Written Oral: Rough Draft

The short story “Nineteen-Thirty Seven”, focuses heavily on the impact of religion and/or belief on relationships. Because this story showed so much potential for different contemporary forms of adaptation, I was very interested in picking it for my scene. I loved the idea of working in a small group of all women and the many different ways the scene could be altered to show their connections with one another.
 Therefore, I aimed to highlight the role faith played in each relationship between the Madonna, the mother, the grandmother, and Josephine, while also demonstrating the impact it had in their decision making.  By showing each of their feelings throughout the scene, the audience was able to gain an insight as to how religion affected their relationships with each other, and how it influenced the decisions they made.
In the actual short story, the Madonna is a figurine that Josephine's mother latches onto for emotional comfort and spiritual guidance. However, in our scene, we chose to have the Madonna begin the scene as a doll, and once Josephine loses her mother, she comes to life. By adapting this aspect of the story, we were able to allow the Madonna to actually guide the mother (and eventually Josephine) throughout her life. It gave the scene and the audience a new perspective, showing the mother constantly consult the Madonna as her guide and her crutch for support.
In order to portray my character, the Madonna, as a god-like figure whose sole purpose was to help the mother, I knew I would have to have a strong presence on stage. In order to achieve this, I manipulated by body language and my vocal tenacity. For example, whenever walking around on stage, I tried to stand as straight as I could, holding my head up. However, when I needed to show that I was a form of comfort for the mother, I would lower myself to be on her level, make eye contact, and establish a sense of touch whenever speaking to her. When I did verbally communicate with her, I tried to speak slowly and calmly, only using louder volume when a situation called for it. For example, when the Madonna chases after the mother in the river, I used louder volume to show the audience that I was gaining her attention, and to demonstrate that I was powerful.  Therefore, I was able to show that while I was still on a higher social level than her, I could still emotionally connect and have sympathy for her.
While all of this worked very well for the scene, I would do a few things differently. Specifically, I would limit the overall number of scene changes and use different props. Because of the constant stopping to change scenery or to transition, our scene was unable to flow. If I were to correct this, I would rewrite the script and comprise scenes so that hopefully it would not only flow more, but also so that the audience would be able to focus more on the relationships, plot, and characters. If I had the opportunity to change some of the props, I would love to use an actual Madonna figure. This way, the audience could understand that the Madonna is a symbol for religion. Because we used a cluster of fabric for this, I fear our audience will lack this understanding.

Reflection

Looking back on our performance, my favorite part of the performance for me was out lighting. I was so happy with every perfectly timed black out, fade out, special effect lights, etc. When writing the script, I had a clear vision as to what I wanted with he lights, and I am so thankful that we were able to achieve it. Each lighting effect was planned and carefully executed, and it really looked professional. Especially during the river scene. The blue accents on the hanging fabric on the triangle brought the scene to life, and I believe made it more visually interesting for the audience. I believe the most important part of our story that we adapted was the river, and how it acts as a turning point for the mother’s journey in her life. Therefore, I think it was perfect how the river scene in our performance naturally became the most abstract, intriguing, and visually satisfying moment and stage layout. By far and away, this was my favorite part of the performance. We were able to use the triangles to our advantage, by hiding things behind them, running around them as if Sam was wading in the water, and as an abstract aspect.

What I would change about the performance if I redid it would be the many scene changes. By the time my group was given this note and realized how it interrupted the flow of the scene and made it confusing for the audience, it was unfortunately, a little too late to undo. Looking back, I do see the scene changes as a problem, and I know if we were able to limit them, my partners and I would have less of an issue making the scenes flow and would be able to focus more on the actual scenes, than having to worry about their many, different set ups. However, I do think the many different changes were necessary with the script that we wrote and re-wrote, so the only way we would be able to realistically improve this, would have to be through re-writing the entirety of the script again. Im sure if I was to watch the video I would want to change more, however this seems to be the most evident place for improvement.

Overall, I really feel as though my scene partners and I pulled our project together very well. It took so much work in a very limited time frame, however I am so pleased with how the final version turned out. This process has been challenging, yet extremely  interesting, and I am glad I was fortunate enough to take part in it. Every scene from our class, not just ours, was above and beyond, and I am so proud of our IB Literature and Performance Class.

I am so honored to have been a part of such a wonderful group of actors, and I have loved working alongside Nadya and Samantha. We really tried our best to make this scene as great as we could, and I know our hard work has paid off.

(Video of Rough Draft Is Published On Separate Blog Post)

Costumes for IA

Script, sound and lighting cues, props, and Stage Layout with Description. See other post for Costumes.

Madonna - Abby

Mom - Sam

Josephine - Nadya

Beginning

• Massacre
• Escape

Middle

• Visit to river
• Teaching the call and-response

End

• Dead baby

• Police
• End with madonna and child repeating game again?

Props:

• Blue fabric to cover triangles
• House set
• Bed
• Couch
• Desk
• Table
• Four Chairs
• Wings of fire
• Rock
• Fauna near river

Sounds:

• Gunshots
• Screaming

BEGINNING

Add lights here

Grandma: Did you hear what Trujillo said the other day? He will not stop at anything to insult Haitians.

Mom: I know. Edwidge’s family has already left. Their youngest is only four months old. They don’t want their children to grow up here.

Grandma: It may be our time soon as well.

Mom: In this state, I can’t go anywhere.  

Grandma: Let us pray. Bondye will watch over us.

(multiple gunshots, screams heard outside. Chaos and panic ensues in the room.)

Women shouting, screaming “What is going on?” “Run!!”

(gunshots getting louder and louder)

(ladies shuffle quickly offstage)

Gunshots/screams can still be heard during scene change?

House? (gunshots can be heard in background)

Mom: (clearly stressed, frazzled) (talking to herself) What to bring? What to bring? (picks up a shirt) No, we don’t need this.

Madonna: We don’t have time for this. We must go. A single change of clothes, if anything.

Mom: I know, I know. But my child. My time is coming and we will have nothing.

Madonna: You will have me. It will have to be enough.

At edge of river (one side of stage) (gunshots can be heard, but faint)

Madonna: Come, faster. I see them over that hill. Faster

Mom: (clearly distressed) I cannot. I feel my child moving and kicking. I'm scared; please, Let me sit.

(sits on nearby rock?)

Madonna: You must go on, for the child. We both know it will be safe on the other side. Take the child away from all this violence.

Mom: I know. It’s hard. (takes a deep breath. Talking to Josephine) It’s going to be okay. We will get through this. (looking up to Madonna) We all will.

Madonna: (gently lifting Mom up) Come, we must go.

(Madonna helps the mother find her way through the rest of the river. The mothers exists the rivers wearing red for wings)  

Lights focus on Mother, preferably red lighting. Then, it slowly fades off.

MIDDLE

Lights Up Full Stage (white)

J: Tell me the story again.

Mom: Again? Josephine, this story gives you nightmares.

J: Please?

Mom: Alright. It was 1937, 12 years ago. The Madonna and I were at home with some friends when we heard shouting down the street. The soldiers had come for us Haitians. We knew we had to leave quickly. The back door was our only way out. We ran and ran, until we got to the river that divides this island. With nowhere else to go, we jumped in. But Josephine, that water changed us. We emerged new women, soaked in the red of the blood-tainted river. The soldiers ran, for we had wings of fire. I lost my mother that day, Josephine. But I got you.

J: What about the others?

Madonna: (Interrupts) You will meet them soon enough. Go to bed, Josephine.

Lights go down on the bed, and go up center stage

Mom: Why can’t I tell her about us?

Madonna: Because she is not ready. She will learn about the others in time.

(sees Madonna getting Josephine ready to leave)

Mom: Where we taking her now?

Madonna: The river. The others are meeting there today. She is ready to meet them.

Mom: Hopefully there won’t be too many. The police are already on high alert from the festivities.

Madonna: Don’t worry.

Lights Fade

(exit stage right)

Lights Up Full Stage(white)

Madonna: It’s time to teach her what your mother taught you.

Mom: No. She’s too young.

Madonna: And you’re too old.

(Mom sits down, thinking. Sees Josephine playing stage left)

Madonna: (puts hand on Mother’s shoulder) It’s time.

Mother: (takes a deep breath) Josephine love, come here. I want to teach you something.

All light fades, except a soft circle light that focuses on the pair

Mom: Who are you?

J:I’m a child of that place. I come down from that long trail of blood.

Full Lights fill the stage again

Mom:Where are you going?

J:I am walking into the dawn.

Mom:Who are you?

J:I am the first daughter of the first star.

Mom:Where do you drink when you're thirsty?

J:I drink the tears from the madonna's eyes.

Mom:And if not there?

J:I drink the dew.

Mom:And if you can't find the dew?

J:I drink from the rain before it falls.

Mom:And if you can't drink there?

J:I drink from the turtles hide.

Mom:How did you find your way to me?

J:By the light of the mermaid’s comb.

Mom:Where does your mother come from?

J:Thunderbolts, lighting, and all things that soar.

Mom:Who are you?

J:I come from the puddle of that river.

Mom: Speak to me.

J:You hear my mother who speaks through me. She’s the shadow that follows my shadow. The flame at the tip of my candle. The ripple in the stream where I wash my face. Yes. I will eat my tongue if I ever whisper that name, the name of that place across the river, that took my mother from me.

Our mothers were the ashes and we were  the light.  our mothers were the Embers and we were the sparks. our mothers were the flames and we were the blaze.

“Here is my child, Josephine. We were saved from the tomb of this river when she was still in my womb. You spared us both, her and me, from this river where I lost my mother.”

END

(Josephine and her mother are onstage. The Madonna is nowhere to be seen)

Mom: Josephine, what do you know about the Madonna?

J: I know she has been with you since you crossed Massacre River. She saved our lives.

Mom: You’re right. We do owe our lives to her.

J: Why do you ask, Manman?

Mom: Josephine, I am getting older. I am afraid our time together might be running out.

J: I’m not ready to say goodbye, Manman.

Mom: I know, Josephine. Neither am I. But while we still have time together, remember that I want you to keep the Madonna when I am gone. When I am completely gone, maybe you will have someone to take my place. Maybe you will have a person. Maybe you will have some flesh to console you. But if you don’t, you will always have the Madonna.

Full Lights fade back up

(Guards take mother away, mother throws wings back to Josephine, Josephine reaches for jacket) Mid reach, the lights immediately blackout.

Spotlight comes back on on Josephine & Madonna onstage back to audience, says ending to response, blackout

Blackout remains

J: “I am the child, Josephine. My mother was saved from the tomb of this river when I was still in the womb. You spared her from this river where she lost her mother. Our mothers were the ashes and we were  the light.  our mothers were the Embers and we were the sparks. our mothers were the flames and we were the blaze.”

RANDOM LINES TO INCORPORATE

“Let her flight be joyful, and mine and yours too.”

STAGE LAYOUT AND DESCRIPTION

Escaping through Massacre River

For the very opening scene, we will take 3 triangles from School of Rock and cover them in blue fabric, to look like a river. They will be staggered across the stage, providing cover for the mom to put on “wings of fire” (just a costume piece) and emerge from the blood stained water. To show the blood from the massacre, we may add red fabric to the triangles.

The Home

The majority of the skit will take place in the home of the three girls. There are 3 “sections” to the house: a bedroom, a dining area, and a play area. To the left is the bedroom. This is where personal conversations between the Madonna and the mother take place. Stage right is the play area, where the Madonna interacts with Josephine. In the middle, the mother and daughter meet. The play area has a couch and some toys - worn, cloth dolls. The dining room is just a wooden table and chairs. We will use colorful blankets and set pieces to make each section look more abstract and bring attention to the “fire” aspect of the skit.

The River

A few times in the skit, the mother brings Josephine to massacre river to pray. The set for this will be very simple, bringing back the blue fabric to show the river. This time, there is no blood.

Progress of Script

Madonna - Abby

Mom - Sam

Daughter - Nadya

Beginning

• Massacre
• Escape

Middle

• Visit to river
• Teaching the call and-response

End

• Dead baby

• Police
• End with madonna and child repeating game again?

Madonna: It’s time to teach her what your mother taught you.

Mom: No. She’s too young.

Madonna: And you’re too old.

Who are you?

I’m a child of that place. I come down from that long trail of blood.

Where are you going?

I am walking into the dawn.

Who are you?

I am the first daughter of the first star.

Where do you drink when you're thirsty?

I drink the tears from the madonna's eyes.

And if not there?

I drink the dew.

And if you can't find the dew?

I drink from the rain before it falls.

And if you can't drink there?

I drink from the turtles hide.

How did you find your way to me?

By the light of the mermaid’s comb.

Where does your mother come from?

Thunderbolts, lighting, and all things that soar.

Who are you?

I come from the puddle of that river.

Speak to me.

You hear my mother who speaks through me. She’s the shadow that follows my shadow. The flame at the tip of my candle. The ripple in the stream where I wash my face. Yes. I will eat my tongue if I ever whisper that name, the name of that place across the river, that took my mother from me.

Character Analysis

It is very hard for me to describe exactly who my character is. She is a religious figure, but she is also a person, symbol, and guide for the two other characters in our scene. Therefore, I don't picture her as an exact age. All I think of when I characterize her is the air. I think of her as a pure symbol, so I imagine her as wearing all white. However, because this scene is going to be very abstract, I am not sure how we are going to actually portray her. Today in class, we focused more on what we wanted the scene to be, the plot, time period, lighting, and what our characters are going to wear. Consequently, we did not spend that much time on discussing who our characters are and how they are going to affect others in the scene. When I think of the Madonna, I think of a guiding light. However, Sam may have a very different idea for her scene and how she wants my character to be presented. Overall, I think it is too early for me to fully describe the Madonna. Once we develop our scene more, I will be able to know exactly who she is, down to the way she speaks, walks, and her mannerisms.

As far as her relationships, it should be evident that she is not actually related to any of the other characters. Today in class, Sam said that she wanted the Madonna to be like a doll who comes to life, and helps lead her and her daughter to safety. I asked her if she wanted the Madonna to be acknowledged by anyone other than the mother, but we have not come to a solid conclusion. I know these important details will help me to discover who the Madonna really is and how I can properly act while on stage.

Krik? Krak! Scene Review

Looking back on my group’s performance and written scene, I wish we could have done better. Overall, I think our scene was too short and unorganized. While I understood it’s intentions, we should have executed our ideas in a more efficient idea. While I really enjoy being in a class with Kathleen and Kat, I believe we don’t exactly work that well together; we tended to get distracted, and therefore, it was difficult to collaborate and create what was asked of us, especially because our first draft did not fit the project’s description. What made it even more difficult was the fact that our group had trouble communicating with one another, so we were never on the same page with our project. You may have noticed when we started our scene, I set up two chairs, thinking Kathleen and Kat would be sitting during their conversation. It was not until the performance that I was corrected, and it caused for unsure blocking- mostly us crammed in the corner. Another difficulty was that we had to perform it a lot later after the other groups, so we had forgotten what we discussed about the scene, and no one had the exact same script.

If I could redo our scene, I would have explored the letter more. I would follow where it went, and in the second half of our presentation, I would introduce who she took blame for and why. I feel as though this was the most important, as well interesting, part of the scene, and I feel it got neglected. If we explored this, it would have allowed us to become more creative by exploring a self-created ending.

Our scene showed a lot of potential, so I know that if my group were to focus more and think about how we could expand on our material, it would greatly improve.