Antigone - directed by Dawn

Development in the Lighting World

2009-10-04T09:09:00.003-04:00

I spent all of Friday focusing lights, hanging fluorescent fixtures, adjusting positions, looking at color, and just plane having fun. It's what I do best with lights. I have a deep respect for the designer who can put it all on paper, hang it, focus it without ever having seen his lights on in the space and end with a final product that is wonderful, artistic, and integral to the production.

First, that's not my style. Second, I'm just not there yet, but I will be in due time. However, that doesn't mean that my designs are any less exciting to me, in fact, they are more exciting. I have the privilege of being in rehearsals with the actors exploring the world as they explore it. Putting lights into the space as they rehearse allows them to get comfortable with the world they inhabit even earlier than the usual academic week or less. I am used to having the show cued before tech, that isn't how it is done in the professional world, that isn't how it is done at UMass, and that isn't how I am going to do it until I have learned to cue a show on the fly.

Here are just a few photos from Friday's work, and as this week begins, we will see more lighting elements becoming a part of the space...

The work is done...we are missing a few lighting elements...

I can't wait to add all the scenic elements, then the lights will really be working...

I can't wait to see this with costumes...

This will be much more dynamic and exciting without work lights on...

And this will be amazing with all the other design elements in place...

Now, the challenge begins of developing a theatrical lighting design that will support and enhance the practical lighting design. I have a meeting today with my Lighting Design Adviser, and I know it will reap many rewards for this production as I prepare to present my full design on paper to our production team this Thursday. I am so very excited!!!

I Have Not Abandoned You

2009-10-03T18:16:00.003-04:00

So we are in the thick of it! Just finished week two of rehearsals and we have touched everything at least once. People keep asking me "how're rehearsals going," and I answer "great!" So either I am delusional, or I actually feel really great about our progress. This cast is remarkably committed and their energy & care really brings me up. Rehearsal is something I enjoy. This has not always been the case on every show, I imagine it will not always be the case with every show going forward wither, but right now it is GREAT.

I spared this blog my experience of the audition process because well that's how rumors get started. I LOVE this cast and that is all that needs to be said where that is concerned. Wanna know who I cast? Visit this site http://umassauditions.blogspot.com/

The designs are continuing to evolve. So much so, that I was just presented with new lighting and scenic ideas on Thursday and Friday. I find that I am reasonably laid back, I am proud of that sometimes and other times believe this to be one of my many flaws as a director. I guess the only thing to do is bring everyone's ideas (mine included) back to the story. Are we telling the story. Gil says "focus on what has to happen" and let that guide my negotiations with the production team. That is great advice and so that is where I am at. How do all these great ideas (mine included) support what needs to happen. If they don't then we should save them for another show (mine included). I am excited that the work continues and that we haven't, any of us, become satisfied or complacent.

April Rodriguez, the composer for the show, sent us a remarkable number of beats and tracks that really excite me. Thad and I have been trying different ones out in rehearsal and I think that when we nail it, we will really create a world.

So in the beginning I was a little nervous about working with a dramaturg. That is something I have never done as a director, and the models used at the professional theatres I've assisted at aren't the UMass way so I didn't know what to expect. I think my ego was most concerned, but I must admit, it has been one of the most fruitful collaborations I have ever had. Maybe it isn't always this way, but Jason has felt like a real ally. I have come to appreciate the tough questions that once left me feeling put on the spot. Being able to discuss the play and my thoughts with some one has been really helpful in me solidify things for myself. Check out all the goodies he has prepped for the actors, http://umassburialatthebes.blogspot.com/

Next Thursday we will try a stumble thru. Technically the actors are still allowed to be on book so even calling it a stumble through is ambitious, but we will put the pieces to together and see what we get. I love taking time at the end of every work week to see how far we've come. That allows me to start the next work week with a clear sense of what we need to focus on.

You know that feeling sometimes of all the elements just falling into place. Well I believe in that and it hasn't failed me yet. So onward and upward I say.

Color Renderings

2009-09-24T23:20:00.010-04:00

Chorus

Tiresias

Elder Chorus

Messenger

Guards

Haemon

Ismene

Eurydice

Creon

Antigone 2nd look

Antigone 1st look

Lighting the Installation

2009-09-23T17:16:00.004-04:00

I just finished experimenting in the Curtain Theater with our flourescent lighting fixtures and a 3 foot strip light. I set both behind the corrugated plastic that we are planning to put above the set resting on that back wall, and the flourescent shields that we are planning to put under the risers of the set.

Here is what I found:

First, the flourescent spills a lot, and we would have to be comfortable with that anytime the instruments are turned on, the flourescent is a single color, and non-dimmable.

Single color, non-dimmable, flourescent with spill...

Second, the strip light is more containable, mult-colored, spreads more evenly, and is dimmable.

Red flourescent...look at the sides...this is more accurate as to what it looks like...

Blue...again, the side is a truer read as it is less bright...

Green...I'm not completely in love with green, but thought I would show it in case others are...

No color...and it reads much better than the flourescent with no color...

Third, in order to use any light under the risers, it would benefit us if we could cover the full face. It does not look good when you can see the lighting source. Again, I believe the strip lights are going to offer us the best results.

This is the best image I could get, but it looks much better in real life...as do all the images...

Fourth, the strip lights need to be moved back away from the flourescent shield and the corrugated plastic, in order for us to reap the best results.

Finally, I have been thinking about flourescents throughout the set and what that might look like. I think we need to be very specific about where these go and how they are focused or angled (I didn't used to think that, but after playing with them, it has become painfully obvious that I/we must make solid choices). That said, I want to see if we can have more of a dialogue about where these can go and why it would benefit us to put them there.

Here is what I think about locations... two overhead per audience section (maybe three for the center section), two over the set, two attached to the set, and perhaps a broken light or two near some of the fallen beams (no plastic, no light bulb, just open).

What do you all think? Any suggestions, gut reactions, concerns?

Air Raid Sirens

2009-09-23T16:45:00.004-04:00

So I was thinking a bit about the air raid sirens that we are planning on using to jar the audience into the show by reminding them of the war and conflict in the world of Thebes that has just so recently calmed. I found a futuristic digital sound I thought might be fun to use to make the world a bit more timeless. There has been some concern that some of the other material that I have found might date the show too or be comical to our contemporary audience. I thought a digital sounding air raid siren might solve that problem. Have a listen... Futuristic Air Raid Siren

But after listening to some recordings of period sirens, I don't think this futuristic version I've created is going to work. It seems to comical to me and it doesn't have the same jarring power of the period sirens. Here are a couple of examples of period sirens we might use...

Period Siren in attack mode (the up and down tones you heard in my futuristic version)

Period Siren that has a deeper tone that I think will jar our audience right out of their seats

(Special thanks to http://www.civildefensemuseum.com for the source material. The Futuristic Siren was created by me using source material from http://www.freesound.org)

I'm thinking of going with one of these period sirens. Anyone have any thoughts?

Basic Information from the Office of Civil Defense...

2009-09-11T21:27:00.003-04:00

Dawn mentioned in her last post about the thought of using Public Service Announcements from the Office of Civil Defense from the 1950's Cold War period in the is country. I wanted to share links to those sounds, and share some thoughts behind them as we begin to morph them into the world we are creating.

I discovered the two PSAs from a Civil Defense history site that I found while reviewing Jason's research on air raid sirens. (We're planning on using an air raid siren as part of the open sequence of the show.) The first one briefly explains air raid sirens and other warns people might hear. It can be heard here. The second one explains where to hear official instructions from the government, and warnings that the telephone should only be used for official business. It can be heard here. (The site where I found these and other similar PSAs is located at civildefensemuseum.com. Click the Audio Video link to hear more examples from the period.)

Its clear that we cannot use these recordings in their original format for several reasons including:

- the fact that they mention Washington and we don't want to confuse the audience -- the show is in Thebes.

- This type of announcement sounds very comedic to a modern audience

- They don't really say everything we want them to say

- They tend to put us more in an environment where nuclear war is the primary threat. The threat to the characters in our world isn't totally clear, nor does it really matter to the story in the end.

But, I think as both Dawn and I mentioned, that these make a great stepping off point.

More notes on sound to come...

And We're BACK!!!!

2009-09-10T22:52:00.002-04:00

So after a little rest and relaxation the fall semester is underway, which means the production team for B@T is back to work. We had our first official production meeting of the term today and shared thoughts, ideas, and machinations on the preliminary design ideas that we worked on all summer.

We revisited many things that we have shared already BUT there have been some modifications. For one the sound designer, Thad Krammer, was at the table with us so we were FINALLY able to float some sound ideas around the ether. He has jumped right in and brought some samples of PSAs from the 1950's. While there is something about them that is very comical, I think they opened up some great ideas about how to sonically frame the show. Using sound to support the world we have created feels right to me and there may be some value in considering the incorporation of PSAs.

Dennis has made some modifications to the set. "The floor is out." When last we met Dennis presented the idea of a ruptured flagstone floor/deck treatment. And while the idea of texture was really exciting it did present some budget and staging concerns. What Dennis has come up with now is a great way to synthesize two elements that were important to us collectively. He will now imprint the state seal on the floor and add a high gloss finish. This keeps the emblem of the state that I think we all feel is very necessary, and have a floor/deck that is interesting and dynamic.

Esther has also continued her work on the chorus and Tiresias. I think things are really moving in the right direction.

BUT...I can't believe that final designs are due next week. I feel apprehensive about being "locked" in. The color story is still undecided and we haven't played with a model yet, so to know that we have 7 days to make these very important decisions makes me nervous. Other big decisions will be made in the next 7 days. CASTING!

Auditions and callbacks are next week and casting will more than likely happen on Friday because we start rehearsals that following Monday. I am SUPER EXCITED to be at the auditions stage. Things have felt very heady and intellectual up til now. And obviously almost everyone else on the production team has to be "done" before actors ever enter the equation, but for me and my work they are a whole 1/3 of the equation. It is clear to me that it is my work with them that makes me feel like I am doing something. Maybe that only makes sense to me in a sick and backward way, but up til now The Burial at Thebes has been a paper project.

Also had 2 meetings with GilMac about the show, as he is my advisor. What is really great about those meetings is that he is helping me and challenging me to find meaningful ways to articulate "what happens." A character flaw of mine is that I feel I talk to much (says the blogger to the parish), and I am sure I do. But I think sometimes in an effort to not talk to much, or not sound stupid, or say the right things, I don't say enough. So having the time and space to "unpack" or say "what it is," is of tremendous value.

Ok, well I've probably said too much.

A modern king...

2009-08-18T19:41:00.004-04:00

I have been thinking a lot about the idea of a contemporary kingdom and royal family. The most familiar Western example of this can be found in the royal family of the United Kingdom, yet there still exists an almost unconscious rejection in the American mind to the pomp and circumstance of royal spectacle. In a search for visuals which might work around this rejection, I stumbled across the T.V. show, "Kings," which tells the story of a contemporary, ficticious king and kingdom. What is particularly interesting about this show is that the visual aesthetic of the show is based upon our own (U.S.) culture, something Dawn herself has emphasized she would like to maintain for our Thebes. Notice the well dressed military escort/guard, the strapping, military son, and the use of state symbols, banners, and flags. I can supply the entire first episode if anyone is interested.

Holy Men...

2009-08-03T14:17:00.009-04:00

I have been thinking about "holy men" and the sense of wonder and almost timelessness Dawn has expressed interest in feeling from Tiresias. I have been scoring books and online images and have come up with a handful of "holy men" images that would seem to embody this spirit.

Dramaturgy Renderings - preliminary

2009-07-17T20:05:00.005-04:00

Having never worked with a dramaturg, I came to the process with questions of "what does a dramaturg do?" I have worked on productions as an assistant director that had dramaturgs but those experiences didn't necessarily reveal any particular method or formula so I didn't really have a clue. So I rely on Jason, the dramaturg, to know his job because I don't. He engaged in a bunch of research on topics I suggested and those of his own choosing and we have met a few times to share this material, and each conversation provides more insight into the world of the play.

So I had a meeting with Jason today to discuss some of the questions that have come up for him as he works through the text. There are a lot of then and I am making my way through them. But rather than make you wait on my answers, I thought I'd go ahead and post his queries anyway. Some of them I may never have an answer for, others may find their answers in rehearsal, but it is always interesting to know what stuff comes up for people as they read a play and begin to consider how it will manifest itself in production.

Maybe at some point I'll get around to posting my own questions, but for now...

SCENE I (Ismene, Antigone. Pg. 5-13)

- What has just happened/what have we seen before the first line is spoken?

- Where are we?

- From where is Ismene coming?

- Pg. 5 “No wait. / Here’s what has happened.” Why wait? Where has Ismene been?

- Pg. 6, Antigone “That’s why I came outside/ The walls in there have ears.” Outside? Inside? How might this work? (comes up several times as a result of situating our world “below.”)

- What is this moment in Antigone and Ismene’s relationship? A complete break for one or both? Any tensions leading up to this?

- Potential audition sides?

SCENE 2 (Choral Ode I/Creon/Guard, pg. 13-24)

- From where is the chorus emerging?

- Glory be to brightness, to the gleaming sun – is emphasized in a way that is not present in the “original text.” How can this imagery be reconciled with the world of the play situated underground?

- What is the ode about? What causes the chorus to speak these lines? How does this section fit into the overall structure of the play? (question to be repeated for each choral ode)

- Who is the chorus at this point? Young? Old? United in celebration?

- Entrance of Creon – what happens? Coronation? Have we seen anything since the beginning of the play to suggest a regime change (flags? Military presence?)

- To whom is Creon speaking and what is the occasion (official? Inauguration address? Press conference? Casual announcement?)

- Any part of this monologue works well for an audition side.

- What general impression of Creon would you like the audience to be left with after his speech?

- Where is the guard coming from? Where is that space in comparison to our own? (didn’t Julian have a term for this??)

- Just to clarify (I know Jonathan had raised some concerns), Heaney is mimicking Sophocles’ own use of a meter-less, hokey speech pattern for the guard. Therefore, the language follows the original intention to portray the guard as an inarticulate bumbler.

- Pg. 21-22, Creon – “For a good while now I have had reports/ Of disaffected elements at work here, / A certain poisonous minority / Unready to admit the rule of law / And my law in particular. “ Creon goes on to assert a few lines later that this dissident group is interested in bringing down the system via money and bribery. I am worried that this disaffected group mentioned here might be confused with the youth chorus that we are setting up (whom we do not want to set up as greedy, corrupt criminals.) Creon could certainly be using a fair amount of political spin and propaganda. What do you think?

- Creon seems to have a particularly strong reaction to the news from the guard. Why? What is it about the violation of this decree? (Personal? Political? Does he just have a bad temper?)

- Do you want a separate audition side from the Guard?

SCENE III (Choral Ode II/Creon/Guard/Antigone/Ismene) pg. 24-38

- What is the ode about? What causes the chorus to speak these lines? How does this section fit into the overall structure of the play?

- Which chorus speaks these lines? (there is a change in tone right at the end at “But let him once / Overstep what the city allows, / Tramp down right or treat the law…”) – could be a dissenting voice?)

- At this point, where is Antigone in her process of identifying with the youth counter culture in the play?

- Who makes up the chorus that interjects occasionally?

- Pg. 29-30. Antigone’s “I disobeyed because the law was not / The law of Zeus…” monologue would make an excellent audition piece. It shows an actresses ability to defend her position. Also, the back and forth dialogues b/w Creon and Antigone on pgs. 32-34 would work well for a scene.

- Another spatial consideration (as originally asked by Jonathan) pg. 31 – “Get Ismene out here. / She was inside, in the house, a while ago…” Inside? House?

- What do think about the argument that ensues between Creon and Antigone? What tactics does each employ? To what end? Do certain prejudices take over?

- More of an observation that anything else, but I find it strange that after the last line on page 36 (“Take heart, Ismene: you are still alive / But I have long gone over to the dead.”), Antigone does not speak for the rest of the scene, even though she has not exited. Why?

- How would you like the audience to feel after this scene has taken place? About Creon. About Antigone. About Ismene.

- Where is Antigone taken? (I don’t necessarily mean where on the stage but more – to what part of this world is she taken?

SCENE IV (Choral Ode III/ Creon/Haemon) pg. 39-49

- What is the ode about? What causes the chorus to speak these lines? How does this section fit into the overall structure of the play? Which chorus is speaking?

- There again seems to be a bit of a turn (beat/intention change?) in this choral ode. Starting with “O Zeus on high, beyond all human reach…” (pg. 39), the ode switches from being a lamenting for the “ancient” house of Cadmus (the house of Oedipus) and more of a praise to Zeus for seeing fit not to smite them that day. What do you think?

- Why does Creon say the chorus has “clairvoyant” powers? (pg. 40)

- This is the second of the arguments in which Creon defends his position. How is it different than the first in its structure? Is it? What tactics are employed on both sides?

- Who makes up the chorus that interjects occasionally?

- Any part of Haemon’s monologue on pg. 42-44 would work for an audition. Maybe something later in the passage so that we may see an actor’s ability to employ several different tactics in his argument.

- Another spatial issue. Describing the location of Antigone’s tomb, Creon tells Haemon that it is “Up in the rocks, up where nobody goes, / There’s a steep path that leads higher, to a cave. / She’ll be put in there and some food with her…” (pg. 48) What does this mean for our space?

- How would you like the audience to feel after this scene has taken place? About Creon. About Haemon.

SCENE V (Choral Ode IV/Antigone/Creon) pg. 49-55

- What is the ode about? What causes the chorus to speak these lines? How does this section fit into the overall structure of the play? Which chorus is speaking?

- This choral ode differs radically from others, seeming almost to fit into a call-and-response format. What can we do with this? It seems apparent that this was originally intended as a kind of processional dialogue as Antigone is lead up the “steep path” to her cave. Our world is different so the intention and purpose of the choral ode and scene alters a bit. How?

- Why has Creon come to oversee Antigone’s procession? He has already given the order, does he need to oversee?

- What is the structure of the scene? How does it progress? I only ask this because when I read this text and I am not really paying attention, it all blends together into one long “Woe Is Me” kind of elegy and that is not particularly interesting. Is Antigone just repeating herself or is something else coming out as she faces death (I don’t know).

- According to the text, the end of pg. 55 is Antigone’s last line. What of this moment? Has she ascended? What has been her journey throughout this scene? Is this her most luminescent moment?

SCENE VI (Choral Ode V/Creon/Tiresias) pg. 56-64

- What is the ode about? What causes the chorus to speak these lines? How does this section fit into the overall structure of the play? Which chorus is speaking?

- From where in the world does Tiresias emerge?

- What is Tiresias’ motivation (this isn’t the lame acting question it appears to be, I promise)? What I mean is, why does this old guy keep doing what he does? For gods? For country? Does he really just want money? In theater productions of Oedipus and Antigone, Tiresias is usually a horrifically boring character portrayed by the most ancient British actor they can find. Are we content to let it rest that way? Also, is this the first time we have seen Tiresisas? (according to the text – yes it is… but do you want to mess with that?)

- Who are the chorus members commenting on the action?

- To what extent do Tiresias’ proclamations scare Creon? He does capitulate very soon after Tiresias leaves. What has been his journey to change his mind?

- What are the tactics used by each character in this exchange. It seems to be structurally simpler than those we have seen previously.

- Also, Tiresias’ monologue on pg. 57-59 (especially the beginning part) might make a good audition side.

- Wherever Antigone has gone to be buried, Creon must follow. Where is this? Does he attempt to “ascend” as well, ultimately being unsuccessful?

SCENE VII (Choral Ode VI/Messenger/Eurydice/Creon/Lots of Death) pg. 64-End

- What is the ode about? What causes the chorus to speak these lines? How does this section fit into the overall structure of the play? Which chorus is speaking? (Why call down the patron god of the city?)

- Ultimately, I want to look at how the verse in each ode is structured, but this ode is particularly unique. What effect does it have?

- The messenger speaks with a rhythm and tone very different than the last commoner we heard from (the guard). How is he/she different? Military courier? Who is this person and why do they have this information and feel compelled to share? Member of the youth counter culture chorus? He is clearly saddened by the news, but does he have any particular political leanings that might affect his delivery?

- Ah Eurydice… What’s she been doing all this time!? Have we seen her before? Clearly she is horrified by the news, but is there anything else (I don’t know).

- If you want an audition side for Eurydice, her lines on pg. 67 will have to be it.

- You said you wanted to reveal Eurydice’s body… why her’s?

- It is interesting to me that, upon Creon’s entrance, most of the attention shifts to the death of Eurydice. Certainly Creon was there at the death of Antigone and Haemon and wouldn’t need to be told details, but the messenger seems almost malicious in the way he drives home the details about Eurydice’s death. It also seems to be the last straw for Creon as he learns the news and begs for death. Yet Eurydice/Creon is the least established of all the relationships. Thoughts?

- How does this play end for you? BIG QUESTION that is not simple to answer.

What does your world sound like?

2009-07-17T18:30:00.004-04:00

So I promised the gang that I would post the music samples that my awesome and pretty damn hot all things audio expert, April Rodriguez, composed for me. Just for fun I created a slide show of Esther's renderings to accompany the music. Whenever I direct, the sonic culture of the show is sooooo important to me. I think in each of us there is a strong connection to music; I remember Julian Olf always referred to it as a time art. So I asked for urban, and she gave me a lot to consider.

Directors Have All the Answers...PUH LEEZE

2009-07-17T00:10:00.004-04:00

So over the last few weeks I have filtered through several emails and made my way through a number of meetings and phone calls. Everyone has "a question" for me. Can you imagine that? Apparently because I am the director who has developed what some would call a "unifying concept," I am some how the resident expert. Well guess what kids...that is bogus. If I had all the answers I wouldn't be interested in working on this show. I am drawn to shows that offer me a question, something for me to explore, uncover, discover, ponder, lose sleep over, wrestle with, and go for broke trying to get the damn thing right.

If I thought I understood or knew everything about a play then I wouldn't want to spend 4-6 weeks in a small space with a bunch of other crazy artists. I'd say "I get, great, next." But since the questions keep coming, I will do my best to say what I think I know. Please bear in mind it is all subject to change.

It starts with a hunch. I have a hunch that Antigone can be about me and for me. I'm not positive, but I feel like my sense of law and justice has been challenged by my government, a government that I have at times supported and at times railed against. Because I have this hunch, I want to test it. I want to posit this play against an urban backdrop because that is my backdrop. I have been asked repeatedly to define urban - well here you go kids. I like hip hop music and thai food, that is urban. Urban is a $5 chai for breakfast and a $1 McDouble for lunch. Walk thru the stench of vagrant urine to come out of the subway in the theatre district where I am attending the Opera, that is urban. Urban centers are about a wide demographic, access to the widest variety of commodities. China towns and Little Italies, museums, galleries, restaurants, and empty store fronts. People, culture, history, evolution - that is urban. I am urban and it starts with a hunch.

Here are some other questions from Jonathan, (with my answers in blue) that have come up:

Where is our Thebes? Is it Washington D.C.? We are not altering the text so location is implied. I hope that the audience associates it with our nation's capital but it more than likely will not be blatant. Do we see dawn breaking if we are
below ground? This is a discussion we can all have. My hunch is that we don't. Are we just outside of the palace below ground...does it matter
necessarily if we never see what is above ground? If we are below ground, then
what are we in...an underground city, a fall-out shelter, a cave, an abandoned
sub-way? In my mind we are in a government facility underground built for the purpose of housing and protecting the "president" during attack. At some point the public sought refuge and was allowed to inhabit what we see as the set, which only represent a portion of the facility (an antechamber of sorts and Creon still maintains private quarters off-stage). I believe we are going with a fall-out shelter...is it old and beaten
down or beautiful and well maintained? From Dennis' early work, the shelter has sustained some structural damage and there are beams that splinter the space. Do we see action that happens above
ground while Antigone buries the body...or how do we differentiate between
outside and inside...do we need to? We do not see Antigone's above ground action, but through staging there will be an indication that she goes above ground.

Antigone says, “No, wait.” Why does she say this...what is Ismene’s response?
Is it shock, fear, annoyance…? Can't answer this until I have rehearsed with actors

Who are the Argos troops? Who are the other troops? Who is the civil war
between in today’s modern world? Is it Democrats vs. Republicans? Again I don't intend to make a blatant Dems vs. Repubs statement. The war is between people who disagree on who should be leading (current Iranian election comes to mind)

Where is this first scene staged in our set? The whole play takes place in a single location. For our purposes this is the "common area" of the shelter (this is our version of outside the palace). I should note that I will be using the staircases and their respective landings as acting areas...all four of them.

Antigone says, “Left out for the birds to feed on.” Do animals survive the war
that has ravaged the earth, such that a fall-out shelter is necessary for
humans? Yes, animals survive (at least some). This is not a war that has ravaged the earth, it has destroyed a region. Think Hurricane Katrina, or areas traumatized by natural disasters, earthquakes, tsunamis, etc. These regions/communities suffer greatly, but it is not the end of the world or post apocalyptic.

In this first scene do we as a production team see a static scene in a quiet
secret place that Antigone has brought Ismene to, or do we see it as a place
that is ravaged by the war with flickering lights, steam pockets, and groaning
sounds of shifting earth, buildings, and the like? I am drawn toward the second
scenario... More in the vein of the latter

I have always seen messengers as a chance for the audience to have a comic rest
in tragedies. I don't see the messengers in B @ T to be "clowns", but I
definitely see the potential for some comic rest. Dawn, I wonder how you will
approach these characters? The messengers are not comic relief however the guard does serve as our "clown." We'll see what happens in rehearsal. I won't direct the actor to play for laughs.

--

Do we want to represent, in anyway, the stories that are being told about what
happens off stage? For example, the guards description of the scene where
Antigone buries Polyneices. Do we want to re-create that scene as he describes
the sweltering heat, the wind, the smell of the body? Do we want to aid the
guards story with suggestive lighting? My instinct is to be selective about
these kinds of "suggestive" moments. I think they have potential, but can often
distract from the story when they fail. If we do choose to use this kind of
lighting at any point in the production, then we will want to be very aware of
its success or failure. Perhaps it is only when Tiresias or the chorus speak
that we allow the lighting to assist in painting a picture of atmospheres that
are not physically present to the audience or the characters in the play. Your instincts are correct.

--

“Get Ismene out here.” (p. 31)

Will we need to change this wording to “down”?

I don't intend to alter the text

--

I wonder if it would benefit the production if the action and dialogue of the
play were punctuated by lighting cues (similar to a musical beat), or would it
distract? I expect it would be a give and take. Everything in balance. Yet, I
can’t help but wonder what others thoughts on this are…? I am thinking about
using this method specifically during moments of stichomythia. Again your instincts are correct

--

Here is a question specifically for Dawn and Jason: Do you know what you are
planning to do with the scene just after Antigone and Ismene are led away and
just before Haemon enters for the 1st time (p. 39-40)? Is the Chorus speaking
to the audience, to Creon, both? Is Creon listening to the Chorus and/or
brooding to himself? The text looks as though it suggests “an inner monologue”
or a “conversation” with the audience. Is that a correct interpretation? The Chorus is speaking for the benefit of the audience until Haemon's entrance at which point the begin to address Creon

--

I am beginning to create specific scenes, and I am wondering when the "scene
changes" are...I know we don't have typical or conventional scene changes since
we don't change location, yet we do have change in tempo and the like. Dawn,
perhaps we can look at this tomorrow when we meet. It will be important for me
as I begin to think about the arch of the piece and the development of the light
throughout the production. I am using a french scene method - meaning I am marking major entrances and exits as scene changes

--

“To scavenge on that flesh and shit it down,” (p. 59)

Is this really supposed to be shit? or should it be shoot? Shit is correct. This is a literal statement. They will eat him and he will become their fecal waste

--

After Antigone dies or after she is buried alive, do we see a shift in the
lighting on the set? If she is a beacon of light, then when she is gone does
the space then change? In other words, is she a beacon of a physical light that
the audience can see, or is she merely an example of a “beacon of light”? I
think this could go either way, but I am curious about others instincts and
thoughts. I say yes

--

When characters begin to die, do we see the trace of their deaths in the
lighting? Do we see any encroaching of red in the lighting? Is this too
literal? I think it would be interesting to see some red encroach on the set,
and enough to tinge the actors with some red, but not enough that it washes out
their bodies and faces. This is something to play with and see if we like it

--

Do we see the blood stained corpses brought out to the audience? (p.71) Haemon's yes (maybe not blood stained). Eurydice only if there is a way to achieve this without her being brought back onstage. Like a hidden alcove or something - you know theatre magic

Jason, our friendly neighborhood dramaturg has just given me a shitload more questions to answer, so stay tuned friends.

Scenic Renderings - preliminary

2009-07-17T00:04:00.005-04:00

Today we had a production meeting, and Dennis joined us via SKYPE (can you dig it). He has been a busy little bee and here are the fruits of his efforts

The color palette here does not reflect the actual palette for the show as that has yet to be decided, but again I am so excited to have something visual to utilize when considering the possibilities for staging this show.

Costume Renderings - preliminary

2009-07-16T23:39:00.011-04:00

Last week, Esther and I met to discuss the characters for The Burial at Thebes. It was a great conversation and the renderings that I saw today (which I am sharing with you) are a result of that conversation. These are obviously preliminary as we continue to discuss and develop, but I am excited to have something visual and a bit more tangible to respond to. We are still developing our color story, and more renderings are forthcoming bit we are well underway.

Antigone

Antigone after

Creon

Ismene

Haemon

Eurydice

Youth Chorus

A quote on Graffiti... I mean Writing...

2009-07-13T14:39:00.002-04:00

I have been browsing through some amazing texts on the rise of graffiti (referred to as writing by the authors) in major urban centers around the world in the 1970's and a particular quote stood out to me:

"The 'writers' wanted their own governing bodies, their own kingdoms. Instinctively, they yearned for an alternative to the body of brains responsible to the bloodshed in Vietnam (and of course, one must factor in the fearless spirit of youth). The writers would go on to elect their own presidents of independent nations and corporations by way of creating 'crews' (a process today some might call 'branding')... They were 'toughs' not because they were bloodthirsty; they were toughs because times were hard on the boulevard." -Sacha Jenkins

The idea represented in this quote of forming new society in direct contradiction to that which had involved them in war seemed to stand out as relevant for our production.

"The Burial at Thebes" - a text comparison

2009-07-13T14:35:00.003-04:00

While ostensibly a translation (as opposed to an adaptation) of Sophocle’s Antigone, it may be nevertheless useful to examine differences (major or minor) in Heaney’s text as compared to a more straightforward, “academic” translation. The very fact that Heaney has entitled his version something other than Antigone would suggest some introduced element of guiding focus. For the comparison text, I am using the David Grene translation (aka – that which we read in Julian’s text analysis class).

It is a testament to Heaney’s skill as a translator/adapter that very little of the content of the text is changed. The imagery and rhetorical devices have all been preserved. The reasoning for this seems to be quite simply that Sophocles got it right the first time. The calculated exchanges between Antigone and Creon, and Creon and Haemon are sublime examples of Sophocle’s rhetorical skill and the choral odes (especially later odes) remind us of the poet’s lyrical power.

In general, the tone of the dialogue in the majority of the HEANEY is more simply rendered than the GREENE.

For Example:

HEANEY:

“Ismene, quick, come here!
What’s to become of us?...

There’s nothing sister, nothing
Zeus hasn’t put us through
Just because we are who we are –
The daughters of Oedipus.”

As compared to the GREENE:

“Ismene, my dear sister,
whose father was my father, can you think of any
of all the evils that stem from Oedipus
that Zeus does not bring to pass for us.”

Again, the content is essentially the same so it is therefore HEANEY’s manipulation of rhythym and meter that stand out as his most significant modifications to the original text (and its subsequent “scholastic” translations). In the GRENE, all choral odes and the majority of the dialogue (with the exception of the guard’s speech which we will see later) are written in a rough iambic pentameter. HEANEY certainly uses this meter as well for many of Creon’s monolgues and dialogue with other characters (Antigone, Haemon), as well as several of the choral odes. There are major instances, however, when the rhythm is very different. IN HIS TRANSLATION, HEANEY UTILIZES FOUR DISTINCT RHYTHM TYPES TO VARYING EFFECTS:

1) Iambic pentameter (10 syllables per line, five “unstressed/stressed” feet per line). This meter is used mostly by Creon, in early choral odes, and dialogue between Creon and the major characters – Antigone, Haemon, Tiresias. It almost seems as this rhythm is being set apart as the official language of “the state” and its followers.

2) Iambic trimeter (6 syllables per line, creating a musical 3 beat rhythm). The example given of HEANEY’s opening dialogue between Antigone and Ismene breaks away from iambic pentameter and uses a triplet musical rhythm:

1 2 3
“Ismene, quick, come here!
1 2 3
What’s to become of us?...

This six syllable iambic trimeter is repeated in the choral odes and Antigone’s response as she is being led away to her grave (HEANEY pg. 49-53) and the choral ode beseeching the return of Dionysus (HEANEY pg. 64). Though a bit of an oversimplification, this rhythm seems to correspond to sections of the play that deal specifically with Anitgone’s plight and suffering (Yes, the ENTIRE play deals with Antigone’s plight and suffering, but I am referring to situations in which Antigone is speaking about herself or the chorus is specifically lamenting her).

3) A blank verse (no meter) style is used by the Guard in his first entrance and continues through his (or her) dialogue with Creon (pg 19-24). This is actually a device that Sophocles uses in the original. Much in the same way Shakepeare would use blank verse to distinguish a person of lower rank’s speech from that of the nobility (most often in iambic pentameter), Sophocles is setting the guard up as a bit of a buffoon with a lack of rhythm and somewhat antiquated phrasing.

4) A split-line meter borrowed from Old English. Used primarily in the first choral ode: (pg. 13)

Glory be to brightness,----------- to the gleaming sun,
Shining guardian ----------------- of our seven gates.
Burn away the darkness, ---------dawn on Thebes…

I’ve added the space in between each section of the line in order to emphasize the split rhythm. While still in a rough iambic pentameter, this style comes from Old English epic poetry (Beowulf was originally written in this kind of rhythm). Heaney, with an extensive knowledge of many forms of Anglo-Saxon/English/Irish-Celtic verse, seems to have harkened back to one of our most ancient forms for the opening choral ode.

Certainly there are exceptions to each of the conclusions here listed her, but it is seems clear that Heaney’s use of various poetic meters is deliberate.

One final note about form. In the GRENE, there are no line breaks within monologues or choral odes. The text in these extended passages continue in one long continuous form until someone else speaking breaks it. However, in the HEANEY, very specific line break are incorporated into the text. These line breaks seem be suggestive of acting beats. For example: (from pg. 43)

Haemon (speaking of Antigone)

A punishment like this? As far as they’re concerned,
She should be honored – a woman who rebelled.
Rebelled when her brother’s corpse was fed like meat
To the carrion crows. She was heroic!
That’s what’s being said behind closed doors.

Believe me, father, nothing means more to me
Than you and your good name. What else could?
Father/son, son/father – that regard
Is natural and mutual.

For your own sake, then,
I ask you: reconsider. Nobody,
Nobody can be sure they are always right…

While this would be one long section in the GRENE, Heaney has broken up the text in order to more clearly identify each of the movements with Haemon’s rhetorical strategy. First, he makes himself appear to be passively relating the opinion of the masses, and then slips into a necessary amount of flattery, before humbly presenting his request.

AND WHAT DOES ALL THIS HAVE TO DO WITH DIRECTORS, DESIGNERS, ACTORS, ETC…? Well, though this text is clearly more of a translation than an adaptation, it is also clear that Heaney has applied his own artistic vision in rendering the text. Therefore, the FORM in which this text is rendered should remain supremely important to those now occupied with rendering that text onto the stage. The subtle shifts in rhythm and form nuance the moments in this play in a way that can fuel our creative processes and outshine many straightforward, “scholastic” translations and The content is not changed significantly, but Heaney is, nevertheless, working to shape our perception of it, and it is to that shape it might behoove us to pay mind.

I will be soon following up this examination of the rhythm and form of the Heaney text with an examination of the few areas that the CONTENT of B@T and the original text differ. Stay tuned.

Light, Concrete, and Corrugated Steel

2009-07-12T07:18:00.005-04:00

Remember how I met with our scenic designer the other day on Skype... Well, he mentioned that he wanted to use corrugated steel for the walls surrounding the playing space and pillars of cement that have fallen after the war. So, while I was down in NY this weekend I decided to snap some shots of things like that, that stuck out to me...Here's the best of what I've got...Hey Dennis, do any of these resonate with you?

Corrugated steel and caged light bulb...

Caged light bulbs on a wall of corrugated steel...

Corrugated steel and a concrete post...

Corrugated steel and a concrete post...

Corrugated steel wall tagged...

Lighting Design in 3D

2009-07-11T14:23:00.003-04:00

I am trying to create a 3D digital rendering of lighting cues to represent how the set will change throughout the course of the play. Here is the beginning of my work :)

Collaboration through Modern Technology

2009-07-11T07:04:00.001-04:00

Sophocles' Antigone by Seamus Heaney entitled Burial At Thebes is a fantastic adaptation with only a few minor quibbles (a few words out of place compared to the rest of the text like "boss" or "shit"). I have perused the text a couple of times, once for enjoyment and the other for questions and concerns. The reading produced a wonderful interaction between the director and myself, and one, I hope, that will continue throughout the rest of the process. I can't emphasize how important it is for me to have a strong interactive experience with my fellow artists. It really must be a collaborative design for me to enjoy the process.

Yesterday, I met on Skype with our scenic designer. We used a program called Innerpass, where I was able to see his screen from my computer. Perfect for what we are doing since it gave me the opportunity to see his renderings of what he hopes the set will look like. We tried to save an image file of it on my computer but failed; otherwise, I would show you a shot of his work. I am really excited about the use of corrugated steal for creating a texture on the walls and a concrete treatment for the beams. He had an idea to purchase some kind of gravel, stone, or rubble for our stage floor, rather than using a paint treatment. I think it is a wonderful idea that will make the scenic elements more visceral and tangible. Finally, he showed me an aspect of our risers, which allows me to light between the levels and possibly produce some mist, haze, or steam coming out of them. I can't wait to put this thing together...

Here are some images of the research I have been doing for the production in terms of lighting design...

Energy bank...

Illuminate...

Fantastic structures lurk behind our walls...

Construction/Industrial lighting design...

Simple yet beautiful...

Urban Exploration

2009-07-06T10:04:00.006-04:00

Since the Department of Theater at the University of Massachusetts, Amherst is having its plumbing and ceilings re-done, I decided I would take the advice of Penny Remsen, our department chair, and do a little exploration of the work. Turns out it was some good advice. Below are a small sample of the images I was able to capture during my voyage. I particularly like the images of the caged light bulbs, fluorescent strips, and the current state of our Curtain Theater. Many more images not shown here capture a kind of narrative story through the history of the building. A story of urban exploration that could only be captured through images of the journey...

Caged light bulb...

Caged light bulb amongst the skeleton...

Fluorescent strip...

Fluorescent strip on side of wall...

Fluorescent strip on floor...

The power source...

The next four images are of the Curtain Theater as it exists today. This is the space we will be performing our production in. It is nearly a hollow skeleton strewn with construction mess...

From the catwalks...

Lumber pile...

Tarped off for protection...

Empty, dirty, and skeletal...lit with a flashlight...

This last image shows an interesting texture. I wonder how this would read as texture on the set?

Water created these stains on the walls...

Urban Cities in Ruins

2009-06-30T10:20:00.007-04:00

I have been doing some research on urban cities in ruins to help drive my inspiration in a specific and communal direction as our team begins to focus on a specific environment to stage our production of Burial at Thebes. Here is a question I am curious about: Where do I...you...we begin to develop a relationship with a text as a community of artists?

The story of Antigone is clearly the result of a battle between brothers who both kill each other...
It is a story that begins while the dust is still clearing from the horrific atrocities of war...
A story, for us, just beyond now that takes place shortly after a civil war...

I can't help, but think of bombs when I think of war...

Here is an image of the Atomic Dome in Hiroshima. I found this after our scenic designer, Dennis Berfield, mentioned his interest in it as part of his inspiration for the production. A direct result of war and bombs and more...

Atomic Dome

I then hopped onto Google and began searching images of "urban cities in ruins" (another catch phrase provided by our scenic designer). I found this image below, and couldn't help but be drawn to it as an image that might represent what has happened above ground in our production's world. The image became even more relevant and profound as I began to think about the heroine of our production, and her journey toward's Hades. We haven't decided how this will be staged, yet I can't help but be drawn to the idea of Antigone being buried alive above ground or sent to wander eternity in a wasteland or worse...

"Want to survive FALLOUT?"

My next thought is...what does the "interior" of our world look like...what does our fallout shelter look like? Now, I don't see a fall-out shelter when I look at the image below, but I do see an interior that appears to have the roof caved into it, and I wonder what that might say about the current structure of our world with all of its multi-level societies/communities/industries...caving in on themselves after a "glorious" end to a century...

How secure would a fallout shelter really be today?

What would a modern fallout shelter be without an elevator...? Now, this image isn't an image of an elevator and perhaps we can't have that in our set, but what if some part of the set were recessed from the rest of the set... Or perhaps a part of the set that was under a platform or ceiling... I think we could use this to great effect for an inner chamber...perhaps an entrance that offers some kind of intrigue about where these characters are coming from. Something for the audience to wonder about in regards to these characters lives beyond what can be seen on stage. As a professor of mine once asked...What is the off-stage world of the play?

Another big question I have to answer regarding this image is...can I make this happen given our budget and materials/equipment in stock?

Finally, the image below reminds me of one of our catch phrases for this production: "deconstructed now". This installation among others offers profound commentary on our world today, and I am thankful for artists like these that can take our unwanted trash and create something that can speak once again!

by Rob Pettit

Chugin Along...

2009-06-20T22:26:00.008-04:00

It certainly feels like we have lift off this week. Jonathan sent out some great video/image research and initiated a conversation surrounding my buzz phrases "urban exploration" and "deconstructed now." Just looking at some of the videos and images was incredibly inspiring. I was particularly taken in by the illumination in several of the images.

Followed by Jonathan's research was Esther's which was equally inspiring. She sent me some seed images that are helping her develop her costume ideas and honestly I was blown away. I can't wait to see some renderings of what she has up her sleeve.

Jason and I have of course been in almost constant contact regarding research and the like for the show. We came up with a dramaturgy work list that excites me and I hope does not overwhelm him. He has already sent out material on skate culture, which is one of the things I was interested in.

We also got the performance dates and brochure copy to look over this week, a sure sign that this train ain't stoppin. Audition info is also posted to the Theater Dept webpage.

I also encountered a coupla quotes this week that have given me room for pause and thought, here is one:

In discussing her new 9 part play, Suzan-Lori Parks said, "It's a reflection on the endless homecomings from war. And also my love of Greek tragedy, which are the stories of people who come home from wars, and have to deal their own personalities as well as the different circumstances they meet when they come home." While Antigone and Creon don't literally "come home" from war, they are faced with the outcome of war and what it means when soldiers on both sides don't come home.

Here are the images Esther sent me, forgive me I don't remember the designers' names

.

Urban Exploration/Deconstructed Now

2009-06-16T17:04:00.011-04:00

I met with Dawn a few weeks ago to talk about Antigone. It was a fantastic conversation, and a great opportunity to get to know our director. If you haven't already, you should take some time to have a little one-on-one with her. In fact, I think it would be to all our benefit if we had a little one-on-one time with each of the team members. (Great idea in theory, but as our schedules rarely permit...it may not happen...nonetheless, I stand by my suggestion).

At any rate, I digress. ... I have spent a little time researching the phrases "Urban Exploration" and "Deconstructed Now", and I have come up with a variety of intriguing images that relate to these phrases...

"Urban Exploration"

Gorgeous site...full of images from today's Urban Explorers...

Here are some other images...click on them to view the site they are related to...

"Deconstructed Now"

"Underground City"

Curtain Speeches

2009-06-09T00:40:00.006-04:00

So as I was laying in bed, trying to force myself to sleep, my mind of course wandered to The Burial at Thebes. I keep having visions of pre-show and opening moments and as these moments are really taking strong shape in my mind I came crashing down and thought "oh shit, that won't work because of the curtain speech."

So now I'll never get to sleep. At UMass we have a pretty structured curtain speech in which we solicit donations for our Rand (larger) Theatre renovation. We talk the audience through not only silencing noise making gadgets, but the various ways they can make a cash contribution including using the envelope inserted in their programs and via our department web page. Now while I wish I could make the executive decision to eliminate said speech, I am fairly certain that just ain't gonna happen. So..........

I have come up with a brilliant plan to work around this curtain speech. My new idea includes a pre-recorded curtain speech and a few cool sound and lighting effects. If you have followed my work you know I love to to open the house with actors already onstage, and I was hoping to continue this trend with Thebes. I wanted to have this bleed right into the top of show when Antigone discovers Ismene, and I think I have solved this while also making room for the pat curtain speech.

I see a dance battle, cut short by sirens, flashing light, attack, black out, announcement (curtain speech), indication of time passed (whatever that means ????), Ismene discovered on stage, enter Antigone. Brilliant? Yes, I think so!

I have also unearthed some music that I am interested is using for pre-show. I've been out of touch with the sound designer because he is working at Utah Shakes this summer as their ME. It may be bad form to share my musings here without consulting him first but what the hey. I feel very strongly about using Black Eyed Peas "Boom Boom Pow" as one of the pre-show tracks. I wonder if we can find other tracks that have the electronic-progressive-808-hip hop feel without vocals?

Well that is all I have for tonight kids.

PS While I was waiting for this video to upload, my dear friend Courtney and I were discussing Thebes via IM. Courtney is a costume designer with whom I have collaborated many many times and hope to collaborate with many more times. She is a grad student in Costume design at San Francisco State University.

DISCLAIMER: Since this is to be considered a journal of sorts, I hope everyone thinks of these postings as ideas coming from where I am at in my process TODAY. Here is a copy of our convo

Dawn (1:20 AM): I posted to your blog

Courtney Flores (1:20 AM): haha ok

Courtney Flores (1:21 AM): did you see my comments on yours?

Dawn (1:21 AM): yes

Dawn (1:21 AM): they were quite insightful

Dawn (1:21 AM): it is funny

Dawn (1:21 AM): because the scenic designer and I had talked about the underground place being maybe the subway or something

Dawn (1:22 AM): but we moved away from that because it didn't leave room for the Royal family to be "clean"

Courtney Flores (1:22 AM): i thought about it standing there at the bart station

Dawn (1:22 AM): it was one of our very early conversations

Courtney Flores (1:22 AM): interesting

Dawn (1:23 AM): well his very first idea was medieval japan

Dawn (1:23 AM): i wasn't feelin that at all

Courtney Flores (1:24 AM): medieval japan....

Courtney Flores (1:24 AM): someone likes there samurais

Dawn (1:24 AM): I don't even know where he found that idea

Dawn (1:24 AM): then we joke about found objects and a junk yard

Dawn (1:25 AM): which lead to mad max beyond the thunderdome

Courtney Flores (1:25 AM): haha

Dawn (1:25 AM): which actually struck a chord with me

Dawn (1:25 AM): and wanting to do it futuristic

Dawn (1:25 AM): then we talked about post-apocaliptic

Dawn (1:26 AM): then we turned it back down, because it isn't the end of the world, just the end of a war

Dawn (1:26 AM): so we started finding the intersections and he talked about something underground and then he came up with bomb shelter, and I loved it

Dawn (1:27 AM): in part there is something "timeless" about a bomb shelter

Dawn (1:27 AM): and he was pressed for time

Dawn (1:27 AM): we had only like 2 weeks to come up with the set design so I was and am still working on my "concept"

Courtney Flores (1:27 AM): are they new bomb shelters or the kind of the 50's?

Dawn (1:28 AM): well that is still to be decided, probably a mix

Dawn (1:28 AM): something new that is clearly indicative of BOMB SHELTER

Dawn (1:28 AM): like he showed me pictures of this government hideouts that are pretty advanced

Dawn (1:28 AM): they have entire underground infrastructures and everything

Courtney Flores (1:29 AM): wow

Dawn (1:29 AM): so the texture and paint is what is what gives it its time and we won't decide those things until fall

Dawn (1:30 AM): and light plays a huge roll in the audience's perception of time and place

Dawn (1:30 AM): we plan to use a lot of practicals

Dawn (1:30 AM): and then you know the costumes will be decnstructed

Courtney Flores (1:30 AM): sounds industrial

Dawn (1:30 AM): yeah - I think it will have that feeling

Dawn (1:31 AM): I think that is the right move for trying to give it a futuristic feel

Courtney Flores (1:31 AM): industrial

Dawn (1:31 AM): yes

Dawn (1:32 AM): i don't want it to look like Roman catacombs or caves

Courtney Flores (1:32 AM): haha

Dawn (1:32 AM): I want it to feel very man made

Dawn (1:33 AM): with fluorescent overhead lighting and concrete

Courtney Flores (1:33 AM): ahhh

Obama Nation

2009-06-06T20:35:00.002-04:00

So in an address in Cairo a few days ago, our President Barack Obama had much to say about progress, mending relations, and forging ahead. His statements below really hit a cord as I move forward in my work on The Burial at Thebes. What I have printed below is why the story of Antigone resonates so strongly with me. I see her as a character so determined to fulfill what she sees as a duty but also understands as a human right. What do I honor, believe, or value so firmly that I would fight for it to the death?

"But I do have an unyielding belief that all people yearn for certain things: the ability to speak your mind and have a say in how you are governed, confidence in the rule of law and the equal administration of justice, government that is transparent and doesn't steal from the people, the freedom to live as you choose. These are not just American ideas. They are human rights. And that is why we will support them everywhere."

The Burial at Thebes

2009-06-06T19:58:00.013-04:00

So let's begin.

I will be directing The Burial at Thebes, a translation/adaptation of Sophocles' Antigone by Seamus Heaney, in the fall as part of the 09/10 Season for the Theatre Department at UMass.

Here is the A Team (as it exists today)
director - well that is me
scenic - Dennis Berfield
costumes - Esther Hammond
lights - Jonathan Hicks
sound - Thad Kramer
dramaturgy - Jason Lites

So over the course of the last 2 months, Jason and I combed through several translations and adaptations of Antigone to find one that we both liked. My primary interest was in finding a translation that maintained the poetic diction but was also accessible for the UMass audience which is made up of at least 1/3 18 year old first year non-theatre majors. With the help of Jason's advisor, Priscilla Page, we agreed on Seamus Heaney's The Burial at Thebes.

Dennis (the scenic designer you'll remember) had to have his design ready before going of to work in New Jersey this summer. So I was under the gun to come up with a "concept." Not that anything is fully fleshed out in my brain, but several conversations in, Dennis and I came up a rough design that I am certainly excited about.

The PR deadline just recently passed. In prepping his materials for Anna Maria, the department's public relations guru, Jason asked me for a list of nouns, adjectives, or verbs that come to mind when I think of Antigone and how I would like an audience to feel about their experience, I shared this with all

> oppressive virtue
> depraved politics
> pride/ambition
> death/destruction
> darkness
> honor/shame
> fear /defiance
> youth vs old age
> judgment/justice
> innocence/guilt
> law/lawlessness

I also did a few fickr image searches here is one I loved

Then I wrote:

This production of The Burial at Thebes will be an “urban exploration” of what these themes mean to the “Me generation.”

How is Antigone like my peers and I. How in the face of war, regime change, civil restrictions, can we maintain our personal values, belief systems, code of ethics, morals, and sense of right especially when it is at odds with the state.

The production will have the feeling of a deconstructed now, set in a time just past the present in an underground fallout shelter.

Based on this and our conversations, Jason found some other great images online. These are a few of my favorites from the 50 some images he put together

Now onto more research and reading.