hol volt, hol nem volt.....

miota is nem jelentkeztem ertelmes post-tal? ki tudja??!!

mivel is kezdjem, mivel is kezdjem.... legyen a suli.

szoval, vege. vagyis igazabol mar majus harmadikaval vege volt a szorgalmi idoszaknak. aztan jott egy negy napos+a hetvege olvasasi het, es aztan a vizsga het. de persze, az igazi kihivas nem itt kezdodott.

Narrative and Performance:
az ora tk. a Medea tortenettel foglalkozott. ilettve a darabbal, es a nnak kulonbozo keppen bemutatott formaival. megneztunk videon tancos es szoveges feldolgozasokat. aztan olvastunk a szolo eloadokrol (vagy magyarul hogy mondjuk??!!)pl. olvastunk egy ffirol/norol, aki Tim Milerhez hasonloan a szemelyeset tarja a koz ele. nagyon erdekes volt a monologja. Nefretit jelenitette meg a szinpadon is. egyiptomi kosztum, es feloldalas eloadas.
aztan olvastunk egy contemporary (50-60as evekhez kepst) Medea/Golden Fleece feldolgozast. beat. beat. beat. beat. beat. jesszusom. ha igy dolgoznank??!!! sose lenne darab.
az ora feladatai koze tartozott, h eloszor is irjunk monologot egy olyan szereplo nevebn, aki nem szolal meg a darabban, vagy epp abban a bizonyos jelenetben nincs jelenete. en a hercegno/a csabito(?, mert ez azert nem biztos!) halal elotti monologjat irtam meg. es szivesen be is illesztenem, de most nem talalom. :(
szoval, a kovetekezo feladat: adva vagyon minden penz es minden ugy all a rendelkezesunkre, ahogy kivanjuk,rendezzunk meg egy jelenetet az Euripidesz fele Medeabol. ime az en rendezi=oi otleteim egy jelenetre: ha zavaros, ask!)

"Directing Ideas for the Second Episode of Euripides’s Medea


The Stage and the Set

The scene (the play) takes place in a studio room or a bigger space (like a hangar).
One wall of the studio and two sets of chairs make up a triangular shape of strangulated acting space. The chairs are set up standing next to each other, so as to almost interlock at the end, but there is a passage left. This is just as wide as to allow one person’s walk through there. There may be more sets of chairs behind the two rows, all going up until the leeway, apparently thus forming a tunnel. These are the seats for the audience and the chorus. The members of the chorus sit down in a random order but in a symmetrical pattern on the two sides, mingling with the audience members. The number of the members depends on the acting space.
There are four chairs in the back against the wall; the two side-ones are close to the rows of chairs meeting the wall. The two center ones are put next to each other, a bit distanced form the side ones. There are three chairs coming from the direction of the wall towards the “tunnel.” They are set in the middle of the space, but they do not make a perfect line, rather they are a bit diagonal (the back one being a bit more stage left). The first and the last chairs are relatively equal distance to the wall and the tunnel, while the center chair is of approximately two feet away from the other two.
There are children’s toys around the chair back left. And there on the wall, above the chairs, there is a panel of mirror – at eyesight of an average person. Other then these, the stage is bare.

The lights

There are white stage lights lighting the whole area, even the audience in the beginning of the scene. Before Medea would start the scene (with the walk, as described below), spotlights come on the four chairs in the back. There are four people sitting on the back chairs: Kreon on the left, Medea, and the Nurse on the right. Their faces are indifferent. As Medea stands up and starts her walk, the spots disappear and a general wash comes on the triangular space within. As Medea sits on the center chair, a spot comes on her, and so does on Jason.
Later, as Jason occupies his chair in the front a light from the back and the front (meaning from the direction of and to the direction of the “tunnel”) down goes upon them. Once both of them are in the center, there are also a dim spot light on Kreon and the Nurse.
During their fast squabble, there are different colors alternating.
The end of the scene, when Jason walks back to his chair, he has a spot on him as he sits down and takes back his beginning position. As Medea gets close to the mouth of the tunnel (where the two rows almost interlock); the spot lighting the tunnel comes up on her for her last lines. And then the general wash comes on – sort of as a signal for Medea to start the “M walk” again. She repeats it three times and for the last time she walk back to her chair next to Jason. The spot lights come up, and then blackout.

The characters and the scene:

Medea – She is wearing a black, knee length skirt and a black upper-shirt. She also has a white scarf on around her neck. She is older than Jason, in person, presumably, or in her appearance at least. After the light change, she stand up from her chair and starts walking from the back stage right chair towards the right row of chairs in a slow and angular fashion. Then she walks back towards the center back chair. After she reached it, she turns and walks up to the stage left row of chairs in a similar fashion. From here she walks up towards the wall. She repeats these same walks and turns backwards (from stage back left to the front right than to center and then to stage front right, and then back) three times. A full circle is done when she gets back to stage back right. At her fourth walk, she stops at the center chair and sits down. This way, she forms an “M” with her walk. Medea’s face is not heavily painted, but her eyes are highlighted, and her hair is not in her face. Her expression is indifferent and distant. There is almost no sign of emotion on it. We may even have a feeling of boredom or the emptiness of waiting for something. She alternates her crossed legs. This takes up again a couple of moments.

Jason – He is young, and wearing a suit. During Medea’s third walk, he just stands up and walks to the front center chair in a very loose fashion, with his head up. He sits down on the front chair at the same moment when Medea sits down on the back one. His posture is negligent. He straddles. He sits very comfortably on the chair, almost as he would be melting off from it. He uses up a lot of the space on and around the chair with the wholeness of his body. Once he stands up, he tears open his shirt, pulls it up and shows his bare upper body to the audience on his right. Then he sits back, and takes up the same negligent position.

Kreon – he is in a buttoned up suit on the left to Jason. In the dim lights, we see him with his head up.

The Nurse – she is sitting on the right to Medea. She is wearing a grey-white outfit. Her hair is in a tight braid. She wears no make up. She turns her head away from the center stage to the left. She keeps looking in that direction, from time to time, she breaks the gazing by looking down on the child toys at her feet.

The chorus – ordinarily dressed, sitting in the audience. They say their lines as they are in the text. Some lines are shouted in, some are said in accord.

Once Medea and Jason are in the center and they have spent a considerable amount of time with creating their presence on the center stage (the negligent position and the leg crossing), Jason starts the dialogue between the two.
As the lines go, the tow changes positions, both in their bodies and in the space. While some parts of the text are needed to be cut, the following lines (or the essence of the following lines) will cause the following actions:

J: “I kept of trying to dispel the anger in
King Kreon’s raging heart; I wanted you to stay.”

As Jason pauses, Medea gets up and sits down on the center chair.

M: “I shall begin my speech where everything began.”

She pulls the center chair next to Jason, but leaves as much space between the two chairs, so that she can turn in towards Jason as she tells the story. Jason, all through out the story indifferent.

M: “Where can I turn now?”

Medea blows over the chair to its side to the left, and walks back towards the wall up till the distance of her chair in the center. Jason’s response is still addressed to the space in front of him. He only turns his head on the line:

J: “But in return for saving me like that, you gained,
More than you gave, as I shall proceed to show.”

Then he turns back and continues. When Medea starts to protest – we hear a louder sigh, almost yell form her -, he stands up and steps ahead.

J: “Better if mortals……”

Medea sits down as if she’d collapsed.

The following dialogue between the two is very fast. They are running on each other’s lines. Jason turns back, Medea stands up. The level of their voices change from line to line: once they shout, then they whisper. There is a feeling of a possible physical violence created in distance and then as they walk towards each other. They keep the eye contact all the time. Thus, when they get closer to each other, there is a moment of tenderness. But it is very short and feels awkward for both, so they turn their backs to each other and Medea walks away fast towards the mouth of the tunnel.

Jason looks after Medea and then gazes at her back for a while. Then, after he says his last part of the scene in a resigned tone, with his head down, he walks back to his chair, sits down on it as he is lit by a single spot. And after a moment of broken position, he goes back to the negligent, loose posture.
Medea looks after him, and witnesses his change in posture and then the returning to the original position. Then she turns towards the tunnel, lit from behind, and says her lines. Then, as written in the lights section, she walks back to her chair in the back. She sits down and has some moments of leg-crossing. Then the lights go out.

mindenki elkeszitett egy ilyen directing ideas papert. egyet meg is rendeztunk az oran. Kate-et. nagyon, hmmm, hogy is mondjam, belejott a rendezoi dologba, utana kis diriga lett belole, amikor mar egymasnak segitettunk a final projecteknel. csak kar, h akarmennyire is a szinhaz kozeleben dolgozik (Broadway stb), akkor sem.... szoval nem tudom. nem volt annyira eroteljes es segito es otletes.
Aztan, at kellett irnunk az elso monologot. kortars kornyezetbe, szituacioba kellet helyeznunk. az elso feladat szinten a relaitasokon tuli volt: ha rendelkezesedre all minden, hogyan allitanad szinpadra az altalad megirt monologot. en a realitas es a....meg meg kell talalnom a megfelelo szavakat, h leirjam, minek is a hataron mozogtam pontosan. eloszor jojjon az atirt monolog, aztan a rendezes. a monologrol annyit, h levelrol van szo, de az eloadas vegul is egy cellabeli apahoz szolo kiszolas (nem papir es ceruzaval, csak amugy), es egy kihallgatas kevereke lett.

a monolog (kicsit elragadtatam magam, nem tudom, mi jott ram??!!)

Dear Father. Dad.

I really don’t know what to write. I cannot believe that these will be my last words to you. In a couple of minutes they’ll take me from this cell and sh …… oh, Dad, forgive my abruptness. Forgive me for not being able to say a proper good-bye to you. They only gave me a couple of minutes to write to you, and…… I hate being so impersonal, and I hate not hearing your voice for the last time, but they left me no other way to talk to you. I’m only allowed to make one call – and it has to be Jason. I hope you’ll understand.

I know you will understand - even if the things I’m describing you will further break your heart, even if my behavior will hit hard the foundation of your life. You have to know, dad, that I did not mean to cause any harm to you or your company. I know that what’s happening to me will ruin your reputation, but you also have to know that I am awfully sorry for that. I have no idea how that pack of heroin – the golden shot, they call it, because it’s a lethal dose - got into my suitcase. Why would I want to have it? They say here that I wanted to smuggle it to the U.S. and sell it. They are ridiculous – how could I sell such a little amount of….. but they said they wouldn’t care anyway. They don’t listen to me, dad. They wouldn’t believe that I had nothing to do with that thing in my bag. They arrested me at the airport and sentenced me to death immediately. They said my rights don’t matter anymore.
Jason tried to help me. I saw that he almost got arrested for fighting the officers, but I calmed him down. I hoped that they would find out that I have nothing to do with that pack, anyway. That they would let me go, and I could leave with Jason for home, to you.

Please, don't hate Jason for bringing me here. You have to understand that I loved him, that I still love him.
You understood it, me and my feelings towards Jason from the very beginning - even though you knew you shouldn't approve of our relationship. Oh, how angry I was at you. How much fury I had in me those days. I was angry at you for not seeing how much love Jason was giving to me. I was angry at you for not seeing how happy he made me feel. I was going to run away from you then Dad. I did not care about your threats. Why would I have cared about being left without a penny, since I had Jason. I only cared about him. I only saw him, Father. He was strong and handsome. And he wanted me. He wanted me so badly. He talked so nicely to me. He said I was pretty, he said I was the most beautiful woman he had ever seen. He loved me, Father. He left his wife for me. He left his children for me.

I know that you’ll blame him for taking me along with him to Thailand for this last visit at his wife and his children. You warned me not to come here. You told me I should never come with him to see his home. But I had to. And you know that I wanted to. It was my decision. I had to see his wife. I had to see the woman he was so attached to. I had to see, with my eyes, what had made him come to me. I had to see that this woman had no more power over him. I wanted to believe what he said about his detachment form his previous life.
We went to his house. His wife greeted us with hospitality. She was very kind to me. She showed no signs of hatred. She was very willing to show me around, and keep me company. Her kindness made me wonder sometimes about her sincerity, but I wanted to believe them so much I didn't mind leaving them alone. I heard Medea begging for him to go back to her. I heard her crying and screaming. She talked about the children; she talked about their memories together. But Jason came back to me.
He still wanted to come back with me to our new life. And Medea wasn’t furious at all. She still treated me with the biggest understanding and care. She even helped me getting ready for our flight.. She packed us some gifts and wished us safe trip.

And then, at the airport, something happened. They found this pack in my bag. Father, I want to believe so much that it wasn’t Medea’s gift but I can't. She presented me with this golden pack – and I took it because I had no bad feelings. Jason persuaded me to take the gift. She trusted Medea – then so did I. Now, here I am, just minutes away being executed for that woman couldn’t accept Jason choosing me over her. She knew they’re going to catch me and sentence me to death. She knew that by putting that pack in my bag I would leave Jason for ever. She loved Jason so much, but she could never see him happy by the side of another woman. And I can understand that.

So, forgive me for being the daughter I was. Forgive me for not believing you, who always knew what was good for me. Forgive me for acting without seizing up the consequences. Forgive me for going against all what you had taught me. I never meant to hurt you. Neither with my words, nor with my deeds. I know I couldn’t appreciate the love and support you gave me. I know I run into my doom when I didn’t listen to your advice. I followed my heart because I thought that love gave me the insight and the power to see the truth. I was acting in the name of love and hope. I believe that Jason was trying to do everything to get me out of here, but my life is over.

I hear them coming for me……. They’ll let me call Jason before the….. see, I don’t even have the courage to write down what comes next.

I love you, dad.

We see her dialing a number and then we hear a voice and Glauce repeating what she hears:

Hallo. You’ve called Jason. I cannot take your call at the moment, please leave a message.


a design paper:

The set

The performance takes place in a prison cell. The prison is a little bit transformed, however, a closed prison building may as well be of use, as much as a hangar like building with one single cell in the center. The room has three solid walls and one of bars. The size of has to be in ration to the hangar but it is only as big as to still create a feeling of closed ness. The walls are grey and they have scribbling and drawings on them.
The audience is seated facing the bars, in the back of the wall. Their chairs are very uncomfortable metal chairs. Every chair is put right behind the other, so it is very difficult to see for those sitting behind the first row. The chairs are not placed close to each other in one row but they are of equal distance form each other.
The frontal part of the room, closer to the bars has one cloth bed on the floor, in the center of the performance space. There are blankets on is a grey blanket on it, which has holes and signs on it, the origins of which would be hard to tell.
The audience is led into the room in rows and seated by people dressed as guards. They are asked beforehand not to talk to each other. However, videoing and photo taking is allowed, even with flashes. They are allowed to keep the mobile phone with them.
There is no table, no things to write with, so the perform is going to grave words form her letter to the father in the wall as the monologue goes on.
The prison bars are closed on the audience and the performer as she steps in. The guards step away from the bars, so those locked in can only see the emptiness in front of them.
For the end there are tow possibilities: the character either asks for the cell phone of one audience member to call Jason and then repeats what she hears, or she asks the guards when they come to take her away whether they could reach him.

The costume

As opposed to the grayness of the room, the costume of the character is of bright colors. In the beginning of the performance he is wearing holiday clothes: a flowery skirt with a tank top. While all her clothes are of high quality and brand, now they seem worn-out and dirty. She has sunglasses with her. Her summer bag is with her, but, though it’s markedly used, it is empty. Her hair is messy and there are signs of physical abuse on her body.

The lights

As the audience enters, they and the space are lit with a big white light, facing the chairs where they will be seated. The light stays on until the performer enters the space. There is a row of lights constantly at the bottom of the walls, constantly shining. It is not a running light, but more like small spots installed, shedding light on the audience for all the duration of the performance.
The lights change to two side lights, crossing over the blankets on the floor as she finds her spot there after wandering around in the cell for a while. There is no direct contact with the audience in her speech, but she walks in and out of their rows as she runs around the cell. She touches them but does not talk to them.
As she is writing on the wall, there is an extra light added and the cross fades out.
At the end of the monologue, when the prison bars are opened a light from the back of the room (right above from the audience comes up) and lights the space in front of the cell as the character walks out (led out) to the empty space disappearing in the emptiness.

az orakon dolgoztunk ezekkel a monologokkal. mindket alkalommal fontos pillanatokat kellett talalnunk, hozzajuk kivalasztani egy-egy mondatot, es egy mozgast. aztan rendeznunk is kellet egymast. erdekes, es neha unalmnas is volt. persze, az ora aktiv resze mindeg felulmulta az ulos, beszelgetos reszt. nem tudom, de valahogy altalanos megegyezes szerint tanarnonknek nem emgy a tnaitas. celtalannak ereztem jopar discussiont es feladatot. azoknak, akiknek semmilyen kepzettsege, plane nem affinitasa nincs ezekhez a dolgokhoz, az ora nem segitette oket kozelebb hozza.
a final project maga az eloadas volt. a sajatommalnem vagyok elegedett, de a rendezesemmel igen, mert hogy parokban dolgoztunk, es egymast "rendeztuk". no engem Kerri nem, de mindegy. nem volt megigazan a mmonologja, azt is rendebe kellett tenni, de talan igy konnyebb vagy jobb is volt rendezni. piros feny, mintegy halotti visszaemlekezes, gyors kiforduals, befordulas, lassu mozdulatok. ez volt az ove.
az enyem: allando telefoncsorges, es Chris hangja a vegen!:)

francia:
tizenvalahany teszt, hat lecke. rohanas.nem banom, de nem is vagyok odaig meg vissza azert, h vegul ezt valasztottam es nem az olaszt.a final jol sikerult. addigra mar teljesen kikeszultem, illetve pont, h a kikeszules utna voltam, vagyis a felkeszules a vizsgara igencsak kitolodott. de evkozben nem votl semmi problema a dolgozatokkal, uh nem aggodtam. egy feladat fogott ki rajtam: a ragozasos feladat. addigra amr teljesen osszezavarodtam, h mi a felteteles, az alarendelt es a jovo. az olasz itt most nem segitett! :) de megvan, es ez a lenyeg. hogy mi lesz vele a jovoben?? nem tudom. folytatnom kell, folytatni szeretnem, de hogy mikor es hogyan?
de ez most nem a legfontosabb.

a agy belendulesemnek viszont most veget vetek, mert elalmosodtam, es mar 430 van - holnap (ill ma) pedig tervezem, h reggel bemegyek koran dolgozni. nem beszletunk meg semmit, az igaz, de hat, szoval.....