Oscar Wilde - The Importance of Being Earnest * Concept * WWWilde *
2007 -- in class DramLit : (self)parody on melodrama Close and Far Reading...
Featured Pages: Pomo

See Postmodern Directories : PostAmeriKa, Self, Tech, Self.

For Character Analysis see WWWilde Forum and Characters Pages

Pygmalion 2005
* Shaw * online *

2008 Stoppard


read BioMethid (Acting One) and Fundamentals of Directing! [ other concept pages ]
This is the most difficult aspect of directing, success and all the mistakes are usually start right here.

I wrote on the subject @ Conceptualization @ Film-North.

I shall try to illustrate how and why it is important using WWWilde production.

CRITERIA: Your Vision

Your Interpretation....

Your directions.

What does it mean?

Imagine if you are about to write a new play "The Importance of Being Earnest"!

Now, ask yourself -- Why? Why bother? What do you want to say? What is in this story about you, your times, about us? Why do you want it to be in England? Why is the turn of the century? Why comedy?...

Do not think that Oscar Wilde answered it all. It's not his show, it's yours. It will YOUR public, your contemporaries, your actors. You have to answer it all, if the play doesn't exist. You have to WORK your way back to the script. Can you do it better? Try to rewrite it.

If you deal with a masterpiece, most likely you will DISCOVER that the way it's written is the best.... You see, now it is YOUR text!

So, you "wrote" a good play, but why should you direct or act in it? What can you add to the text?

Do you the pictures? The actors on the set? Do you see Algernon? Do you see how he enter the room? What do you see?

How will do it? Yes, how will act it?

You see what I mean?


The images...

A Few Words About Pomo

"PostModern" philosophy is known since 1968, but it's not legitimate yet. To view Oscar Wilde as POMO writer is even more questionable. Although the issues of PM are in there. First, the Identity and the creation of one Self. If you look at The Importance of Being Earnest after reading Foucault, you notice that this is not Shakespearean "comedy of errors."

Deleuze has a name for it "Folding" (Doubling); that is how we creat our identity -- we make a double of ourselves. Two names: Jack and Earnest. Which one is TRUE one?

Wilde believes that I must invent Myself in order to have "my" individuality. I do not know how much of Marx did he read, but he definately read some socialists (French?). There is a lot of the French Thought in his writing.

His irony on the British (class) could be both -- Irish and Continental.

The scary part of the play for me that you never know the true face of any of them; there is a mask under another mask. Everything is social, especially, the FEELINGS.

Wait a minute! This is precisely about us and our times! About mental emotions, when we act according to what we think we feel! About our poopular culture of celebrities, when people love Elvis -- and no idea about what they really feel. About poor imagination taking over our souls, about the empty (or even dead) souls, when only the mind is left to tell us what we feel. We have to feel something, right? are not machines, we are humans. Are we?

What does it mean today to be in love? Their feelings are their OPINIONS. The opinions run our lives, elections, behavior, choices. And what is "mine" in my opinions? Are they really mine, or produced in me by the others? Who told the girls that "Ernest" is the name with "vibration"? Are they real or the products manifactured by the fashions? Why do movie starts change their real names? For vibrations, I guess.

They do not see each other. They the reality to fit the simulacra!

Will we ever know who Leonardo DeCaprio is? Do we want to know? Is anybody there behind the mask? Hello?

If you missed, or lost the copy of the play, get it online @ http://egroups.com/group/wwwilde (links)
You need the concept and YOUR selection of the scene for TR class.
Expected: understanding of the dram-composition of the scene (exposition, climax, resolution) and character(s) analysis (5 W's)
Read Gordon Craig "The Artist of the Theatre" p. 147: post your 200 words reflections, please (next week -- test on t-book readings).
Next: title
Chekhov: Farces & Love Letters -- Fall 2004 British Comedy tradition: Shakespeare > Wilde > Beckett (Stoppard) +

Albatross From: Monty Python Live at the Hollywood Bowl

Salesman: (shouting) Albatross....albatross....albatross.... albatross....albatross...albatross....albatross....albatross

Man: Two good humors please.

Salesman: I haven't got any good humors, I've just got this bloody albatross....(shouts) Albatross

Man: What flavor is it?

Salesman: It's a bird mate, it's a bloody bird, it's not any bloody flavor....(shouts) Albatross

Man: It's got to be some flavor, I mean everything's got a flavor.

Salesman: All right, it's blood albatross flavor, it's bloody sea bloody bird bloody flavor.... (shouts) Albatross

Man: Do you get wafers with it?

Salesman: Course you don't get bloody wafers with it, it's a bloody albatross isn't it...(shouts) Albatross

Man: I'll have two please.

Salesman: I've only got one you cocksucker....(shouts) Albatross.... albatross.... albatross....albatross

[ act.vtheatre.net/doc ]

* What was the most important in "The Important of ..."?