Questions for Feedback on Indulto

February 15th, 2012 No comments

Audience feedback is very valuable before an IASAS production travels to its destination.  Please answer as soon as you’ve watched the piece and email to me. Thank you!

  1.  In a complete sentence, what main theme or message did you get from the performance?  How did you come to that conclusion?
  2. Was there anything that was unclear?  Please state in question form.
  3. What was the effect of the performance on you? Which part/parts did you find most effective and why? You can address any scene or any aspect of the performance (acting, lights, costumes, set design, etc.)
  4. Any suggestions for improvement that can be possibly accomplished in one rehearsal?

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Categories: IB2 Theatre 2011-12 Tags:

Why take IB Theater?

February 14th, 2012 No comments

This question is easy to answer if you are thinking of theater as a lifetime profession.  But what about students who are thinking of a completely different professional path? Here are comments from alumni who are working in various fields:

I consider the rigorous theatre courses I took at ISM to be among the most challenging, revelatory and inspiring academic experiences I’ve ever had. A lively and vibrant instruction in theatre not only instills a confidence that cannot be learned in more traditional classroom situations, but it also teaches students to understand multiple points of view and to be more aware of their own perspectives. My instruction at ISM made me a better critical thinker, and a far more capable communicator. Since graduating I’ve worked as a consultant at the US State Department, overseeing an international staff of 80 individuals, and I’m currently editor in chief of a nationally distributed magazine. My theatre courses at ISM played no small part in this. Alexander Yates, Class of 2000, Novelist, Author of Moondogs

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A fundamental part of theatre is discipline. It has instilled in me the importance of time managment, attention to detail, and communication. These abilities/skills have proven to be great training for my profession, where deadlines are tight, detail is essential, and interaction with clients and directors is constant. Angela Padilla, Class of 2001, Marketing Manager

__________

Many people have written about a world in which we have a booming intellectual economy. Students who are in a position to choose IB theatre are being groomed for that kind of work. In an intellectual economy the best thing we have to sell are our ideas. Right now very few people are taught how. The people who get it best, the ones who are the most persuasive, the ones who understand body language and how to draw the focus of an audience – those are the people who study theatre. IB theatre is the only place a teacher is given adequate time to help individual students learn the things they will need to develop their own style and understand how to communicate. Learning the art of communication won’t happen over the course of four-hour corporate workshop but over the course of a career. IB theatre provides a two-year head start. No matter what field of work you do, you will see – the best idea doesn’t always win, but the winning ideas are always presented best.Emily Bennett, Class of 2001, Digital Strategist at Arnold Worldwide

__________

I initially signed up for IB-Theatre with the intention of becoming a professional actor. Although I ended up on a very different path, my experience with IB-Theatre taught me three key skills that I’ve used consistently throughout my young career.


The ability to think on your feet and improvise. More often than not, your PowerPoint won’t load or you’ll be asked a question you didn’t anticipate. In theatre, almost every aspect of the show is pre-planned yet no two shows are alike. It was through these experiences that I learned to be comfortable with ambiguity and adapt based on the circumstances I’m given.


How to communicate effectively. If the audience cannot understand you, there is not much point to you being on stage. Through IB-Theater, I worked on articulation, projection, and communicating through physicality and body language. So far I’ve learned that most people are influenced not by what you say, but how you say it.

How to be an actor. When I first began interviewing for full-time jobs, I had a lot of insecurity because I was a psychology major trying to make it in the big business world. I decided to create a character for myself that I would play while going on interviews. I imagined this character to be an incredibly confident college graduate seeking a well-paying and gratifying position in business. My interviews were very successful.

With most of my academic life now behind me, I can say with absolute certainty that IB-Theatre is one of the few classes I took that really mattered in shaping the person I ultimately became.Alexander de Leon, Class of 2006, Strategic Account Manager at Google

Categories: Explore Theatre Tags:

TENTATIVE SCHEDULE for TPPP (Venues to be announced)

February 13th, 2012 No comments

TENTATIVE SCHEDULE FOR TPPP (Venue TBA)

MARCH 5 MON

BLOCK A               Nicole Clemetson            7:30 am

                                Bianca Chang                     8:05 am                                               

BLOCK E               Tae Wan Kim                      1:20 pm

                                Jae Hong                              2 pm

MARCH 6 TUES

BLOCK G              Noa Sison                            9 am

                                Kaichiro Hirano                  9:35 am

BLOCK A               Anil Daryanani                   10:15 am

                                Daniel Ronald                    10:50 am

BLOCK B               Angela Sy                            1:30 pm

MARCH 7 WED

BLOCK D               Maya Seneviratne           9:45 am

                                Laura Lehmann                 10:10 am

After School       Miwa Akune                      2:40 pm

                                Mahek Tulsiani                  3:05 pm

MARCH 8 THUR

BLOCK G              Mumba Dodwell              7:30 am

                                Arlan Parry                          8:15 am

BLOCK A               Juha Turalba                       9 am

                                Julia Saubier                       9:35 am

BLOCK B               Young Sun Park                 1:25 pm

                                Dinesh Mohnani               1:50 pm

MARCH 9 FRI

BLOCK D               Kai Maekawa                     8 am

BLOCK G              Enzo Razon                         1:25 pm

                                Alexander Gill                    2:00 pm

Categories: IB2 Theatre 2011-12 Tags:

Director’s Notes for INDULTO: IASAS Drama Previews Feb. 23 and 25

February 12th, 2012 No comments

Into the world of Spanish bullfighting 1927-1933. Director: Tami Monsod. Technical Director: Dinesh Mohnani

The idea for this original piece came from a lifelong fascination with Spanish culture and the recent bullfighting ban in Catalonia.

The Spanish bullfight, or corrida de toros, has three acts: (1) testing the bull with the cape (capote) then lancing it with a pike from atop a horse; (2) placing sticks (banderillas) in the withers of the bull and (3) performing aesthetic passes with a scarlet cloth (muleta) and, finally, killing the bull with a sword (estoque). A torero is any person participating in the corrida.

A woman (torera) in the bullring is rare. Equally rare is the act of indulto, the “pardoning” or sparing the life of an extraordinarily noble bull (toro) that charges bravely, honestly, and tirelessly. It is a great honor for a torero to fight a bull that is awarded indulto.

Although the team has done extensive research on the corrida, we have taken artistic liberties with it for dramatic purposes. We can only hint at the sheer magnificence of the bull through sound, and the force of the crowd through stylization. Our intention is not to make an ethical judgment about bullfighting but to use it as the context for the journey of a woman in Andalucía from 1927 to 1933 — very much a man’s world. We take inspiration from past and contemporary matadors like Mari Paz Vega, Manolete, El Juli, and Antonio Barrera.

It has been a challenge and an honor to devise and write Indulto — a play about making choices, paying the price, and letting go.

IASAS Drama previews with IASAS Dance on Thursday, Feb 23 at 5 pm and at Saturday Feb. 25 at 3 pm at the Fine Arts Theater. Admission is free. These productions travel to the IASAS Cultural Convention in Bangkok in March.

Questions for Reflection at the Halfway Mark

February 12th, 2012 No comments
  1. What is my role in the production? What have I done in my own capacity to be consistent with the practice of melodrama? (Research,  devising, etc). Support with specifics so that a person not present at rehearsals will understand how you are following melodramatic conventions in devising character (even if you are just helping in the improvisation and giving feedback)/ your costumes/set/ sound/light design or directing the play, etc. You may include visuals (especially helpful if you are in production).
  2. What is our biggest success as an ensemble in devising our melodrama? Again, support with specifics.
  3. What is our biggest difficulty? Again, support with specifics.

Here’s the rubric by which I will assess your reflection:

  Reflection Content
A/A-Exemplary The student shows high-quality reflection on the creative processes for original scene writing and performing.  The critical response to his/her group’s work is perceptive, objective, and fully supported by clarifying details.
B+/B/B-Proficient The student shows effective reflection on the creative processes for original scene writing and performing.There is an objective and generally well-supported critical response to his/her group’s work.
C+/C/C-Developing The student shows adequate reflection on the creative processes for original scene writing and performing.Some of the response to his/her group’s work is supported by detail.
D+/D/D-Emerging The student shows almost no reflection on the creative processes for original scene writing and performing. There are little to no specifics to support the student’s response to his/her group’s work.
Categories: Explore Theatre Tags: ,

Looking Ahead: FAT Schedule for Block C

February 10th, 2012 No comments

Feb. 27 FAT

Feb. 29 FAT (IASAS CC)

March 1 FAT (IASAS CC)

March 5 FAT

March 7 FAT

March 8 FAT

March 12-16 Room 1123

March 19 FAT

March 21 FAT

March 22 PERFORMANCE AT THE FAT

Categories: Explore Theatre Tags:

Looking Ahead: FAT Schedule for Block H

February 10th, 2012 No comments

Feb. 28, Tuesday  FAT

March 1, Thursday  FAT (IASAS CC)

Marc 2, Friday  FAT (IASAS CC)

March 6, Tuesday  FAT

March 8, Thursday  FAT

March 9, Friday  FAT

March 12-16  Room 1123

March 20, Tuesday  FAT

March 22, Thursday  FAT

March 23, Friday  PERFORMANCE at FAT

Categories: Explore Theatre Tags:

Looking Ahead: FAT schedule for Block F

February 7th, 2012 No comments

Feb. 21   Memorize Scenes 2-5

Feb 28, Tuesday FAT

Feb. 29, Wednesday  FAT (IASAS CC)

March 2, Friday FAT (IASAS CC)

March 6, Tuesday FAT

March 7, Wednesday FAT

March 9, Friday FAT

March 13, 14, and 16 Room 1123

March 20, Tuesday FAT

March 21, Wednesday FAT

March 23, Friday  FAT PERFORMANCE

 

 

Categories: Explore Theatre Tags:

Knowing the FAT Terms

January 23rd, 2012 No comments

1. Floor plan (bird’s eye view drawing)

2. Stage Directions

a) right, Left, Up, Down, Center

b) raked

3. House

a) Orchestra

b) Stalls

c) Balcony

4. Proscenium arch. proscenium theater

5. FOH Front of House

6. Backstage

7. Wings

8. Side leg

9. Portal

10. Mid-tab or Mid-stage traveler

11. Upstage traveler

a) batten (Block H took this up)

12. Cyclorama (curtain or wall)

13. Fly gallery (“fly in,” “fly out”)

14. Counterweights

15. Scrim (for opaque, transparent)

16. Crossover

17. Master control panel (including blue performance mode)

18. Lift

 

 

Categories: Explore Theatre Tags: