Medieval Dramaturgy Post #9.

Below you will find a video link that will take you to a video which I feel is the way in which most people are told about Noah's Ark. Where Noah and his family built a boat and took two animals of every kind aboard the boat and then it rained for forty days and forty nights and flooded the land for one hundred and fifty days. Then all evil people were gone and Noah and his family helped to rebuild and populate the land.

Although I agree with the facts behind the story, such an Ark was built, it flooded and Noah's family and animals were saved. I also feel that it had to have been a stressful ordeal and a horrific time with lots of time  to worry and second guess their decision during the entire process. 

With this production I don't want to have that Sunday school feel I want to portray real human emotion. Second guessing, desperation and the fact that they should be unsure about what they are doing.

Video:

http://www.youtube.com/watch?v=kq3JyAg7ZjM

Medieval Dramaturgy Post #8.

I found an interesting article recently put out by CNN, it describes how a religious attraction group is planning on building an exact wooden replica of Noah's ark as described in the Bible. The project is estimated to cost 24.5 million dollars and is planning on drawing in 1.6 million visitors per year. Although this project is a bit over kill in my opinion, especially in this economy why aren't they giving that 24.5 million to the national debt of helping good people who have lost their homes in what is said to be the richest country in the world. Waste in my opinion!!

Although I don't agree with Answers in Genesis, the company behind the project, it does prove that these stories are deeply embedded in our culture and that our show and the whole cycle are likely to be well received.  Also this article may expose new people to the story of Noah who may have never heard it before.

If you would like to read it the full article is available at:  http://religion.blogs.cnn.com/2010/12/01/full-scale-replica-of-noahs-ark-planned-for-outside-cincinnati/

Posted:
Dec. 1, 2010 at 11:35 a.m. ET.

Medieval Dramaturgy Post #7.

Pageant Wagons:
 According to Encyclopedia Britannica:

" [a] wheeled vehicle used in the processional staging of medieval vernacular cycle plays. ...associated with the English cycle plays performed from about 1375 until the mid-16th century in such cities as York and Chester as part of the Corpus Christi festival, but it was also common in Spain, Belgium, and the Netherlands. Each play in the cycle may have been mounted on an individual pageant wagon and performed at different locations throughout the vicinity. The pageant wagon may also have been drawn alongside a scaffold wagon, using the scaffold as a temporary stage, or been pulled up to a fixed platform stage for the duration of the play.

The pageant wagons, or large carts, each containing from one to three mansions, or scenic locales, were constructed by the trade guilds and were dismantled at the close of the season each year and stored. As no detailed description of English pageant wagons or the particulars of staging plays on the wagons had survived, there is considerable scholarly controversy both as to the actual appearance of the wagons and as to the method used for staging the plays."

I am looking to build a simple replica pageant wagon, we have come to a final decision as a production team that we do not want to spend to much time or energy on building an elaborate wagon we would rather spend more time and resources on the set, set dressings and costume aspects of the short play. I have ordered plans for a simple wagon design similar to the one pictured below.

Picture: Google images, pageant wagon newport. First picture.

Medieval Dramaturgy Post #6.

I noticed some discrepancies between the "Shipwrights Play: The Building of the Ark" and the Bible concerning the measurements of the Ark. In the play God says, "Five hundred feet it shall be long, and eighty wide, all for your bliss. The height, of fifty feet along. Be careful to remember this." However in the Bible it states that god said, "This is how you are to build it: The ark is to be 450 feet long, 75 feet wide and 45 feet high."

I think the reason that the dimensions were changed from the Bible for the play was to keep with the Iambic octameter. For if the dimensions were to be taken from the Bible as written it would have ruined the rhythm in which the lines were written. Honestly they were not changed enough to probably really draw any attention from the audience, it is only noticeable when analyzing the two side by side.

Medieval Dramaturgy Post #5.

These two photos show Noah and his three sons working on the Ark. I chose to include these photos because they are the type of costumes I was looking for for Noah and his sons.

Picture 1 from: http://etc.usf.edu/clipart/65600/65695/65695_noah_ark_lg.gif
Picture 2 from:http://1.bp.blogspot.com/_R4bDDgSUj2g/SIVBmL1NU_I/AAAAAAAAGaE/lBXClwz2sNk/s400/NoahBuildsArk2.jpg

Medieval Dramaturgy Post #4.

 I chose this picture for a couple of reason, first off, when I originally read the script I was thinking of how to stage the events displayed in the play. I was thinking of a semi completed Ark similar in style to the one pictured above, sort of forced perspective style and two dimensional. With an above built in just above the top of the top of the ark. I like this style cause it would set the period in which these plays were first preformed. Also I chose this picture because I like the idea of having a large pile of wood at the beginning that slowly goes away as more of the ark is revealed as being constructed.

Picture from: http://www.maritimequest.com/misc_ships/noahs_ark_3000bc/noahs_ark_2.jpg

Medieval Dramaturgy Post #3.

I decided to look into the events prior to the Flood from the primary source. Although I know that these mystery/morality plays stem directly from the Bible and stick very close to the story told there, minus a few liberties taken as regards to language and rhythm to help move the play on and allow for an easier understanding of the events in general.

The primary source I am talking about is the Bible, more specifically Genesis Chapter 6 and 7. These two chapters are about God telling Noah how and why to build the Ark, which is exactly what the Shipwrights Play: The Building of the Ark shows. I was excited to find a few more exact details that the playwright may have skipped over. Some details which may help us to better represent the message to the audience.  Examples might include the fact that Noah is said to have been six hundred years old at the beginning of the building of the Ark and the exact overall dimensions of the Ark. Just facts that helps our production team understand every aspect of the show so that we can decide on the best way to represent the ideas to our audience.

Cited
The Holy Bible, Genesis Chapter 6 and 7, NIV Translation.

Medieval Dramaturgy Post #2.

In my research for various types of topical information to help further my understanding of the events surrounding the flood of biblical times; I just happened to find a peer reviewed scholarly article titled, "Noah and Disaster Planning: The Cultural Significance of the Flood Story" by Russell R. Dynes.

This article discusses the various types of natural disasters that are told about in the Bible and the preparedness or lack there of, of the people involved. It focuses in on the Flood or Deluge and the differentiations between the Christian and Jewish interpretations of the event. It also offers more varying veiw points on why the Flood was actually took place back then.

The article serves as a source of information to help guide our thoughts on how and why to get this message across to the audience, through our production. A great source of useful information showing the cultural significance behind the pre-Flood events and Flood events.

Cited:

Dynes, Russell R. "Noah and Disaster Planning: The Cultural Significance of the Flood Story." Journal of Contingencies & Crisis Management 11.4 (2003): 170-177. Academic Search Complete. EBSCO. Web. 5 Dec. 2010.

Link:http://web.ebscohost.com.ezp.lib.cwu.edu/ehost/detail?vid=4&hid=108&sid=5b62ff6b-b311-4dbe-93ce-46c6789b32d5%40sessionmgr104&bdata=JnNpdGU9ZWhvc3QtbGl2ZQ%3d%3d#db=a9h&AN=11680111

Medieval Dramaturgy Post #1.

My theatre company has decided to add on of the plays from The York Cycle, titled The Shipwright's Play: The Building of the Ark. We are combining our talents with other local theatre companies in the area to put on a few of the plays from The York Cycle in as close to the traditional production techniques that were used during the time. 

Just to give you a bit more information about cycle plays, in general.  According to ORO, cycle plays are, “a group of works, usually narrative poems, that either share a common theme or subject (e.g. the Trojan war, Charlemagne, the Knights of the Round Table), or are linked together as a sequence. In addition to epics, sagas, romances and chansons de geste , which scholars have categorized into different cycles, the mystery plays of the Middle Ages that were performed as a sequence during the same festival at a particular place are referred to as the York Cycle, the Chester Cycle, etc. The term is also applied to sequences of sonnets by the same author, and sometimes to sequences of novels or stories.” (ORO, cycle plays 1^st definition)


Here is a link to a digital copy of the script we will be using. https://courses.cwu.edu/webapps/portal/frameset.jsp?tab_tab_group_id=_4_1&url=%2Fwebapps%2Fblackboard%2Fexecute%2Flauncher%3Ftype%3DCourse%26id%3D_56297_1%26url%3D

Dramaturgy Entry #10

The story of Antigone continues to be preformed in many different ways. On ORO I discovered that the basic story line of Antigone has been the direct source of influence for many ballets and operas. I think this is so because the emotions that are portrayed in the straight play could easily be represented through movement.

From O.R.O
Ballet in one act with choreography by Cranko, music by Theodorakis, and design by Rufino Tamayo. Premiered 19 Oct. 1959 by the Royal Ballet at Covent Garden, London, with Beriosova, Burne, and MacLeary. This adaptation of Sophocles' tragedy was revived for Stuttgart Ballet in 1961. Other Antigone ballets include those by Gioia (Venice, 1790), G. Galzerani (Milan, 1825), and Sokolow (mus. Chávez, c.1940).


Citation:
"Antigone" The Oxford Dictionary of Dance. by Debra Craine and Judith Mackrell. Oxford University Press Inc. Oxford Reference Online. Oxford University Press. Central Washington University. 29 October 2010 <http://www.oxfordreference.com/views/ENTRY.html?subview=Main&entry=t74.e118>

Visual Art to Help Portray the Desperation of Antigone

I thought that these two pieces of art clearly depict the desperation of Antigone as the play reaches the point of realization where she knows that she must bury her brother in a respectful way, but knows that by doing so she is pretty much sealing her fate. This point in the play should be a focus point for us to clearly portray her disparity to the audience during this scene in the play. Also to depict her disparity and how it continues to grow.

More Picture Research

I like the idea of including levels into the set design. To me this demonstrates how Antigone has to go out of her class rankings to confront Creon on the subject of her brother not receiving proper burial.

Citation:
 bw.edu

Background On R.C. Jebb Our Translator

For our production we are using the R.C. Jebb translation because it is said to be the most complete translation of Sophocles words.

Sir Richard Claverhouse Jebb, (1841-1905) was a British classical scholar and politician.

He was educated at Charterhouse School and at Trinity College, Cambridge. Later in 1891 he was elected Member of Parliament for Cambridge University; he was knighted in 1900. Jebb was acknowledged to be one of the most brilliant classical scholars of his time, a humanist and an unsurpassed translator from and into the classical languages.

Jebb is most noted for his translations of:

Sophocles (3rd ed., 1893) the seven plays, text, English translation and notes, the promised edition of the fragments being prevented by his death

Homer (3rd ed., 1888), an introduction to the Iliad and Odyssey

Modern Greece (1901)

The Growth and Influence of Classical Greek Poetry (1893)


Citation:

Jeb, Richard Claverhouse in Venn, J. & J. A., Alumni Cantabrigienses, Cambridge University Press, 10 vols, 1922–1958.

Video Post

The link below show a short video clip of Jody Williams, one of only seven women to be given the Nobel Peace Prize for her work as an active women's and human rights activist. She basically discusses the fact that it is important to stand up for change in the event you see things going on contrary to your beliefs or values. Sort of a call to action for people in our generation.

The content of "Antigone" portrays this belief too, but Antigone is the only one strong enough to stand up and be willing to be shot down, but still continue on in righting the wrong she sees in her world. Just more background to continue to widen our views for the play and the message we want to portray.

Link:
http://www.youtube.com/watch?v=dIhfBqwcaxs

Picture Research

Top: I included this picture for the casting option of having a very tall Creon and a small Antigone, this contrast in body types again sets up that display of overbearing power and young girls struggle to fight for what she knows is right.

Bottom: This picture again sets up that power feel with the use of different body types. I have usually seen Creon played by an older man, but I like the height contrast better than the age contrast. Also the lighting is somewhat I would imagine it to look like with Antigone in bright light and Creon in dark shadowy clothes to break up the scenes where it is just him and her.

Credit:      Top: West Sound Academy Production Nov. 2004     Bottom: Google Images no further information.

Brief Synopsis

Brief bit about the show:


From Oxford Reference Online.


Antigone was the daughter of King Oedipus of Thebes and his mother-wife Jocaste. When her father had blinded himself and been exiled from Thebes after being revealed as the husband of his mother, the killer of his father, and the half brother of his children, Antigone accompanied her unfortunate father to Colonus, where he died. Sophoclestells of these events in his plays Oedipus the King and Oedipus at Colonus. Antigone is best known, however, for her deeds described in Sophocles's play Antigone.

After her father's death, Antigone returned to Thebes to find her two brothers Eteocles and Polynices fighting over the throne. When the brothers had succeeded in killing each other,Creon, who had taken over the crown and had supported Eteocles, refused to allow Polynices a proper burial. For Antigone this was sacrilege, and unaided by her much more passive sister Ismene, she defied the king and buried her brother. In the interest of public order, Creon felt obligated to punish his unrepentant niece and ordered her confined to a subterranean place, where she committed suicide. What Creon did not realize was that his son Haemon loved Antigone sufficiently to go to his own death at her side. (ORO, 5th)

Third Dramaturgy Entry

   With the article “Another Antigone”, we are introduced to a new form of the character Antigone. The author Saxonhouse looks at Euripides  character Antigone in a way we are not used to viewing her. Euripides' alternative to the familiar Sophocles' Antigone, forces us to view her in an unsettling light.  In “Phoenician Women”, Antigone is forced into, “…troubling epistemological disruptions that allow Antigone to become a political actor…” (Saxonhouse, 475). Which is were we see her start off in Sophocles' "Antigone".  Euripides does also give us some insight into the political state of Thebes after Oedipus’ discovers his incestual relationship with his mom.

   This fresh and somewhat unsettling view of Antigone will allow the production team to approach the show with a better understanding of where she is coming from, which might allow us to portray new twist on the ancient play. 

Citation:

Saxonhouse, Arlene W. "Another Antigone: The Emergence of the Female Political Actor in Euripides' "Phoenician Women"" JSTOR: Political Theory 33.4 (2005): 472-94. Print.

Everyday Life of Ancient Greece by C.E. Robinson

According to the Chapter in Presnell that discusses monographs, it states that a monograph is a book on a specific subject or that discusses a specific date in time.  I found a book, Everyday Life in Ancient Greece, by C.E. Robinson a professor at Winchester College. It was first published in 1933 and so I was a bit apprehensive to use it as a major reference but I am really only using it for the dates which it has in it and I was able to double check the dates with other sources and found the to be factual. 
Link to online site where you can skim through the fulltext version of the book, http://www.questia.com/read/59501764?title=Everyday%20Life%20in%20Ancient%20Greece%20(1933)


I am including this monograph because the events and dates represented within it helped the production team to develop some background on what was happening in ancient Greece while Sophocles was writing "Antigone." It turns out that just twelve years prior to Sophocles writing "Antigone" Greece had gone through a major shift in government styles from their Delian Confederacy into the Athenian Empire. These types of changes in politics undoubtedly influenced the culture of ancient Greece and the way many of them viewed power and government as a whole. It will help us to develop a complete analysis of why things are being portrayed in the play and how to shape the theme of the show to get that point across to our audience or at least guide them in beginning to think about such matters.


Citation:
Robinson, C. E. Everyday Life in Ancient Greece. London: Oxford UP, 1933. Print.

"Antigone" by Sophocles translated by R.C. Jebb.

My theatre company has decided to do a production of Antigone by Sophocles translated by R.C. Jebb in 1893. Link to the online play can be found here, http://classics.mit.edu/Sophocles/antigone.html.
 There are other translations of the play, but R.C. Jebb's version seems to have kept with the more original way in which Antigone was presented back around 442 B.C.E. The struggles and complications that Antigone must endure throughout the play continue to represent many of the struggles other women have had to go through such as with women suffrage. In a more general sense "Antigone," shows how power can be very corrupt and at many times difficult to stand up to and over through. According to Oxford Reference   Online the name Antigone from origin means born against or in a way contrary to.


Citation:
(ORO, names and places Antigone)

test post to make sure my blog is up and going.