archives [straight from floppies] :

[ theatre\RECKLESS\nts & files ]

Without humor the story would make no sense.

THEMES:

1. "A solitude ten thousand fathoms deep..." Tvs on (in every set, in every house) all the time, without anybody watching. The dream machine, the destruction of the real.

2. "Our dream of safety has to disappear." (Auden) Illusion of safety by any cost (American theme from O'Neil-Wiiliams-Miller). Trying to do things right, or to pretend that they are right, perfect. "Okay" and "all right" instead of simple "yes."

3. Fear of Christmas. Holidays = time of loneliness, betrayed hopes. Christmas snow glass -- dead world, a toy. Christmas is unreal, thearical, artificial, staged.

4. Alaska. Not a place, a concept. Even WINTER is a fake. Back drops like in a bad H.S. production.

5. Afraid to die. Why? If life is a torture, punishment (what was the crime). Because we do not live, only hoping to live. Because our life is never "perfect" as it's suppose to be accoding to our philosophy.

D-QUESTIONS:

"Reckless"? Why? [*thoughtless*, breakneck, wild; see rash]; dangerously, *needlessly*, with abandon. Reckless in our hopes, dreams, expectations?! No imagination, no vision of future, only wishes. We run away from the past in order not to see the present, and not to know the future. What's why we need optimistic dreams, to deny, to cover, to forget.

Re-inventing herself; Foucault. No end.

Cuts? 28-30 episodes (2-5 min. each > 2 hours) -- fast as in dream? No transitions structure would make it even more horrific.

Parody on a holiday-film:
Episodes, not scenes (Brecht, Epic Theatre). "Film shooting" frame would bring the A-effect.

Music, talk radio, sounds. News -- Politics which make no sense. TV mind = madness (mosaic which involves you to put together the puzzle of life with no picture in a first place).
"Cool Media" -- participation.

Transitions -- between the scenes: shooting the movie.

Prologue (film crew comes in puts together the set, lights, etc.) and Epilogue (strike down the movie set, pack up and leave).
Talking Japanese (any language we don't understand), or a professional slang.

Details:

Two boys grow -- she doesn't remember them. Ho do we see them? Public phone rings several times. TV and radio commercials -- live? Christmas consumerized (Santa, gifts, etc.) Christmas tree, decorations -- plastic. Xmas lights.

Monitors, camera(s), lights on stage (side stages). Extras come and go. Unrelated stage business; building the set. Getting in costumes on stage, make up. This is the pre-show (?).

Go-go, non-stop -- dream can't be interrupted, it ends the moment we "understand."

Names (titles) -- for every episode, on tv screens and clapboard, announced.

PROBLEMS:

1. genre 2. space (action is too small for our stage) 3. changes in characters' psychology (?) are un-motivated. Dreamy eruptions in logic. Style -- pseudo-realistic? 4. actors?

... and

"sweet"? Madness is our identity. Psychotherapy -- controlled (socially accepted, funny madness).
Fable? (Beginning, long "middle" -- not define end). What is missing? Circle structure and "circling." -- She kills herself with the gun Tom brought with him (the same one in the first scene)

MUSIC: Sweet Christmas carols. Countra-point.

Pre-show: they all on stage, Fellini-like, chaotic.

The end. Christmas (New Year?) celebration, as in the pre-show.

Two boys (sons) come (where, how many times) to carol.

...

Reckless *
After America

Summary

Lucas and Godot Notes.

Questions

Notes

GodotUAF

Beckett and Post-Beckett.

Pinter

director's notes -- Stagematrix

NEW:

...

Reckless Notes

Post-production: web

+ Theatre Theory Files

Lucas

no bibliography, no links, no references...

no trace of the paper I wrote on Lucas.

Reck6
Go to shows.vtheatre.net!
Post-Beckett: Pinter and Mamet

script.vtheatre.net THR413 Playscript Analysis (Fall 2006)

"Total Directing" Files 

RECKLESS  The Samuel Goldwyn Company
 
   EILEEN BRENNAN (Sister Margaret)   Bio
   
   "RECKLESS is one of the most difficult and challenging pieces I have
   ever done. Craig Lucas' writing is very risky. The man is so truthful
   it boarders on madness. The film is set in a world that's real but not
   real, so it's a continual paradox. You hope you hit the high notes and
   take risks. The role of Sister Margaret was difficult from an acting
   standpoint because I talk continuously for ten pages to Rachel, who is
   in shock from a trauma and therefore not responsive. The part was a
   real gift for me. It is so rich and has so many levels    a phenomenal
   piece. There's a certain madness and harmony to it."
   
     _________________________________________________________________
   EILEEN BRENNAN's distinguished career has spanned stage, television
   and film. Among her feature films are THE STING, THE LAST PICTURE
   SHOW, TEXASVILLE, WHITE PALACE, THE CHEAP DETECTIVE, MURDER BY DEATH,
   DAISY MILLER and PRIVATE BENJAMIN, for which she received an Oscar
   nomination.
   
   Brennan received both an Emmy Award and a Golden Globe for her work in
   the television series PRIVATE BENJAMIN, as well as Emmy nominations
   for the telefilm THE DEATH OF RICHIE and for her guest star roles in
   such series as NEWHART, THIRTYSOMETHING and TAXI. Among her stage
   credits are the original Broadway production of "Hello, Dolly!" with
   Carol Channing and the national tour of "The Miracle Worker."

     _________________________________________________________________
      Comments to: beckett@netcom.com

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