Scene 4. Friday March 10
PELAGEA'S FIRST LESSON IN ECONOMICS
Good work. Improvement from many.
80% of the group when left to their own devices now know how to sit. Still a few cross-legged slumpers - but their behaviour has been noted by the Posture Police and the necessary measures will be taken...
(Yeah but, no but, I'm knackered, right, 'cos me and Tracy were up all night drinking these Scrumpy Cocktails round Angela's, right, and I can't be bothered, as it happens, if you want to know the truth, and it's all your fault, anyway right, cos you're just boring and I don't understand a bleeding word you're sayin').
Charlene's Transformation: Pavel's speech from a very chopped-up delivery (Mince) when she starts to a totally lucid one at the end of a bit of practice by biting off bigger chunks of text each time before she looks up. (Steak). The rhythm of the writing, the structure of the language is, therefore, allowed to shine through. Great.
This particular day, Joleen and Jordan (the J-Highs) are the Crystal Clear Queens but most other students are only a whisker behind in terms of clarity.
Hannah Patricia can't get her mouth round Suck-Lyn-Off but hopefully she will one day...
The main thing we discover, both Groups, is that neither side (the Mother or the Revolutionaries) get 'stumped' by each other's points. Nobody goes: ' Oh. I'd never thought of that. Duh. That's got me.' No, each one has an answer and in many ways the Mother gives as good as she gets.
Also, that after her actions in the Swamp scene, actually they look up to her: 'Respect'!
They need her. She has some of the experience, maturity and steadinesss under fire that they lack. Not to mention a native cunning.
We talked about this cunning. Brecht particularly liked it: peasant, working class cunning. Well, if you're at the bottom of the shit-heap you have to have something to even even things out.
Also remarked upon the fantastic parts Brecht wrote for women. Something seldom mentioned by academics, critics or practitioners. Pelagea, Senora Carrera, Good Person of Sechuan, Grusha, Mother Courage etc Fabulous strong, complex, dialectical parts for ballsy female actors unrivalled by any 20th Century practitioner.
Both Groups very healthy going into their sixth week and the one before Easter.
Excellent.
Good work. Improvement from many.
80% of the group when left to their own devices now know how to sit. Still a few cross-legged slumpers - but their behaviour has been noted by the Posture Police and the necessary measures will be taken...
(Yeah but, no but, I'm knackered, right, 'cos me and Tracy were up all night drinking these Scrumpy Cocktails round Angela's, right, and I can't be bothered, as it happens, if you want to know the truth, and it's all your fault, anyway right, cos you're just boring and I don't understand a bleeding word you're sayin').
Charlene's Transformation: Pavel's speech from a very chopped-up delivery (Mince) when she starts to a totally lucid one at the end of a bit of practice by biting off bigger chunks of text each time before she looks up. (Steak). The rhythm of the writing, the structure of the language is, therefore, allowed to shine through. Great.
This particular day, Joleen and Jordan (the J-Highs) are the Crystal Clear Queens but most other students are only a whisker behind in terms of clarity.
Hannah Patricia can't get her mouth round Suck-Lyn-Off but hopefully she will one day...
The main thing we discover, both Groups, is that neither side (the Mother or the Revolutionaries) get 'stumped' by each other's points. Nobody goes: ' Oh. I'd never thought of that. Duh. That's got me.' No, each one has an answer and in many ways the Mother gives as good as she gets.
Also, that after her actions in the Swamp scene, actually they look up to her: 'Respect'!
They need her. She has some of the experience, maturity and steadinesss under fire that they lack. Not to mention a native cunning.
We talked about this cunning. Brecht particularly liked it: peasant, working class cunning. Well, if you're at the bottom of the shit-heap you have to have something to even even things out.
Also remarked upon the fantastic parts Brecht wrote for women. Something seldom mentioned by academics, critics or practitioners. Pelagea, Senora Carrera, Good Person of Sechuan, Grusha, Mother Courage etc Fabulous strong, complex, dialectical parts for ballsy female actors unrivalled by any 20th Century practitioner.
Both Groups very healthy going into their sixth week and the one before Easter.
Excellent.
posted by Steve at 5:21 PM
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