three viewings

One thing I found that's common within the script is that they all have more than one death within the monologue. As for the one point of common resonance within the play, I would say that they never truly get to say what they wanted to, to their loved ones (or not so loved ones) that they lost. One thought that resonated with me while reading all three monologues, was the feeling of inexplicable loss, and the inability to share their feelings with others. For example, Emil couldn't tell anyone how he truly felt because he had a wife, Virginia couldn't tell anyone the plan her husband had set up for her, and Mac couldn't tell anyone the pain she felt from losing her family, and the resonating impact her grandmother had on her. If anyone of them were to speak of it, they would either be judged, or have debts to repay.

 One thing that's the same but different between the three monologues, is how the dead helps the main characters out even though their dead. For example, Ed helps Virginia with the debts that are owed, Nettie helps  realize where her feelings truly lie, and the problems she has that she's created for herself, and Terri helps Emil to realize the impact words-unsaid can have on a person.

Streetcar Named Desire (Show and Tell )

Streetcar was written by Tennessee Williams, also known as Thomas Lanier Williams. This play was first opened on Broadway on December 3, 1947, and closed on December 17, 1949. The script itself won a Pulitzer Prize for Drama in 1948, and has since been made into several movie versions, and re-enacted by many throughout the days following its release.

 

 

In this script, an older Blanche visits her sister in NOLA due to circumstances that aren't truly revealed until the latter end of the story. While Blanche is staying in small quarters with her sister, Stella, and her husband, Stanley, she soon begins to woo Mitch, one of Stanley’s friends. After a good deal of time where Blanche does nothing but bathe, and have Stella wait on her, the truth comes out about why she's really in New Orleans. Stanley reveals that Blanche was all but run out of town after she was caught having intimate relations with one of the English students. In the end of the story after Blanche is raped by Stanley, and ultimately sent over the edge due to this trauma combined with her first young husband killing himself because she fount he was gay, Blanche is believed to have gone completely bonkers, and whisked away by the doctor leaving Stella, her new born, and Stanley all alone, and Stella unaware that Stanley actually raped Blanche.

 

 

Two choices that stood out to me was, the fact that Stella called the Looney-doctor when Blanche tried to tell her about what happened between her and Stanley, and the fact that the writer choose to show how attracted Blanche is to the younger men by her kissing the boy who was collecting the newspaper bill. In the beginning of the play, it was set to where Stella believe everything her older sister Blanche had to say, yet when Blanche says something that would affect the household of Stella, Stella quickly loses trust in Blanche's words. I was confused as to why Stella would be the one to call the hospital instead of Stanley since he despises her character so much. I think the fact that the writer included the part where Blanche kissed the newspaper boy really helped to show how Blanche is still devastated over losing her young husband, and how she feels as though she’s stuck in that same age and period in time.

Comments

#1- http://dontstopmemeow2130.blogspot.com/2013/05/fires-in-mirror.html?showComment=1367705898050#c4440746548759131732

#2- http://frequentingplays.blogspot.com/2013/05/viewing.html?showComment=1367706237397#!/2013/05/viewing.html

#3- http://www.blogger.com/comment.g?blogID=5029293627620200755&postID=2112967462479745533&page=1&token=1367706840752

#4- http://dvibe2130.blogspot.com/2013/04/three-viewings.html?showComment=1367707105571#c8366925036723776295

#5- http://qgayle1.blogspot.com/2013/05/post-13-three-viewings.html?showComment=1367707281136#c1778056082717308962

#6- http://dorapereli2130.blogspot.com/2013/05/three-viewings-response.html?showComment=1367707468665#c1117667959693226202

The Drowsy Chaperone

I would say that duration and tempo would be considered two totally different things when analyzing the script in a musical way. I say this mainly because the writer is able to include more or less than usual when writing a script. Say for instance when they were first working on the script, they had a time limit of a hour. They would then have the choice of adding lyrics as a fast tempo to include all the background information, or any scene really, that's important to the script as a whole. They also have the option of slowing the music down to create a mood for the audience during a love scene. If they were to do this, they could take the man out of the play completely, and have the characters themselves sing all the information that the man says during the play. Of course, it would have to be staged a bit differently, but it is indeed possible. Another thing they could possibly do is change the typo according to the character. Say for Fledgling have a fast tempo to the music since he’s urgently trying to persuade Janet to not get married and continue to work for him. You could even have an offbeat tempo for Kitty since she’s kind of not all there.

On the Verge

I would make a series of posters.

One would have the tag line, "Vaya con dios," and there would be an oh-so-suave man dress in all white. However, instead of being an peach color, i'd have him more tan like.

For the second poster, the tag line would be. "There are two sorts of folks in this world. The sort you drink with, and the sort you eat with. Cannibals you drink with."
The background image would be foresty, with a path cut, and a blimp/airplane looking object hanging off the side of a cliff.

as for the last one, the tag line would be, "The splash of galaxies across the night sky always brings out the phenomenologist in me." As for the image, there would be objects floating in space. maybe a clock, a pilth, dates of times they crosses through, a motorcylce. You name it.

And i believe that Mr. Coffee is "The One", not necessarily our god, but the only being that "controls" everything.

Fires in the Mirror

If you were to take out the beginning monologues, you would essential be creating a different play altogether. The first monologues are there to give background information, and insight to the different way, beliefs, and traditions within the community. What Smith has managed to do in this script is to create a smooth transition from topic to topic, and give the people involved and affected by the event an identity. Take a look at the second and third monologues of the play, Static and 101 Dalmatians. In these monologues, the two different sides of the community have their own separate voice, their own stories to tell. For Static, you have a woman relaying a challenge she faced on Sabbath, and what she had to do to overcome it, even though she was viewed as stupid or ignorant by those who did not understand her culture. In 101 Dalmatians, he talks about how special people always told him he was, and then when he ventured past those peoples boundaries, he was viewed as nothing and treated as nothing. The final two lines of that monologue is:

“And then there’s a point when,

And then these two things come into contact.”

                These are very important to the script. It foreshadows the major event of this script that about to come up, and is the main subject of this play. If you were to just start from the middle of the script, you will have taken away the character's identity, and turned them into just another news story yet again. These transitions within the play allows the people to ease into the situation at hand and not have to face it all at once, without having any idea of how to take it. They would automatically choose a side, without knowing the way of the two different types of people involved. With that being said, I think the original sequence of events should be kept intact, and included with the rest of the play.