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Response to Word Becomes Flesh

Response to Word Becomes Flesh

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Published by Maggie Nazer
Word Becomes Flesh
Word Becomes Flesh

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Published by: Maggie Nazer on Oct 07, 2013
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10/07/2013

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ARDV0116 / THE CREATIVE PROCES
The Living Word Project: Word Becomes Fles
Questions answered by Maggie Nazer 
 
 
1. Focus on the use of the bodies (individual and/ or collective) to tell thestory:- Was the body used to
illustrate 
the text or were there, at any given point,other relationships between what the body was doing and the text beingvoiced at any given moment?- Can you name these other relationships between body and text andbriefly describe the moments you are referring to?
I think there were various uses of the bodies in the play:
 
The illustrative aspect of the movement often intensified the feelingsexpressed;
 
When the body was static the inner struggle felt deeper as if petrifyingthe body;
 
The different ways of moving (jumps, slow steps, diagonal runs) allvisualized different human emotions and their variations;
 
Movement created tension, but also silence;
 
Movement in the play also showed contrast in the play: as when the body was trying to envelop the strong emotion felt by the narrator, butthe emotion was too complex or when it felt as if the body needed toawake and be given time to become more expressive;
 
Movement was creating a sense for the passing of time, but also for thenature of the feelings and thoughts being verbalized- sometimes quick,short movements were illustrative of brief moments, while at other timesthe length and depth of the movement was used to reveal whether thethoughts/feelings were transiting, almost unconscious or deeper,examined ones.
- Is there one that strikes you particularly strongly? Why? How did theavoidance of mere illustration enrich / problematize / expand / or open upthe meaning of that moment? What difference did the non-illustrativeapproach make to you, to your experience of that moment as spectator?
The strongest moment for me was when one of the actors was telling about hismurdered friend: words, movement and body were all one; and then he just
 
started to weep, half turned back with his hand hiding his face, his back slowlyshivering in pain. This created a most intimate atmosphere, and directlyinfluenced empathy. The avoidance of more complex movement enriched themoment with simplicity and authenticity, and provoked a strong emotionalresponse in the public.
- Can you pick another memorable moment (perhaps your second favorite)and compare/contrast it with the one you just spoke about
I loved the moment when hatred, racism, capitalism, etc. were all taking turns tospeak and moving together in an orgiastic trance. It was funny and it was bold.And all the movement increased the intensity of the moment, making it moredynamic and visual. It materialized abstract concepts in a genuine way.
(Optional) 
2. Focus on the overall narrative structure of the piece:- Was the text linear? How did the story move from one episode to thenext? Can you name or describe some of the ways in which the storymoved forward?
The text was everything but linear. There was both a lot of retrospection, andglimpses of the future. The text was involving many sub themes and sub stories.
- How did the use of the live DJ contribute to the piece? Did itproblematize the narrative structure or expand it? Did it make the piecemore spectator-friendly or did it add complexity to the experience, makingit perhaps a bit more challenging? Why?
I think that the music itself was a crucial part in the performance and its lack was too, as well. It helped expand the dramatism in the play, yet created spacefor emotions as loneliness, and hopelessness to be experienced even deeper andto be shown in their vastness. The role of the DJ as an observer who passesstimuli and participate in the play while not being an actor himself was veryinteresting. For me in a way he was a representation of God, who alwaysobserves: sometimes He is giving us something and waits to see our response(as when the music started first and the actors created movement accordingly);and other times he is seemingly missing, yet finds a way to makes his waytowards us (as when the music came later after the movement had started,giving it all a new meaning), and sometimes when we feel that he is missingwhatsoever, he is the most present (as when there was no music, but all the

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