Solo performance

Description
This week we only focused on the solo performance. Through a two ppts, we were able to see the key requirements for the solo piece and a range of theatre theorists we can choose from to place their theory into practice.

Analysis
One interesting aspect of this IB task is that we place ourselves simultaneously in the shoes of the director, producer, designer and actor. From this, I learned that this task encapsulates what a theatre maker is all about; directing your performance while producing your design elements and finally making them come alive through your acting. However, one challenge we will face is to balance all four perspectives in a single performance while at the same time following an aspect of your selected theorist. As a solution, we must plan a schedule for each area to not consume our time in only one and leave the other ones behind. Although, balancing is important, we must take in consideration the aspect our theatre theorist focuses on. For instance, if I was to choose Uta Hagen, I would focus more on the acting part of theatre since besides she was an actress, she believes that the actor must bring his/her psychological problems, passions, fears and rages in the service of the character. Therefore, I learned that at the beginning of the product we shall manage to pay equal attention to all four areas but during the process, give an extra focus on the area your theatre theorist is an expert in. An interesting aspect of choosing Uta Hagen is that it instantly connected with my interest in psychology as I explained before in her beliefs for the actors, thus, it is important to select a theatre theorist that attracts you since the solo performance isn't just about learning the theorist's theory like in history courses but to literally perform it.

By watching the ppt of the theatre theorists, I learned that the solo performance gives us absolute liberty in selecting which theorist we wish to elaborate a further research in. From directors, producers, designers to actors, we had the ability to choose theorists that could help us excel in our strengths, work on our weaknesses or approach new aspects of theatre we have never heard before. For instance, we have never done miming in school and perhaps Etienne Decroux can introduce us to the fabulous world of corporal mime. Assuming I have chosen Etienne Decroux, it could push me further in my ability of corporal expression because literally in mime there is no voice at all, instead the audience will rely their attention in understanding the story behind my movements which would be interesting to explore so I can discover if I really have the ability of delivering a message only through movements and face expressions as mimes do. On the other side, I learned that the process of the solo performance isn't about choosing one theatre theorist and just going with it, but it's about investigating from the ones of your interest and finally acknowledging fully about your favorite one.Therefore, it is essential to have knowledge on the other theorists (despite you won't choose them) who have, in a sense, marked the era of theatre (e.g Stanislavsky or Beckett) whose theories have helped contemporary directors create their theatre pieces.We must recall what Mrs. Alicia said this entire week" theatre maker que se respeta, ha leido Waiting for Godot, sabe quien es Stanislavsky or Brecht". What I'm trying to illustrate with this example is that this IB product encourages to know who are our theatre ancestors to take in account different perspectives on theatre and finally, place only one theatre theorist's theory into practice through the solo performance.

Reflection
It is interesting how the only product which differences SL and HL are the options of liberty. This can be explained by the Research Project which gives us a limited list of theatre traditions we can choose from which most are from Asia and Europe while the Solo performance we can choose whichever theorist theory we want to put into practice. However, time is what scares me the most since we have to do all four perspectives into a single performance which lasts a maximum of 8 minutes. So what I have been questioning myself all week long is that how will we be able to place ourselves in the four perspectives completely while we need to focus more on our theorists aspect? I mean... besides learning the entire theory and then focusing on a specific aspect, will time help us or consume us for good?

Proposals from papers to life

Description:
This week on Monday we had the proposal contest where each of us had to chose one of our moments of theatre from the mock director's notebook and the winning proposal would be staged. On Wednesday, Carlos and I as winners decided the cast of our actors and on Thursday we scheduled the deadlines for the IB final products for next year.

Analysis:
During the proposal contest, I learned that as a theatre maker I must adapt my entire vision according to the stage of the school theatre. Interestingly, although I will have some limitations it should not restrict my imagination of what is applicable for the staging of my proposal. By playing with the lights and scenery the stage offers, I can still be creative with my restrictions. For example, when Stanley delivers the line "You got plenty of room (...)" combining a gloomy musical piece, five red floodlights spotlighting Blanche and Stanley descending in the stage level, will create this caustic atmosphere I wanted the audience to feel, feeling the drowning of Blanche because her own lies have consumed her and led to her self-destruction. However, one difficulty I'll have is in regards of the lights and scenery since the school theatre doesn't have either descending stage levels or side/back floodlights. To solve this problem, I adapted my staging to the school's theatre by changing the lowering stage into a final balckout and because of a lack of canons, the intensity of the three red floodlights will be at their maximum rate to make the audience feel crushed by this chaotic atmosphere and acknowledge how lying leads to self-destruction, especially when lying to yourself.

On Wednesday, as a director  I learned about the importance of choosing wisely a cast. I must admit, the selection of a cast to represent your staging is difficult because you have to consider all the aspects of the actors you can cast, their strengths and weaknesses and the attributes they can apport to see if they fit the requirements of the characters inside your proposal. For instance, in my proposal of scene 10, Blanche can't difference between reality and illusion since both have eventually merged. Therefore, I interpreted this moment in an expressionist/surrealistic style where one of Blanche's requirements is to be elastic, walking in a slow paced rhythm, elongating her delicate body expressions and having a high-pitched voice with the purpose to make the audience feel immersed in Blanche's southern belle dream and letting them know from her perspective, the importance of being beautiful, innocent and young. Therefore, I had a strong decision to make between Olenka, Anita and Siu to see who can resemble my vision of Blanche. By considering Olenka's good projection of voice, Anita's capability of distorting her body and Siu's power on stage I finally casted Anita as my Blanche since even though all three can apport me significant attributes, my Blanche's focus is on her corporal movements and gestures which I believe Anita can deliver me. However, one challenge I have found for Anita is if she can determine a balance between her movements and voice because the twirls and spins she will do will require physique and strength, however for my proposal, I don't want the voice to be overshadowed by the movements, but complemented to them.

On the contrary, I imagined Stanley having a regular walking pace but each time accelerating more depending on his temper. This is because of now Stanley being alone with Blanche in the apartment, he will want to crush her hopes and get rid of her in the most destructive way he knows, unravelling her lies in a matter of minutes where his true self will be presented. From a fast walking pace until a grotesque type of jump and movements when imaginatively tearing the light barrier, I want a Stanley who can be able to shape shift from a human into a beast. By considering Daniel's good presence and projection of voice on stage and Carlos's strength on stage and ability of shape shifting due to his ability of controlling his body movements, I finally casted Carlos because my Stanley has to be able to shape shift whil having a hoarse and powerful voice which I believe Carlos can deliver to the audience. Yet, one problem is that I must take in consideration Carlos's doubling as a director in his proposal and actor in mine so in each rehearsal we have I must push him to his limit since I will have less reharsing sessions with him where I could polish his acting even more. Still, I will make both Anita and Carlos give all what they have, pushing them to their limits in order to achieve my vision.

Reflection: 
Finally with my moment, I want the audience to reflect about their past lying experiences and the outcomes of them. Also, I want them to take in consideration the disadvantages lies have since they were able to see it for themselves through Blanche's distorted vision of life, how lies whether than allies were after all secretly your enemies. Therefore, I question myself.... Even though I'm changing my vision slightly so it can be applicable in the school theatre, how can I emphasize more my concept and make the audience leave with the constant idea "Lying leads to self-destruction"? Meaning actually... how can the audience digest my concept when my design elements are highly symbolic and extremely linked with understanding my concept?

Just beginning the official IB products... Tasks 2 and 3

Description:
This week after handing in the first draft of our director's notebook mock, we went to the theatre's department library to search for plays and support material that we find interesting and useful for the official director's notebook. Also, we were introduced the IB product 3: the research product where we investigate about a convention of a theatre tradition of our choice, it's historical and theoretical context and stage it in a specific moment of theatre to prove the IB our knowledge and application of the convention chosen. As a guideline, we saw one exemplary video of this product.

Analysis:

On Thursday as soon as we handed in our first draft of the demo version of the director's notebook, we went to the theatre department's library to search for the possible plays we could use in our official IB product 2. Honestly, when I was searching, I had no expectations at all but just to find an interesting play I can stage next year. However, something curious about my random decision-making was that both of the plays chosen had one structure element in common, a plot developed from the perspective of a female character. In both "Desdemona" and "Eurydice”, Othello's and Orpheus strength masks the marginalized characters of Desdemona and Eurydice, however, Paula Vogel and Sarah Ruhl empowers them, giving them a voice so they can be in charge of controlling their destiny. Thus as a theatre maker, I have learned by reading more than one play as the IB recommends, I was able to find my interest in plays which the female characters are in battle for their feminist ideals.  

On the other side, we were introducted the IB product 3 which is the research project. One of the limitations of this task is the theatre traditions list we are given to choose from, being restricted to choose only one instead of investigating by ourselves unfamiliar theatre traditions we wish to explore. By seeing the list, I was able to recognize that all the theatre traditions are from Asia or Europe, but none are western traditions of the Americas. However I believe that instead of  restricted to a definite list, the IB could suggest it as a guideline to either choose a theater tradition within it or give the liberty and independence to the students to search of theatre tradition of their own interest which isn't found in the list. However, we just need to face requirements of this task and accept the theatre tradition that interests us the most. As a another solution to this limitation,  in the moment of a connection with a theatre tradition , I could link my chosen tradition with a theatre tradition i liked and studied before which will be quite easy for us since in the previous years we have studied several theatre traditions and its conventions such as greek theatre, commedia dell' arte, latin comedy and more.

For now, I wanted to decide on a theatre style that is completely out of my comfort zone or one i haven't ever heared before.The IB by placing a list of unkown theatre traditions (not from the entire world...literally Asia)engages the students to do theatre practices in their own style to develop into future authentic theatre makers.It is true, there are so many unknown theatre traditions I didn't know they existed such as the noh theatre, rakugo sit down theatre, khon dance drama and several more.However, one  problem with these unfamiliar traditions is that some are more rare than the other ones, meaning that maybe there will be a limitation of resources(that will be definetely a problem).But as a theatre maker i have learned that I should be open minded to all the traditions despite if they have limited information. If I've chosen a rare tradition is because i will attempt my best and develop a coherent and creative practical research. But at the same time, I learned that we should choose a groundbreakening theatre tradition in which we are fully interested and at the same time know we will find information about it. This is proved in our demo versions we did for the kathakali tradition in preparation of the school play.Although kalaripayattu and purulia cchau conventions we hard to find, I was still extremely interested in knowing more about them. Thus encouraging me to still investigate about these conventions despite the limited resources. Comparing my demo on kalaripayattu and purulia cchau I have noticed that they are actually quite the same, except in school we have always presented workshops as if they were performances. For instance, during one school play rehearsal we formed groups where in each group we were leading IB masters of kathakali and demonstrated our workshoop as if it was a performance, gaining confidence instead of being nervous as if it was a formal presentation of an essay.

It is time for the vision to come alive

Description:
This week, I have developed on my directorial vision, narrowing it down to apply it to my the two chosen scenes/moments of the play. Thus, my starting point for my directorial vision regarding the structure,design and acting elements was my stimulus: a ticking bomb and my concept: Lies lead to self destruction. Therefore, for my first moment, I have chosen scene 7 from pg. 78 until pg. 83 "It is late afternoon in mid-september (...)she was always-flighty!" where Blanche has eventually lied to others. In this specific moment of scene 7, Blanche is bathing while Stanley is exposing her reality to Stella, her sister. and the other moment of the play I have chosen was in scene 10 from pg. to pg. .

to be continued...

DN process: Artistic decisions of vision, target audience and intended impact

Description:

This week we have been continuing in defining completely our concept in order to access to our vision. By having the theatre in context part in the drafted version, I decided to continue developing my first impressions including finding connections with live theatre experiences that I could apply as a director in the staging of my two moments. Now, I have my concept cristal clear, it is "Lying leads to self destruction" while my vision of my two moments will be divided in Blanche's perspective, Lying to others and to herself.

Analysis:

In terms of the artistic decisions of the play, I have learned as a theatre maker that although my imagination can fly, my artistic visions must follow my stimulus and concept as well as respecting the playwrights ideas and themes, finally with the purpose of creating a coherent and unique vision. In an artistic decision for my vision, I believe that all my design elements must follow my concept "lying leads to self-destruction". Therefore, all the design elements I will use such as the lighting, props, scenery, costumes and more, must follow a color palette that will reinforce my concept. For instance, as a director I intent to use two type of colour palettes, containing cold and warm temperatured colours for the two different moments. In my first moment, when Stanley exposes to Stella all the lies of sister Blanche while bathing I want to give this idea that Blanche is lying to others since she still can differentiate between what is real and illusion. Thus deciding to use cold temperatured colors (blue, green, light blue, grey, purple,etc.) because the bomb of lies hasn't exploded yet, the lies aren't obvious and the truth is in disguise. Whilst, being far away from the warmth of the bomb. By Blanche overhearing the conversation between Stanley and Stella, I want her to feel this security and faith in her illusional world where the lies are her strong building blocks when she hears that her little sister Stella is not believing  any of Stanley's arguments illustrating Blanche as a complete farce (which she actually is).
On the other hand, for the other moment of the play, when Stanley exposes the complete picture of Blanche, before raping her I would like the colour palette to be the opposite, I would like my design elements to have predominant warm color trends to connote the idea that Blanche by lying inclusive to herself, has lost track of reality and is tangled in her own world of lies. Furthermore, I want to use warm colors because it approximates extremely to my concept, Blanche is in the moment she reaches her maximum level of insanity and auto-destructs herself by becoming a pathological liar and leading herself to her ultimate expulsion of society by being taken away to a medical institution.All her lies she believed were her allies, resulting being the contributors to her destruction. Moreover, the warm color choice gives this idea of Blanche  being consumed by all these lies she attempted to place as her authentic reality to society's eyes, explaining my connections of warmth with fire, the usual outcome of a bomb that destroys everything in its paths and inclusive, its self.

Finally, my target audience are teenagers and above, people who have had previous experience in lying. Throughtout the staging of my two moments, i want to prove to the audience through Blanche's perspective that eventhough you believe lying is the best alternative for escaping from reality, it the opposite. Instead, you are building a spiderweb of lies you will find yourself tangled in, with no possible way out. This is because, as having been a liar myself, I have felt to a certain extent connected with Blanche (not to that extreme) but where i believed lies were my allies, however, they turned out becoming my worst enemies, exposing myself completely and ending completely vulnerable and destroyed. It is true, sometimes lies pass unnoticed, but when you get used to them people will notice instantly that your life is an entire lie, and whether than feeling secure of yourself you'll be in constant awareness of your appearances like Blanche in "Streetcar". I want the audience to feel THAT insecurity, making them reflect about their past lying experiences and the consequences they have faced as an outcome. Finally, reaching my concept once again that lies lead to self destruction.

Reflection: 

I know that i am getting extremely excited with this project, being able to fly with my imagination with a stimulus created by myself as a starting point for structuring the concept, and with the concept cristal clear I am able to move on with my vision. However, I am scared that i am unbalancing the central concept of the vision, reflecting my stimulus and concept but at the same time respecting the playwrights themes and ideas. I know that Tenesse Williams ideas wasn't that lying leads to self destruction but i can still explore it through its contrast between the reality and fantasy world created by Blanche mind such as the bathtub action, the positions of characters or the lightining that will be explained in depth in my DN. But, what if i am passing that invisible line, I am paying attention more to my concept whether than the playwrights' ideas? how could i notice where that line stops if the directors' notebook main purpose fo students is to let their imagination fly?

Director's notebook: Part 1 done. Part 2, 3 and 4 ready to go!

Description:
In this week of vacations, I advanced part 1 regarding "the play text, its context and the ideas represented in the play" for our director's notebook mock on Tennessee Williams' social realistic play "A streetcar named desire"while recording some flourishing artistic responses of the play when read once continuously at a glance. However, these vacations I focused more on concluding part 1. Moreover, I also read "Alice in wonderland" by Lewis Carroll but still need to finish reading its sequel, "Alice through the looking glass".

Analysis:
The historical, cultural and theoretical context of a play goes beyond the play itself. In order to understand the behaviour and personal traits of a character or the purpose of his/her actions during the development of the plot of a play, directors must dig beyond the context.Why? Not only to know in which period of time was the play written or presented but, to link it with the cultural context of the era with the character development of the character,  to understand the true reasons and behavioral responses of each of them when acting in the play. Therefore, the context links with character's life, for the director to discover and understand the expectations each character has according to their individual and social context. For instance, in order to understand completely the play, it's plot, character behaviour or others in "A streetcar named Desire" we must investigate deeply in the inner and outer context of the play. E.g: Blanche DuBois as a fading southern belle represents the banishing southern aristocratic system that was defeated by the northern states in the American Civil war (1861-1865). While, Stanley Kowalski incarnates the newly industrialised era of America where as a polish soldier retreating from WW2 returns to his home, the metropolitan and developed city of New Orleans to pursue his "American dream", home ownership. Since the play was presented and premiered at the Ethel Barrymore theatre in New York near the endings of WW2, Tennessee Williams decides to explore these effects in his plays such as the industrialization era as a further effect of the great Depression (1930s). Therefore, these two characters are opposing poles that contrast completely in the play since Blanche as an intruder attempting to find her safe haven as an aging southern belle disrupts Stanley's haven as well. As a director, I learned that I needed a complete picture of the background of play and its' context in order to make precise linkages between the context and the characters attitude and responses towards the action of the play. whilst, being able to develop a vision and concept applicable to the play.

The director's notebook is about flying into your imagination, however taking measures to be applicable to the playwright's original ideas. For instance, Blanche DuBois has a constant struggle between the incapability of her fantasy world to overcome her reality and illicit past she sheds during the play, which is one of Tennessee Williams' themes presented in "Streetcar". As Tennessee Williams said in the new york post, " they reflect somehow the particular psychological turmoil I was going through when I wrote them”. As himself, he describes writing “as an escape from a world of reality in which I (he) felt acutely uncomfortable.” becoming to his “place of retreat, my (his) cave, my (his) refuge". Tennessee Williams plays are autobiographical, reflecting his psychological turmoil and dysfunctional family relationships.Therefore a strong connection between Tennessee Williams and his archetypical character Blanche Dubois is within the state of mind they share; their inability of fantasy to overcome reality because even though they attempt escaping from their reality, their reality reaches them, letting them never escape totally from it. Both feel extremely uncomfortable with their past, Tennesse Williams living with his dysfunctional family and Blanche Dubois with her remorse of being guilty of Allan Grey's suicide, the loss of her heritage plantation of "Belle Reve" or her promiscuous reputation in Laurel. Both need the medium to escape from the reality into their "refugee and place of retreat"(TW), leading to both making the decision of flying into a fantasy world while escaping from their world of reality at all cost. Therefore as a director, the principal artistic and managerial function is the decide-making of the interpretation of the script to produce a final performance. I had my ideas when reading "streetcar" again continuously without stopping, and an interesting impression I received was the fact that each scene seems to be as if a bomb was ticking.  This vision could be applicable since the plot of the play is about Blanche's fall and decline in New Orleans, how she becomes into a pathological liar with all the lies she states to the rest. Blanche believes that lying is the best escape from reality however Stanley at a first glance with his direct and transparent personality dismantles Blanche's fictions, doing everything he can do to unravel them. As Dorothy Allison once said “Things come apart so easily when they have been held together with lies.”, in Blanche's case each lie to herself unraveled by Stanley approximates her to her destruction, one lie equals one second less for the bomb to explode. In Blanche's perspective, her world slowly falls apart, beyond her control when her addiction for lying controls her while her lies whether than saving her do the opposite, consumes her completely. By then, deluding herself and distorting her reality. 

Reflection:
However, one thing I noticed presently even in this entry is all the ideas, first impressions and visions are mixed together which are quite difficult in separating in different parts and sections of the directors notebook since all link and overlaps each other. I have so many ideas in my mind, overlapping each other from which I am scared if they distance me from my original vision and concept. Another struggle that appears to my mind is that we are not able to interfere with the original script, no changes or alterations. Since I want to have this atmosphere of tension, where inside Blanche's head there is a bomb ticking, waiting for her downfall and reaching the 0 each time as the play develops. Therefore, how can I fly to the sky if I can't make any alterations to the script? What if I want to use a different type of music for Blanche's ultimate destruction even though in the script it states that the Varsouviana polka has to be played? I mean, how can I make the playwright's ideas strongly clear through my two moments selected if I have a different focus for the staging of the moments? 

Looking for the future - Alice in Wonderland

Description:

“Alice: How long is forever? White Rabbit: Sometimes, just one second.” -Lewis Carroll, Alice in Wonderland. 

On Friday, September 11th we went to the Gran Teatro Nacional near Javier Prado where we saw a ballet style adaptation of Lewis Carroll's world wide acclaimed novel Alice in Wonderland. It was directed by the costume designer Pepe Corzo and coreographed by the costa rican dancer Humberto Canessa which focuses on a silent ballet performance where focuses upon the design elements arises and intrigues the audience. The play "Alicia" echoes Lewis Carroll's prestigous novel, illustrating through ballet the story of a sensible girl who's innocent dreams drived her from reality to an everlasting journey, Wonderland, a world ruled by fantasy and imagination. By seeing this ballet style play, it served us as inspiration to record our first impressions and our creative approaches that can be staged  in next year's school play, coincidently about Alice in Wonderland. 

Analysis: 

The ballet of Alicia was presented in the Gran teatro nacional. We went to see it since it is the same play we want to do for next year's play except for one difference, the theatre style. Rather than presenting it in ballet style, we will do it on the basis and conventions of surrealism theatre. From observing this interpretation of alice, we used it as a guideline to record our first impressions about the play and evaluate if they are appliable for next year's schoolplay which is a adaptation of Alice in Wonderland mixed with Alice through the looking glass.

Firstly, we could observe and qualify the scenery and use of the space in the Alicia ballet as a potential source of inspiration for next year's school play. The use of the hyper-dimensional cyclorama contributed in the painting the stage, creating unreal atmospheres without necessarily using exaggerated props and actual scenery to illustrate the magical and distorted world of wonderland, Alice's childhood adventure. The design of the cyclorama varied according to the scene presented. For instance,  scene XII focused on the Queen of hearts' courtyard garden as the cyclorama displayed a garden filled with white roses. To make the scene more interactive and fictional, the queen's gardeners were using paintbrushes with red paint poured out of a metal bucket as if they were actually painting the white roses red like in the actual novel when the queen commands it. Therefore, the displayal of a white rose bush turning magically into freshly red painted roses contributed to the fictitious scenery of the garden by not necessarrily placing literaly bushes or a water pilette to connote the environment of the courtyard garden in the queen of hearts' palace.  For our play, perhaps we could find a gif of white roses turning red while the queens' gardeners paint unethusiastically the bush since it will be surrealistic theatre, demonstrating their boredom of painting useless roses for a selfish and unwanted queen. In case if we couldn't find a gif displaying a lively bush of white roses, we could play with the lights by using the frontal fresnels covered with red coloured filtres with a strong intensity of light to represent the red roses. Continuosly, if the angle of the lens is closed, it can focus on giving colour to the cyclorama, especifically to the colourless roses while the queen gardener characters with paintbrushes are doing a sequence as if they were colouring the roses themselves. Thus, this will contribute to one convention of surrealistic theatre which is the action is going beyond a realistic situtation , transforming into a dream-like fantasy sequence. 

Continuosly, another interesting usage of the cyclorama was after alice's fall through the rabbit hole when reaching the hall of doorsto demonstrate Alice's random and ilogical size changing when drinking the Pishsolver potion to shrink and eating the Upelkuchen cake to grow. The cyclorama displayed the coloured doors increasing in size when Alice drunk the potion to attempt an entrance into the small portal that leaded her into Wonderland. By the use of the cyclorama displaying the increasing size of the doors in comparison to the microscopic size of Alice helped creating this sense of entrapment in a distorted reality of simple colorful doors growing with no logical explanations. However, when Alice tried eating the Upelkuchen loaf, she grew enormesly; making the cyclorama display rather than large doors, extremely diminute doors she couldn't even fit in. Therefore, the cyclorama contributed to the spacial setting of the hall of doors, illustrating Alice's perspective  in constant change regarding her surroundings. In order to create this moment, we could use two relative sized doors and one smal door to mark the entry of Wonderland. The two relatively sized doors could go each on one side of the stage while the small door can be closely attached to the cyclorama displaying a gif of doors increasing and decreasing in size. Otherwise with the use of fresnels, by opening the angles of the lens they could give a wider ilumination to the cyclorama showing the doors or reflecting specially the two colorful wooden doors to emphasize there huge size. Perhaps, there could be a mini blackout where backstage changes the regular table found in the hall into a tall legged table to demonstrate the microscopic size of Alice kneeled down in comparison to her surroundings which they are unattainable for her to reach .When eating the Upelkuchen, the cyclorama could display a hall of diminute doors where Alice is extremely big sized. Therefore, during the growth there could be another blackout where the tall legged table is changed for the regular table once again while Alice is perhaps in a stretched position.In terms of the light, the fresnels could close their angel of lens to shorten the size of the doors.   

For the school play, we don't need to necessarily in every scene use a specific and exaggerated scenery, instead corporal movements and body expressions can express more than words. In scene II, the fact that there was minimalistic stage use and  no physical scenery was literally staged gave emphasis upon the formation of circles and spirals  the silhouete characters performed to create a distorted reality, an unwaitened fall into a rabit hole which is the secret passage to the mad and illogical world of Wonderland. The absence of a structured scenery was covered by the use of black and white lights blacking out while there were silhouetes observed surrounding Alice, forming spirals and doing spins to create a disorder in the stage. For the silhouettes to portray the fall of Alice formed with their body close to one another building  stairs as if Alice when climbing it falls literally into the hole. As effect, it made Alice's fall magical and unique which catched the audience's immediate attention and placed them at the same time, in the same confused state of mind as Alice herself. Therefore, the used of silhouetess produced a confusion beyond reality, distorting it completely and renacting Alice's inlogical fall through a rabbit hole which with her conscious, she created the mysterious and mad world of Wonderland. For our play, I believe it would be effective in not doing a literal hole but accompanied with a turbulent and magical tune or several blackout of the fresnels, cenital and cans lights in order to mark the contrast between the real world near the river creek and Alice's unconscious creating her insane childhood adventure in Wonderland.