Dangerous Liaisons *
Dangerous Liaisons

I have to finish the play I write in Russian; that's the next project. And maybe Hamlet2002...

To make htmlgear on French wisdom about love and sex?

Marriage is the only adventure open to the cowardly. Voltaire

The real images comes only, when the show is on, when I lose interest to it. Go to Theatre UAF and see how it looks, when it's not in my head.

April 11, the tech weekend. Not much will be done in this directory from now on. My director's job is almost over. Write director's notes, tune the show... and move to another project.

Summary

Questions

Notes

DiGaetani: As I recall that period in British theater, during those years all plays had to include a nude scene. Such scenes were absolutely de rigueur -- I guess just to tweak the nose of the censor, who no longer had any power. The nudity was also a novelty back then.

Hampton: That's right. It was a curious time, though when you're in the middle of it you don't realize what's going on.

DiGaetani: But the connection between love and cruelty continued in several of your plays beyond that time period. Perhaps the cruelty is caused by the intense fear of the intimacy that love can create.

Hampton: Certainly. The cruelty is also a way of keeping people at arm's length. Rimbaud behaved that way because he rejected all forms of what he conceived to be sentimentality. Again he's at the opposite end from Verlaine who omnivorously accepted everything and everybody -I think he would have screwed rabbits if he could have caught them. For Rimbaud debauchery was pursued with Puritanical zeal, and he was in fact a kind of Puritan whereas Verlaine was totally bisexual, which was his kind of pantheism. These were the various extremes that the characters tended towards, which made it possible to conduct an interesting debate on the subject. Really, you don't know what the plays are about until you've written them. They tell you what they're about. I never really know what I'm writing a play about; I only know that I'm interested in something, and I don't know the reason why. I'm sort of at the mercy of my . . .

DiGaetani: Muse?

Hampton: Instinct, I was going to say -- a better word, I think. I trust my instinct too because my experience is that whenever I try to write on a particular thesis, the result is not interesting. There is an element -which you can call either mystery or poetry -- which is absolutely essential in the theater. Otherwise the play lacks resonance. It just sits there and tells you what it wants to tell you, as if you're watching the news on television. The best moments in the theater are those moments when you are irrationally moved. Art is always more complicated than the terms by which you can define it.
[ 131 intro ] Dangerous Liaisons @ Amazon (DVD) Photos UAF April 19 - 28, 2002 Kade Mendelowitz: Lighitng Designer

Monologue Study: 1 101 * 2 comedy * 3 drama *

©2006 Fall:

Pinter
Homecoming

2007 Spring:

Oleanna
Pinter

text quotes *

PS

Once the people begin to reason, all is lost. Voltaire 1694-1778
Images:
The complex nature of social and sexual politics of our time must be present. We use the 18th century setting as a model only.

Everywhere.

Costumes without bodies...

PS

The lessons: if I would treat the script as a movie, the show could be better (episodic structure of Epic Theatre has its rules, which stage must follow).
Goldfish-Stage2

I should go for pomo take on roccoco!

Where are the b/w (night blue) images? And the period graphic porno.

Script has no self-irony, as if it's a masterpiece.

Mistake: I took it seriously too, instead of treating it as a material for stage composition. Moragues-Stage2

Go to the classics!


Here is my assessment of Dangerous Liaisons.

First, I thought the play was very good.
The addition of the screen in the back was a very good move. Not only did the screen serve as a way to tell the audience where the characters were, but also the silhouettes added to the fun of the play. The old paintings were very good in adding mood to the play, as well.
The stairs on the stage were very well done. I thought the concept of having an up and down structure was very smart. Also, the structure of these stairs aided the drama of the play. The actor could use the stairs to emphasis parts of his lines from a higher point on the stage. Having the actors hide behind the curtains, where the audience could still see them, was a great idea. However, it looked awkward when the actors would stumble around the stairs to find their way behind the curtain. Also, sometimes the actors would go behind the stairs to exit stage, and other times they would go in front of them.
If I were directing the play, I would have used more of the stage. The lower right side of the stage was not used at all, whereas the middle and lower left side of the stage were used a lot. The same couch was used for all the scenes requiring a couch. I feel a second couch on the other side of the stage would have been a great addition to the set. The stage would have been used more, and the actors would appear to be in a different place more often.
Everytime the action changed to a different part of the stage, the lighting would follow. The change was very subtle, and very well done. It gave me a feeling like everything was progressing, strange as that may sound.
I'd love to see a concept of this play that takes place in a high school. High school kids are a lot like the characters in the play, so I would find a teen movie of this variety amusing. However, there are several movies that are pretty close. "Cruel Intentions" is based off "Dangerous Liaisons," and "10 Things I hate about you" has a similar story, but is based off "The tamming of the shrew."
Ty (directing class)

Next: DJ XXI
Venice-DonJuan2003
Venice Carnival 2002 & DJ 2003

Let me repeat myself (from Film600 and script.vtheatre.net):

Where teaching and studying (research) meet --

Theme-thought, according to different playwrights (Shakespeare, Ibsen, Strindberg, Chekhov and so on) and directors (Fillini, Kurosawa, Tarkovsky, Bergman pages).

Connections with other themes (list): family, gender and sex...

Finally, my own practical investigations: shows.vtheatre.net (only recently I began to make themes pages, Don Juan 2003, for example).

And the nonfiction (writing), of course: HIM, Father-Russia, PostAmeriKa, Self, POV, Tech (gatepages are in WRITE directory).

Yeah, yeah, there is more -- "philo" pages, metaphysics: in theatre theory directory, for instance (topics-bar: space, time and etc.)
Plus, Virtual Theatre and Book of Spectator!

Web? Oh, this is just medium. Like stage, screen, writing...