Art. Music. Dance. Obviously, subjects no fault of their own, they provoke controversy from those afraid to be an artist, musician, or dancer. With life-road behind and road yet ahead, a painter-sculptor finds reason in art, a guitarist finds life again playing guitar and befriending a flamenco dancer. An alternative road finds Truth or Consequences an “agua de vida,” a “water of life” oasis for a rancher who mythologizes art, music, and dance as a coping strategy for his relationship ending with the painter-sculptor. Spanish-American Cuban War themes, and historic Spanish painters-sculptors also configure this inspirational full-length play for the screenplay L’Opposition.
The Card Room ‘s diverse, twelve characters have the same social need–poker, a Catholic Father who has found his way in the Catholic church, a German farmer and son who live together, a former inmate who doesn’t want to return to being an inmate, a young, brilliant novelist, a very, social retiree, a young, gay politician, an ambitious, restaurant entrepreneur, a Ph.D. dropout, a comedian who thinks he’s ready for the big time professionally, a waitress turned lawyer, and a volunteer at the Veteran’s Hall where the poker games are held. Humor and drama share in this provocative full-length comedy-drama play of competitive hands and ironics with twelve wildcards.
Previously discussed in this novel section of my blog, I spoke about a secondary character who deals with hereditary faceblindness also known as prosopagnosia. Diagnosed with distortion of facial-memory damage/impairment, fusiform gyrus of the brain, that also shows how the main character handles the disorder with that of a long time friend and how the main character reacts to some life challenges–the secondary character–as much as anyone else might, finds not as frustrating faceblindness. Faceblindness/prosopagnosia disorder is the neurological ramification of the disorder whereby stipulated conditions are reactive strokes or brain trauma, a few of the conditions resulting from the neurological disorder.
Traditionally, non-static, both main and secondary characters, rhetorically are dynamically charactered enough to progressively change based on choice decisions of the main character and life’s happenstances of the secondary character. Happenstances plot finding out more the secondary character’s daughter’s death with the on purpose scenario/scene contrast of “Engle never mentioned to Ina that it was her who illegally signed the hospital authorization release forms as next of kin should Ina ever have an interest in knowing where her daughters were. Treau and Jute sent Engle a copy of the form, so that they could go over the form together.But neither Treau or Jute knew that Engle had signed their names to the form–and neither Treau or Jute sent their forms in.”
Some happenstances form to develop the story’s twists in order to find out answers to specifics for the secondary character and to show how the main character tries to find her way; and some seemingly subtle challenges end up being colossal challenges and changes for both the main and secondary characters.