In March A Tree We Planted. Part 2. Skip to main content
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In March A Tree We Planted. Part 2.

By: Eric Stroud, dramaturg Last time we discussed Director David Morgan's usage of a tree in his concept for this show. A representation of "human kind," the tree is an omen of what might befall those who hold a soft spot for war mongering. However, David's concept ("any war we have today, is simply evidence that human kind has not learned from its mistakes.") is not clearly accomplished with just a tree that is center stage.

drkbloodcircle

Circles are also an important part in this production of Mother Courage. While the tree may represent "human kind" for David, the circle represents the monotony of human kind's choices. In this play, killing shows up constantly, in dialogue, implications, and actions. Davod felt that the cyclical cycle of killing that has existed since the dawn of time can easily be represented with a circle. Additionally, watch as Mother Courage pulls her cart around the tree, over and over. Pay attention to how her lack of progress makes you feel. Does it frustrate you? Did you even notice it? As you watch the show, ask yourself whether or not you agree or disagree with Mother Courage's choices and write about it in the space allotted in your program. However, perhaps David draws his circle concept from Brecht's play on the idea of repetition through dialogue. One of my favorite examples of this comes in the scene proceeding the intermission. Mother Courage's daughter Katrin has just been attacked. She stumbles into camp with a dazed and downtrodden look to her. Mother Courage makes an attempt at consoling her, but is unsuccessful. In her frustration she exclaims, "curse this war!" However, this exclamation is quickly followed by this line at the start of the next scene, "I won't have my war all spoiled for me!"

still-a-hypocrite

One second Mother Courage is cursing the war and the next she is claiming it fondly as her own, "my war." This hypocrisy is Brecht's showing of repetition. There are countless times in this play where characters act opposite to what they claim. It is easy to see that Davod's concept draws from this inclusion of confusion by Brecht. It plays on the idea that just as Brecht's characters never learn, or progress, neither does the human race. In my next post I will explore my lobby display. Tune in to read about where I got my ideas and how it ties in with the show.

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Simple is Best

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Simple is Best [caption id="" align="aligncenter" width="640"] Indeed.[/caption] by Adam White, dramaturg I write this blog post on the day of final dress rehearsal, on the eve of opening night! Everyone involved in this production of A Man for All Seasons has done marvelous work; the set and costuming and make up are all beautiful, and the cast is eager to put their performance in front of a live audience. I guess one could wonder if a dramaturg would give anything but a glowing report of their play that's about to go up, but quite truthfully: I'm eager for you to see this play! On the subject of wanting you to see our production of A Man For All Seasons, I want to relay to you an interesting experience I had just two day ago. Every BYUarts theatre production gets a promotional video, and I was asked by the video makers in charge of the promotional video to be interviewed for the piece on A Man for All Seasons. I accepted, and when I was in the interview, they had two questions for me: 1.) What is A Man for All Seasons about? 2.) Why should people go see A Man for All Seasons? As a dramaturg, I had a great answer for number one. Summarizing the events of this play in an interesting way was no problem. But that second question? That question gave me the hardest time! In the interview moment I was so flustered by my lack of an a concise answer. I quickly babbled out some gibberish to the camera man, after which I apologized and told him if he needed something more intelligible he shouldn't hesitate to call me back. Needless to say I was pretty embarrassed after the experience. Here's the thing: I'm the dramaturgy for this show. I should have some insight as to why people should go see this play (and I do). As I've thought about this experience and about my work as a dramaturg, I've come to the realize that in this situation what I needed was simplicity. Simple is best. See, during that brief interview with the promotional video guys, I was trying to make up a reason for people to see this show that sounded meaningful, or at least scholarly. That wasn't the right attitude for me at all because it meant that I was reaching beyond the play, maybe for selfish reasons, to lend what I deemed to be credibility to a piece of art that, maybe, doesn't need to be legitimized at all. I was being long-winded and downright silly. What the play really needed was for me to speak its simple 'truth.' To redeem myself a little bit and to put my new motto for dramaturgy into practice, I will tell you why I think people should see A Man for All Seasons. I firmly believe, in the words of Oscar Wilde, that "Life imitates art far more than art imitates Life." This play, this conflict between Thomas More, his family, and King Henry VIII, informs our understanding of what it means to have a conscience. Bolt challenges us to explore what it means to have an integrity and what having integrity means in our most intimate relationships. Also revealed in this play is the corrupting influence of political power. I think that every person grapples with these themes, experiences, and issues.A Man for All Seasons is an important play for people to see. The promotional video guys didn't end up using my interview for the promotional video. Frankly, I feel so relieved; it was awful. May you forego the trappings of intelligent-sounding language the next time you are in an interview. Enjoy the show!
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Come And See Us!

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[caption id="attachment_4573" align="alignleft" width="222"] Mother Courage Counsels her children to "be careful," in the war.[/caption] Hello all you 4th Wall Fans! Mother Courage and Her Children opened on Friday to a major success. Tickets are still available for other showings, but they are going fast. You can buy them online by visiting this link: http://bit.ly/1WTCpMW See you soon!
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Meet the Cast - Rachelle Elbert & Jack Shapiro

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By Kristen Leinbach, Dramaturg As we continue to move through the rehearsal process, it still amazes how much we are learning from this show. Rachelle Elbert and Jack Shapiro, members of the ensemble, shared the following about their experiences with the show... "The Light in the Piazza has been an escape for me (Rachelle Elbert). Being surrounded by beautiful music, passionate characters and actors, and the vivacity of the Italian culture has provided an insight into a whole new world that soothes the heart and soul. I have had the chance to experience both the bold Italian life and the sweet southern innocence as an ensemble member and Clara's understudy. As I've discovered who Clara is, her light and purity has slowly peeled away the layers and walls that I've built up throughout my own life. I feel a new light in my life, a new found appreciation for the unknown, and find beauty and sympathy in the strangest of places. I have become more comfortable with vulnerability and free expression and it's literally the greatest feeling in the world. Being apart of the beautiful production Light in the Piazza has been emotionally and spiritually fulfilling, and has opened my eyes to a realm of theater I never knew before." [caption id="" align="aligncenter" width="576"] Piazza Rehearsal - Right to Left
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