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.
I began again a full length play called The Card Room, which may look like more than enough characters, but I’m going to try something–twelve characters. Good news, too, is there’s interest in characters roles from actor/director Kevin Costner and actor Martin Sheen. I’m looking at setting up three tables of four players.In this play, I work with multiple decent and age, ages range from twenty-two years old to eighty years old, the fluctuation of personalities is a wonderful challenge. I’m still needing to, however, sharpen rhythm as to why these distinct personalities motivate the same card game routinely. For the first time with the subject, I’m letting youth, well, the character’s twenty-two, deal with an alternative truth. Multiple themes obviously in this play, one is religion. I’ve started dialogue with the characters but haven’t yet established how I want to work with the Catholic Father at the tables. His age has changed to thirty-five. Age isn’t the issue, although what I like is the range from just about each decade with these characters from their twenties, thirties, forties, fifties, sixties-seventies, to eighties.
Happy New Year!
WELL…computers still in the stolen vehicle, and waitin’ for the return of “t” “o” “y” letters, so that we, as writers, can also use our personal PCs again. I begin to think about the characters in the play that I’d like to adapt for film, the play insofar called La Controversia del Arte, the film L’Opposition. I started looking at instructions for the guitar. Great. The guitar in Department of Defense/Federal government playground heap. A cheap guitar, nevertheless, but a functioning guitar that would allow me to pick a few chords. Some instructions start you in G Major chord and with the first three frets. Kewl… I can handle that. With the help of the/a guitar.
Ultreyas! Which means onward. Workin’ on the Spanish, too. Yo necesito mas frutas. Helps the digestive system and the brain. So for the film adaptation, I’m still trying to figure out the bridge between ideas about the Spanish Civil War/Spanish American War and Flamenco dancing. I have an idea about the costumes for the play and film as well as some of the type of guitar music.
Still a handle on the characters for the play, I may expand characters, my draft being on the “documents” section of my two “in-vehicle” computers. I can’t complain to the Department of Defense and Federal government enough, which is what we’re suppose to do under these conditions–and personally they haven’t done enough still citizens and consumers think for the mass criminals who continue to stalk us and me. They have them. But it’s ridiculous their setup in catching them. I fail to see the safety in the way they work at continuous tracking of them.
Back to some fun. I’m going to need to expand, I think, on the dancing partner and/or partners for the characters; so this opens up new character development and configuring, perhaps, into the story. For the film adaptation, I’m thinking of taking the story to a more political level, more conflict, issues, and obviously dancing scenes–looking at how the dancing fits into politics–perhaps. This will come. I also still have to pinpoint more of a time frame for both play and film. History usually interests me, so we’ll see what happens; but I also want to stay current with Flamenco dance and style. I think it’s integrating characters, threading them well between the two distinctions; and that’s where Public Art comes into play. What defines Public Art? Some associations are very easy. People see the public perform dance; dance is art; but what shapes Public Art–drives it in other words. It’s interesting. I’ve heard there’s still much respect and call for Flamenco dancing, and I’ve heard people haven’t kept up as much with it in terms of focal area for public discussion and general community activity. The thing is it’s probably one of the most artistically underrated dance forms/styles. The style, culture of it, deserves more. I’m really adamant on the costumes aligning with the gesture/body movements. I think the clothes speak volumes. The clothes, shoes for both male and female have to be just right. For me, it’s without poofy flare at the bottom and poofy arms, etc. I can’t see the dancer’s feet, arms, etc. The entire body is expressive. So unlimited I find, meaning contouring until I find, is what I’m aiming for. Guess what? I was researching “the bridge” and found out that California’s San Juan Capistrano’s website link companioned with Capistrano, Italy, in 1865, Abraham Lincoln returned the mission to the Catholic Church. Ultreyas!
I’ve got two full length plays in progress–and one dealing with poker and probably a few more games. I’m expanding characters now into seven, which is interesting because six characters might due justice around the card table. But I’d like to turn the waitress character into a seventh character. So now I’m thinking of eight characters. May be it’s too many characters, but I’m going to work them in for now. So far, I’ve got two African American characters, one French/Italian character, those of Caucasian decent, a female character with a sharp Equador/Cuban accent–and maybe characters more of mixed decent. One of my characters is also farm working, and I’m looking for a strong Midwest/Southern accent. We’ll see. I got some history information on African American Catholic priests, which is incredibly intriguing–also configured is a writer-novelist. I’m striving toward people who have successful backgrounds–and, again, what brings these people with successful professions to the card table. I was inspired long ago by a woman who dropped her Ph.D program to play cards, and as an older character interested in academics but interested also in playing professional poker, cards, an intriguing story, And, of course, local players as well. I wish I would have kept an much earlier entry of a card game posting dealing with some ideas about the game and a local player I wrote a posting about, Jennifer Harman–though I thought the posting a bit personal. I think I may have had some details in their about the game and some useful metaphors. But I’m taking notes, and remember some features. I may have it somewhere…
My other full length play that includes Flameno dancing, I stopped by a dance studio and inquired about categories of dance, for one lyrical dancing; and I’m wondering how lyrical and/or how much of it configures into Flamenco dancing. I’m ready to sketch some costume and body movement gestures. The woman I spoke to body-articulated “lyrical” movements for me. It was cool watching someone whose noticeably skilled in dancing demonstrate a few dance moves. I’m going to have to visit some dance studios. I’d like to vary the dance studios and obviously visit Flamenco dance studios. I printed outs more information about learning to read music with for the play. I’d like to adapt the play into film that I mentioned earlier in a post. I recently visited a local guitar/instrument store that also had many music note reading books; The store had a lot of youth music reading books. They looked very helpful. Heck, you can learn a lot from children’s music note reading education books. There were tons. Some step-by-step books with visual representation. That helps. I’m more of a visual learner. Any how, kid or not, the books look helpful; and the point is you learn from them. Now in search of my art pencil box. Sketch. Sketch. Sketch. In search, though, for a very good comprehensive music note reading book that I had found with one of the first art books I had purchased, Art of Drawing by Sterling Publishing. 🙂
I haven’t spent much time working with children/adolescents in plays, but in the second short play I’m currently working on a teenager–obviously not a child–challenges two women characters who happen to be family members. I have him roughly at the age of thirteen; and he is the most studious of the two. The character of the mother wants to be a writer. She is obsessed with another writer, and I’m working at pinning down more the reason for her obsession. I have the mother and the son living together with another family member, a grandmother, in which she seems, at this point, to be the most aggressive. It’s been fun working with the character of the son because he isn’t hesitant at challenging the grandmother when his mother and himself have to abruptly alter their living arrangement with no where to go. It’s not that difficult, I’m finding, looking at the male point of view–in some respects; yet, obviously, there’s needed research. Academics configure into this short play with both the mother and the son being educated and the son taking, however, education more seriously than the mother. What will be interesting is seeing what happens with where the mother and the son end up, where their individual plight takes them and where their individual journey takes them. The character of the grandmother may stay as she is, but I’m looking forward to seeing how much she actually changes learning from the grandson.
In drafting a newly, yet revised short play, I’m approaching this one with two women,a teenager (one of the female characters’ son’s) and a male writer. What’s interesting is the issue of who controls what and whom, which doesn’t seem to escape some characters who repeat offend in various themes or stories. I’m starting to shape characters: a grandmother, who has an aggressive approach and disinterest in creativity, a daughter who has an interest in creativity–writing in particular; but she can’t get herself to act with being fully engaged in the craft, and an obnoxious son who is compelled to challenge both women and becomes the writer his mother wanted to be. Intertwined is the daughter who obsesses about a successful writer, perhaps, yet of moderate success, but enough so that she can’t stop projecting through him what is missing in her life; in other words, within the writer, she searches for missing pieces that of male figures. It’s interesting to continue looking into profiling women who draw on things and people who don’t really exist in their lives and who have an inability to demand of themselves the most ridiculous of circumstances and defiance with the simplest of things; they have difficulty finding in themselves the role model they long to be–and search for unrealistic, unattainable people or things and abuse themselves and others in their journey of discounting and shortchanging their own life opportunities. The mother and daughter undermine-conflict is essential to see where the son’s journey takes him. And although each character from the same family is different, there’s one thing that connects them, which is they can’t figure out what connects them but they connect when they are desperate enough not to want to connect. It’s a short play that, perhaps, could turn into a full length play; but I’m wanting to work with a theme that calls for variegating undermining, whether with subtlety or explicitness. I want to see what happens to these women, how dynamic their end result takes shapes. I see them already changing for the worse and for the better–yet I’m still trying to see/capture more the better. But, for now, the better seems to point to the son and how he turns out. We’ll see. 🙂