We're turning away from epidemics and communicable diseases to deal with some more traditionally theatre theory sort of topics. This week? Time.
I don't see any posting prompts from discussion leaders up yet on the discussion board, but I have faith they'll be there soon. Rain, meanwhile, sent a good extra report about the other articles for tomorrow about The Fifteenth Line, the Twitter play that John Muse writes about in his article. Her question that she ends with is cool:
Question: Given the pandemic, theatres across the country are shut down and shows are on hold until further notice. Do you think there’s a creative place for theatre in your Twitter feed today? Would it be so realistic, like The 15th Line, that the characters are aware of the state of the world and that users like us may not even be aware they are participating in theatre? Or perhaps would it be an obvious performance, like Next To Normal did: perhaps a play that normally would have taken place but was shut down due to the pandemic enlists its actors to play their characters over a Twitter thread? Do you think this sort of play is practical in a non-pandemic setting when the need for theatre of social media is lower?
On that note, it's interesting how different theatres are responding to the pandemic shutdown. Some, like the National Theatre in the UK, are posting YouTube vids of their latest productions. Here, for instance, is a new production of Jane Eyre:
Here's the Public's Much Ado about Nothing: https://www.thirteen.org/programs/great-performances/much-ado-about-nothing-rahlxp/
Dr. Sikes has been watching streams from the Metropolitan Opera just about every night.
I'm sure you can find more. Most of these handle the challenges of space pretty well. But all of them keep the challenge of time. To watch any of these is an investment of 2, 3, or 4 hours. I don't know about you all, but part of what this locked-down state has meant for me is that my mental staying power is much drained. I can barely last a movie, let alone a filmed 3-hour production.
In a way, then, micro-dramas like John Muse talks about seem like just the thing: bite-sized little plays to enjoy on Twitter. Of course, that's just one kind of Twitter play. The Fifteenth Line, as Rain points out, requires some commitment to follow as it unfolds, bit by bit, day by day.
When I think of other modes of micro-drama (at least on screen), I think of past forms like 5 Second Films, or the late, lamented Vine.
(Of course I've seen all these, re-cut and re-re-cut and re-re-re-cut into hundreds of compilations. Of course I watched these all again as I posted this.)
Tik-tok has its moments, I guess. Still miss Vine, but that's The Old for ya.
Seriously, though, between the "I just happened to catch this funny moment" vines, there are some with some amazing dramaturgy and timing. Take this one:
Or this one:
Or this one:
Doubtless many of you have your own suggestions.
What makes for a good, ultra-brief drama? Do microdramas only work in cinematic media, where you can quick-edit different shots? Can you imagine live theatrical microdramas? More interesting: can you imagine microdramas that are both effective and dramatic rather than comic?
Looking forward to reading your comments and zooming this week Wednesday (and maybe Friday?).
'Til then, here's some music for the day:
Nick Harper's "Shadowlands":
JF
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