The Notebook
the big break through today was to come up with the "strap line" to the piece - "Love is closest thing to magic that we have." - The group is finding this simply encapsulates the dramatic purpose of their work. I also think it hints at some stylistic ideas which will be important later - i.e. creating "magical" moments on stage. For example, bringing the book to life or "walking into the story" could be a little bit of stage magic, just like the moment in kneehigh's Brief Encounter when they walk into and out of the film.
Question for the group? Can the roles in the casting be carried off convincingly? An Audition process would be a more effective method of getting not just the right characters but also the right pairings?
Next step:
Read the novel and extract from it the "essential" key lines. (try to get it down to 10 or so...)
Think of each key line as the title for a short play - perhaps just two or 3 scenes.
Next: use a few lines from scenes in the film as audition pieces; group members learn them and audition.
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What's All This?
Everyday I have hundreds of conversations with staff and students. I would like to think that each and every one of them is super-important. Some of them certainly are. The purpose of this blog is to record some of the verbal decisions and ideas that would otherwise be lost.
Please read regularly and try to keep up. Especially read the notes on other groups' projects because they will shed light on your own processes. I obviously welcome comments and would encourage you to both read and post comments.
Cheers!
Please read regularly and try to keep up. Especially read the notes on other groups' projects because they will shed light on your own processes. I obviously welcome comments and would encourage you to both read and post comments.
Cheers!
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