For this production of The Good Person of Szechuan, I am envisioning a madcap melange of ensemble excellence. The production will use a troupe of 14 actors, at least 2 puppet manipulators, masks and quick costume changes.
We are deliberately mixing and matching from many different styles, time periods and cultures.
It's a crazy mix.
Zany.
Hopefully hilarious.
Wednesday, April 10, 2013
research
I'm doing research for my upcoming directing gigs. I'm directing Good Person of Szechuan with a teen troupe.
Brecht's play is like a parable. We are playing with the idea of China or Szechuan. So my research has included images from Chinese fairy tales as well as images of costume and fashion of China in the late 1930s to early 1940s.
Brecht's play uses the grit of the down and out and the fantastic elements of visits from traveling gods and personal transformation. So my research has included posters selling cigarettes and hats in the 1930s, and images of Chinese gods in ceremonial robes.
We are playing with the unexpected and the making-strange and the theatrical. So my research has included the Marx brothers, traditional marriage in China and the Maoist marriage laws.
We are playing with marrying popular tunes with Brecht's song lyrics, as well as creating atmosphere with Chinese traditional music. So we are researching 1920s and 1930s ukulele tunes and contemporary hallelujahs and folk songs and drinking songs and Chinese music.
We are using masks and puppets so I have found images to share of masks in history and in actor training, and puppets being made and puppets being used.
I always learn even more than I imagined when I research a play.
Brecht's play is like a parable. We are playing with the idea of China or Szechuan. So my research has included images from Chinese fairy tales as well as images of costume and fashion of China in the late 1930s to early 1940s.
Brecht's play uses the grit of the down and out and the fantastic elements of visits from traveling gods and personal transformation. So my research has included posters selling cigarettes and hats in the 1930s, and images of Chinese gods in ceremonial robes.
We are playing with the unexpected and the making-strange and the theatrical. So my research has included the Marx brothers, traditional marriage in China and the Maoist marriage laws.
We are playing with marrying popular tunes with Brecht's song lyrics, as well as creating atmosphere with Chinese traditional music. So we are researching 1920s and 1930s ukulele tunes and contemporary hallelujahs and folk songs and drinking songs and Chinese music.
We are using masks and puppets so I have found images to share of masks in history and in actor training, and puppets being made and puppets being used.
I always learn even more than I imagined when I research a play.
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