A Quick Thought on Good Theatre

I saw some really good theatre yesterday, a fortunate occurrence that happens far less often than it should.

The show I saw wasn't perfect; honestly I don't think a perfect show exists. However what made the show fun, entertaining, and inspiring to watch was the extraordinary sense of bravery and humility from the ensemble. Bravery and humility seem to be the more artistically constructive relatives of fear and fearlessness I've explored in this earlier post.

Firstly, the piece was a brand new work of theatre, not something from the pages of an anthology. This meant the show was attempting to comment on the here and now in very immediate and contemporary terms. Additionally, the staging seldom resembled the standard film-envying methods of most modern drama, conventions that often serve as aesthetic crutches for many theatre artists and patrons. Breaking convention and addressing the now are always a scary prospects, and a significant amounts of bravery and humility are absolutely necessary in committing to this kind of work.

It's a difficult balance to navigate.

Nevertheless, it was quite refreshing to watch a group of performers who understand the risks they are taking and approach them with thought, sensation, and engagement. It was a really good time.

peace.

Leave Me Alone!

I'm watching motorcycle racing!

Colin Edwards vs. Troy Bayliss: World Superbike at Imola in 2002.

Many believe this is one of the most amazing motorcycle races in recent history. If it's your thing, check it out. (Nine parts!)

peace.

A Quick Thought on Bad Theatre

I saw some really bad theatre yesterday, an unfortunate occurrence that happens all too often.

From my experience, bad theatre usually stems from one of two things: either an overabundance or extreme absence of fear.

On the one hand, when a company takes reckless and unsupported liberties with a play, their fearlessness and complete abandon produces theatre that is wayward, lacking purpose and direction. The audience leaves feeling confused and attacked, not by the story but rather the presentation of the play.

On the other hand, when a company of actors is afraid of the urgency or immediacy of a play's content and impact, the result is an artistic paralysis that prevents the ensemble from being available to adventurous theatrical exploration. The show becomes half-hearted, flat, and monochromatic.

It's a difficult balance to navigate.

Of the two, I must say I prefer the former. Shows approach with this perspective at least have a level of investment and engagement that keeps them somewhat entertaining. What I saw yesterday more resembled the latter, which is far, FAR more depressing.

(sigh)

peace.

Emcee of the Month: MF Doom

It was bound to happen sooner or later.

I'll have to be honest, I had very little contact with MF Doom's work for a long time. I was always aware of his talent and ability, but for some reason I just hadn't gotten around to checking out his stuff. It simply wasn't on my radar. Nevertheless, one day I consulted my homie Marcel for some Doom suggestions and he recommended I pick up Madvillainy, Doom's 2004 collaboration album with Madlib.

It was as if I had discovered a new set of colors that I didn't even know existed; like getting eardrum upgrades that allowed me to hear things I had never heard before.

MF Doom rhymes with a wonderfully bizarre and eccentric energy that is unmistakably clever and engaging. His dense and multi-colored literary style almost feels as if he builds his verses in reverse, meticulously retracing the steps through thoughts and ideas in the service of his textual discoveries. He uses really odd phrases, and words that are barely uttered in normal speech, let alone rap lyrics. And somehow, he puts it all together.

MF Doom freestyles have been difficult to find, so allow me to present an appropriate substitute.

"One Beer" from Doom's 2004 album Mm.. Food

peace.

Good Ol' George

George Carlin was so good, it was almost scary.

This blog wasn't up and running when George died back in 2008, so I never really had the chance to join the many conversations surrounding he brilliant career. He had an outlook on politics, culture, and society that was exceedingly advanced and candid in its relevance. I don't doubt he was one of the most important social commentators of the 20th century; so much more than just a comedian.

I've been listening to my collection of George Carlin quite heavily recently in preparation for an upcoming event. Even though I've gone through quite a bit of Carlin material, I can't help but laugh, shout, and clap every single time.

I sure do miss him.

peace.

Thoughts on Speech Sounds: A Preview

Fast forward to 4:23 if you really want to see something cool.

I'm even a fan of Patrick Stewart's comment after John Barton is done.

There has been a lot of research done on the sound of early modern English since John Barton displayed this in the late 1970s. However, this video still offers us a more authentic idea of how Shakespeare originally sounded. It seemed a lot more interesting to hear back then.

I had a flashback a few weeks ago to an experience with Shakespeare having to do with the usage of certain prescribed sounds of speech that are traditionally, and I feel antiquatedly, associated with the performance of Shakespeare text. I'm currently putting together a post comprised of thoughts and ideas both of my own perspective and the perspective of some of North America's leading experts of voice and speech for the stage. Consider this video a bit of a preview.

We'll speak again soon.

peace.

Laughter or Death

I only have one question about this.

Don Cheadle is Captain Planet from Don Cheadle

How in the world did they convince Don Cheadle to do this!?

Hilarious.



peace.