Wonderful -- thanks for that. I still get a lot from reading Brook's thoughts on
Shakespeare and theater.
My most vivid Winedale dream, and perhaps the only one I remember that didn't involve
me being assigned a large role (Lear, say) and somehow neglecting to realize the need to
learn my lines until just before performance time (aarrghhhhh!!!!), involved this kind of
silence and intense waiting. I think I had this little dream in the month after my first
summer in '83:
In the dream, I came upon a small clearing in the woods. I recognized Tamsen Donner and
some other Winedalers. They were silent, and acknowledged me, but it was clear that I
should not speak, something was about to happen. There were three or four of them, and
they all faced a sunsplashed spot in the clearing across a little bank of a creek or
stream; some people were standing, some kneeling. No one moved, and I joined them in
their focus on this spot. The trees and bushes were still too. Suddenly a tiger appeared
in the sunny place along the bank, walking slowly, unaware of us, somehow summoned forth
by the intense concentration of the group. The tiger seemed both real and something from
a dream (within a dream) but it was clear that it had been brought into being by the
concentrated effort of the group, without any prior discussion.
I think this was before I was familiar with the final scene of the Winter's Tale but I
later connected it with that scene, and the idea of bringing something magical to life in
an empty space.
cheers,
cs
On May 30, 2010, at 9:13 PM, Pees, Robert wrote:
Clayton's comment reminded me of a quote from the
director Peter Brook about the conclusion of his 1950 production of Measure for Measure:
"When I once staged the play, I asked Isabella, before kneeling for
Angelo's life, to pause each night until she felt the audience could
take it no longer, and this used to lead to a two-minute stopping of the
play. The device became a voodoo pole, a silence in which all the
invisible elements of the evening came together: a silence in which the
abstract notion of mercy became concrete for that moment to those present."
________________________________________
From: weeklong-l-bounces(a)lists.wikimedia.org [weeklong-l-bounces(a)lists.wikimedia.org] On
Behalf Of Clay Stromberger [cstromberger(a)mail.utexas.edu]
Sent: Sunday, May 30, 2010 6:54 PM
To: weeklong-l(a)lists.wikimedia.org
Subject: [Weeklong-l] silence, sans shallow
Thanks again Alice for such careful gathering together of strands, akin to Mike's
building of the email list.
Like Gail I look forward to the weaving in of other elements among and around the
scenes.
There's one other element for which I was hoping to make a case, and I haven't
mentioned this yet, perhaps because I'm not sure how to describe it, but here goes:
silence.
And I don't mean Master Shallow's tight-lipped (before drinking anyway) pal.
I'm thinking about how many of my favorite Winedale memories involve a spell of
silence and stillness in the Barn, everyone watching, rapt, during an improvisation or
scene. The kind of silence where during the day the crackling heat outside shimmers, and
during the night you suddenly hear the crickets very vividly and time seems suspended. As
in the pause before the statue moves in WT.
I also think of those times where Doc sent us off alone on meditative treks in the woods
in the afternoons to explore character or our Patchen poems, and no one spoke for an hour.
Those moments come back to me often when I take a solo walk out there in the summer.
Not sure how that element would weave into a performance of song and play and reveling,
but I'm tossing it out there in case it registers with anyone else....
thanks, and I'll send my list to you tomorrow Alice,
cs
On May 30, 2010, at 5:22 AM, McDonald G. wrote:
Dear Everybody,
I'm attaching my list of favorites but am very, very open to being overruled. I
loved these choices from the start. I'm assuming that we can work in bit and pieces
of song, dance, and poetry as transitions between scenes so I've not marked any of
those. My favorites are highlighted.
Warmest best wishes,
Gail
________________________________________
From: weeklong-l-bounces(a)lists.wikimedia.org [weeklong-l-bounces(a)lists.wikimedia.org] On
Behalf Of Alice Gordon [alicegordon(a)earthlink.net]
Sent: 29 May 2010 21:56
To: weeklong-l(a)lists.wikimedia.org
Subject: [Weeklong-l] **IMPORTANT: Call to Reunion Action!**
Dear Fellow Winedale Weeklongians,
On behalf of Doc and the Committee of Cheerleaders, I hereby emit a big Go, Team, Go!
We would like to get the whole scenes-choosing and role-casting process done and roles
disseminated by June 6, when the first session of Camp Shakespeare begins and Doc will be
all-consumed by it. To meet that deadline, we must strictly adhere to the ones leading up
to it.
Attached is the revised master list of scenes I sent you a few days ago. A a few people
weighed in with a more ideas. Also, Robert Jackson, please forgive me for not including
your list of scenes the first time around. It and newer material is now included and
marked in bold-face type.
Here is the process just ahead:
By Midnight, MAY 31: Send your top ten scenes to alicegordon(a)earthlink.net. (I will
immediately forward all lists to Doc and the Committee. Just trying to give everyone only
one email address to type in.) Considering the themes we’ve all been talking about, please
send us your top ten scenes from the complete list. Feel free either to cherry-pick from
the list; to vote for one of the concepts sketched out or fully fledged by Gail, Robert P,
Robert J, or Matt; or to choose both concept and scenes to make your own list. (If I have
overlooked other concepts since the whole group has been talking, please remind us all as
soon as you can). Kathy and Jayne’s and Clayton’s proposals seem ways and examples of how
to approach any group of scenes once we’re at Winedale, and feel free to state your
support or comments about such approaches as well. Our sense is that a lot of us are
excited about what they are suggesting.
Please keep in mind the time limit we’ve set forth and the number of participants in
each scene. Doc urges us to favor ensemble scenes (six or more characters) in the balance,
and also to balance longer and shorter scenes. Remember there will be weekenders and
audience pop-ups with whom we will share the matinee.
By June 2: Doc and Committee come up with final list of scenes. The committee and Doc
will look at the preferences mathematically, see what rises to the top, and then work out
the final choices by considering ensemble or what works better or what’s more appropriate
for the context. Once we have the final list, it will be sent out to everybody. Please
keep an eye on your email inbox that day.
By June 3: Your requests or preferences, if any. When you get that list, please let us
know if you have very special preferences for roles you would like to play or scenes you
would like to take part in. Once we get that information, we’ll have at the casting.
June 5: Deadline for roles to be cast.
June 6: List of roles sent to whole group.
Courage! This will mean a fast week-plus coming up.
Make your best haste,
All best wishes,
Alice
<CompleteScenes2,_reunion[1].doc>_______________________________________________
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cell: 512-228-1055/ office: 512-471-4726
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