Writing from The Heart
Tony Perez's Workshop in Creative Writing, Creative Drawing, and Creative Drama
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Writing from The Heart
Writing from The Heart
Sunday, July 28, 2024
Saturday, July 27, 2024
Monday, July 22, 2024
Wednesday, May 15, 2024
Tuesday, May 14, 2024
Wednesday, May 1, 2024
Of the hundreds if not thousands of arts graduates, how many actually made it after graduation?
Tuesday, March 19, 2024
Hello Mark,
Thank you for the nine sonnets you sent me for critiquing. I appreciated them more than the first poem you showed me the last time we were together in the coffee shop.
My comments:
--It is all right to explore and experiment with forms established by earlier poets from Europe, but, always have the objective of developing your own, unique style of writing that can separate you from the rest. It can be done. I am referring not only to Western sonnets but also to Filipino awits and koridos.
--Try writing more loosely rather than constraining your work to fit rhyme and meter. Do look for a copy of the 1969 Penguin Modern Poets 13: Charles Bukowski, Philip Lamantia, Harold Norse. The works therein are timeless.
--You are very young; your poetic sensibility needs to mature, like wine. I could tell, from your lines, that there were instances when you were writing not from your own experience but from your visual observation of the world around you and from stories told by others. Poetry is condensed truth. Do not attempt to write about a night with a prostitute if you've never spent a night with a prostitute--that is an example I am using not from anything of the sort in your writing. In short, do not be a man writing about having an abortion because you can never have one in this lifetime. (The latter can be done, but only through a complicated process called regression, in which you visit, on the astral plane, a previous lifetime in which you were a woman who had an actual abortion. Let me attempt to do a regression on you sometime. Not many writers can do that, by the way.)
--Do keep on writing no matter what. It's the only way to get where you want to be.
--Further develop your powers of observation using ALL YOUR SENSES. Read through my blog on developing powers of observation; the exercises there apply not only to young psychics but also to artists and creative writers:
http://tonyperezphilippinescyberspacebook19.blogspot.com/
I look forward to being with you again soon.
Sunday, March 17, 2024
Saturday, January 13, 2024
Tuesday, October 24, 2023
Saturday, September 30, 2023
Sunday, June 4, 2023
Wednesday, April 19, 2023
Friday, December 2, 2022
Tuesday, September 27, 2022
Tuesday, June 28, 2022
It is all too easy to write from the mind, for that is what everyone does at school and at work. The rules for doing this are available in classrooms and in books.
It is also easy to do automatic writing. You simply hold a pen over a sheet of paper, let go, and let the writing flow from your unconscious.
You need a guide, however, when writing from the heart, because it is an art that harnesses your intuition and your emotion, and only a mentor who truly loves you can help you do that. When writing from the heart, your write not only from your present lifetimes but also from your past and your future lifetimes. When writing from the heart, your consciousness is the consciousness of love. No book or writing instrument, no matter how expensive, can bring you there on its own.
Saturday, May 14, 2022
Rediscover Edna Ferber and reread her works. Her power of description is superb. She is perhaps the only writer I know of who can arouse a gamut of emotions by sheer description alone.
When a writer cannot handle description well, his work will tend to be boring.
Then try this exercise:
Write a short story using description alone. For example, describe a tree. Or the night. Or the facade of a stranger's house.
See how you can infuse a descriptive paragraph with action, narrative, and conflict.
Friday, June 4, 2021
When a man falls in love with different types of women--and possibly even different types of men--it is because he has been unable to find a satisfactory identity and is constantly playing different roles in search of it. It is the same role-playing some writers do when they are creating and simulating the lives of different characters.
Saturday, May 15, 2021
Monday, December 14, 2020
Wednesday, December 9, 2020
Sunday, September 6, 2020
Monday, June 1, 2020
Tuesday, April 7, 2020
Friday, April 3, 2020
Tuesday, February 25, 2020
Wednesday, October 9, 2019
Synopsis: A dying king entrusts his son to his faithful servant, Johannes. After the king dies Johannes shows the young king all of the rooms in the castle, except for one room that the old king bade Johannes never to show his son. The young king, however, insists on entering the room, and Johannes has no choice but to let him in. The room contains a portrait of the Princess of the Golden Roof. The young king is smitten by it and swoons. When he revives, all he can think of is to find the princess and make her his bride.
Johannes suggests that they take all of the gold in the castle and have the smiths fashion them into exquisite items, since the princess is always surrounded with and is obsessed with gold. They sail to the land where the princess lives. Johannes shows the princess some items of gold and lures her to their ship, where Johannes greets her and shows her everything that they brought on board. Unbeknownst to the princess, Johannes orders the crew to set sail. In the middle of the sea the young king proposes to the princess, and she agrees to be his bride.
During the trip to the young king's home, Johannes overhears ravens foretell the doom that the young king and the princess are headed for:
1) Upon reaching land a horse as red as a fox will trot up to the young king, who will be tempted to ride off on it and will never see the princess again unless someone jumps up the saddle, takes the gun from it, and shoots the horse dead.
2) Upon reaching the castle the young king will find a bridal outfit in a basin. It is made, however, of sulfur and pitch, and the young king can be saved only if someone puts on gloves and hurls the outfit into the fire.
3) During a ball inside the castle, the princess will be stricken as though dead and can be brought back to life only if someone pricks her breast, draws three drops of blood from the puncture wound, and spits them out.
4) Anyone who reveals these to the young king, however, will immediately be turned to stone.
Everything happens as the ravens predict. Johannes shoots the horse with the gun, puts on gloves and hurls the bridal outfit into the fire, and draws three drops of blood from the princess's breast and spits them out. The young king forgives Johannes for the first two but not for the third, upon which he condemns Johannes to burn at the stake.
Once tied to the stake Johannes begs to give a final word before dying. The young king grants it. Johannes discloses everything he overheard from the ravens. Upon doing this, he turns to stone. The young king and the princess grieve over Johannes's fate. They eventually have two young sons. One afternoon, while the boys are playing, the young king wonders aloud how Johannes can be brought back to life. The stone statue says that the only way is for the young king to behead his sons and smear their blood on the stone. Due to the injustice he did Johannes, the young king does this. Johannes not only comes back to life, he reattaches the boys' heads to their bodies and they come back to life again. The royal family lives the rest of their lives in happiness.
My Commentary: Though written long before the birth of psycho-anthropologist Carl Gustav Jung, this fairy tale illustrates the first two stages of the psyche's development from Warrior to Lover to Magician to King. The dying king prohibits the prince from entering the forbidden room because the prince must first successfully complete his journey through the stage of Warrior. No one, after all, can enter the stage of Lover too soon without suffering its psychological consequences.
The motif of gold corresponds to purity and truth. Johannes must destroy the horse because it will take the young king forever into the Warrior stage and be hopelessly fixated in it. The bridal outfit comes too much, too soon before the Lover's maturity and will only lead to disaster. The princess falling comatose during the ball is an indication that she, too, will not benefit from an early entry into the Lover stage.
Beheading one's sons may come across as an act of violence unless we understand that the young king, the two boys, and Johannes are all parts of one, whole Ego. The Ego must learn to make sacrifices in service of the psyche in order to be integrated--perhaps pretty much as we find, frankly, in the story of Abraham and Isaac.
Tuesday, October 8, 2019
Synopsis: Before leaving to find food in the forest, a mother goat cautions her seven kids to be on guard against the wolf, who will most certainly eat them up. Sure enough, as soon as the mother goat leaves, the wolf comes in disguise and asks the kids to let them in. The kids refuse him entrance because his voice is gruff, unlike their mother's. The wolf then eats a piece of chalk, goes back to the house, and calls to the kids in a sweet voice, but he makes the mistake of placing his paw on the window sill so that the kids see that it is black, unlike their mother's. The wolf next goes to a baker and bids him cover his paw with dough and sprinkle it with flour. When he goes back to the house the kids see that his paw is white, like their mother's, and they open the door to him, upon which he chases them round the house and swallows them whole except for the seventh kid, who hides inside the clock case.
When the mother goat returns she sees the devastation that occurred. The kid who hid inside the clock case tells her everything that happened. They go outside and eventually find the wolf sleeping soundly under a tree. The mother goat cuts open his belly and lets out the six kids inside. She then fills the wolf's belly with stones and sews his belly up again. The wolf soon wakes up in great thirst. He goes to the well to drink some water, but due to the weight of the stones inside his body he falls into it and drowns.
My Commentary:
In this fairy tale all characters are parts of one whole, the Self. The mother is the psyche, the seven kids the vulnerable Ego, and the wolf the Shadow Self. Note that, as in the story of Red Riding Hood, the vulnerable Ego is swallowed whole and does not die, it merely becomes part of the Shadow Self; should it stay there a long time it is said to have merged with the Shadow Self, causing a life of neurosis, negativity, and depression.
By the same token, the Shadow Self also never dies. Although the story ends with the wolf falling into the well and drowning, we know that it will soon rise and roam the psychological landscape once again, pretty much as in the midrash of the Temptation in the Wilderness, where Jesus is the Ego and the shaitan, or Tester, is the Shadow. They confront each other but do not "kill" or vanquish each other. Instead, at the end of the midrash, the Tester says that he will come "another time", which he later did, as Judas.
Sunday, October 6, 2019
Synopsis:
A father has two sons, the elder smart and responsible, the younger slow and disinterested in many things. The younger son often listens to his elder brother's refusal to do errands at night, having to pass through a cemetery in the dark, because it makes his hairs stand on end. The younger son has never experienced having his hairs stand on end and makes it his singular objective to have that experience. The father willingly lends his younger son to the sexton, who assigns the boy to ring the church bell at midnight. One night, unbeknownst to the boy, the sexton dresses himself in white, goes up to the belfry, and waits for the boy to come up and ring the bell. Seeing the figure in white, the boy merely demands it to identify itself, and, when it remains silent, throws it down the stairs. The sexton breaks a leg, and the boy's angry father sends the boy away from home.
The boy meets a man with whom he confides his desire to experience having his hairs stand on end. The man challenges him to spend the night below a tree where the corpses of seven criminals remain hanging. The boy does so and even lights a fire and takes down the corpses to sit round it to keep themselves warm. The boy attempts to converse with the men, but they remain silent. The corpses' pieces of clothing catch fire, though, and the boy hangs them back on the tree.
The boy then meets a carter, who takes him to an inn, where he learns from the innkeeper that the king is offering the reward of his daughter' hand to any man who can spend the night in a nearby haunted castle. In the past, many suitors attempted to do this but were never seen alive again. Unfazed, the boy takes on the challenge.
On the first night inside the haunted castle the boy is attacked by huge cats and dogs, but he kills most of them with his knife and sends the rest running away. He lies on a bed that springs to life and zooms around and through the castle, but he thoroughly enjoys it and goes to sleep on the bed afterward.
On the second night, dead men come tumbling down the chimney and play a game of ninepins with skulls as balls. The boy not only joins the game--he turns the skulls on a lathe to make them roll more easily.
On the third night, six huge men set a coffin on a floor. The boy opens the coffin, sets the corpse near the fire, and rubs its body to revive it. The corpse does come to life but attempts to strangle the boy, and so the boy seals it inside the coffin once again. An old man arrives next, and he challenges the boy to a test of strength. The old man takes an axe and rives an anvil in two. The boy, however, is able to do the same. He wedges the old man's beard in the split of the anvil and proceeds to beat him up. The old man surrenders and gives the boy three chests full of gold: one for the poor, the second for the king, the third for the boy.
Everyone is amazed that the boy survived three nights inside the haunted castle. The boy marries the king's daughter, and they live happily except that the boy still cannot experience having his hairs stand on end. His wife becomes exasperated, but their chambermaid thinks of a solution. They pour water with live minnows from the river on the boy's body. The little fish flap all over his body and make his hairs stand on end.
My Commentary:
This fairy tale is about the archetypal Warrior's journey in developmental psychology. On his quest, the boy encounters only men, who conduct his rites of passage to full manhood, the equivalent of the French "100 blows". Ringing the church bell at midnight seems to indicate the first awakening of the boy's body; his encounter with the sexton seems to be a failed seduction on the sexton's part. The episode that follows, involving the cadavers of seven criminals, reflects the boy's dealing with the Shadow Selves of his peers; he extends kindness to them but is forced to place them back where they belong because they are not responsive to him.
The three nights inside the haunted castle reflect the last three stages in the Warrior's journey: the cats and dogs are the vices one must combat and transcend before having a good night's sleep; the game of ninepins is the challenge of socializing in a world of deceit; the corpse in the coffin is none other than his own weaknesses and shortcomings, which he must learn to overcome, and the old man is his future self, the keeper of riches. Note that the Warrior is obliged to turn over a third of his booty to the poor and another third to the king.
Above everything, every story about a boy who leaves his father and his brother behind to go out into the world is basically a story of the Zero Card, the Fool, in any Tarot deck. It is also the antithesis of the Parable of the Prodigal Son, retitled the Parable of the Beneficent Father--I say antithesis because the Warrior, whether successful in life or not, DOES NOT GO BACK TO THE FATHER AND TO THE BROTHER and instead continues to live independently the rest of his life. The ending of this fairy tale actually suggests the straight path to individuation: it is through the archetype of Woman, not of Man, that the Warrior ends this stage in his life and begins his journey through the next stage, the stage of the Lover, whether he is contending with an actual wife or with the Anima, or Feminine Self, within.
Friday, October 4, 2019
Synopsis:
The Virgin Mary appears to a poor woodcutter and offers to take his three-year-old child with her to heaven, where she can properly take care of her. The child grows up in heaven, wanting nothing. When she turns fourteen the Virgin Mary decides to go on a long journey. She entrusts the keys to the thirteen doors to the kingdom of heaven with her, informing her that she may open all the doors and explore within except for the thirteenth door, which she forbids her to open.
The maiden promises to be obedient, and the Virgin Mary departs. Every day she opens a door and is delighted by the splendor and glory within. Eventually she is tempted to open the thirteenth door just a crack, but the door flies wide open, she touches the golden light within, and one of her fingers turns golden. She tries her best to hide it when the Virgin Mary returns. The Virgin Mary asks her whether she opened the thirteenth door, but she denies it three times. For her disobedience the Virgin Mary exiles her to earth, where she must fend for herself until the king comes upon her during a hunt and takes her to his castle.
The king falls in love with and marries the maiden despite the fact that the Virgin Mary rendered her unable to speak. She gives birth to a son, after which the Virgin Mary visits her and asks her once again whether she opened the thirteenth door. She once again insists that she did not, and so the Virgin Mary takes her son away to heaven. She gives birth the following year to another son, after which the Virgin Mary visits her again and asks her once again whether she opened the thirteenth door. Again she insists that she did not. She gives birth a third time the following year to a daughter. The Virgin Mary takes the queen and her daughter to heaven and shows them the two little boys living in happiness. The Virgin Mary tells the queen that she will return all three children if only she would admit that she opened the thirteenth door. Still, the queen insists that she did not.
The Virgin Mary sends the queen back to earth, where the people accuse her of being an ogress due to the disappearance of her children. She is brought to trial and found guilty because she is unable to speak and defend herself. While burning at the stake the queen's pride melts. She is suddenly able to cry aloud, "Yes, Mary, I did it!" The Virgin Mary then descends from heaven with her three children, loosens her tongue, and bestows happiness of her for the rest of her life.
My Commentary:
In every fairy tale where the protagonist is female, usually a maiden, the arrival of a king into her life is not so much the arrival of a romantic partner and prospective husband as it is the emergence of the Animus, or Masculine Self, heralding the female's passage into maturity and psychological completion. This is the real message of the story: that the denial of truth prevents this maturity to happen. The female 's psyche, personified here as the Virgin Mary, must guide the female through a path of righteousness in order to deserve living a life of happiness.
It is possible that this story is one of the Grimm Brothers' notorious "Christianizations" of some fairy tales, and we can only wonder how the original was. Perhaps the Virgin Mary was some other goddess in the original. Many texts, such as the Tagalog Ibong Adarna, became victims to such unwarranted interventions as "Christianization", and it is up to scholars to try to return such texts to their original forms, pretty much in the same way that old paintings must be subjected to full and proper restoration.
Thursday, October 3, 2019
Tuesday, August 27, 2019
Saturday, August 24, 2019
Thursday, June 27, 2019
Thursday, June 20, 2019
Monday, May 20, 2019
Saturday, May 18, 2019
Sunday, March 10, 2019
Wednesday, March 6, 2019
Dramaturgy for TheatreWorks Singapore: _The Promise_ by Ivan
If you still have your first draft, read it, then read your present version again. The reason you succeeded is that you began writing without guilt, which is the essence of writing from a state of emotional truth.
A few comments:
1) Only one scene is underwritten, and that is Scene 3. Introduce dramatic action in this scene to push the premise forward.
2) Proofread your work. A few examples of your oversight:
--Page 1, Line 8: Change "can be played by the same actor" to "can be played by the actor who plays Andy".
--Page 1, Line 9: Change "can be played by the same actor that plays Penny" to "can be played by the actor who plays Penny".
I have to advise you, however, that using the same actors in multiple roles destroys the audience's suspension of disbelief. It brings the work from being dramatic to being theatrical, and might not work with this particular play.
--Page 6, Line 2: Change "worst for wear" to "the worse for wear".
--Page 7, Line 9: Change "breath" to "breathe".
--Page 9, Line 7: Change "Creepy" to "Creep".
There are more, but I won't bother to list them here. Proofread also for punctuation marks.
Remember that, as a painting must be clean, well-executed, and framed, so must a script be presentable to an artistic director and a producer.
3) Resolve the issue of your flashbacks, which will entail costume and make-up changes. These will look good on a TV screen on a bar, especially since your play can be held in an actual restaurant. The here and now of the play is the here and now of the audience. Don't stage flashbacks that will only remind them of where they really are and that they are just having dinner and watching a play. It's like being served unexpected appetizers before dessert.
4) Relabel Scene 17 as Scene 15A.
On the whole, this is a well-written play. As I mentioned previously, it will be most effective in an actual restaurant where the audience is being served dinner and with actual waiters milling about.
Your writing has become less uptight and definitey more relaxed, most probably as a result of your honesty toward your subject matter. It was a pleasure to read this play, and, I am certain, it will be an even greater pleasure to watch it. I hope that TheatreWorks will be willing to produce this in an actual restaurant, or in a set-up restaurant on the second floor of the theatre buiding, or in a cocktail party held in the same venue.
You may rewrite Scene 3 and polish this play and submit it to me again, if you wish, or you may do that and submit it to TheatreWorks for a possible staged reading or production.
Tuesday, January 29, 2019
Thursday, January 24, 2019
Dramaturgy for TheatreWorks Singapore: _The Burning_/_My Children Are Virgins_ by Helmi
Just a few comments--otherwise your play is ready for a staged reading or, hopefully, a full production. It is dark yet funny and wonderfully Ibsenian. It is a commentary not on fundamentalism but on democracy (or the absence of it). As such it will be controversial and will upset many people in the audience (as all of your plays do anyway).
1) Page 7, Scene 4, 7th Line from Bottom: Might it not be funnier if you changed "LTG" to "LPG"?
2) Scene 13, Page 39, Line 1: MURAD is referred to as Brother again, rather than as Father. In his first appearance he was Brother, in later scenes as Father, and here once more as Brother.
3) Scene 15, Page 42, Line 4: Same comment as above. MURAD continues to be referred to as Brother even after this line.
4) Proofread your work carefully, especially for grammar.
5) Would your rather use "Pink Dot" or a fictionalized group name?
6) I understand that you are torn between titling the play The Burning (too Stephen King-y) and My Children Are Virgins after deciding not to title it The Fundamentalist Father. The word "Children" ties up this play with your previous "family" plays (My Mother Buys Condoms, My Father Wears Bras). The word "Virgins", though, is a bit off. Instead of the word "Are", choose an active verb, something like My Children Worship Me, My Children Come Home, or something contrapuntal and ironic.
Congratulations on completing a trilogy. I hope that the last two can be produced, after which all three can be published in their definitive, production versions.
Dramaturgy for TheatreWorks Singapore: _Kor Kor Cheh Cheh Di Di Mei Mei_ by Flora
Your play is actually developing well. You now have a better knowledge of your characters and the issues that create the conflict they should be going through.
You are stuck because, for each set of characters, there should be one character who provides conflict to propel the play forward (either an additional character for Kelly and Wayne; and either Jessica to Josh or Josh to Jessica). As it is, Kelly and Wayne are mainly in agreement and merely planning for the future, and Jessica and Josh are ambling along to a prospective visit to their mother. When you laid down your plot, all of the points of conflict were in the PAST. Bring them forward to the present.
Balance the scenes between the first set of characters and the second set of characters by alternating from one set to the other. In your draft you initially did that, then followed through with the Wayne/Jessica set in a clinic, and then a mall, and then back to their house.
Visualize a generic set. As a scene ends for one set of characters, it should OVERLAP with the beginning scene for the second set of characters. The characters of the second set enter even as the characters of the first set are still there. However, the characters of the first set DO NOT SEE the characters of the second set, and vice-versa.
Follow all of these guidelines. I assure you that you will come up with an exciting play.
Saturday, January 19, 2019
In-Depth Writing Exercise #9: Your Personal Fairy Tale
2) Go over the list and identify the fairy tale or children's story you like most.
3) Juxtapose the narrative over your life script. How is the main character like you? How are the other characters like the people who surround you? How are the conflicts like your present conflicts? How is the plot like your life?
4) Rewrite the fairy tale or children's story with you as the main character, keeping the narrative as parallel or as close to your life.
5) Give your plot a happy ending.
6) Keep a copy of your work as visible as possible in your writing area so that you are constantly reminded of it. (You may revise the narrative from time to time as you wish.)
Yes, you CAN author your life. All you have to do is go ahead and do it.
Tuesday, January 8, 2019
Thursday, January 3, 2019
Monday, December 17, 2018
Dramaturgy for TheatreWorks: "The Promise" by Ivan
Thank you for completing your play. When I read it this time around, it came across as poignant and lyrical.
Here are my comments:
1) Scene 1, Page 1: Second to the Last Line: Change "It is dramatic!" to "It is melodramatic!' (Or tacky, or kitschy, or artificial, not dramatic).
2) Proofread your dialogue well. Some examples: You wrote "worst than" rather than "worse than", "loose" rather than "lose", and "Flashback to today" rather than "Flashforward to today".
3) In any script, don't write "What the f**?" Spell the word out. Otherwise the performer will pronounce the line as "What the F-Asterisk-Asterisk?"
4) In an early scene Andy says he is straight rather than gay. He was lying, then?
5) Scene 14 employs a flashback technique that does not go with the rest of the play. I suggest that you convert this scene to a video.
Additional comments:
1) You need highly credible performers for this play, but I am sure that your director will find them, because Singapore has many, talented actors and actresses.
2) The production is best held inside a cafe, with the audience seated round cafe tables and actually eating dinner. And with real waters going round between scenes.
3) This might be classified as an "Adults Only" play.
4) Your prospective producers could be groups like Pink Dot. HOWEVER, go over your play and decide what it is actually saying about gay culture.
If you are satisfied with the state that your play is in (I know that you mulled over it and reworked it several times), clean it up and submit it to TheatreWorks for a staged reading. While its audience is restricted, I found it very enjoyable, and I liked the interactions between the male characters and the one female character in your cast.
Dramaturgy for TheatreWorks Singapore: _Final Call_ by Timothy
Congratulations on completing a brillant and insightful play! TheatreWorks wll certainly give it a staged reading, but if they won't give it a full production and if you have theatre friends in San Francisco, New York, or Melbourne, I urge you to test the waters in those places. Travel by air--and all kinds of human movement involving bureaucracy, for that matter--has become a worldwide nightmare. Your play pushes it over the edge and converts it to a devastating night terror.
I agree that the play takes on different dimensions depending on whether the AIRLINE REP is a man or a woman. The REP, to me anyway, is best played by a man in order to function as a counterfoil to JONES, who is a man. Having said that, the entire play is a director's delight: it can be played by clowns in costume, it can be played by marionettes, and the set could be anything from nothing to black-and-white to a high-tech affair.
Consider "I'm coming home soon" instead of "I'm coming home now" as the penultimate line of the play. It is more intriguing and suggests further unpredictability.
Do a final clean-up before submitting your play to TheatreWorks. Trim it as best you can. Like Nanda's and Danial's plays, your play is LONG, and the sad reality about theatre in the 21st century is that audiences (and producers) are less and less willing to sit through protracted productions. Indeed, gone are the days of the hao-kah, which played from sunset through sunrise.
Dramaturgy for TheatreWorks Singapore: _Two Halves Make A Hole_ by Danial
First of all, congratulations for providing the well-thought-out and well-located additions to your play.
I suggest that you rephrase passages that have question-and-answer dialogue. Characters speak because of a NEED to speak, not because someone asked them a question and they have to provide an answer.
Do a final trim before submitting this play to TheatreWorks. After they assign your play to a director, he or she will most certainly make cuts due to the constraint of running time. As I advised Nanda regarding his play, you might as well do the initial cuts yourself rather than disagree with what the director decides to cut later.
Other than those, good work!
I hope that I will be in Singapore to watch the staged reading of your play.
Dramaturgy for TheatreWorks Singapore: _Satamilla_ by Aswani
You've done a substantial amount of work on your play. The scenes are more stageable, the characters are more real, and you have the gift of writing compelling dialogue.
Just a few more comments on this draft:
1) Scene 3 seems underwritten. Make an effort to have all your scenes balanced--in content and in length. You also need to justify YOUNGER SUSEELA's presence. The audience won't know what's going on.
2) The presence of YOUNGER SUSEELA in succeeding scenes is also perplexing and apparently unjustified.
3) Each of your scenes is dynamic, but always be careful not to push the dramatic to the melodramatic.
4) Scene 7 is disjointed because you wrote this in chunks rather than allow the scene to write itself. Never think in terms of fragments--you will only end up with Procrustean, stilted results.
Same comment for Scene 12.
Whenever you are unable to follow a scene through, ask yourself whether the scene is evoking emotional truth within you. Go with the emotion; don't fight it off or block it. Remember our lesson on the defense mechanisms. You need to drop your defenses and allow yourself to be vulnerable in order to be an effective playwright.
5) Go through your stage directions again for clarity and economy. For instance, instead of writing "He returns back", just write "He returns".
6) Scene 9 is static. You could bring it to life by giving cause for SANJEEVAN to have a breakdown. Externalize his internal conflict.
7) In Scene 10, well into the play, the presence of YOUNG SUSEELA is still unclear and apparently useless.
8) In Scene 12, for the first time the character YOUNG SANJEEVAN appears. Work him into the earlier scenes. Develop a dramatic, albeit metaphysical, relationship between YOUNG SUSEELA and YOUNG SANJEEVAN if possible. If you can swing this, your play will be truly masterful.
9) In the entire script, always identify YOUNG SANJEEVAN as YOUNG SANJEEVAN and not as SANJEEVAN.
10) Scene 13. I love your death meditation!
11) Scene 14 (B) is also underwritten. The symbolism of the peacock feather is lost unless a significant reference to it is made in a previous scene.
12) Scene 17. The ending of your play is too abrupt--almost as though you were afraid to touch it. Provide catharsis for your audience. You owe it to them. An elegy in which all of the characters (including SUSEELA) rise to address the audience is one solution. It is also the best time and opportunity for the voices of YOUNG SUSEELA and YOUNG SANJEEVAN to be heard. An alternative is to give the entire elegy to SANJEEVAN.
Be persistent, be tenacious, and always keep in mind that producing a work of literary art, like a huge tapestry, needs time and patience. Every color and every thread must fall in place.
I look forward to receiving the next draft of your play.
Friday, November 30, 2018
Wednesday, November 28, 2018
Friday, November 23, 2018
Monday, November 19, 2018
Saturday, November 10, 2018
Friday, November 9, 2018
Thursday, November 8, 2018
Wednesday, November 7, 2018
Tuesday, November 6, 2018
Saturday, November 3, 2018
Recalling Seasons And Occasions
Record first your feelings, then your immediate thoughts, then free-associations, then the persons you wish to share this day with.
Are you able to recreate this moment or this day with all five physical senses?
What are the body signals (tingles, buzzes, goosebumps) that come with your reflections? Can you activate these signals at will should you want to in the future?
What is the color of this day?
What is the symbol of this day?
What is the scent of this day?
What is your wish for this day?
Sunday, October 28, 2018
Wednesday, October 24, 2018
Friday, October 19, 2018
This is an exercise in breaking down the defense mechanism repression, in strengthening your powers of observation, and in embracing both the pleasant and the unpleasant toward achieving inner balance.
Thursday, October 18, 2018
Dramaturgy for TheatreWorks Singapore: _Malavika_ by Nanda
First, your play was already cleverly conceived before our first meeting. You are one of those playwrights whose plays are written in full inside one's head so that, when they are ready to be written, they just flow onto hard copy. After our discussion session, electronic dramaturgy, the videotaped, informal reading that I watched with you, and our restructuring, your play is finally finished. It was interesting to dramaturge because it is the second of a trilogy, the first already written and staged, the third, yet to be written. Still, it must be able to stand up as an independent piece--and it does.
A few comments:
--I noted the additions you made to contribute to the sensual atmosphere of the play.
--All of the roles are vehicles for fine, ensemble acting. I wonder, though, whether a static, staged reading will diminish their impact.
--The play is too long. Act 3 seems to have the most tolerable length. I suggest that you read it aloud (or do so again with the help of your friends) and time each act. Tighten the play: make your cuts now rather than wait for the director to make cuts you might not agree with.
Then proofread your manuscript, make a clean copy, and submit it to TheatreWorks for a staged reading.
Well done!