The play Ruined is about the struggles of women displaced in society by a war-torn Democratic Republic of Congo. The plot follows the lives of four women who have been victim to the sexual brutality and battery brought by the hands of men on both sides of the power struggle. Mama Nadi accepts the burden placed upon her and rejects the world outside for allowing such things to have been done to her and her girls. Through design, we will explore Mama Nadi’s internal strength and her protection of not only herself, but Josephine, Sophie, and Salima as well, by using devices (such as sound, staging, et cetera) that are strong and sturdy. Also, colors will be used to contrast the protectiveness of Mama Nadi’s bar to the harshness of the outside world.
Location of Performance and Audience:
VBC Concert Hall
My production of Ruined will occur in my hometown of Huntsville, Alabama, at the Werner Von Braun Center in the Concert Hall. Growing up, I have attended, as well as participated in, many productions that have taken place in this concert hall. Though the space itself had a proscenium stage, I believe it will be perfect in that the distance between the audience and the action on stage reinforces the distance between Mama Nadi and the girls and the vicious society of the warring Congo. I have chosen to stage the play in my hometown, not only because of the familiarity of the space, but due also to the familiarity of the people. I know that if someone were to do a production of Ruined in Huntsville, it would be met with great acclaim and response. Contrary to popular belief, people in Huntsville are well-educated and keep current on social, political, and cultural happenings. They are much more liberal and open-minded than your typical Daytona-Area citizen. And also, not everyone who would be attending the performance would be as old as people who attend plays and whatnot in the Daytona Area. Back home, there is much more to do as a young adult than just go to the bars.
If you go here, you can get a 360 degree view of the Concert Hall at the Von Braun Center.
Approach to Scenic Design:
Buildings made from limited resources
The play is set at Mama Nadi’s bar. The doors to the outside keep Mama and her girls sheltered from the ruin of the war-torn Democratic Republic of Congo. Inside, not only are the girls able to find solace and shelter from a cruel, out casting world, but the soldiers come here to unwind with her worldly pleasures. Mama’s bar should be built so that the audience may see the inside of the bar as well as the area around the outside. Everything will be strong and sturdy with bold hard lines, to parallel Mama Nadi’s tough, surviving spirit, but at the same time I want the set to look as if the bar was built with an air of necessity and needing, not as if the project was lavish. I wish the bar to appear as if it, like Mama Nadi and the girls, has endured. I also wish the décor in the bar to be old and used, and very cluttered, as if the interior is trying its very best to hold everything inside, in another try to portray the burden and pain that these victimized women have been forced to carry inside them. Approach to Costume Design:
The perfect contrast
As the play is set in the Congo, I want all the players to be costumed as such. In the Congo, there is an unwritten rule that the nicer you look, the more respect you will receive. Women in the Congo do not ever wear pants! Similarly, all the women will be clothed in dresses or skirts that have bright colors or bold patterns. I especially want Mama Nadi in a long flowing skirt and an apron with a cloth tying her hair up. Josephine’s costumes should be more revealing than the costumes of the other girls, and I want Sophie clothed rather modestly compared to the other women. The soldiers will wear uniforms, but the government soldiers will have cleaner, newer uniforms than the rebel soldiers. Also, I wish Commander Osembenga and Jerome Kisembe to have the cleanest newest-looking clothing. Approach to Lighting Design:
The land around the bar should be plush and green, but reminiscent of the Congo’s rainy season. Lighting for the outside should be grey and hazy, as if there are still rainclouds hanging above constantly. Inside the bar, I wish for the lighting to be a contrast to that of the outside world. Though the bar should be somewhat dimly lit, the light should be warm and protecting. When music is played, and the action is occurring inside the bar, especially if it is upbeat, I would like the lights to have a rhythm similar to the pulse of the music. And as such, the lighting should convey the overall emotional feel of the action.
An example of lighting for Mama Nadi's bar
Approach to Sound Design:
There are many sounds to be paid attention to in the play. It is important that the sound design incorporate the natural sounds of a rainforest with both the pulsating and rhythmic music of Africa and the mechanized sounds of war. The sound of rain and birds calling should softly permeate the stage for a great portion of the play. The low hum of trucks transporting soldiers to war should also be a sound that we come back to throughout the action. Starting with the second act, there should be a constant sound of gunfire and artillery. I would like it to begin softly and crescendo through to the end of the sixth scene to symbolize not just the war coming closer and closer to Mama Nadi’s door, but also the impending action that occurs when Osembenga returns to Mama Nadi’s bar with word that she had been keeping knowledge of Kisembe from him. As far as the music composed for the play, it will be performed by live musicians on the stage with the actors.
Example of the feel that I want from the music accompanying my production.
Ok, so I just got home, and I just have to say that “Bat Boy” was awesome! The staging of this musical was very well-done. My boyfriend and I very much enjoyed the “Children, Children” sequence, especially when the whale came out. So freaking funny! Overall, it was a hilarious and absolutely fantastic portrayal of the tragedy that was Bat Boy. (Loved every minute.)
We arrived to the News Journal Center about twenty-five minutes before the show began and were surprised at the availability of parking in the lot. In fact, when we actually took our seats in the theater, he and I both noted that less than half of the seats were full. And of course with my luck, by the time the first act had ended many more people had arrived. I was quite irritated. In fact, lots of them insisted on shuffling in front of me to find a seat. I must note, also, that I did see two members of my class, both of whom were very late.
Then came the intermission! The same people who were late also decided to get up during the intermission, and four of them were obese, which was very awkward. My boyfriend and I discussed the musical briefly, but our conversation soon steered toward getting Starbucks after the show if it wasn’t too late.
Another thing that I found particularly annoying was the number of people returning to the theater after the second act began. Among those I noticed were the previously mentioned obese people and one of my classmates (who didn’t come back for quite a while after the act started).
There was a very good audience response to the musical. We laughed when the action was funny, and we applauded at the end of every number. During the opening number of the second act, “A Joyful Noise,” many audience members started clapping along with the beat. That is one of, if not my number one, pet peeves when attending a live production. I played piccolo in a symphony in my hometown, so I know how bothersome it is. People don’t understand that if they clap when they hear the beat, the sound waves take a split second to reach the musicians, and it throws them off.
And I must sum it all up:
My fellow audience members were rather disrespectful to those who were punctual, as well as the players. Perhaps I have dwelled on it too much?
But audience aside, I absolutely loved “Bat Boy” and had an amazing time!
Image:
Bat Boy the Musical. Web. 31 Mar 2011. <http://www.conradaskland.com/blog/2007/11/bat-boy-the-musical/>.
The American Musical began as an offshoot of the operetta, a form of musical theater that has its roots in the European opera tradition. Operettas, unlike operas, have much lighter music and subject matter. The drastic change from the dramatic plots and musically-driven operas to their lighter, comedic counterparts eventually gave way to the American musical in the early 1900’s, with each separate form influencing each other.
My Fair Lady
Though there are many similarities among the musical and the operetta, there are certain traits that delineate the two. Operettas are best described as light operas with acting, while a musical would be better described as a play with singing. The actors in a musical may also be singers; however, they typically do not sing in the operatic style. Also, characters in musicals tend to be more complex than those in a operetta. Generally, this is due to much more dialogue in a musical than an operetta.
But I digress…
Hair
Around 1930, operettas like The Mikado and Candide gave way to the American musical. The 1940s saw the beginning of an era during which the musical was king, known as the Golden Age of American musical theater. Some of the greatest musicals were written during this time period: Oklahoma!, My Fair Lady, West Side Story, and Hair to name a few. This age continued through the end of the 1960s.
Fiddler on the Roof
As a reflection of American society during the Golden Age, the musicals to come from this period address many social concerns. The King and I and South Pacific are both products of the American Civil Rights Movement, as both musicals focus on racial tolerance. Fiddler on the Roof was one of the first to address Jewish issues, and similarly West Side Story touched on the conflict between whites and Puerto Rican immigrants in New York. Hair was also a significant work of the era. It addressed many social issues, but most-importantly, it was the first to touch on homosexuality.
"Cool" from West Side Story! My favorite!
Image/Video Sources:
Club History- Florham Park Players. Web. 9 Mar 2011. <http://www.collaborations.com/FPP/HISTORY.HTM>.
Hair. Web. 9 Mar 2011. <http://www.mr-l.org/tag/hair/>.
We Were There. Web. 9 Mar 2011. <http://irvingblog.dallasnews.com/archives/2010/09/we-were-there-at-lyric-stages.html>.
Information Sources:
Felner, Mira, and Claudia Orenstein. The World of Theatre: Tradition and Innovation. Boston, MA: Allyn & Bacon, 2006. 169-71. Print.
Kabuki is a traditional Japanese art form that originated during the Edo Period (under the rule of the Tokugawa shogunate), specifically in 1603. A woman named Okuni, a self-proclaimed miko (or Shinto priestess), led a troupe of performing female prostitutes. They stylized this new genre of entertainment with cross-dressing (as women played both gender roles), flashy costumes, song, and dance. Kabuki became immensely popular, and Okuni-san and her troupe were even asked to perform for the Imperial Court.
Kabuki’s dynamism and popularity hugely stems from the conventions associated with a performance. The audience members have always supported their favorite actors by yelling, applauding, chanting the actors’ family name, or even by giving gifts of money. The hanamichi, the distinct catwalk extending through the audience that allows the actors to make dramatic entrances and exits, brings the audience and their idols closer together. Trap doors on the stage (seri), as well as a revolving portion of the stage (mawari butai), make for dramatic (and gaudy) entrances and exits, and exciting action. Some kabuki performances even called for actors to appear as if they were flying, happening with that aid of wires to lift the actors off the ground.
Two kabuki actors performing a mie
The kabuki plays please many audiences with all sorts of flashy devices and acting nuances. Costumes and makeup tends to exaggerate the character and the expressions of an actor’s role. Character traits and high points in the plays’ action are shown through the traditional poses called mie. When performing a mie, a kabuki actor will strike a pose, make and exaggerated facial expression, and cross their eyes. The mie are usually held for a brief amount of time.
The problem with the popularity of kabuki (during the Edo period) came from the social background of many of the performers. Not only were most, if not all, of the performances risqué, but many of the performers themselves were available for prostitution. In 1629, women’s kabuki (onna-kabuki) was banned by the shogunate for being too erotic, and this led to the rise of yaro-kabuki, or “young man’s kabuki.” Here is when we see the beginning of the onnagata role in kabuki.
Here we see an excerpt from Fuji Musume in which an onnagata performs a dance.
The Evolution of Onnagata
Onnagata, also called oyama, is the title given to men who specialize in performing women’s roles in kabuki theater. Young men were often chosen for these roles due to their less-masculine appearance and higher voice than older males. Unfortunately for kabuki, the driving eroticism behind kabuki and the availability of onnagata for prostitution resulted in a ban on all onnagata roles, but the ban was rescinded by 1644.
Modern onnagata wearing the traditional murasaki boshi
The removal of the ban on onnagata roles, however, was based upon condition. All actors were required to adopt an adult male hairstyle with a shaved pate (the top of the head). This requirement led to one of the most iconic aspects of the onnagata: the headscarf. The murasaki boshi is a purple headscarf that was worn by onnagata to signify their role in kabuki (as well as society) and solidify their erotic significance. Once a ban on the wearing of wigs by onnagata was lifted, the headscarf began to disappear. However, murasaki boshi survives to this day as a ceremonial accessory.
A modern onnagata
Onnagata must possess special qualities. An onnagata must be virtuous and gentle, and they must be feminine and alluring. The high-pitched voices of the onnagata, along with graceful movements and an idealized image, make these actors paradigms of the female persona. The skill of onnagata is a blend of psychology and stylized form. These actors are skilled in the art of onnarashisa, on “woman-likeness,” and, in the past, they carried it with them on as well as off the stage. Early onnagata were even required to maintain their female persona outside of the theater! These actors were often skilled at performing as keisei, literally “castle-topplers.” Keisei refers to prostitutes of the highest magnitude, but the term was not used to discern a “good” prostitute from a “bad” one.
In today’s kabuki performances, men still dominate the onnagata roles; however, some smaller kabuki troupes use women actors. Men who are onnagata are no longer required to carry themselves as females in society, and prostitution is no longer a driving force behind the performances.
Image/Video Sources:
"Fuji Musume (part 2)." YouTube.com. Web. 27 Feb 2011. <http://www.youtube.com/watch?v=NqtgJ8I5yb0>.
Kabuki. Web. 27 Feb 2011. <http://www.jnto.go.jp/eng/indepth/history/experience/x.html>.
ODFW Extends Wolf Kill Permit Two More Months.... Web. 27 Feb 2011. <http://howlingforjustice.wordpress.com/2010/06/25/odfw-extends-wolf-kill-permit-two-more-months/>.
pon uno, toma dos, todos ponen TOMA TODO. Web. 27 Feb 2011. <http://tiralapirinola.blogsome.com/2009/07/28/156/>.
"Riho Makise and Fukusuke Nakamura in 'Musume Dojoji -- Jaen no Koi'." Director follows kabuki offstage to find the essence of onnagata. Web. 27 Feb 2011. <http://search.japantimes.co.jp/cgi-bin/ff20040908a3.html>.
Information Sources:
Felner, Mira, and Claudia Orenstein. The World of Theatre: Tradition and Innovation. Boston, MA: Allyn & Bacon, 2006. 129-32. Print.
Fiorillo, John. "FAQ: Onnagata." Viewing Japanese Prints. John Fiorillo, 2001. Web. 27 Feb 2011. <http://www.viewingjapaneseprints.net/texts/topictexts/faq/faq_onnagata.html>.
"Kabuki." Japan Zone. Japan Zone, 2010. Web. 27 Feb 2011. <http://www.japan-zone.com/culture/kabuki.shtml>.
"Kabuki." Wikipedia.org. Wikimedia Foundation, Inc., 17 Feb 2011. Web. <http://en.wikipedia.org/wiki/Kabuki>.
"Onnagata." Wikipedia.org. Wikimedia Foundation, Inc., 4 Jan 2011. Web. <http://en.wikipedia.org/wiki/Onnagata>.
Selenick, Laurence. The Changing Room: Sex, Drag, and Theater. Google eBook. Psychology Press, 2000. 70-2. eBook.
The land around the bar should be plush and green, but reminiscent of the Congo’s rainy season. Lighting for the outside should be grey and hazy, as if there are still rainclouds hanging above constantly. Inside the bar, I wish for the lighting to be a contrast to that of the outside world. Though the bar should be somewhat dimly lit, the light should be warm and protecting. When music is played, and the action is occurring inside the bar, especially if it is upbeat, I would like the lights to have a rhythm similar to the pulse of the music. And as such, the lighting should convey the overall emotional feel of the action.
