a bizarre and powerful combination of envy, and hatred, and pity, and then I walk past them with my groceries and make my way back home.

--Erika Iverson

Tablework

2008-01-30T13:29:00.000-08:00

On Sunday January 27 we met for the first time as a company to talk about the play. The themes of Pride, Status, Fame, Reputation, Restriction, Wealth and Love were brought up as we discussed examples from our own lives when asked about what intrigued us about the play. Gregor then asked two important questions: What actually happens in the play? and What is this play about? Two hours later, we got most of the way through the play and were nearing a conclusion that perhaps the play is about True Love. Or, maybe not. Tune in next week to find out more!

Sunday's discussion

2008-01-21T16:57:00.000-08:00

I was really glad to have some time to sit and talk about our ideas about the play in an informal way. I didn't take notes so I'm just going to try to recall as much as I can about the ideas that were tossed around during our 3 hour discussion.

Several of us had read Frances Burney's "Farewell" letter that I posted earlier today. We found it very touching and some even wondered if we could work it somehow into the production. Some people suggested a framing device, where Frances Burney or the text itself would appear on stage-- we imagined the pages of the text being locked away in a box, waiting for someone to set the characters free. We even speculated about a piece of stagecraft where the characters might somehow climb out of a chest on stage, a la Pandora's Box (didn't Bill Irwin do a trick like this in Fool Moon, where people kept coming out of a trunk that was brought on empty to the center of the stage?). We all agreed that whether we use a literal frame or not, it is a powerful idea that Frances Burney's voice will finally be heard onstage after 229 years. Did you know that the original text of The Witlings is part of a rare books collection that is housed here at the New York Public Library? How amazing that these handwritten pages that live right here in New York City will be brought to life about 40 blocks north in May.

We actually called Betty Rizzo, a Professor Emeritus and Burney scholar who has expressed her interest in our project. She cleared up a question about Lady Smatter (it's her opinion that she's based on Elizabeth Montagu, although other scholars have suggested that she is partly based on Frances Burney's stepmother, which might explain why Mr. Burney found the play objectionable. Some have even suggested that perhaps Mr. Dabbler is a jab at Mr. Burney himself). We sat for a while discussing questions of status, i.e., why does Censor seem to have so much power over Lady Smatter? Ultimately it seems that he doesn't care what people think of him, and knows that Lady Smatter does care, which is ultimately her downfall. Live by the sword, die by the sword-- her investment in being "famous," well known, and admired by her peers is what causes her to unravel.

Britney Spears was brought up, as the subject of a discussion about fame and infamy. All those gossip rags love to report on stars when good things happen to them, but they love it even more when they fall apart. One of the Burney scholars (Doody?) points out that all of Dabbler's poems seem to be about disaster befalling beautiful young women-- perhaps Burney making a little fun of herself?-- just as this play depends upon our enjoyment at watching a young woman suffer financial ruin and loss of home, love, esteem of her peers, and sense of her own self-worth, even if only temporarily. Interestingly, Mr. Crisp in his letter to Frances about the play (before he more or less shut it down completely) wondered if it would be better if Censor didn't give Cecilia the money at the end of the play, saying that perhaps she should get herself out of trouble. Should Cecilia shave her head mid-play? Hard to pull off, especially more than once, but it's worth thinking about these kinds of pop culture references that we can appropriate or adapt for our own purposes.

Several of us brought up images we had concerning the characters-- we were saying it might be funny if Lady Smatter was extremely tall and thin, perhaps with a very tall wig or hat, and perhaps Mrs. Sapient is very short and wide. There's an exhibit in the Costume Institute at the Met right now called blog.mode: there are some modern avant-garde outfits which might be inspiring, but there are also a few period men's and women's garments that are worth looking at. I was thinking about the idea of restriction-- that whether the garments we use are ultimately period or modern, the upper-class characters are probably wearing things that are restricting in some way. Period men's suits are very tight silk breeches and heavily embroidered jackets with lace collars, and in some cases both men and women wore corsets. One of the garments at the Met is one of those dresses with the panniers that make the woman look as if she is wearing a small shelf under her dress-- a costume like that certainly has possibilities for comic movement on stage-- Sapient taking out Jack with an ill-timed turn?

One image I had about Cecilia is that she is somehow stripped during the course of the play-- if she's covered in ruffles and furbelows and jewelry at the beginning of the play, perhaps these things are given away or taken away from her? This could either be very literal, i.e., Cecilia gives Mrs. Voluble a ring to let her stay in the room, or could be a more expressionistic scene where ruffles, sleeves, shoes, petticoats are stripped off of her (perhaps by the milliners shop ladies?). Again, whether or not it's actually done on stage, I like the idea of Cecilia somehow being stripped down and forced to stand on her own two feet. In the end, when Beaufort says, "All I have now to offer you is my heart," and she says "it's all I ever wanted," she has to mean it. It's more interesting I think if she starts out taking certain things for granted and has a genuine awakening both that she's had it pretty easy for a long time and that in the end, all she really wants is Beaufort, rich or poor.

I also talked about a theatre "philosophy" for lack of a better word, which has been heavily influenced by my college mentor, Arden Fingerhut. I'll try to formulate my ideas and discuss them further at a later date, but the shorthand version is that you don't put "The Moral of the Play" directly on the stage-- hopefully you create an environment where these ideas are evoked in the mind of the audience.

More than enough for now. Please feel free to comment on this entry or start a new one with additional subjects that we discussed yesterday. I'm really excited about the possibilities and opportunities that this play presents...

-Erika

Frances Burney's Farewell to The Witlings

2008-01-21T13:15:00.000-08:00

Frances Burney's letter to her "daddy," family friend Mr. Crisp, who informed her that he and Mr. Burney (her father) felt it was best not to move forward with the play. He states that he feels that it will damage her "reputation"-- whether he means her reputation as a writer, or her reputation as a lady is not clear. Perhaps both. --Erika

Miss F. Burney to Mr. Crisp.
Well! " there are plays that are to be saved, and plays
that are not to be saved !" so good night, Mr. Dabbler! —
good night, Lady Smatter, — Mrs. Sapient, — Mrs. Voluble, —
Mrs. Wheedle, — Censor, — Cecilia, — Beaufort, — and
you, you great oaf, Bobby ! — good night! good night!
And good morning, Miss Fanny Burney ! — I hope now
you have opened your eyes for some time, and will not
close them in so drowsy a fit again — at least till the full
of the moon.
I won't tell you I have been absolutely ravie with delight
at the fall of the curtain; but I intend to take the
affair in the tant mieux manner, and to console myself for
your censure by this greatest proof I have ever received of
the sincerity, candor, and let me add, esteem, of my dear
daddy. And as I happen to love myself rather more than
my play, this consolation is not a very trifling one. As to
all you say of my reputation and so forth, I perceive the
kindness of your endeavors to put me in humor with myself,
and prevent my taking huff, which, if I did, I should
deserve to receive, upon any future trial, hollow praise from
you — and the rest from the public.
As to the MS., I am in no hurry for it. Besides, it ought
not to come till I have prepared an ovation, and the honors
of conquest for it.
The only bad thing in this affair is, that I cannot take
the comfort of my poor friend Dabbler, by calling you a
crabbed fellow, because you write with almost more kindness
than ever; neither can I (though I try hard) persuade
myself that you have not a grain of taste in your whole
composition.
This, however, seriously I do believe, — that when my
two daddies put their heads together to concert for me that
hissing, groaning, catcalling epistle they sent me, they felt
as sorry for poor little Miss Bayes as she could possibly
do for herself. You see I do not attempt to repay your
frankness with the art of pretended carelessness. But
though somewhat disconcerted just now, I will promise not
to let my vexation live out another day. I shall not
browse upon it, but, on the contrary, drive it out of my
thoughts, by filling them up with things almost as good of
other people's. Our Hettina is much better; but pray
don't keep Mr. B. beyond Wednesday, for Mrs. Thrale
makes a point of my returning to Streatham on Tuesday,
unless, which God forbid, poor Hetty should be worse
again. Adieu, my dear daddy, I won't be mortified, and
I won't be downed, — but I will be proud to find I have,
out of my own family, as well as in it, a friend who loves
me well enough to speak plain truth to me. Always do
thus, and always you shall be tried by, your much obliged
and most affectionate, FRANCES BURNEY.

Blue Stockings Society

2008-01-21T13:01:00.000-08:00

The Blue Stockings Society was an informal women's social and educational movement in England in the mid-18th century, created in imitation of the French society of the same name, but emphasizing education and mutual co-operation rather than the individualism which marked the French version.

The Society was founded in the early 1750s by Elizabeth Montagu and others as a women's literary discussion group, a revolutionary step away from traditional non-intellectual women's activities. They invited various people to attend, including botanist, translator and publisher Benjamin Stillingfleet. One story tells that Stillingfleet was not rich enough to have the proper formal dress, which included black silk stockings, so he attended in everyday blue worsted stockings. The term came to refer to the informal quality of the gatherings and the emphasis on conversation over fashion. (from Wikipedia, Blue Stockings Society)

Mrs. Montagu (see wiki article quoted above) may have been source material for Lady Smatter. (According to Betty Rizzo, Mrs. Montagu gave a rather poor review to Frances Burney's novel.) This women's intellectual society was in theory about the free exchange of ideas -- but of course all exclusive societies have their own "status" rules. Later "Bluestocking" became an insulting term for an intellectual woman (i.e., probably not pretty or marriage material, a nerd, a lesbian, etc.)

Interesting that Cecilia does not see herself as a potential member of the Esprit Party-- she may be playing her own status game by declaring that she is not the sort of woman who would join that sort of club (i.e., pretty and marriage-bound).

-- Erika Iverson

The "Almanack" and other Literary influences on Witlings

2008-01-21T05:13:00.000-08:00

I stumbled across a copy of Benjamin Franklin's "Poor Richard's Almanack" complete with woodcuts, funky spelling, and antique typeface.
Two things occurred to me:
1) American society was founded at the same cultural moment that produced the "Witlings"... that the same strands of thought and influences that shaped Frances Burney's play were the "modo proprio" of the time of the founding of our country. There is so much in Dr. Franklin's little volume that seems to be EXACT quotes from the play (of course, Franklin was read in England as a "Savant" as early as 1743 and probably would have been picked up by Frances-- will be interesting to look for an explicit connection.)
2) The Almanac as a literary form strikes me as a witty person's cliff-notes... providing the material to drop in conversation without ever having to have been exposed to the primary sources. A new almanac would be published every year with new tid-bits, thus amplifying the idea that certain thoughts were indeed "in fashion." Imagine taking your ideas (or someone elses for that matter, wearing them and calling them your own) down the runway to strut and be seen in full view.
Seems like ripe ground and quick access to a cultural phenomenon of that time.
Happy Researching!

---George Drance

Finding The Common Ground

2008-01-20T04:25:00.000-08:00

It has been helpful to me recently to try to find the common ground between all of the different forms of training that we work with and then to actively find how I can apply that common ground to the actual text and work.

All the different forms of training that we do demand action. The emphasis is placed on the doing and if there is any thinking to be done, it is best done either on our feet or in reflection after much doing. Our bodies are our greatest tool for "text work."

All the different forms of training encourage us to use our imagination. From images of the voice/pilates work or the images of the Niky/viewpoints training. Yet, I think that imagination is a area where our training can grow. How can we more actively engage our imaginations in the training?

I find that all the forms of training encourage me to concentrate. I actually think our current training is ideal for the development of concentration and attention. I think that concentration and attention on stage is a Magis strength.

Relaxation is something I find we could do more of in training. Maybe it is just me, but I find that because the training is so physical and active, I always feel that I need to be "DOING" something. How can we find more relaxation in our training without losing the rigor that we have? How can we learn to "Do," and "Be" at the same time.

Another area where any actor always needs to grow is in a sense of truth and naturalism. As in the above paragraph, everything that we do is so active and the text is so rich, but the question must be "how do I feel like a real person with a sense of truth and faith in what I am doing?" How can we be active and engage rich text, and yet seem of this world and not of some alien theatre world? I find that this sense of truth and faith is found in both relaxation and emotional memory. Is there a place in our training for emotional memory?

I feel that the different forms of training have helped us learn to listen to each other.

These are just some thoughts that I have had recently. I am new to this whole Blogging thing so please allow me some time to get up to speed.

---Frank Mihelich

Some foundations for Magis work

2008-01-17T13:22:00.000-08:00

The origin

Magis Theatre Company's work with the three basic energies started with a bringing together of the very physical work done at Columbia University's MFA Theatre program with the work of Robert Taylor, a Shakespearan Actor trained in Britan and a lecturer at PTTP program at University of Delaware, Carnegie Mellon and Moscow Art Theatre.
Columbia Trained actors worked with Niky Wolcz to establish a plasticity of the body and an openness of the instruments. Much of Wolcz' work comes from Grotowski and Meyerhold but with his own take on it.
At Columbia, many different ways of working gave the actors a chance to explore the resonance and dissonance of some of these training methods. In a sense, the students bodies were the crucible where different acting approaches melted and became its own "alloy" of these elements. Le Coq mask work, Wolcz work on physicality came face to face with Ann Bogart's Viewpoints and Tadashi Suzuki's regiment of training.
What all of these had to work on together was a raw energy, a term which was so important to Stanislavki.
Allowing energy to flow freely and putting it in the action combined very well with Robert Taylor's instruction on the three basic energies which he terms
Dramatic, Lyric and Epic... corrsponding to the the three basic forms of Poetry.

The Next Level
After working with Robert Taylor and Stephen Simmons for several months on Dramatic, Lyric and Epic...(Magis was still just a dream at this point), Margi Sharp and I worked with puppeteer/director Ralph Lee in his Mettawee River Company. http://www.mettawee.org/
During one of the daily warm ups before the performance we were doing an exercise that Ralph had done with the Open Theatre. A simple exercise I had done many times before, though never with the consciousness I had developed at Columbia, and the context of the work with Robert Talyor. The exercise was a reaching up in the body, allowing oneself to fall over at the waist and swing back, and then allowing the energy of that action to propel the body forward to a standing position again.
What immediately struck me was a feeling of suspension at the standing point, just before gravity pulled the body down again. My body remembered the sensation of "Lyric Energy" from the work with Robert Taylor. It was unmistakeable for me that this Lyric Energy WAS suspension.
As I continued in the exercise, I then made an investigation to the other energies...
Gravity, the force pulling the body out of that suspension felt like "Epic Energy," and the swing back up which I will call momentum was the sensation of "Dramatic Energy."
It was exciting to have this connection. The energies suddenly seemed even more organic, more basic... this began to inform much of the physical work I did with my teaching. Connection to Stansilavski's later work on physical actions began to emerge as well (we will take this up in a later entry)
Now several years later, this vocabulary of energies is the foundation of Magis Training.

Tapping the Energies
Each of the 3 basic energies has its own locus.. where it lives in the body... where it comes from and where it passes through on its way out to the audience.
The energies are accessed, opened, and focused through a shape/action that is particular to each energy. Training in these shapes and practicing them regularly opens the channels of energy very much in the same way a pianist practicing scales allows for a proficiency in executing step-wise progressions in a piece of music.
The aim of this practice is not to "do" the energy (worse yet to "act" the energy) but to open the channels so that when I am doing the physical actions of my score, these energies will support and fuel the action.
This is the difference between an action that has presence and one that does not. Allowing the free-flow of energy in the action draws the attention of the audience to what is being done.. what is being embodied in the moment.

----George Drance

Assorted posts from our old blog site

2008-01-17T13:16:00.000-08:00

Voice and Pilates
Through my work as an actor and trainer with Magis, I have integrated core awareness, breath and voice work in a way that I had previously felt impossible.

In my years at Columbia’s MFA program our voice work and our physical training were kept very separate. We had one way of warming up the voice that was simultaneously relaxing and stimulating, and then another way of getting to the body that was muscular and intensive. The two systems seemed to fight against each other.

After graduation I certified as a Pilates instructor. Although my certification was through a very classical program, I soon branched out to study modified Pilates and Alexander work. I began taking classes at Kelly Kane’s School of Core Integration and studying weekly with an Alexander teacher named Nancy Wechter who has a private practice in Manhattan. I discovered a kind of core work that was not classical Pilates (often quite muscular and choreographic) but much more akin to yoga or physical therapy. The diaphragm was encouraged to move freely, the mind-body focus was on the alignment and energetic connections between bones, freely moving joints and a kind of yielding and widening of the external muscles to the deeper smaller groups closer to the spine – the muscles connected with breath. After a few years of exploration, I found myself no longer moving from a place of rigidity, holding or strain. I began to develop a new pattern for my body: deepening the abdominals in a way that allowed freedom for the breath and yet stability and protection for the spine at the same moment.

In Magis training I began to teach this new kind of Pilates to the actors. I wanted them to open up their bodies AND voices as they strengthened their core muscles. I began to cue bones and joints and encourage a softening rather than a gripping to find very simple movements. Then I began adding in vocal exercises and sound to the sessions. We progressed the movements from basic core principles into a few classic Pilates moves. The goal is to keep the breath free and the voice open in the face strong core challenges. I call it "Voice and Pilates." I am combining three techniques in our warm up: Linklater voice work, core principles of Pilates greatly influenced by Kelly Kane's School of Core Integration, and basic directional principles from the Alexander technique.

I find that the physical and vocal work in this combination enhance one another. If the breath is free, the body moves better. When the body is moving in an efficient and directional way, the voice deepens and resonates naturally. By the end of a 40 or 45-minute session I feel open, centered and resonant. I am ready to jump into vigorous physical or vocal work – whatever the day’s rehearsal/training.

--- Margi Sharp

Uniting Action to Impulse in Character
Push...Pull...Reach ...Throw...When attached to apart of the body, the four actions open up a new way of approaching Character for me. First, we work solely with the body. Pushing, pulling, and throwing with the knee, forehead, pelvis, nose, etc. Second, the voice is added, presently using text from The Great Divorce by CS Lewis. Without judging or attaching meaning, I said the text with the intention coming from the energy of my knee. I found that I allowed my character to go higher in my voice range, adding layers of humor that I had not originally conceived. Thirdly, we said the lines of text in complete stillness. I was delightfully surprised that the lines came out with ease yet held a clearer intention than before. Nothing was said "in general" George pointed out afterwards. Finally, we combined the text with a subtle version of the movement we used, creating characters that would definitely appear in life, with movement and gestures not easily found with a psychological approach.

Finding Balance

I spoke in class last month about why I'm interested in bringing Tai Chi and Qi Gong into the Magis training sessions. Qi Gong is the starting place for Tai Chi-- the preparatory exercises one does before beginning the movements that make up the form itself. Some of them are basic warm-up exercises: circling the hips, the knees, the head, to promote flexibility and freedom of movement. Others seem more esoteric and speak of using breath and movement to even out or balance Qi or Chi, the body's essential energy.

I think many warm up exercises for actors, from all different methods and traditions, are concerned with this idea of finding balance. We want to prepare the body so that we are free to be an open channel for whatever impulses may arrive in the course of the work. Often the most interesting work on stage requires us to throw ourselves off balance; as in modern dance when the dancer engages in an extreme tilt of her body that requires her to let herself "fall" and then "catch" herself again.

As actors, we are often required to be brave enough to be willing to throw ourselves off balance. We give up better-paying jobs in order to take an acting job that interests us. Performance commitments may mean we spend less time with family and friends. A director may ask us to speak while engaging in extreme physical movements. Even if we aren't "Method" actors, sometimes the subject matter of a play may touch on ideas or emotions that rattle us internally.

Finding a place of balance in our lives can make us feel safe enough to throw ourselves off balance on stage. Qi Gong has been the latest manifestation of that search for balance for me. When I can take the time to find a still center, to feel strong and balanced, I then feel ready to go wherever a class, rehearsal or performance may take me. Feeling off balance can be scary for someone who doesn't take being in control for granted. But when I can remember what it feels like to find balance, I am more willing to risk that thrilling feeling of falling, knowing that I will be able to catch myself again.

--Erika Iverson

Witlings thoughts and questions

2008-01-17T12:31:00.000-08:00

One of the things that I find most interesting about this play is the juxtaposition of "idea" and "act."
Here these people who present themselves to be the pinnacle of sophistication and learned thinking treat each other so miserably. What is our rationality really for? Do we use it as so many here do simply to impress others, to be thought better of, or do we use it as the charcter of Mr. Censor does... to actually solve problems.
So here's a proposition...
Let's try to watch, to be attentive to all the ways in which people around us today do things that contradict what they say they think.
We can present some of these and use them to see what might be appropriate for some of the situations for these charcters in the play.

George

Training 1/6/08- Sampler & Mad Scientists

2008-01-07T09:23:00.000-08:00

Hola, Gabe here people. Training Sunday was like a sampler platter at a Bennigan's, Friday's or Applebees; a little bit of everything. We also did some experimenting, trying out things not done before in our sessions--OMG we're such an experimental theatre company LOL--yeah, we had fun in the lab. The mad scientists in attendance were Casey, Frank, Malone, Wendy and I.

After Wendy's yoga Casey led us in Tai Chi. I connected well with the image of the three point prongs in your feet linking you to the earth and breathing though them; in the same way Erika does so when leading us in the Qigong. What felt new was Casey leading us through the movements emphasizing the connection w/the earth but shifting your weight through your center and into your legs but keeping that same grounded sensibility to the earth. A similar phenomenon we go through in our Suzuki training.

We also did an exercise where we gave Yin and Yang energy to each other through a series of arm movements that involved a back & forth see-saw give and take. It would take too long to describe the details; we just need to do it again so you can experience it. I enjoyed doing the exercise with my eyes closed, it hyper-sensitized my awareness. Very nice.

After Liz did the voice work Wendy did her Niky time then Frank ran us into the ground, literally. I'll let him take you on the trip.

During the Taylor I discovered another image with the lyric jump; yeah another one, no booster rockets this time though.

I feel reaching up in the jump equates to the sensation of the reach in "desire" (during our "push, pull, reach, throw" in Niky time). The landing in the lyric jump is the "survival" (i.e. our tush holding us back in the reach). I feel desire is a very lyric energy and the jump physicalizes this well. Yet, the landing in the jump gives the physical sensation of a soft safe survival instinct to balance out the intensity and sometimes illogical passion of desire. I truly relate to this on a personal level as I'm sure many of you do. The booster rockets of desire shoot you up in the air and the parachute of survival lands you softly on the ground. Ah, the necessity of balance, passion & logic; the story of my life all in one lyric jump. But that's just my take.

We came up with something cool after I led the Taylor. In keeping with the exercise of neutrality and energy exchange through running at each other, we discovered a hybrid of this and an Ann Bogart exercise.

Remember one of the first viewpoint exercises of being in a circle and jumping at the same time? Yeah, that one. Well, this time we decided to have the same sensibility but instead of jumping we ran into the center of the circle together. It was that same sense of counting in the circle but not knowing who is going to say "1, 2, 3, 4" etc.

When we finally all ran in together we kept that sensibility, with connection and exchange of energy, then dispersed back into a circle at the same time. Very cool, yummy energy, mmmmmmm :)

Next time when we rushed the center we added text. The challenge? Keeping your energy focused while six other people are talking to each other at once, overlapping then dispersing to the circle again in silence. Awesome. Why?

I feel the Witlings is a piece that goes at light speed and the dialogue so jabby that many of the lines (as with Shakespeare) go so fast that people are nearly talking over each other. Especially in the group scenes when all the madness and mayhem is occurring. This exercise was a practice run at managing that mayhem, with skill & focus, as well as the rapidity of action that goes on in this play. I feel we have to be even that much more hypersensitive to each others energy and dialogue because so many things will be going on at the same time when this play goes full throttle.

That being said, that's why I've been making it an uber-objective of mine to begin this process by not compromising the connection for speed, emphasizing slowly warming up to it. Also, being hyper-sensitive to my relationship with each person in the ensemble whether they be upstage left or in the wings. The ball is always in the air.

I look forward to more Magis mad science. Huzzah ;-) Peace Witlings!

Jack

Training 12/30 Fun & Forging Ahead

2007-12-31T06:42:00.000-08:00

Gabe here gang. I want to say up front, Sunday's training was one of the most fun sessions I've ever had! I'm psyched about our training & rehearsal process for 2008. My goal, since I was out of the loop for a while, was to build momentum and re-engage into our work over the holidays and use that momentum to propel myself with increased confidence, vigor and vigilence for our company. Mission accomplished. I feel fantastic. That being said, this was why Sunday was fun, freeing and informative.

After Wendy led us in yoga she did so with Niky time and started it off with folk music for the first half of the physical exercises. It released a fun light air that allowed my body to engage more fluidly and Wendy's voice just made me smile. It was a very organized recess. That set the tone. About 10 minutes into it, Wendy said to follow your front wave with a backwards wave then vice-versa; I've never tried that before. It loosened my body more and I felt a greater sense of fluidity between the momentum, suspension and gravity. Once again, the gooey electricity passing through, mmmmmmm good, very good energy-Yummy :)

At the end she made us close our eyes instructing us to find each other with self-imposed blindness. When we finally found ourselves huddled up together, we opened our eyes and it was a generous yet cohesive way to end, which felt spot on; why? We were connected through our energy and this led to an unexpected event later on in our training that afternoon. I'll get to that in a bit.

I feel the structure we've had the last two weeks has worked well in its organic progression: warming up the body (yoga), engaging the body (Niky), relaxing again w/reinvigoration (Linklater voice), full engagement with body & voice (Robert Taylor).

Next to bat was Malone. Liz does a good job relaxing us first with Zen-like meditation and visualization; then we get into what I like to call "the vibes-n-stuff" of the Linklater method. Due to Liz's diligent progression in the Linklater technique, I once again felt more of the spaces in my body which allow the vibrations to release themselves having your body be the channel for the voice & energy. I feel tons of space in my joints, body cavities & chambers. I feel extraordinarily open and light. Well done Liz.

In leading the Taylor work, I used a page from the Linklater we did in order to connect a breathing excercise with the physicaliztion of the jump in "lyric". Liz led us in an exercise where we already expanded our rib cage, lower back and torso to allow us to breathe in more air by the following method: pinch the nostrils, breathe in for a few seconds, release the nose and the air sucks in like a vacuum cleaner. You feel the heightened sensation of your lungs filling up with air from your lower back (near your kidneys) filling up your body cavity. Air expansion from the bottom up sort-of-speak.

I used this image to demonstrate, in a similar manner, your inhale coming from this place actually launches you into a lyric jump and the exhale leaves you light on your feet. Like the way booster rockets launch the space shuttle; the exhale is the parachute that lands you gently. Using this image was helpful to the group and felt cool in practice--the gooey electricity once again revisits, mmmmm, good energy, yummy :)

We also worked again with the two lines facing opposite each other, running to one another, making the connection then going. I stressed again the importance of starting slow (rather than full sprint) and making the energy connection was more important than speed.
When we did get to sprint speed the connection was there and more effective. I really like working with the no arms neutrality. I feel it cuts much of the crap out of the way and makes our connections stronger. I'm eager to implement the Alexander techniques Margi suggested in the previous entry onto this work. I'm discovering that creating a solid neutral base is the foundation and key to good character work. It really allows you to be a better channel and more like our credo: Magis-more life less stuff. Because let me tell you, I'm the king of adding unnecessary shit to character. It feels good shedding that garbage.

At the end of the text circle, after many solid energy engagements, it hit me (and it came from Wendy at the end of Niky time)--CLOSE THE EYES. Frank in Erica were in the middle, I said "hold" & "close the eyes" to everyone. I stressed to feel the energy in & out of the circle; that we were all one unit, and I felt the buzzzzzzz between all of us and not a word was said. It felt like the on the night of "The Great Divorce" when the audience was silent for about 2-3 minutes after the show had ended--exactly what Padre & our company was going for--that sense of anything could happen next as well as in a suspended state of "Thoughtful" revelation of speech. Mmmmmm, good energy, yummy :) Most excellent.

Finally, Erika went old-school and we sawed wood vocally. An elightening reminder (from Erika through our teacher Priscilla Smith) that we are smaller vehicles that channel this energy from the gods and occasionally have to reach into our epic darkness to relay the message of the the charcters we play. I'll let Erika elaborate, I do no justice in the eloquent yet down-home way she broke it down. Awesome way to end.

And this my friends is just the beginning. Gladiators, I salute you.

Gabe

Alexander Technique and Neutral

2007-12-28T10:20:00.000-08:00

Several trainings ago I experimented with some ideas I have gotten from my Alexander teacher. They were very successful and so I want to post the "thoughts" here -- and hopefully we can drop them in again when we are all back in the room. They may help us achieve this more dynamic neutral that we are looking for:
Try dropping a couple of these thoughts in at a time as you are standing and then "take them for a walk" and bring yourself back to standing:

Part A: Imagine you were nothing but two long legs that started way up behind your shoulder blades, with a little bean for a head. Take yourself for a walk and then come back to standing.

Part B: (take two or three thoughts at a time standing and then walk and come back to standing)
1. Ask your feet to please not pull down on the rest of your body.
2. Ask your legs to please not pull down on your pelvis.
3. Ask your pelvis to please not pull down on your rib cage.
4. Ask your neck to please not pull down on your head.
5. Allow the bones of your pelvis and skull to unfix. Imagine they could float -- continually reinventing themselves so anything can happen.
6. Allow your sternum or breast bone to float.
7. Allow your heart to move back in to your body.
8. Allow your sternum and your tail bone to balance with each other.

I find that once you achieve this dynamic neutral you are able to follow through more easily with suspension, momentum and gravity so that the act of walking or moving your hand/arm in space feels more like an "inevitability" and less of a forced activity or choreography.

-Margi

Arms? No Arms?

2007-12-28T07:14:00.004-08:00

So, I forgot to mention that we also worked with using no arms during the sprints of energy exchange & in the text circle as we did in Robert Taylor workshop in October and at training the week before. I really think it's useful using this as a solid base of neutrality and it prohibits you from adding too much "stuff", "bodily commentary", "unconscious habits", etc. onto the text.

Subsequently, I felt when I used my arms while doing the revelations of speech they moved less and the text went through the shape of my arms & body rather than ”making the text go through my arms & body". I had more of a conduit sensation, which is the whole point of acting really. I was more of a vessel for the words to pass through. Ahhhh, it felt nice too, kind of like a gooey electricity passing through. Mmmmmm, good energy. It also felt like a good protein shake after a work out-very refreshing...yeah, that's it, refreshing.

Doing the exercises at first with no arms helped provide me with a clean slate and a solid foundation to start from. Now that I think about it, I feel this would be a good place to actually start for character. Saying the text and moving in this fashion of no arm neutrality, but legs firm beneath you providing support.

Paz kids, more tid-bits to come. Have a fab day.

Gabe

Leading & Engaging

2007-12-27T18:07:00.000-08:00

I really enjoyed leading the Yoga warm up and the "Niky Training" on Sund Dec.23rd. Leading both of them made me more actively engaged.

In the Niky training, I was constantly checking to see if Gabe and Elizabeth were with the activity and if I was giving them enough time within each exercise. I wasn't able to as fully give myself to the Niky training as I normally do, because my attention was divided between doing the exercises and verbally leading them. I would watch the others during the verbal pauses while still doing the exercises myself, and I attempted to kinesthetically feel when it felt like it was time to change into something new.

I would like to practice leading the Yoga warm-up by myself at home, to get the language down to be clearer, so that I can be more present to everyone who is following my lead. I feel like I'm still getting used to verbalizing what is happening while also doing the poses, and it's a little bit jerky.

I found that I wanted to merge more Yoga and Linklater like I did when I was in acting school. I did love Andrea Haring's class and would like to also practice the vocal warm ups that Elizabeth Malone had us do last Sunday. It was also great to do some of the new RT exercises (Gabe) and blend them in with the stuff that we have already been doing.

Training 12/23, The Witlings & The Carol Burnett Show

2007-12-26T08:11:00.000-08:00

Gabe here kids, como estas?!!

You know I've read some blogs, not many, never posted to one, and finally here I am with my first post ever.

As I was leading Robert Taylor on Sunday I decided to incorporate one of the exercises from his workshop in October. Two people sprint to each other from either side of the room, make the eye contact, the energy connection and speed off again. Taking this into account, as we began saying "text" to each other in text circle, I emphasized to our group to really take in the other and make the contact before uttering "text" again and removing yourself from the circle.

In the Taylor exercise I made sure we started off slowly before going to the jet speed sprint. I find at times in our text circle it's easy to get into that robotic rhythm and glaze over the connection with the other actor, rather than making it, acknowledging it, AND THEN moving on. I feel compromising the connection for speed is neither effective nor interesting; it's rather banal and pedantic frankly. It really sucks. BUT WE ALL DO IT DON'T WE? ESPECIALLY MYSELF.

That being said, I feel it's best to start off slow and make sure you connect with your fellow actor then bring up the speed. When both connection and the speed of your intention hit it's a marvel every time with or without text.

At times, as we went in the circle, we made ourselves stop, pause, make that connection then go and in doing so that helped make a mental imprint (recognizing that intuitive feeling) of when your energies truly communicate with the other actor; rather than going through the motions. I found this quite helpful for myself as a "self-check" against bullshitting your fellow actor, i.e. scene partner, i.e. audience. Like Suzuki, when you flub it, it's there for all to see. The beauty of the Theatre.

So how does this relate to Witlings & the Carol Burnett show? I sent George a text the other day after I read some more Witlings. I told him it reminded me of the old sit-com "Soap". I said that because I faintly remember the show's satire of the rich, wealthy and beautiful people soap-opera's glamorize. I faintly remembered Bea Arthur and some of the other actors doing zany, outlandish spoofs. Then I saw a documentary on Thirteen last night on Carol Burnett and the Carol Burnett Show, which ran during the same time period as "Soap", and it all came roaring back to me.

Holy throw-back Bat Man!!! I remembered sooo many of those skits as a kid!!! I was on the floor cracking up in my bedroom. It was as if I saw for it for the first time again!! I was like, "This is the Witlings! In so may different shapes in sizes". Here's why for me:

They described, quite accurately I might add, that the show was a blend of Vaudeville, burlesque as well as a variety show. I forgot that Carol Burnett, Tim Conway, Vikki Lawrence, Harvey (forgot his last name) were all so in the moment connecting with each other, that they laughed in character, acknowledged it, and still went on, knowing the audience knew they laughed, and it was all part of a spontaneous moment but NEVER losing that connection with the other. An utter scream were these skits. The characters were bold, brave, outlandish, clever and FULLY COMMITTED. They actors kept emphasizing throughout the documentary how much fun they had and I quote Carol Brunette "Don't tell anybody this but I would have done it for free".

I kept thinking of the Witlings because I feel it has these elements of Vaudeville, burlesque and certainly of a variety show. There's something about that era (70's) of comedy that reminds me of this play. I think about All in the Family, The Jefferson's, Soap, The Carol Brunette Show, even Three's Company that has this whacky, outrageous element that reminds me of the characters and situations in the Witlings. It reminds me of Moliere too.

You guys may think I'm nuts, but I feel there's something we can learn from those comedies to help us with our own. It really hit me as I was watching this piece on Carol Burnett. Honestly, watch it for yourself too, beautiful work, I shed a few tears. And the thing was you saw the darkness, the edginess, the pitiful, and the disenfranchised with sincerity and the on flip side it smacks you on your ass laughing. I see that in The Witlings too.

Anyway, I've think I've said enough for now and glad we have this medium to get our thoughts out. I'll have plenty of crazy off the wall things to say I'm sure. In the meantime, I'm going to check out some DVD's on the Carol Brunette Show & Soap and do some further character research. I saw plenty of Commedia in those characters as well; I forgot how physical the comedy was then. Peace Witlings!

Huzzah--

Jack