Comments Post

Prompt 7
http://devinangelique.blogspot.com/2014/10/prompt-7-space.html?showComment=1418413919927#c7483598940828464381

Prompt 8
http://gtpbloggo.blogspot.com/2014/10/prompt-8-ive-recently-had-some-hands-on.html?showComment=1418414414597

Prompt 9
http://sanchavis.blogspot.com/2014/11/post-9.html?showComment=1418415619489#c7817423730742034655

Prompt 10
http://bturn4130.blogspot.com/2014/11/post-10.html?showComment=1418417406239#c6302255156893789369

Prompt 11
http://alexandriaandarathtr4130.blogspot.com/2014/11/the-uncanny.html?showComment=1418417779429#c8224065939826210236

Final Prompt

As I reflect on our past semester of readings, in-depth discussion, and performance experiments, I can think of a few ideas and concepts that I have trouble digesting or taking an opinion on. I think that having an internal struggle about how I feel about these ideas is not a bad thing. I've really enjoyed exercising my analytical skills this semester by reflecting on our classes. This class has also enlightened me to a field of study that I am incredibly interested in but have not been aware of until now.

Something that I have struggled with and have discussed repeatedly outside of our class is the concept of "liveness", and how pre-recorded implements are used in performances. I can understand that using pre-recorded elements are necessary for many live performances, but there is a line that can be crossed when they are over-used. When I go to see a theatrical performance, I have certain expectations. A live and alive performance allows you to suspend your disbelief and become more immersed with the action on stage. When pre-recorded elements are over-used in live performance, the juxtaposition of the two takes me out of the show because I'm aware of the differences.
An example that comes to mind is the opening sequence of LSU MainStage's production of Fifth of July. A sequence of pictures and video clips preceded the action of the play, which I assume was to give us context for the time period. I found the context helpful, but the sequence to be a bit too lengthy. The sequence was displayed on a large projector screen behind the set. Perhaps if the video was displayed on a television set that was on the set, it would have established more of a connection to the action on stage. It really felt removed from what I came to the theatre for that day- a performance of Fifth of July.
Hopefully the careful balance of live and pre-recorded is respected for the future ahead. I do not want to be phased out by a projector.

Post Prompt #11 Using "the uncanny".

The first example of "the uncanny" that I could think of is the 1999 film "Bicentennial Man", starring the late Robin Williams. This film (set in 2005?!) experiments with elements of the uncanny, as Williams' character transitions from a robot with very rigid movement, then an "android"- a more upgraded model, and eventually into a "human body", which eventually leads to the end of his life. Towards the later half of the movie when the robot named Andrew transitions into his more human form, we start to feel that familiar uncanny feeling.
Bicentennial Man has the advantage of having a real human actor playing this "robot coming to life", but there is still an attempt to make the "robot-ness" of the character apparent. I think the use of the uncanny in this film is to remind us of our feelings about the mixing of human and robot elements. I'm not sure how successful this movie was in its effort to show... well, I'm not sure. "Robots have feelings too?" I remember this being a pretty strange film.

I think the uncanny can obviously lend itself to horror, but some elements could be used in comedy. There are some who can find a lifelike Japanese humanoid robot very humorous, because it is an attempt at a human-like form that does not quite make it there. Some may find the inadequacies of these robots creepy, while others may find them humorous. It depends on the context in which they are set.
I'm sure that the more technology advances, the more experimentation with "live but not alive" performance we will see. My current view is that a performance that is not alive is not one that engages me as much as one that is alive.

The feeling for the uncanny is an important sense for artists to develop so that in the future, the fine line that can be tread when using this technology in an art form that is meant to be viewed by the public isn't crossed. The artists wouldn't want to make their audience feel unnecessarily uneasy.

Maggie's Blog Prompt #10: EMPATHY - Response

I can certainly agree that we are living in a world of increasing cynicism, narcissism, and apathy. I think that utilizing the tools that Boal offers via Theatre of the Oppressed could be a window into the future. Theatre can help remind us of the world around us and that humans need interaction that is more than hiding behind a computer screen. The experience of attending a performance of something whether that be a dance, music, theatrical, or other kind of performance reminds us of the amazing things that we can do as humans.
I think that forum theatre is a great way to create discussions between those who wish to initiate social change. Giving people the ability to step into someone else's shoes while discussing these important issues can I've some much needed insight to some who might not get the opportunity in any other kind of way.

The answer to combating injustices and wrong doings across to world boils down to one word: "awareness". If we are made aware of issues and told the real facts, not biased opinions, our very nature will lead us to find solutions. That could mean electing new leadership, lobbying for new legislation, or joining a protest.
I think that theatre doesn't need to always be the "answer", but it can be a much needed release as well as a forum to discuss topics in new ways that can continually be modified and updated depending on the needs of the piece. It is a place to air out opinions about these topics, but if done in the right way, can inspire social change. If injustices are brought to light in a popular public forum, there's a higher chance that someone will be inspired to initiate social change. Theatre has that powerful tool that many other mediums do not have.

ACTIVISM - Response to Colt's prompt #9

An issue of social importance in our community that comes to mind is the recent push for Baton Rogue to split into two cities: Baton Rouge and St. George. More than 18,000 residents of suburbs in south Baton rouge have signed a petition calling the creation of this new city. The proponents of this movement claim that they want to improve the quality of their local schools and have better control of where their tax dollars are going. This taxpayers in this area contribute about two thirds of the funds of East Baton Rouge Parish.

Many opponents argue that this proposal has other motivations. The newly proposed St. George would be 70% white and the largely poor community in the rest of Baton Rouge would have to endure huge cuts to education because of this loss of taxpayer revenue.

 This story has received international attention from many news outlets.

I am in opposition of this movement. 

 I think the the more media and internet attention this story receives, the less support it has going for it. Although this may not apply to all of the petition signers, it seems that some of these supporters may have good intentions, but don't take into consideration the people that it would negatively affect. If they could see the hardships that these people already endure, maybe they will think twice about making their lives and their children's futures.

This protest would reach a conclusion when the proposal is denied, as I suspect it likely will. This is a concerning development that I will keep my attention focused on.

TIME - Response to Ashley's post prompt #8

The "reality effect" is reinforced by the time and pace of the various types of theatre in varying ways. The twitter plays can have a very fast pace because reading twitter conversations allow the reader to feel like they're part of the action, reading along as the events are simultaneously happening. 

This reminds me of a time when I was reading conversations and reports on twitter while a high profile news case was unfolding. In April of 2013, the tragic Boston Marathon bombings occurred. Three days after the bombing, I was noticing some strange reports on my twitter feed about a carjacking in a neighborhood of Boston, and that 'crude grenades' were being thrown out of the vehicle. 
I just happened to be out with some friends that night, and I obsessively would refresh my feed to stay updated. I was updating my friends constantly, and as we know today, that carjacking, police chase, firefight, and eventual manhunt and capture was all linked to the bombing, days earlier.
Reading news reports on my twitter feed and staying updated to the second made me feel like I was part of the experience, even though I was in a bar in Baton Rouge, not in Boston. The pace started slowly, but quickly accelerated and I couldn't keep away from my phone to see what would happen next.

I think that if a performance artist wanted to experiment with the "right here, right now" of theatre, he or she could set up an exhibit in which they were in a room that was visible from all sides to the audience. The room could be set up as a kitchen or bedroom and the artist's actions would be determined by a twitter feed that the audience controlled. The audience would dictate the artist's actions, and could argue and cancel each other's commands out.
I would definitely feel like I was part of the experience as an audience member in that environment.

Amar's Prompt - Post #7

Once is a show that I had the pleasure of seeing the last time I visited New York City. This show features live musicians and buskers that perform all of the music in the show. I would be very interested to witness a production that took the audience to the street corner, then into a bar down the block to watch this beautiful story unfold.
This would really utilize the Axioms of Environmental theatre and present a believable story to the audience. The story revolves around the relationship between the two main characters simple named Guy and Girl. The separation that is distinguished between the audience and our characters by not knowing their names really reminds me of how it is like to witness things as a bystander in a bar. I also would not be opposed to the idea of ordering a couple of beers while watching a show!

As for the quote by Kantor, I can certainly agree that in order for a completely, wholly believable event to happen, the "audience" must be in circumstances that they think are real. It is far more likely for me to believe that a "drama" is actually happening if I'm walking around downtown as opposed to near or inside a theatre, at a park like Disney World, or even to an extent a college campus. Places that have an environment meant for performing in (e.g. a theater, Disney World) sets the audience member up to expect a performance, and when said performance occurs, some percentage of the audience's consciousness is aware that they are watching a staged event. At a place like a college campus that contains a specific population of students and faculty, where everyone is there for a similar purpose, there is still some amount of disbelief because that audience is more aware of the likely-hood of some kind of disruption.
I do not think that the theatre is the "least appropriate site for drama to be materialized". As I stated before, it is harder to establish an immediate believability for an audience inside of a theatre, but when attending the theatre, it is partially the audience's job to suspend their disbelief and allow themselves to be immersed in whatever is happening on stage.