Playwright's Note for Mortal Folly Theatre's Production of OVER HERE @ The 2014 NYC International Fringe Festival
Below is my Playwright's Note for the program of Mortal Folly Theatre's production of Over Here for the 2014 NYC International Fringe Festival. I am reproducing it here as the play is getting a fair amount of press, and I am frequently asked about it in relation to current events.
Like any other design discipline, fight directing begins with the text. I'd like to take a moment to discuss approaching a text as a fight director and/or a movement specialist. While it's obvious that the play must be read before any other work is done, what one is looking for when they read and how one's findings are utilized hasn't had a whole lot of public discussion.
The review below was originally commissioned by The Journal of Asian Martial Arts, just before the journal discontinued their print edition. I am presenting it on my blog as I feel that this book is deserving of attention. I've added a small handful of hyperlinks for the purposes of this post.
Shin Gi Tai: Karate Training for Body, Mind, and Spirit by Michael Clarke (YMMA: 2011)
Michael Clarke’s Shin Gi Tai: Karate Training for Body, Mind, and Spirit is simultaneously an auto-ethnography of a prominent Karateka, a series of history lessons on the system as a cultural practice, and an anthropological analysis of the current state of karate from a very definite perspective. Instructionally, it is not so much a “how to” book, but a guideline for those who are finding their own way (though there are detailed descriptions of example exercises).
I've recently been asked several times (in part because of my recent article in Backstage, though there is some irony there) about best practices in picking a martial art.
Now, there are several people far wiser and far more badass than me who have a bit to say on the topic, but I suspect that I reach a different demographic. I also intend to address studying martial arts for the purpose of improving oneself as a choreographer and/or performer. I'll also address self defense training a bit and how it might differ from what you might usually think of in martial arts.
Before I go much further, I'd say the first law in picking any physical discipline has already been laid down by Rory Miller: "Train in something that makes it a joy to move."
That being said...
I've noticed what appears to me to be a disproportionate amount of anxiety from people at several levels of the field about writing bios for programs and such.
What I intend to present here is a series of templates and principles that should make the task take under five minutes and be a relatively low stress endeavor.
The purpose of the bio is to let the audience (including other industry professionals) know a bit of additional relevant information about you. While to some degree it can serve to establish the credibility of the artistic team, if you are early in your career (or even doing your first show) that is also an interesting bit of information to an audience. (With that in mind please realize that no one worth knowing is going to judge you harshly for being new to the field, so don't worry about having a short bio.)
This post is particularly aimed at people early in their careers. Remember that you'll be getting more credits as you go, which means that your bio can change constantly throughout a season.
These are all fairly flexible and geared for short bios. Long-form bios are basically expansions on the template. (I have bios for several of the disciplines I work in throughout my site).
As some of you know, I became an Artistic Associate of Whistler in the Dark Theatre in late 2011 after numerous collaborations. Part of what this means is that I have the ability to initiate projects through the organization.
I'm currently curating two ongoing projects that are near and dear to my interests: the Playwright Incubator Program and the Schollah Holla Project.
I'd like to take this opportunity to discuss the Schollah Holla Project, as it has already had public events, and as we have one more Holla coming up soon as part of our programming for our production of Vinegar Tom (January 27th for those of you intending to come).
PETER PAN @ Tufts University - Photo by Elizabeth Herman
Attention Young Actors: You don't always know what you think you know. This is especially true when it comes to stage combat. And you may want to think twice before you claim it on a resume. This is true even if you took a workshop or two and/or performed fights onstage a handful of times.
I'm talking mostly about the "Special Skills" section of the resume. As many of you know, common wisdom dictates that you should not put anything down on there that you cannot do on short notice. I want to work on the assumption that people are making their claims in good faith (liars are a whole other issue). That one would not put down a language that they do not speak, an instrument they do not play, or claim a degree that they have not earned.
But unfortunately, sometimes stage combat ends up on an acting resume when it really shouldn't be...
The ICA in Boston, MA
This past weekend I had the pleasure of performing in Experiment America 2012 at the ICA (Institute of Contemporary Art) in Boston. My director was Mikhael Tara Garver and the event was part of the Emerging America Festival.
During this process I also had the opportunity to work closely with Will Pickens, the sound designer and voice director, who directed and recorded me in an A Brief Guide, an "audio tour" written by Jason Gray Platt, as well as with Jeff Stark, who guided me through the suitcase installations (more on those later on).
Experiment America was a large immersive theatre experience utilizing the entire museum. It was a big project. Really big. The sort of thing that falls under Richard Schechner's concept of Performance of Magnitude; that is, a performance that is too large for any one spectator to experience the entirety of. Keeping that in mind, I cannot hope to describe the event as a whole. My own small part, however, was interesting and fun enough to give me plenty to write about.
It is a dark, dark world that we whistle in...
Taking Note & Taking Notes
- About Meron
- Blog: Taking Note and Taking Notes
- Theatre & Performance Scholar and Dramaturg
- Fight Director/Movement Specialist for Theatre, Opera, & Film
- Stage Director
- Stage Combat Syllabus - Spring 2011, Tufts University
- Intro to Acting Syllabus - Spring 2010
- In-Class Group Exercise Based on MARISOL
- In-Class Group Exercise for CLOUD NINE & BLASTED
- Class Exercise: Muppets, Casting, & Shakespeare
- Sample Assignment: Towards a Dramaturgy of Stage Combat
- The Cinematographer Exercise: Introducing Non-Contact Blows
- Selected Comments from Student Course Evaluations
- Contact Meron