Read a blog. Write to your fellow classmate and reflect what you found interesting and generative about that blog. You don’t have to read or write like an instructor. Instead, be a generous classmate and try to witness what the… Continue Reading →
https://doc-10-a8-docs.googleusercontent.com/docs/securesc/rrpvde65192314iavp735m1f4ml9mqsa/hdcodqo35t5aufuat570bi0t3sqjnonb/1554156000000/00212935996384720101/00212935996384720101/1sJy0Ob5oH8O1CTWIUUC8JKtg2PLQpoY7?h=06799207954161304006&e=download The short scene I choose is from Anton Chekhov’s Uncle Vanya, in Act II, before Professor Serebryakov and Yelena Andreevna meet. This actions in my performance piece are not denoted in the script. I, as Serebryakov, wake up in the… Continue Reading →
In “A Problem Like Maria,” Stacy Wolf writes: “Identification is but one mode of engagement with representation. In addition to wanting to be or wanting to have a character, a spectator might simply admire a character; sympathize with her; find… Continue Reading →
From Kami: Why I chose the play & the scene: I chose to look at The Cherry Orchard because Chekhov’s plays although satisfying the elements of realism, also manages to overcome its limitations. It communicates more than is said… Continue Reading →
Jonathan’s knowledge of this piece was very important, for me. It was part of the reason why we chose it: he could explain to me how he had done it in the past, and the ways in which different performances… Continue Reading →
Where would you mount a production of Waiting for Godot right now? How would you stage it? Why?