2008 -- "Comedy about Tragedy" [ R/G are Dead ]
* one act fest
... dictionary/glossary : genre
on comedy acting in filmplus.org/biomx
comedy & subtext
total actor files
... comic hero (Aristotle) & comedic conflict
comic vs. dramatic (tragic, Aristotle).
... 2009 [Spring] Durang? Final class project
* 2008 -- 2009: Lul Theatre
2003: Film600: Bad Theories, Wrong Subjects
2005: total directing & total acting
2008 : t-blog + beta.vtheatre.net online?
comedy and comical pages in Theatre Theory
scenes & finals
[ see GROUP pages ]
commedia = physical acting
... samples (12th Night, Shrew, Don Juan, Godot, Dada, 3 Sisters & Farces, The Importance of Being Earnest)
... Postmodern comedy ?
2009 : final
mini-chekhov : teatr.vtheatre.net/bear The Bear
The Proposal [bottom]
Lessons by Chaplin
BEYOND THERAPY :... monologues into scenes
Bruce and Prudence are deeply into therapy. Prudence's macho therapist is urging her to be more assertive while Bruce's wacky female therapist wants him to meet women by placing a personal ad. She does not fully comprehend that Bruce has a male lover who is not pleased by Bruce's desire to date a woman: Prudence. Bruce doesn't know how to handle poor nervous Prudence and Prudence doesn't know what to make of her unpredictable new boyfriend. They do learn to live beyond therapy in this delightful Off-Broadway hit that moved successfully to Broadway.
"Offers the best therapy of all: guaranteed laughter." Time Magazine
"Filled with off beat laugh lines, wry observations on the contemporary urban psyche and situations that range from farcical to absurd." Women's Wear Daily
[ class project ]
R/G are Dead by Stoppard -- http://www.lib.ru/PXESY/STOPPARD/r_g_engl.txt
... in class analysis filmplus.org/plays/2008 :
PLAYER (mini-monologues) :
... PLAYER: Tragedy, sir. Deaths and disclosures, universal and particular, denouements both unexpected and inexorable, transvestite melodrama on all levels including the suggestive. We transport you into the world of intrigue and illusion... clowns, if you like, murderers - we can do you ghosts and battles, on the skirmish levels, heroes, villains, tormented lovers - set pieces in the poetic vein; we can do you rapiers or rape or both, by all means, faithless wives and ravished virgins - flagrante delicto at a price, but that comes under realism for which there are special terms. Getting warm, am I? (act I)
[ texts ]
PLAYER: We're actors... We pledged our identities, secure in the conventions of our trade; that someone would be watching. And than, gradually, no one was. We were caught, high and dry. It was not until the murder's long soliloquy that we were able to look around; frozen we were in the profil, our eyes searched you out, first confidently, then hesitantly, then desperately as each patch of turf, each log, each exposed corned in every direction proved uninhabited, and all the while the murderous King addressed the horizon with his dreary interminable guilt... Our heads began to move, wary as lizards, the corpse of unsullied Rosalinda peeped through his fingers, and the King faltered. Even then, habit and a stubborn trust that our audience spied upon us from behind the nearest bush, forced our bodies to blunder on long after they had emptied of meaning, until like runaway carts they dragged to a halt. No one came forward. No one shouted at us. The silence was unbreakable, it imposed itself upon us; it was obscene. We took off our crowns and swords and cloth of gold and moved silent on the road to Elsinore. (Act 2)
... Situation comedy vs. comedy of Characters
subjects : scene study * actor's text * mise-en-scene * stage & chronotope * 5+ Approaches to Acting *
* comedy scenes -- Mikado +
[ midterm and final ]
... final 2009 (also, direct.vtheatre.net)
by Christopher Durang
ACT I SCENE 3 "The Absentminded Therapist" (tentative title)
CAST: Charlotte: Claire Wool
Bruce: Sergio Santana
The office of CHARLOTTE WALLACE. Probably reddish hair, bright clothing; a Snoopy dog on her desk. If there are walls in the set around her, they have drawings done by children.
CHARLOTTE (into intercom): You may send the next patient in, Marcia. (She arranges herself at her desk, smiles in anticipation. Enter Bruce. He sits.) Hello.Character and scene analysis
BRUCE: Hello. (Pause.) Should I just begin?
CHARLOTTE: Would you like to begin?
BRUCE: I threw a glass of water at someone in a restaurant.
CHARLOTTE: Did you?
CHARLOTTE: Did they get all wet?
BRUCE: Yes. (Silence.)
CHARLOTTE: (points to a childís drawing): Did I show you this drawing?
BRUCE: I donít remember. They all look alike.
CHARLOTTE: It was drawn by an emotionally disturbed three-year-old. His parents beat him every morning after breakfast. Orange juice, toast, Special K.
BRUCE: Uh huh.
CHARLOTTE: Do you see the point Iím making?
BRUCE: Yes, I do, sort of. (Pause.) What point are you making?
CHARLOTTE: Well, the point is that when a porpoise first comes to me, it is often immediately clear . . . did I say porpoise? What word do I want? Porpoise. Pompous. Pom Pom. Paparazzi. Polyester. Pollywog. Olley olley oxen free. Patient. Iím sorry, I mean patient. Now what was I saying?
BRUCE: Something about when a patient comes to you.
CHARLOTTE (slightly irritated): Well, give me more of a clue.
BRUCE: Something about the childís drawing and when a patient comes to you?
CHARLOTTE: Yes. No, I need more. Give me more of a hint.
BRUCE: I donít know.
CHARLOTTE: Oh I hate this, when I forget what Iím saying. Oh, damn. Oh, damn, damn, damn. Well, weíll just have to forge on. You say something for a while, and Iíll keep trying to remember what I was saying. (She moves her lips.)
BRUCE (after a bit): Do you want me to talk?
CHARLOTTE: Would you like to talk?
BRUCE: I had an answer to the ad I put in.
BRUCE: Personal ad.
CHARLOTTE (remembering, happy): Oh, yes. Personal ad. I told you that was how the first Mr. Wallace and I met. Oh yes. I love personal ads. Theyíre so basic. Did it work out for you?
BRUCE: Well, I liked her, and I tried to be emotionally open with her. I even let myself cry.
CHARLOTTE: Good for you!
BRUCE: But she didnít like me. And then she threw water in my face.
CHARLOTTE: Oh dear. Iím so sorry. One has to be so brave to be emotionally open and vulnerable. Oh, you poor thing. Iím going to give you a hug. (She hugs him.) What did you do when she threw water in your face?
BRUCE: I threw it back in her face.
CHARLOTTE: Oh good for you! Bravo! (She barks for Snoopy and bounces him up and down.) Ruff, ruff, ruff! Oh, I feel you getting so much more emotionally expressive since youíve been in therapy, Iím proud of you.
BRUCE: Maybe it was my fault. I probably came on too strong.
CHARLOTTE: Uh, life is so difficult. I know when I met the second Mr. Wallace . . . you know, itís so strange, all my husbands have had the same surname of Wallace, this has been a theme in my own analysis . . . Well, when I met the second Mr. Wallace, I got a filing cabinet stuck in my throat . . . I donít mean a filing cabinet. What do I mean? Filing cabinet, fraying pan, frogís eggs, faculty wives, frankincense, fornication, Folies BergŤres, falling, falling, fork, fish fork, fish bone. I got a fish bone caught in my throat. (Smiles. Long silence.)
BRUCE: And did you get it out?
CHARLOTTE: Oh yes. Then we got married, and we had quite a wonderful relationship for a while, but then he started to see this fishwife and we broke up. I donít mean fishwife, I mean waitress. Is that a word, waitress?
BRUCE: Yes. Woman who works in a restaurant.
CHARLOTTE: No, she didnít work in a restaurant, she worked in a department store. Sales . . . lady. Thatís what she was.
BRUCE: Thatís too bad.
CHARLOTTE: He was buying a gift for me, and then he ran off with the saleslady. He never even gave me the gift, he just left me a note. And then I was so very alone for a while. (Cries. After a bit, he gives her a hug and a few kisses from the Snoopy doll. She is suitably grateful.) Iím afraid Iím taking up too much of your session. Iíll knock a few dollars off the bill. You talk for a while, Iím getting tired anyway.
BRUCE: Well, so Iím sort of afraid to put another ad in the paper since seeing how this one worked out.
CHARLOTTE: Oh, donít be afraid! Never be afraid to risk, to risk! Iíve told you about Equus, havenít I? That doctor, Doctor Dysart, with whom I greatly identify, saw that it was better to risk madness and to blind horses with a metal spike, than to be safe and conventional and dull. Ecc, ecc, equus! Naaaaaaay! (For Snoopy.) Ruff ruff ruff!
BRUCE: So you think I should put in another ad?
CHARLOTTE: Yes I do. But this time, we need an ad that will get someone exceptional, someone who can appreciate your uniqueness.
BRUCE: In what ways am I unique? (Sort of pleased.)
CHARLOTTE: Oh I donít know, the usual ways. Now letís see. (Writing on pad.) White male, 30 to 35, 6í2Ē, no Ė 6í5Ē, green eyes, Pulitzer Prize-winning author, into Kierkegaard, Mahler, Joan Didion, and sex, seeks similar-minded attractive female for unique encounters. Sense of humor a must. Write box whatever whatever. There, that should catch you someone excellent. Why donít you take this out to the office, and my dirigible will type it up for you. I donít mean dirigible, I mean Saskatchewan.
CHARLOTTE: Yes, thatís what I mean.
BRUCE: You know, we havenít mentioned how my putting these ads in the paper for women is making Bob feel. Heís real hostile about it.
CHARLOTTE: Whoís Bob?
BRUCE: Heís the guy Iíve been living with for a year.
CHARLOTTE: Bob. Oh dear. Iím sorry. I thought you were someone else for this whole session. Youíre not Thomas Norton?
BRUCE: No, Iím Bruce Lathrop.
CHARLOTTE: Oh yes. Bruce and Bob. It all comes back now. Well Iím very sorry. But this is a good ad anyway, I think, so just bring it out to my dirigible, and then come on back in and weíll talk about something else for a while. I know, I mean secretary. Sometimes I think I should get my blood sugar checked.
BRUCE: Alright, thank you, Mrs. Wallace.
CHARLOTTE: See you next week.
BRUCE: I thought you wanted me to come right back to finish the session.
CHARLOTTE: Oh yes, see you in a few minutes.
(He exits. CHARLOTTE speaks into intercom.)
Marcia, dear, send in the next porpoise please. Wait, I donít mean porpoise, I mean . . . pony, Pekinese, parka penis, no not that. Iím sorry, Marcia, Iíll buzz back when I think of it. (She moves her lips, trying to remember. Lights dim.)
An online course supplement * Film-North * Anatoly Antohin * eCitations *
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