Director's Concept

This Unit, Enrage to Engage, requires us to write a script, of 2-3 minutes on a topic that will engage the audience. The performance of this script will take theatrical elements from Grotowski, Brecht and Artaud. The performance is quite exaggerated - in people's expressions - but also has elements where we take from Theatre of Cruelty (Artaud), as well as Brechtian elements of symbolism.  The performance and script is about the police brutality and shootings in Ferguson, Missouri.

The scene begins with Dorian, one of the key characters in the performance, going to the audience and shaking the hands of some of the audience members, asking them if they are sorry, multiple times, becoming more and more aggressive. Dorian then sits down. A police officer then enters, and aggressively tells the audience to hold their guns up, and begins to tell the audience that 'criminals' are tricksters and will trick them into putting their guns down. The police officer then exits, running up the stairs next to where the audience is sitting.

Script for performance

Three 'citizens' - they are the hypocritical, opinion-changing characters - enter. They begin to chant, which is interrupted with the police officer saying "Get the fuck on the sidewalk." and the entry of Michael, the second 'key' character in the performance. Michael enters by running down the amphitheater steps before entering the stage and standing with his hands up, saying "Hands Up, Don't Shoot" - one of the main phrases of the protests in Ferguson after Michael was shot, as well as what Michael Brown actually said before he was shot. The police officer then shoots Michael. The people playing 'citizens' stand behind the last row of the audience and flick water at them, which is meant to symbolise Michael's blood, and play with the audience's senses. Then the police officer walks in from the back of the stage, holding up a cigarette packet and says "And to think he almost got away with them too!" He indicates toward the cigarettes. The citizens then run down onto the stage and down, screaming to the body.

There is a voice over saying "Black man dead, black man dead, this is not the america we worked for." which then influences the behaviour of the citizens. They are now exclaiming about a black man being dead - the tragedy, the loss, the lack of justice. When the lights then come up, Dorian gets up, and is then immediately grabbed by the citizens, as they are saying that they are sorry for his loss, that it was a tragedy. Fighting the citizen's grasp, he says that he was there, that he saw it all, that Michael was shot. Dorian is wearing a black tie, and he is at a funeral. Dorian gets up from the grasp of the citizens and then he exclaims "They had guns! Hands up, don't shoot!" The citizens then exclaim criminal! and the lights then black out.

When the lights come back up, there are 3 police officers on the stage, laughing and joking about Michael's death and how only 8 of 11 bullets that were fired hit Michael - "Eight? Eight?! You had 11 bullets and you only hit that sucker eight times?" After each of the 3 phrases talking about the lack of shots hitting Michael, Dorian, who is standing on stage says "Hands up, don't shoot!" The original police officer then holds a gun to Dorian's head and says: "I was saving the last three bullets for his friend!" and then he proceeds to shoot Dorian three times, saying BANG each time, in place of sound effects.

At the end, the police officer goes up to audience and tells them to hold up their guns, and to 'protect their country'. Then he proceeds to shoot the audience, saying 'BANG'. The exaggerated 'BANG' is meant to highlight that the police officers are in control of their guns, and it is symbolic, which is Brechtian.

Due date

Today is the due date for the physical theatre project. One group will be performing today and one tomorrow. This morning my group had a rehearsal, and for the first time we did the entire script fully, making it to the end. We finished and it was awesome! And everyone had learned their lines.

In our interpretation of the script, we did use some physicalisation, however if I had to do the assignment again I think I would add a lot more, and work more on the togetherness of the physicalisation. My group did have trouble with getting organized, especially in terms of showing up to rehearsals and discussing the direction of the script, however as the date of performance neared, we became more organized and more people came to the meetings and rehearsals.

Reflection on Work thus far: Cagebirds by David Campton

When I  first received Cagebirds by David Campton, I thought that it made no sense! The characters were not coherent, the plot seemed to be going nowhere, and I had no idea what we were supposed to do with it at all, especially how we were supposed to 'physicalise' the piece. When the whole class was split into two, I was very unsure how group work with 10 people in a group, especially since some of the people I was working with were people who I don't usually work with at all. 

When we first got together everything seemed so chaotic. The whole group was divided and we had no idea how we would put movements to it all. We began by going through the lines of which made no sense to us, especially the first ones. We did not know then that the lines weren't supposed to be connected at all, that they were supposed to be disjointed and not make any sense. We divided up the characters, and we all tried to decide who we wanted to be. I decided on The Gloom, a depressed, somewhat subdued character, who seems to be quite a hypochondriac of whom I now play as quite snarky, but also quite afraid of the world. Juliette and Nina decided they wanted to be Mistress and Wild One, respectively. 

We decide on a theme of 'orphanage', in the end. We had multiple discussions about the theme and where the story would go. Orphanage was the most popular theme, and within orphanage we are taking inspiration from 'Annie', making Mistress similar to Ms Hannigan, and Gloom, Guzzle, Gazer, Sloth, Stranger, Twitting, and Thump orphans. Wild One is also an orphan, but a new orphan that Mistress introduces. The metaphor of 'Cage' in the script is the Orphanage, and the dictatorship of Mistress. We decided that the plot would go from the Mistress being in total control, and Wild One 

As we began to develop what the piece was going to be and look like, there was some noticeable divide between the Orphans (Gloom, Gazer, Guzzler, Gossip, Sloth etc) and Wild One and Mistress. As we realised that we had next to no physical movement in our piece, we began to freak out a little. Luckily, at the time, we began to learn a lot about Meyerhold and Stanislavsky, two very prominent actors and directors who coexisted and had opposing views about acting. Meyerhold had a more fantastical approach to acting, and trained his actors to have exaggerated movements, and perform in quite a mechanical, larger-than-life way. Stanislavsky on the other hand, wanted realism from his actors, and he wanted art to imitate life and vice versa. As a class, we did a couple of training techniques that Meyerhold used to train his actors, 'The Slap' and 'The Shake'. The introduction and learning of these techniques gave us all an idea of what was wanted in our pieces. 

As we realised this, we began to put in some more choreographed movement into it. For example, we reorganized the beginning of the script so that we all had designated seating places so it looked a bit neater and less unorganized. We also decided to put a beat to what we were doing at this part:

'Guzzle: Tea-cakes. Tea-cakes. Tea-cakes. Cream buns and puff-paste. Tea. Tea. Tea.

Gloom: Warm, Warmer. Warmest. Wrap up. Avoid draughts. Keep warm. Warmer. Warmest.

Gazer: Beautiful for ever. Health and beauty. Home and beauty. Sleep. Beauty. Sleep.

Gossip: No. No. Not a word. Listen to this. Did you ever? No,

Thump: Stop. Stop.. Stop. Down with it. Out with it. Away with it. Stop. Stop. Stop.

Twitting: Not again. Oh, not again. This is too much. Much to much. Not again.

Sloth: Dream, wake, think of moving, dream, dream always dreaming, rarely moving. Wake.

Stranger: Tell me. Tell me everything. Tell me everything you think I need to know. I’ll hear; watch; here'


The beat stops after Sloth's line, instantly. This beat which is done all together makes it look like a neater piece, and more 'together' without destroying the point of the disjointed lines. Another change we have made is that we are going to be doing individual, timed looks throughout Wild One's initial meeting with the other orphans.

In terms of props, each of us will have a signifying prop. Gazer will have a mirror, Gossip a magazine, and so forth. It helps us to characterize, and helps us be more realistic for the audience. Gloom will have a notebook which will be drawn in, and then given to Gossip throughout her monologue. 

To prepare for the Performance, which actually, at this stage looks like it will be tomorrow, we have been practicing at every chance possible. This afternoon we are practicing from 3:30 until 5:30 to prepare for the performance and to make sure we are all on the same page. We are finished physicalising the piece, and we need to run through it at this stage, and make sure we all know our lines

Cagebirds script

I have decided to upload the Cagebirds script to this logbook so that it can be viewed and applied to the entries I have made, as well as the entries I will make about the performance and the development of the project.

SCRIPT

All the kids running around the room being superheroes. All of them slowly come to a stop when they notice Mistress standing at the front of the room holding the red cloth in her hand.

Mistress: It never happened…

Mistress exits. Guzzle and Gazer washing shirt, leave in box.

Guzzle: Gravy is most important.

Gazer: Oh, indeed. Never back-brush too hard.

Guzzle: Dark brown and smooth it should be.

Gazer: That's what I tell them. There's no point in spending a small fortune on a permanent if you brush it all out again.

Guzzle: Exactly. How can bumps get into the gravy? Criminal carelessness.

Gazer: Not that I expect a permanent to be too permanent.

Guzzle: No, indeed. There's no excuse for lumps.

Gazer: This year's fashion is next year's old hat. But I have such fine hair.

Guzzle: Even in times of economic stress my gravy was exemplary.

Gazer: Mine is like spun gossamer.

Guzzle: Speaking as a consumer.

Gazer: Bobby pins tomorrow.

Guzzle: A gravy user.

Gazer: With gossamer.

Guzzle: Gravy.

Gazer: What there is of it.

Sloth: It’s never seen, or else, I just don’t see it.

Twitting: I was never given to opinions.

Stranger: I listen, I hear. There’s talk, talk, more talk.

The Thump rises and strikes an attitude as though about to deliver an important announcement, then' changes her mind, and sinks down again. The Gossip stands.

Gossip: No use coming to me with your tales, I told her. I'm not one of your lines of communication. I really don't kn bow where she gets it all. Though I've seen her myself with an ear to the bedroom wall. Don't ask me how, because I've never been one to divulge a source of information. A secret with me is as safe as the graveyard. Not like some people. we know. We've seen their telescopes, haven't we? And their periscopes. To say nothing of gyroscopes, microscopes, and thermometers. We know who conveys those tasty tidbits from keyhole to keyhole. Don't look at me. I'm not one of your talkers. You won't catch me hanging round the cooked-meat counter. I keep myself to myself—which is the safest place when all's said and done. Honi soil qui mal y pense. You've heard that one, haven't you? Of course you have. I'm always coming out with it. It's from the French. Not that I'm given to the French. Not like someone we all know. It's in her blood. You don't have to take my word for it; you can see by the way she carries on. Oh, I could tell you a tale or two. I know. (She returns to her place)

Twitting: Don't ask me. Please.

Sloth: Too much to do yet so little time.

Stranger: Why do you need me? All of you, why do need my ear?

The Mistress's voice is heard off: Ideally this would be an amplified whisper

Mistress: (off) Sweeties. Sweeties, sweeties, sweeties.

The Ladies look at each other, then immediately try to appear as though they had not

Mistress: (Off) Where are my sweeties?

The Ladies get up and move about rapidly, but aimlessly—talking, but never listening

Guzzle: Surely it must be tea-time. Where are the muffins and crumpets? Where are the toasted tea-cakes? Where is the thin-cut bread and butter? Where is the tea?

Gloom: Warm wrapping. That's the only answer. Lagging, if you look at it from the plumber's point of view. Why should we cosset our pipes, but neglect our torsos? Medicated wool is the answer. Yards of it.

Gazer: I've been experimenting with underwater shades—pearl, coral, and anemone. Youthful tints. Far too youthful to be left to mere youth. Pearl, and coral, and sea something. Has any­one noticed?

Gossip: Only one leg. That's a fact. I heard it myself. That makes you think, doesn't it? Someone has some explaining to do if you ask me. All those years and only one leg.

Thump: The rot must be stopped. That's what a dentist does with a decaying tooth. He stops it. This is a decaying society. It must be stopped before the rot spreads.

Twitting: This is all so unsettling. Nothing stays the same for more than two seconds running. Even the barometer goes up and down like clockwork. How can one trust in anything when everything is always changing?

Sloth: I’m moving, I’m moving, yet I never get anywhere and nor do I want to. Why should one move when there is no need. Things will happen and things will be taken care of. Time is of the essence

Stranger: Here one minute, gone the next. I’m not expected to stay; nor can I leave. They confide in me because I’m not known – I’m trusted, but they do not know who I am. Nor do they care. Nor do I. Do I? Do I care? Do I care about them? Do I care at all anymore?

Pause. There is the amplified sound of a key being turned in a lock The Ladies move about and talk even faster

Guzzle: Tea-cakes. Tea-cakes. Tea-cakes. Cream buns and puff-paste. Tea. Tea. Tea.

Gloom: Warm, Warmer. Warmest. Wrap up. Avoid draughts. Keep warm. Warmer. Warmest.

Gazer: Beautiful for ever. Health and beauty. Home and beauty. Sleep. Beauty. Sleep.

Gossip: No. No. Not a word. Listen to this. Did you ever? No,

Thump: Stop. Stop.. Stop. Down with it. Out with it. Away with it. Stop. Stop. Stop.

Twitting: Not again. Oh, not again. This is too much. Much to much. Not again.

Sloth: Dream, wake, think of moving, dream, dream always dreaming, rarely moving. Wake.

Stranger: Tell me. Tell me everything. Tell me everything you think I need to know. I’ll hear; watch; here

The door is opened. Everyone stands very still, very quiet. The Mistress stands in the doorway. She is a smiling and benign, but authoritative person, older than the Ladies, and, if possible, taller than any of them

Mistress: Here are my sweeties.

(She shuts the door behind her and advances into the room)

Mistress: How are my sweeties?

The Ladies move about again, but in turn come up to the Mistress

Twittering: It's the uncertainty that bothers me. If only I could be sure about anything. But I'm not. One day I think one way, and the next day I think the opposite.

Mistress: That's because you're a permanently floating voter.

Twitting: Am I? Am I really? Oh, thank you so much.

Thump: Sex and violence. You've seen it, haven't you? Even in comics. I've made a study of comics. Lurid with lust and bad jokes. It's a problem.

Mistress: But in such safe hands.

Thump: The censor. That's what we need. Bring back the censor.

Gloom: Have you been inoculated against rabies?

Mistress: Against everything.

Gloom: How wise.

Gossip: Have you heard?

Mistress: Whisper.

The Gossip does so

Mistress: Incredible.

Gossip: Nothing but the truth.

Gazer: Have you noticed?

Mistress: Beautiful.

Stranger: I’m not needed here. I listen but I’m not necessary. To be necessary is necessary to all. I am not necessary.

Mistress: You underestimate your worth to me – to all.

Sloth: Must I move? Must I do? It really is a bother.

Mistress: It is no more bother to move than it is not to.

Gazer: I think so, too.

Mistress: And I have something for my pet Guzzle. (She hands Guzzle a macaroon)

Guzzle: A macaroon? I was just thinking about a macaroon. I shall keep it always to remind me of you. (She eats it)

(The Mistress claps her hands. The Ladies react with gasps, squeaks, and snorts according to their nature)

Mistress: Listen. (The Ladies listen) You have a new playmate. You will be kind to her, won't you?

Gazer: It's this light. Not the kindest to my complexion.

Mistress: I know you will. You'll have to be specially understand­ing because she is a Wild One. Her little ways may not be your little ways. But I know you'll be understanding.

Gloom: I wonder if it isn't all in the mind.

Mistress: Remember when I first introduced our little Twitting.

Twitting: I would if I could, but ...

Mistress: You made her at home almost at once.

Guzzle: Why, is it impossible to get old-fashioned tripe and onions?

Mistress: So I know you'll all do your best for our Wild One.

Gossip: I've heard. I'm passing nothing on, you understand. But I've heard.

Mistress: I know, my sweeties. Just a minute while I fetch your new companion. Isn't this exciting?

The Mistress goes out, shutting the door after her

Thump: Wild? Wild? The magistrates aren't severe enough. Let off with a caution instead of the cat.

Guzzle: Wild things are oppressively expensive. Rice. Strawber­ries. Because they are luxuries. Are they luxuries because they're expensive, or are they expensive because they're luxuries?

Sloth: Must I make way? I must prepare but I’m not certain I need do it.  Here is my place. Or here. Or here? I can’t go on.

Stranger: Another and another, they come. We come. We have been sent, but how many more? How many more can I listen to?

Mistress: (off) This way, my sweet.

Thump: Wild.

Guzzle: Rice.

Gossip: Paper.

Gazer: Hat.

Gloom: Stand.

Twitting: Aside.

Sloth: Note.

Stranger: All.

The door opens and The Mistress ushers in The Wild One. The Wild One is possibly a little younger than the others. What really distinguishes her from them, though, is her attitude. She is receptive to what is going on around her

Wild One: So this is my prison.- Thump looks

Mistress: Your home

Wild One: My cage.

Mistress: We don't use that word. Look, everyone. Here is your new friend.

The Ladies want to turn and look at the newcomer, but this is not done. They steal little sidelong glances, and then pretend that they have not. They continue to suffer from curiosity, and to fall for temptation

Mistress: You'll be happy here.

Wild One: Is that an order?

Mistress: I know you'll be happy here.

Wild One: I was happy there.- Thump looks

Mistress: You would have died. You have enemies out there, predators whose first impulse is to tear you to pieces.

Wild One: And what happens to me here?

Mistress: You'll be looked after. Protected. I'm your friend.

Wild One: First rule for any prisoner: make sure the gaoler is a friend.-Gazer Looks

Mistress: Please don't be unhappy.

Wild One: Are these happy?

Mistress: They are contented.

Wild One: A different word. For locks read apathy, for bolts resignation; and the bars are called contentment. I warned you —I shall escape.

Mistress: And I warned you. Your choice is life or death. Do be a sensible creature. You'll soon settle down. Won't she, my sweeties? All so cosy.

Wild One: I won't call you mistress.

Mistress: It isn't compulsory.

Wild One: I won't perform for you.

Mistress: You amuse me just as you are.- Everyone laughs

Wild One: I don't sing or dance or make jokes. I'm not pretty and I'm not loving. Why have you brought me here?

Mistress: Perhaps I feel sorry for you.

Wild One: Charity! That's a great luxury. I hate you for it.-Gazer Looks

Mistress: That's up to you, my pet. Your frost can never kill my satisfaction.

Wild One: Leave me, then. If you won't release me, leave me.- Thump looks

Mistress: I always try to do what is best for my sweeties. (She goes to the door) I'm sorry I have to lock the door. It's for the best. For all of you.

The Mistress goes out. There is the amplified sound of the key turning in the lock

The Wild One suddenly turns, runs up to the door, and tries to open it. It is securely locked. The The Wild One beats at it with her fists. The Ladies stare ahead, a little distressed by this display of emotion, but determined to show nothing themselves. The Wild One stops beating the door. Slowly she turns and looks at the Ladies. Silence, which goes on until The Wild One has to break it

Wild One: I'm sorry. I—hope I—didn't upset you. (Pause) These performances must be disturbing. I'm in full control of myself now. (Pause) I'm sorry if I behaved stupidly. (With voice rising) But I am not used to walls, and ceilings, and doors with locks. (She checks herself) Sorry.

Silence. Wild One ventures a little farther into the room. (With a slight, rueful smile)

Wild One: I have to make myself at home. Command from on high . . . I'm your new cage companion. (Pause) Shall we get acquainted? I may not be here for long. (Pause) I shouldn't be here at all, but I was given no choice. There has been a miscarriage of justice. (She checks herself)

Silence

Wild one: But you probably know about that. After all you're here yourselves.

Silence. The Wild One walks about the room, looking at The Ladies, who pretend they are not being looked at

Wild one: (Becoming irritated) What happened when you were first put here? Did you go into a cataleptic trance? Did you go off your pet food ? Did you squeal with your heels in the air? Or did you sing sweetly from the minute the door slammed ? (She realizes that she is shouting) I'm sorry.

Silence. The Wild One returns to the centre of the room

Wild one: I'm sorry. I shouldn't be here. I know I shouldn't be here. But what can I do? I'm sorry.

Silence

Wild One: Up the Revolution! Votes for Women! Take me to your Leader!

Silence

Wild one: I'm sorry. You were here first. You call the tune. You chose your own time. I don't understand your rules. I don't know any rules. Check. I know one. There should be no cages. But here we are in a cage. What good is the rest of the rule-book when the first rule is broken? (She checks herself) I'm sorry. (Pause) I expect you'll be hearing that a lot. As long as I'm here. As long as . . .

Silence. The Wild One waits. She notices The Twitting's head turn ever so slightly as she steals a peep. The Wild One strides over to the Twitting

Wild one: (Aggressively) So you're contented, are you ?

Twitting: I—er—I—don't—er—know.

Wild One: So why are you still here?

Gazer: Up the hair revolution! The possibilities...The Bob, The Shingle cut...

Wild one: Do you ever talk about other stuff?

Gossip:  We have our interests

Wild one: Why are you here still? What’s keeping you?

Stranger: The door is locked

Guzzle: The mistress! The mistress! My love, my provider.

Wild one: Why do you listen to her? Love? Provider?! Listen to yourselves! The Mistress is controlling you! why don’t you escape?

All: Escape?!

Gossip: I heard, in America... (sloth cuts Gossip off)

Sloth: Where would I sleep, where will I wake... (Stranger cuts off Sloth)

Stranger: The noise the noise, why is there more noise…(Thump cuts off Stranger)

Thump: If a bird leaves it’s nest before it’s ready to fly, it will not be able to provide itself with the basic needs of survival- food, shelter, protection...

Gloom: Who cares where I spend my life? It’s all the same.

Guzzle: But how to survive? No gravy outside?

Twitting: The Spontaneity! I couldn’t be spontaneous… no… you can’t trust the risks… i can’t trust myself...

Wild one: Surely that would be better than what you have here though? No matter the consequences… I have dreams of freedom. No cages, no bars. I have dreams...

Guzzle: Of all you can eat buffets

Twitting: Of somewhere safe

Gloom: Of darkness.

Gossip: Of the biggest secrets

Sloth: Of peaceful dreaming

Thump: Of laughter.

Gazer: Of permanent, permanents!

Stranger: Of quiet

Wild One: So why do you listen to her? Why are you still here if she’s keeping you locked up- don’t you see that she’s keeping you from your dreams? Don’t you see that she’s evil!?

All: Evil… Whisper

Gloom: Evil? Evil? Oh. (whisper confused and disappointed, almost)

Mistress enter

Mistress: My darlings... (looks towards Wild One creepy smile)

Thump: You are a bitch (slowly, unsure and quietly)

Wild One: You are evil! (Tryin`g to convince the others)

Gloom: Why so dark?

Twitting: What have you done? You witch! (unsure)

Gossip: It’s true! I’ve heard its true

Mistress: What?!

Stranger: quiet bitch

Sloth: Who do you think you are?

Wild One: Evil! (Louder)

Gloom: Dark!

Gazer: Guilty!

Twitting: Witch!

Guzzle: Liar!

Stranger: Quiet

Wild one: Evil

Gossip: Crazy!

Sloth: Bitch

Mistress: STOP!

    calms down a bit and composes herself

    passes Guzzle a macaroon

    hands Gazer her mirror

Mistress: My darlings… think! this isn’t you. Wild.

Gazer:    (sees wild one in mirror reflection)

    Wild

All Turn slowly to face Wild One

Guzzle: (mouth full of macaroon) Wild

Gloom: Wild

Stranger: Wild

Sloth: Wild

Twitting: Wild

Thump: Wild

Gossip: Wild

Wild one: Evil! Evil! Evil! (Pointing at Mistress and looking worried)

Gloom: Evil? Wild!

All: Wild, wild, wild (draw in closely to Wild One in clump)

Gossip: Kill (assertively)

All kill wild one behind screen

Gazer: Dead

Gloom: Blood. Red.

Mistress: Chores (Hands scarf to gazer)

Twitting: Chores (uncertainly)

All back to original positions

Mistress: It never happened…

Mistress exits

Guzzle: Gravy is most important.