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Rules of the game i.e. structure
The Rules that were created when the project was created:
One: We will be using a wiki to write a play. All our communication will happen on the wiki in order for our process to be transparent and to insure that no one is becoming the patriarch behind closed doors.
Two: We will be using psychology books to create the play therefore we will be reading lots of books.
Three: We will ALL go through our own processes and be self-reflective so it doesn’t come out on stage. This also means that we will all admit that we are narcissists. The Story: is that we can change the world by changing ourselves. “They” just don’t want us to believe in ourselves. That is why it is so important for people who are working on this project to be working on themselves.
Four: We will all use open communication to sort out our shit before we have to get on stage together.
Five: We will all come from a place of love and respect, and support each other through any processes that we need to go through before getting up on stage.
Structure by Jack
overview by Willow
The narcissist is an actor in a monodrama, yet forced to remain behind the scenes. The scenes take center stage, instead. The narcissist does not cater at all to zir own needs. Contrary to zir reputation, the narcissist does not "love" zirself in any true sense of this loaded word. Ze feeds off other people who hurl back at zir an image that ze projects to them. This is their sole function in zir world: to reflect, to admire, to applaud, to detest - in a word, to assure zir that ze exists. Otherwise, they have no right to tax zir time, energy, or emotions - so ze feels.
(2.10) I really like the quote above and I think we should use it in our sturcture. In our imagery, in our words, in our performance.
(2.9) I would like to add an announcer to each scene. I might do it as my only acting piece. I can where my tophat and be a combination of the Mare Hare, a circus ringleader and Alfred Hitchock or the reeper from tales from the crypt. I have add some examples in (: :). Although I still like the idea above I think it would be good to do this often but change it up a bit and sometimes have the DNP be a good character as well but have the ringleader talk so much smack about them that it is hard not to hate them dispite there obvious innocence. I think that I would like to play with some of the concepts in the Lion Tamer book, maybe even making this character the lion tamer.
(1.16)The scenes explore growing information about the world of the characters. I just had this thought about turning the play completely around and having it all from the perspective of this DNP who is running around obliviously reaking havoc on other people's lives. This character can be the main flow line through and each scene can be ze with different people some who are also DNP and some who are the opposite extreme. In each scene the havoc the main character causes is so obviously distructive it is impossible to believe the character doesn't know ze is causing any real harm. This character never grows or figures anything out but all the characters who interact with it do emensely. For example scene one: our "hero" acts out entitlemen and gradiosity and in return the person who is affect by our hero's actions learn how important alturistic endeavors are and commits to a life of helping other people.
I orginally wanted to start with a artist doing silk dance with projections of nature and other zen peaceful things. Then she would fall as the projection turned chaotic symbolizing the loss of Alturism in our society. Then some other dancer symbolizing humans would come out and do a chaotic dance while chaos projects on top of them. (I will upload drawing soon.) but then I had this idea of starting like a prelude, an aside; of a re-telling of the narcissist myth with an empasis on echo and narcissist's rejection of her, symbolising his rejection of himself.
* Echo and Narcissist's masks will be mirrored in the puppets.
I was struck how interesting it could be for the two main characters to be in masks/costumes which are larger than life-size, manipulating the puppets for part of the conversations, then putting them down when they strip away a layer of the destructive narcissism, then strip away the mask for the next level of true emotional vulnerable connection - this together with the projections should give a lot of room for showing how we build layers of protection, self-preservation gone wild, how our personalities add to and reflect the greater culture.... (reposted from Willow's thread on puppets)
The idea I had of how to read this is that one column is one character and the other column is the other, in a responsive dialogue. The "good" and the "bad character switching back and forth maybe we can use some switching of puppets.
Scene 1: Entitlement and Grandiosity - Alturistic endeavors, need to be unique and special
Scene 2:Impoverished Self - Acceptance of self and others
Scene 3:Arrogance; no sense of humor - creativity
Scene 4:Narrow emotions and expressions - Aesthetic appreciation
Scene 5:Lack of empathy - Empathy
Scene 6:Emptiness at one's core - Meaning and purpose in one's life
Scene 7:Inability to recognize or respect - Ability to delay gratification
other's boundaries
Scene 8:Tendancy to be attention seeking - Meaning and purpose in one's life
Scene 9:Hunger for admiration - Ability to form and maintain long lasting relationships
Scene 10:Expecting favors without returning them - Commitment to a relationship
One: We will be using a wiki to write a play. All our communication will happen on the wiki in order for our process to be transparent and to insure that no one is becoming the patriarch behind closed doors.
Two: We will be using psychology books to create the play therefore we will be reading lots of books.
Three: We will ALL go through our own processes and be self-reflective so it doesn’t come out on stage. This also means that we will all admit that we are narcissists. The Story: is that we can change the world by changing ourselves. “They” just don’t want us to believe in ourselves. That is why it is so important for people who are working on this project to be working on themselves.
Four: We will all use open communication to sort out our shit before we have to get on stage together.
Five: We will all come from a place of love and respect, and support each other through any processes that we need to go through before getting up on stage.
Structure by Jack
overview by Willow
The narcissist is an actor in a monodrama, yet forced to remain behind the scenes. The scenes take center stage, instead. The narcissist does not cater at all to zir own needs. Contrary to zir reputation, the narcissist does not "love" zirself in any true sense of this loaded word. Ze feeds off other people who hurl back at zir an image that ze projects to them. This is their sole function in zir world: to reflect, to admire, to applaud, to detest - in a word, to assure zir that ze exists. Otherwise, they have no right to tax zir time, energy, or emotions - so ze feels.
(2.10) I really like the quote above and I think we should use it in our sturcture. In our imagery, in our words, in our performance.
(2.9) I would like to add an announcer to each scene. I might do it as my only acting piece. I can where my tophat and be a combination of the Mare Hare, a circus ringleader and Alfred Hitchock or the reeper from tales from the crypt. I have add some examples in (: :). Although I still like the idea above I think it would be good to do this often but change it up a bit and sometimes have the DNP be a good character as well but have the ringleader talk so much smack about them that it is hard not to hate them dispite there obvious innocence. I think that I would like to play with some of the concepts in the Lion Tamer book, maybe even making this character the lion tamer.
(1.16)The scenes explore growing information about the world of the characters. I just had this thought about turning the play completely around and having it all from the perspective of this DNP who is running around obliviously reaking havoc on other people's lives. This character can be the main flow line through and each scene can be ze with different people some who are also DNP and some who are the opposite extreme. In each scene the havoc the main character causes is so obviously distructive it is impossible to believe the character doesn't know ze is causing any real harm. This character never grows or figures anything out but all the characters who interact with it do emensely. For example scene one: our "hero" acts out entitlemen and gradiosity and in return the person who is affect by our hero's actions learn how important alturistic endeavors are and commits to a life of helping other people.
I orginally wanted to start with a artist doing silk dance with projections of nature and other zen peaceful things. Then she would fall as the projection turned chaotic symbolizing the loss of Alturism in our society. Then some other dancer symbolizing humans would come out and do a chaotic dance while chaos projects on top of them. (I will upload drawing soon.) but then I had this idea of starting like a prelude, an aside; of a re-telling of the narcissist myth with an empasis on echo and narcissist's rejection of her, symbolising his rejection of himself.
* Echo and Narcissist's masks will be mirrored in the puppets.
- Before each chapter two clowns come out with puppets attached to the upper half of their body facing in opposite directions. The clowns face away from each other so that the puppets are facing each other. They proceed to get into an argument surrounding the topic of the upcoming scene. One gets mad and stomps off stage the other (now the sad clown) says something that exemplifies the upcoming topic then walks off stage. The commedia is enough to lighten the topic but serious enough that the audience can’t blow it off. These characters should switch around between multiple actors so people don't associate one person with a particular emotion. (I will upload drawing soon.)
- In the end we somehow rebirth the connection to one consciousness and the silk artist reappears as a healing stereotype.
- Each scene will be relatively short but to the point.
I was struck how interesting it could be for the two main characters to be in masks/costumes which are larger than life-size, manipulating the puppets for part of the conversations, then putting them down when they strip away a layer of the destructive narcissism, then strip away the mask for the next level of true emotional vulnerable connection - this together with the projections should give a lot of room for showing how we build layers of protection, self-preservation gone wild, how our personalities add to and reflect the greater culture.... (reposted from Willow's thread on puppets)
The idea I had of how to read this is that one column is one character and the other column is the other, in a responsive dialogue. The "good" and the "bad character switching back and forth maybe we can use some switching of puppets.
Scene 1: Entitlement and Grandiosity - Alturistic endeavors, need to be unique and special
Scene 2:Impoverished Self - Acceptance of self and others
Scene 3:Arrogance; no sense of humor - creativity
Scene 4:Narrow emotions and expressions - Aesthetic appreciation
Scene 5:Lack of empathy - Empathy
Scene 6:Emptiness at one's core - Meaning and purpose in one's life
Scene 7:Inability to recognize or respect - Ability to delay gratification
other's boundaries
Scene 8:Tendancy to be attention seeking - Meaning and purpose in one's life
Scene 9:Hunger for admiration - Ability to form and maintain long lasting relationships
Scene 10:Expecting favors without returning them - Commitment to a relationship
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, Feb 20 2008, 10:00 PM EST
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