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2012-2013 Season

Creating a Character

by Ariel Mitchell, dramaturg

One of the hardest things for any actor is creating a character. The actor has to be able to separate themselves and their mannerisms from the mannerisms of the person they are trying to portray. This is especially hard when trying to depict a real person that you have met and interviewed. In order to differentiate yourself from a character the easiest thing to do is to heighten their ticks (fiddling with a necklace, drumming fingers, running a hand through their hair, etc.) and try to match their vocal tone and posture.

Unfortunately, heightening these aspects of a person often come off as comical. Whenever is something is exaggerated, especially by some one who is an inexperienced actor or isn’t very perceptive to body language, it becomes a sort of mockery. That is not what we are striving for in Gone Missing and The Cleverest Thief.

In our production, nine actors will portray over sixty characters in the span of two hours. How will they differentiate themselves from the characters they are playing? How will they distinguish their different characters from each other? Can they accomplish an honest depiction of real people?

When the representative from The Civilians company (group that devised/wrote Gone Missing), Emily Ackerman, workshopped with us she taught us some tricks. The first exercise she introduced involved status, or how a person carries themselves. A person of high status (social rank, energy, or happiness level) carries themselves with good posture and a spring in their step. As the status decreases people tend to carry themselves more curled in on themselves, as if protecting, with slumped shoulders and their gaze on the floor. Emily asked us to walk around the room and she’d say a number from 1 (low) to 10 (high) and we’d have to depict how a person of that status would look. She then asked us who a person of high status would be (we came up with celebrity, royalty, overconfident jock) and who a person of low status would be (we came up with street urchin, abused woman, someone who was depressed). Through this exercise we came up with a range of emotion that we could depict physically. We went through this process for ticks as well.

Finally Emily asked us to create a character with a defined status (from 1-10), distinct way of carrying themselves, and a defined tick (how strong it was 1-10). We then interacted with each other trying to see if we could guess the choices that our classmates made.

See if you can guess who the character is in this video. Who is it? What is their status? How does it reflect their age, gender, and how they feel about themselves? Do you believe that this character is a real person?
   

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Introduction: Wake Up and Savor "The Taste of Sunrise"!

January 21, 2016 12:00 AM
by Haley Flanders, dramaturg Welcome to the blog for BYU’s upcoming production of The Taste of Sunrise. I am excited to be the dramaturg for this unique and powerful production, written by renown playwright Suzan L. Zeder and directed by Julia Ashworth, head of the BYU Theatre Education program. The show runs March 11-26 in the Margetts Black Box Theater in the Harris Fine Arts Center on campus. A bit about me: I graduated with my MA in theatre from BYU in December and am an elementary school drama specialist. I was the dramaturg for The Fisherman and His Wife in the fall of 2014. The Taste of Sunrise is a very special play, and will probably be unlike any play you have seen before. It centers on the story of a boy named Tuc as he grows up during the years of 1917 and 1928 in a little rural town called Ware, Illinois. The play takes place Tuc's mind and memory, showcasing his experiences as a Deaf boy during the Great Depression. The play features scenes of him losing his hearing as baby, learning to communicate with his father Jonas Tucker and other hearing folk in the town, making friends such as Maizie and Roscoe at the Central Institute for the Deaf in St. Louis, and ultimately trying to find his identity and place to call home. This play is unique because the ENTIRE production is signed and spoken (one actor signs, another speaks), and some of the cast members, namely the actor playing Tuc, are actually Deaf or hard of hearing in real life. In, fact, this is a requirement of the play - the actor who plays Tuc must actually be Deaf. Playwright Zeder states in defense of this requirement: [caption id="attachment_4265" align="alignright" width="174"] Playwright Suzan L. Zeder[/caption] “It is the difference between someone copying choreographed movements and someone dancing in the language of their soul … It sign language is to have dramatic impact it must have meaning; it must be real and specific if it is to have emotional eloquence and physical poetry.” –Author’s Notes to Mother Hicks (pg. 5) New actor, Ben Featherstone, will play the role of Tuc. Look forward to interviews from him and two cast members who are hard of hearing, David Hampton (who plays Dr. Grindly Mann and other characters) and Jason Keeler (who plays Roscoe). Many of the other cast members are fluent in ASL or have taken classes at BYU. Look for upcoming blogs that will highlight the Deaf culture and the power of ASL in performance, and will educate on how to sign certain words or phrases from the show! WHERE DID THE TITLE COME FROM? This play first premiered exactly 20 years ago (1996) at the Seattle Children's Theatre. The title came from a pertinent line in the play which preceded it, entitled Mother Hicks, written in 1986. Tuc feels as if people are only judging him for his disability and not paying attention to all of his abilities. He poetically claims, "You look at me and only see the things I cannot do, thing I cannot be; But I can taste the cool spring water and know what month it is. I can smell the difference between the smoke of hickory and apple wood. I can see the sharp sting of honey, and I can taste the sunrise." What vivid imagery, capturing how powerful the senses are to our understanding of the world around us. As you learn about this play on this blog and attend the show later in March, I implore you to think about your own abilities and limitations, and how this play seeks to empower those with disabilities through the always captivating medium of live theatre. I hope you will return to read more about ASL culture, our progress of putting together this production, the playwright, this remarkable trilogy (yes, this story is actually made up of 3 plays, this being the 2nd installment) and much more! [caption id="attachment_4261" align="aligncenter" width="300"] The cover picture for "The Taste of Sunrise" script, published by Dramatic Publishing.[/caption] Click here to order your tickets to the show. They go on sale February 8. Click here to buy tickets to see the first play in this trilogy, "Mother Hicks" at Utah Valley University!
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What in the blazin' is a Twelfth Night?

January 19, 2016 12:00 AM
by Christian Riboldi, dramaturg Welcome back to the 4th Wall. Today we're going to cover the basic overview of the plot for Twelfth Night. Unlike Romeo and Juliet, the plot for Twelfth Night might not be as widely known to most of you. I know I had to brush up my Shakespeare in order to remember. First let's cover our basic characters. Orsino: He's a...you guessed it, duke, who is in love with Olivia. Olivia: A wealthy maid who is the fairest of them all. Viola: Twin to Sebastian and main heroine of the story. When dressed as a boy she goes by the name Cesario. Sebastian: Twin to Viola. Get's lost at he very beginning of the story. Malvolio: Servant to Viola and in charge of the other servants. A little on the snooty side. Sir Toby: Olivia's Uncle. He's a little loud and good friends with Feste and Maria. Feste: The town fool. In this town he is a man of many talents. Maria: Olivia's hand maiden, though she quite spunky. [caption id="" align="alignnone" width="416"] Joseph Timms as Sebastian (left) and Samuel Barnett as Viola (right) in the Globe Theater.[/caption] There you have it. In this cutting of our show those are all of the characters. The show starts out with Sebastian and Viola getting separated by a storm. The now desperate Viola decides that to make it on her own she will need to find work, which she can't to as a woman, so she dresses as a man and calls herself Cesario. Cesario get's hired by Orsino and is told to run an errand to tell the fair Olivia that Orsino is still in love with her. Viola does this but begins to realize that she likes Orsino, and wishes that he liked her back. While at Olivia's, Viola/Cesario is so good at wooing that Olivia begins to fall for Cesario. Meanwhile Malvolio is telling off all of the servants and Sir Toby for being rowdy, so Sir Toby, Feste, and Maria decide to play a trick on Malvolio. Maria writes a letter pretending she is Olivia declaring her love for Malvolio. The letter convinces Malvolio that Olivia is really in love with him. Sebastian has now finally found his way back after the storm. When he enters the town Olivia throws herself at him, thinking that he is Cesario and tells him that they need to get married right now. Sebastian is surprised but goes along with it because it's not everyday that he has women begging to marry him. In the end Malvolio makes a fool of himself, Sebastian and Viola reunite, and Viola and Orsino get married. Finally after all of this you may be wondering to yourself, what in the world does this have to do with a Twelfth Night? A lot of people wonder the same thing. I think it would be best to let one of our character explain what it seems to be referring to. This is a snippet from an explanation Malvolio offers at the beginning or our version of the show. "Actually it’s called twelfth night as a reference to the twelfth night after Christmas day, called the Eve of the Feast of Epiphany, which is a carnvialesque celebration where roles were reversed, based on the ancient Roman festival of Staurnalia. Scholars argue about whether or not Shakespeare wrote it to celebrate the actual holiday, or if the title just refers to the topsy-turvy world suggested by this beloved festival – an interpretation that is supported by the subtitle, “What Your Will.” There you have it folks. Now that you know what Twelfth Night is about you can recognize the story when you see it. Next time we're going to be talking about some different adaptations of that this play has gone through. Until next time.
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Tippin’ the hat to the Ol’ Taleteller

January 12, 2016 10:53 AM
Welcome back to the 4th wall. The purpose of these blog posts is provide our audiences with inside information about these productions to enhance their experience with the show. This may include information about rehearsals, background research, and even sneak peaks into what the show will look like.
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