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SatansBestBuddy posted:oh the sins against the art of carpentry we needed to commit You should take pictures. I'm always looking for new ideas. One of my favorite things about my boss is that as long as it works and isn't/doesn't look dangerous, it's fine (The looks part only holds true for AEA). I've known a few too many scenic carps worried about the "proper" way of doing things, and I've only been in the business for a couple of years. Does anybody work with IATSE local 22 out of DC? I've read the website, and it's one of the best I've seen for IATSE, but I want some more information from people who've done it. How easy is it to get work through their overhire list? How much of the job is theatre versus more commercial production? r0ff13c0p73r fucked around with this message at 07:28 on Dec 16, 2013 |
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Dec 16, 2013 07:25
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r0ff13c0p73r posted:You should take pictures. I'm always looking for new ideas. One of my favorite things about my boss is that as long as it works and isn't/doesn't look dangerous, it's fine (The looks part only holds true for AEA). I've known a few too many scenic carps worried about the "proper" way of doing things, and I've only been in the business for a couple of years. I worked as a non union hand in DC for like 13-15 years and know a decent bit about 22. I am on my phone now but shoot me a PM or email and I can dump some info on you.
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Dec 16, 2013 18:45
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Anyone have experience with using individual LEDs on stage? I am using them just to create a glow not as a primary source or anything. They will be sown into costumes with 8 LEDs per costume. My main question is will 250 minicandela LEDs be visible at the back of a 499 seat proscenium house? They have a 130 degree view angle so I am just concerned about intensity. Burger Crime fucked around with this message at 04:59 on Jan 4, 2014 |
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Jan 3, 2014 20:18
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Burger Crime posted:Anyone have experience with using individual LEDs on stage? I am using them just to create a glow not as a primary source or anything. I don't have the answer, but if nobody else in the thread has an opinion I can ask my roommate. He's done a ton of LED-in-stuff designing in the past couple of years.
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Jan 8, 2014 04:12
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Soo...thanks to this thread, I emailed our local community theater. ...I'm helping with focusing lights for tonights show as soon as I get off work. Nothing like last minute lighting, right? :tenbux: says I wind up in the booth doing something as well. If not the booth, I'll wind up ushering, since I did that for 5 years at McCarter in Princeton. (god do I miss that theater. I got to see Sigorney Weaver and David Hyde Pierce and Chirstopher Durang finally win a well deserved Tony in Vanya and Sasha and Misha and Spike last year and it was a mindblowing show) I work in TV now, but have something of a theater background (does high school theater count? I counted it on my volunteer ap. Dude sounded so excited to have someone with any expierence come in.) and miss the "live" thing of theater. It's far more thrilling than producing something where if something goes wrong you yell "cut" and redo it in another take. The connection with the audience, even as a tech, watching the show and knowing that everything is going fantastic - it's a wonderful feeling. E: didn't wind up working the board for that production, but am running it for next weeks show that goes into tech this week which means I'm going to be living at work and the theater. It's ok though, cause the theater is OHMYFUCKINGGODWHYDIDIWAITTHISLONGTOGETBACKINTOTHIS gorgeous. This show is in the black box, but show after that is on main stage and then in april they are doing Les Mis complete with rotating stage. (they're using the turntable in the next show too to get all the kinks out before Les Mis) Also, anyone know how to unfuck it when you lock a channel on a strand board? I remember I used to have that problem with the old strand board we ran, and because it's been...a half dozen years since I've ran one I can't rememeber poo poo about poo poo. Dr Jankenstein fucked around with this message at 15:38 on Jan 11, 2014 |
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Jan 10, 2014 20:25
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Hi guys. I need some help with lighting plans. I really don't know anything about lighting. My friend and I are directing a Cabaret-style revue at a local synagogue. We did it last year too, just using the temple lights and one spot. It worked decently enough, but wasn't very professional, and on the video everyone looks washed out. We'd like to figure out some way to improve the lighting for these year. We have somewhat of a budget, but not a specific number. We'd like to spend less than $1000, even less than $500 if possible. The show is a fundraiser for the temple so the less money we spend, the more we make. Here's the video from last year's show. If you click around, you can see the difference in lighting between the solo numbers (spotlight only) and the group numbers ("house lights" on). Any ideas on how we can improve the lighting for this year? The show is at the end of March so we have a couple of months to plan.
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Jan 13, 2014 21:48
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AnonymousNarcotics posted:Here's the video from last year's show. If you click around, you can see the difference in lighting between the solo numbers (spotlight only) and the group numbers ("house lights" on). First thing I would do is find a way to get the spotlight higher. Either some platforms or scaff. That way the people in the first few rows aren't part of the show when the spot light is on. I would also consider building a stage. Right now it looks like the performance happens on the same level as the audience. Raising it up 18" to 2' might help give the people in the back a better view. Staging rental is cheap but trucking is expensive. If you rent tables and chairs for the event there is a good chance the same company could provide decking/staging. Next thing up is to look at how much power is available in the space. If you only have one or two 20 amp circuits your only option will be LED lights. If you have a bunch of them or anything higher you can look at getting some conventional lights. If you have the power two lighting tress with four lights on each set at the back of the room would cost about $200-$250 with dimming and let you get some lights on the performers. Each tree would need a 20 amp circuit. Double that and you might be able to start creating looks, rather than just a bland front wash you could have a warm look and a cool look. Swap some gels at intermission and you've added another option. The next thing would be to get another spot light for duets. After that you can tone the room to get a better vibe going but you wont be able to do much more to improve the show with out crossing over your budget. Keeping it simple allows you to only have to rent the gear for a day or two and set it up yourself instead of having someone from the rental company do it. If you have any clips or photos you are looking to recreate post them and we can make a suggestion about how to go about it or let you know its not possible on your budget.
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Jan 13, 2014 23:22
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AnonymousNarcotics posted:Hi guys. I need some help with lighting plans. I really don't know anything about lighting. Definitely see if you can get some decking for a "stage" - speak to the rabbi/whoever is in charge of the hall because it may be something where you can get it to be a semi-permanent thing if it's frequently rented out for weddings/bar mitzvah's etc. It's not hard to construct a small stage either, we built ours for this show (its in our black box theater so we had to build the stage) out of scrap 2x4's/4x6's for the bracing under the floor, and about $100 worth of cheap vinyl fake wood flooring. You can also get some cheap trees designed for DJ's, and again, you can probably see if the rest of the synagogue will split the costs by keeping them for weddings/bar/bat mitzvahs, purim spiels, etc. You may, if you have any DJ's in the congregation, be able to get away with borrorwing some, but it can be something that y'all use as a selling point in the future as a "we have our own lighting for the dance floor, why go have your kid's bar mitzvah at a country club when you can have it here!" thing. These are surprisingly versitile, and usually come with a few different color gels, so start from there and see what the synagogue is willing to chip in for things that you can keep and repurpose. Also, how are the "house lights" wired? Because you'd be amazed at what you can get away with just from creative uses of the "house lights" and creative staging. Speaking of lighting, I really hope the electrician made it out. We were supposed to open last night but due to a blizzard opening got pushed to today, and wed. night during previews we realized that two of the breakers went completely kaput - we have no dimming capabilities over two of the circuits, with our options being "breaker on" or "breaker off"...and since one of those circuits is an accent light that's currently stuck on at full if we have it on, I really, really hope we got it fixed. But since that's all on the house to fix, who knows if it got done or not...
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Jan 17, 2014 16:07
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Thanks for the great replies. Very helpful! We are going to construct a small stage, about a 6 inch tall platform just to raise us up a little. Next time I'm at the temple (Monday) I'll take some pictures of the house lights. I'll talk to my producer and co-director about all the ideas posted. Will keep the thread updated!
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Jan 17, 2014 20:17
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AA is for Quitters posted:Speaking of lighting, I really hope the electrician made it out. We were supposed to open last night but due to a blizzard opening got pushed to today, and wed. night during previews we realized that two of the breakers went completely kaput - we have no dimming capabilities over two of the circuits, with our options being "breaker on" or "breaker off"...and since one of those circuits is an accent light that's currently stuck on at full if we have it on, I really, really hope we got it fixed. But since that's all on the house to fix, who knows if it got done or not... I had an ETC sensor rack stop communicating entirely with the console (ETC EOS)a few months ago. So we had no house light control or anything because it is all ran through the sensor rack. Everything was off. It took 16 hours on the phone with Barbizon to get it up and working again and it was 2 days before tech week that this happened. I always love stories of stuff that goes horribly wrong at the worst time. In other lighting news, I have designed lighting for 3 dance shows and the play "Distracted" recently. I should have galleries up soon and will post links here when I have them finished. Photos from my latest productions are here. Please don't steal them without credit. http://www.danieljnorton.com/duc2013.html http://www.danieljnorton.com/distracted.html Burger Crime fucked around with this message at 14:38 on Jan 18, 2014 |
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Jan 18, 2014 12:01
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Burger Crime posted:I had an ETC sensor rack stop communicating entirely with the console (ETC EOS)a few months ago. So we had no house light control or anything because it is all ran through the sensor rack. Everything was off. It took 16 hours on the phone with Barbizon to get it up and working again and it was 2 days before tech week that this happened. I always love stories of stuff that goes horribly wrong at the worst time. Ours isn't that bad, but we're up to 4 circuits now that are all stuck. They're also all twofer'd circuits, so my thinking is there's something shoddy in the wiring that can't handle the extra current two run two instruments in parallel. Lighting designer who's an absolute rear end is swearing it's not, but let's see what the electrician says since he took a look at it, said he'd never seen the circuits go into an alarm state like that before. Cause everything else is working fine with the exception of the twofer'd circuits, and I don't think anyone has tried running as many twofers in the black box as we have for this show. Question for you pro lighting designer types - one, in case of technical difficulties like this, if the person running the board texted you with a "hey, heads up, we've got four circuits stuck on now, house knows about it, and with the two new ones none of the breakers in the main panel got them to turn off" is saying "not my problem, I designed the show, the fact that shits not working is between you and the house" generally the response? I get that there's nothing he can do, but I figured the designer wanted to know that we've got a bunch of lights that have no dimming capabilities at all wasting his gel paper. And two - if the person running the board asks for a list of cues, is it general practice to go "you've got a stage manager. they'll cue you." Every show I've run before I've had my own copy of the script with the lighting cues. I get that community theater can't afford to buy multiple scripts like that, but this guy straight up refused to give me a copy of the cues - like even a "cue 1 - happens when guy yells "gently caress the hamster" type thing. Our stage manager had the flu - if he lost his voice, he wouldn't have been able to call cues which meant that I woulda been up shits creek. Is this just a dick being a dick, or is this a whole lot more common now that I'm out of school and no longer running shows designed by students?
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Jan 19, 2014 06:41
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One of the frustrating things about theatre is that at each level all the rules change. Titles are almost meaningless between levels. From the LORT level and up the designer is there to design. Broken gear isn't their problem. HOWEVER a great designer will know that it is their best interest to keep the show looking great. If you texted the designer that the dimmer for the ultra important front light special was broke and it might be several shows before it could be replaced a great designer would say steal the dimmer from one of the bullshit gobo wash channels until it is repaired. What type of dimmers are they? The SM's job is to call the show. A board ops job is to push the button. If you got a script and were following along it opens both you and the SM up to trouble. As a board op you might not be aware of notes the SM is getting from the LD and director. Also the LD might not have a current copy of the cues in the script. Unless he has an assistant keeping up on paperwork it is really easy to get lost in creating and add a few cues, tell the SM and forget about them. It takes a bit of trust to let the SM run the show but my advice is show up on time, do the channel check, push go when told and collect the check. The SM needs to be worried about what happens if he can't call the show not you. In a small setting if there is no ASM it might be you calling the show but you would get his prompt book for that.
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Jan 19, 2014 16:31
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Sound_man posted:One of the frustrating things about theatre is that at each level all the rules change. Titles are almost meaningless between levels. From the LORT level and up the designer is there to design. Broken gear isn't their problem. HOWEVER a great designer will know that it is their best interest to keep the show looking great. If you texted the designer that the dimmer for the ultra important front light special was broke and it might be several shows before it could be replaced a great designer would say steal the dimmer from one of the bullshit gobo wash channels until it is repaired. What type of dimmers are they? House is 90% sure it's not the dimmers themselves but the wiring to the circuts not being able to handle twofers. All the lights that are stuck are twofer'd, and the house thinks its just really poor wiring. And...the lighting director hosed off after the first dress rehersal. By the end of tech week he was all "welp, show's designed, looks good, i'm out." so he's not giving extra notes, and since I *am* the ASM (it's community theater. we have a small volunteer pool) I am aware of any notes the director gives, and I still had to go through the SM's notes to get a list of cues just so I'm aware of where we are. I didn't want a lot, just something so I can follow along and if something happens be able to play catchup. Hell, just being allowed to sit on paper tech woula been nice so i could jot down what cues happen when and be aware of it. I actually wound up sitting down the director and reprogramming all the drat cues since we lost 2 lights and the director wanted more light in the back to start with I went through and did it all for him. And it's all volunteer, no check, no nothing, hell, i'm not even in the program since I started volunteering after the programs were printed. ...but the show has been absolutely fantastic outside of the actors destroying some of the props. (If you've seen God of Carnage, well, the tulips were planned to not be reused but we've gone through part of the table, more books than I can count, and nearly broke a couch.It's fantastic) E: Part of lighting designer's contract was to show up for strike. Now we hung extra pipes to hang lights off of for the show that he knew had to come down. He knew strike was starting right after the show, but he was told to be there at 6. There were about a dozen lights hanging off of those pipes. ....did he really expect the construction guys (now mind you this is community theater - we're all volunteers) to stay til he showed up at 6 if he didn't have me? I mean I just started volunteering the last week of rehersals. Nope, I wound up having to strike every single light he hung, and he hung the entire inventory of parnels that we had. That said, enough of the horror stories, what's the best software out there for designing lighting plots since I'm probably going to wind up doing Lion the Witch and the Wardrobe in may? Dr Jankenstein fucked around with this message at 15:04 on Jan 27, 2014 |
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Jan 20, 2014 23:12
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Are you still a student? You can get a student version of Vectorworks for free. It's not an industry standard for drafting lighting plots but it is the most commonly used. Lightwright is an industry standard for channel hookups and all the paperwork that goes with the plot. The student version I think is around $100 and plays well with Vectorworks. My question for people out there. I am using arduino tech for my upcoming show and think a good idea for a paper would be documenting my process with the arduino system and comparing it to working with a wireless DMX system. I am going to submit to Sightlines, Live Design Magazine, and Theatre Symposium. Can anyone recommend other publications that would be interested in a design/tech article like this?
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Jan 29, 2014 10:47
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Some of my work is going to be on TV!  Or at least streaming on the internet. I'm making a dickload of costumes for Cirque du Soleil's charity show in March. I'm not sure of the details but my boss said it'll be available to stream for less than  . I'm just loving thrilled to have my work included in such a legit show. USITT is literally a day after the performance, so I'll have some really sick resume fodder.I'm having fun playing with the material they sent us. We have yards of spandex that looks like a huge sheet of meat and guts. Seriously. That and about 2-3 yards of the most staticky horrible loving faux fur on the planet.
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Jan 31, 2014 05:20
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Burger Crime posted:My question for people out there. I am using arduino tech for my upcoming show and think a good idea for a paper would be documenting my process with the arduino system and comparing it to working with a wireless DMX system. I am going to submit to Sightlines, Live Design Magazine, and Theatre Symposium. Can anyone recommend other publications that would be interested in a design/tech article like this? What about the various regional conferences?
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Jan 31, 2014 08:16
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Tech Week for my theater's production of Godspell is here! We had our first run-through with the orchestra yesterday. It went really well. I wasn't even supposed to be in this show. I didn't audition and it didn't really interest me, but a few weeks into the rehearsals a guy had to drop out, so the director called and asked if I would step in. I'm so glad I did. I love the cast and I actually get my very first solo (We Beseech Thee) I do have a question though, for some of you more theater-minded people. How does your theater go about publicity? All we do is basically put up posters, mail postcards, get a spot on a few news channels, and have both papers in the city come and do stories. Does anyone have any creative ways to publicize a show?
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Feb 3, 2014 21:11
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What you've got is about all there is, along with Facebook. poo poo, getting a spot on a local network is something most storefront companies in Chicago would do terrible, terrible things to get.
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Feb 3, 2014 21:18
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Oh, yeah, I forgot, we do FB stuff. We all change our profile pictures and banner pictures to the show and do event pages, etc. Although, to be fair, Charleston, West Virginia, is MUCH smaller than Chicago, so it's far easier to get television spots. 
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Feb 3, 2014 21:32
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You could do viral stuff depending on the show. Last time I did Bat Boy, I drove around the city with our Bat Boy and took photos of him in different places so we could do a where is Bat Boy type thing. It worked pretty well but it doesn't work for every show.
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Feb 4, 2014 02:21
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Hey guys, I've been looking for graduate programs for either Dramaturgy or Tchnical Direction in and around the Kentucky area. I've a BFA in English with emphases in both literature and theatre, so I have a little room to pick from with Grad school. I've been working at my former university as a part-time faculty member helping to run the scene shop, but that job will probably dry up soon, so I'm looking to move on. I've been looking especially at Virginia Commonwealth University. Does anyone have any experience with their grad school pedagogy track?
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Feb 16, 2014 23:56
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I'm directing a play right now. It's a script I fell madly in love with about a year ago, obtained permission to stage, and have basically been working my rear end off for it ever since. I'm in a really bad place with it right now, though. Put bluntly, my producer is a slacker. I approached pretty much everyone I could think of to help me get this play on our stage and nobody wanted to touch it (it's on the experimental side and the theatre I work at is very, very traditional/conservative). There was only one person who was interested and had enough pull to get a budget behind the idea, so I ended up working with him and it's been disappointing ever since. Nothing is getting done on time. We've been in rehearsals since February and it's only been in the last couple weeks that I've started to get tech people on the project (which is bad as this is a fairly complex show on the tech side). We still don't have a light designer and the other day when I bugged producer guy about it, he said that he was planning to do it himself. That idea is giving me an ulcer. Aside from things not getting done, the budget I was promised isn't there. We have no props and it's looking like I'll have to pay for promotional materials out of pocket. He informed me that we'd be able to rehearse on the stage after a certain date and yesterday I found out that the person directing the next show to go up has been planning to use that space right up until tech week. I'm pulling out my hair at this point. I've talked to this guy several times about how I'm worried about how far behind we are. I know this is kind of the nature of theatre but I spent so much time planning out every detail I could and it feels like everything's falling apart because this one guy can't get his poo poo together. I don't know how to handle it -- setting deadlines hasn't worked, repeated reminders haven't worked (in fact, he's started ignoring my calls and messages). I feel like it might be too late in the game to try to find someone else as a producer. If I had the budget I was promised I could probably pull double duty as producer and director. I might lose half my mind in the process but something's gotta give. Any advice would be awesome. I don't want to pull the show, this is the first time I've been lead director on a play here, but I want to do this beautiful script justice and if something doesn't give it's going to be shoddy as gently caress. The elements just aren't there. I'm frustrated as hell.
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Apr 26, 2014 02:05
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True Tales of Incompetence: I now have 1000 promo cards that are misprinted and give the date of the show as 2004. The show involves time travel and I could conceivably come up with something tongue in cheek to write on the backs, but it's a glossy print and Sharpie pens don't work on them. oh my god.
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Apr 26, 2014 17:09
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I'm curious, theater people. What are your thoughts on puppetry?
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Apr 29, 2014 03:52
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Wolfgang Pauli posted:There's a playwriting thread, but that's all I've seen. I always thought a theatre thread was amiss at SA. Am I having a brain fart or is there no longer a playwriting thread? Looking to post a short play soonish because I cannot get people I know to give me harsh criticism on that poo poo.
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May 3, 2014 01:16
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Can anyone recommend me any good monologue shows or small cast dramas? It looks like I'm directing next semester at my school and I am looking for a show I like.
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May 9, 2014 01:00
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What size cast? Ages? Genders?
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May 9, 2014 01:41
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It's at college so I really have no clue what the cast will be like until auditions next semester. Size wise though, in the past we've done small cast dramas with 3-6 people, stuff like Neil Labute. With monologue shows we do about 8 people like Blown Sideways Through Life and The Reindeer Monologues.
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May 9, 2014 04:09
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Darkoni posted:It's at college so I really have no clue what the cast will be like until auditions next semester. Size wise though, in the past we've done small cast dramas with 3-6 people, stuff like Neil Labute. With monologue shows we do about 8 people like Blown Sideways Through Life and The Reindeer Monologues. http://en.wikipedia.org/wiki/Talking_With... This one has some great monologues, a little larger than usual, but I've seen it trimmed.
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May 9, 2014 09:03
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Darkoni posted:It's at college so I really have no clue what the cast will be like until auditions next semester. Size wise though, in the past we've done small cast dramas with 3-6 people, stuff like Neil Labute. With monologue shows we do about 8 people like Blown Sideways Through Life and The Reindeer Monologues. Brokenville by Phillip Ridley Bones by Peter Straughen (all male cast but has been performed - hilariously - with all female casts as well) I also know an award-winning semipro playwright who does small cast dramas for young people, in which case you'd probably be able to get something royalty-free that your group had never seen before. In particular her plays Who Killed Lauren Swift' - a drama about young people, violence and regret - and The Slick and the Dead, an amazing tragicomedy about 20-something bank robbers who watch too many movies and think they're 'sticking it to the man'. They're 4 and 6 actors respectively iirc and great fun to act in and direct.
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May 9, 2014 16:27
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Thank you so much everyone. I'll check them out right away.
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May 9, 2014 18:50
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Darkoni posted:With monologue shows we do about 8 people like Blown Sideways Through Life and The Reindeer Monologues. Shoot, my first thought was Three Viewings, but that's only three people.
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May 9, 2014 20:12
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Darkoni posted:Thank you so much everyone. I'll check them out right away. You won't be able to find the last two I mentioned online but if you're interested I can put you in contact with the playwright. ETA: You can find Lauren Swift on the Debut festival by googling it. Just not The Slick and the Dead, which was actually my favourite of the two. loki k zen fucked around with this message at 21:38 on May 9, 2014 |
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May 9, 2014 21:34
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Opening night of the play I'm directing and I'm hella nervous. I've been mentally working on this show (What the Time Traveler Will Tell Us) for a year now and we've been in production since February. Certain tech elements have only been in place for a week and I had to drag my boyfriend into running projections on it. (here's an album with photos from a dress rehearsal -- http://imgur.com/a/oJd9r) I know the actors are ready (although we had a situation last night where one of them almost passed out because he was dehydrated) but so much has gone wrong with the production that at this point I need to just keep telling myself it's gonna be okay. I've been working on this show 6-10 hours a day for the last few weeks and that's pretty insane for a civic theatre show that isn't even a main stage production. The whole "not main stage" thing has been pretty frustrating. The four of us who have been working on this faithfully (me, my two actors and my assistant director/stage manager) have done almost every thing that needed to be done -- people who are known for being skilled at tech didn't want to be involved with a technically complex show that was only going to run for one weekend. AD/SM did props and had to redo the projections almost from scratch because so many slides were wrong. One of my actors did the majority of hanging the lighting setup, I got a ten minute lesson on how to program a light board and created the cues myself (no experience in lighting, but nobody else was stepping up). I'm running sound on the show and there's no light up in the sound booth so for the last two weeks I haven't been able to take notes. Our production hasn't been promoted much through the theatre, which I knew would happen, so I came up with a really ambitious promotional campaign that fell flat. We didn't have enough people working on it. If I'd realized I was gonna be doing the jobs of four different people I would have done things differently. Either way it's gonna be interesting to see how it plays with an audience. This play is dynamic and cuts through the fourth wall in some really lovely ways (like making toast onstage and talking about memories evoked by the smell, and teaching audience members to time travel). I have no idea how many people are going to be there tonight, but this is a show unlike anything that's been done in our area and I'm excited to be part of breaking new ground in this town's art scene (which mostly consists of galleries filled with photorealistic paintings of Lake Michigan). If you live in West Michigan you should send me a PM and I'll give you details . I'm pretty sure I've got a couple comp tickets left if you want to come see the show.
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Jun 12, 2014 19:16
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Look Under The Rock posted:Opening night of the play I'm directing and I'm hella nervous. I've been mentally working on this show (What the Time Traveler Will Tell Us) for a year now and we've been in production since February. Certain tech elements have only been in place for a week and I had to drag my boyfriend into running projections on it. (here's an album with photos from a dress rehearsal -- http://imgur.com/a/oJd9r) Nice art direction. The costumes and the set really seem to work well together.
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Jun 18, 2014 07:37
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I have a sort-of theatre question. There's a position open for an "Elementary Drama Director (Musical)" in the local public school district. I'm trying to figure out what to put in my resume. I want to emphasize my background in Education, but also my experience in the theatre. How do I create a resume like this? I don't want it to completely be a work resume, but I also don't want it to be a theatre resume. Ideas?
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Jun 19, 2014 04:05
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AnonymousNarcotics posted:I have a sort-of theatre question. EDUCATIONAL EXPERIENCE THEATRICAL EXPERIENCE ADDITIONAL EXPERIENCE
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Jul 10, 2014 06:26
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Hey, people who are still following this thread! I wrote (and posted) a short play, and I was especially hoping to get some feedback from people from this thread who might be able to give me some insight into any problems there might be in performing it. While I love theater, I haven't lived in a country where plays were performed in a language I understand in three years, so my grasp of theatrical realities might be tenuous. The post is here: http://forums.somethingawful.com/showthread.php?threadid=3689955 I couldn't recall anyone posting a play in here for criticism before, so I decided to avoid it. I probably should have just posted it in here, anyway. Anyway, I'd greatly appreciate any comments you guys might have!
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Dec 24, 2014 08:03
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Seems like an intellectual exercise, a lot of exposition which is really the author telling us how he feels about something, instead of a scene between two people. E: show us, don't tell us. My two cents.
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Dec 25, 2014 09:54
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Sweet_Joke_Nectar posted:Seems like an intellectual exercise, a lot of exposition which is really the author telling us how he feels about something, instead of a scene between two people. Agree. There's not really a struggle or a character arc. If you want to do something that explores the strain on a relationship between two idealists when one goes to far, that has the potential to be a pretty interesting character story, but I don't think you can do it in the 10 minute play format, and this seems a little on the cliche side. Try fleshing it out into a longer piece and let us see more of the divide between the two characters.
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Dec 25, 2014 19:23
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