Eighth Entry

From the Beckett theatre to MTC's studio 3, they tried to keep on track and continue with the blocking but without the base of the set and constant moving it proved a little bit more difficult than usual. But this didn't slow down the antics and tangents that are a vital part of the process it fueled it... some more witty than others.

D-Strand

"His acting was like milk that had gone out of date"

"If only he wrote a stronger play, it could withstand my bad acting."

There was a debate (serious debate) about whether forehead kinda sounds like foreskin?? I'll let you decide who you think brought up that question (and it wasn't the usual suspect) and whether you agree or not.

"smashing glass and sticking it into your foreskin" man cheer up emo kid.

I think I've left it long enough without addressing my exquisite art work. Boob faces. Do you think boobs have faces? gaping holes that could swallow you up? personalities? It might have not made it into the script with Chris deciding "actually better how it's originally written" but as D-Strand once said "what doesn't make it into the play can always end up on the blog."

In a sense this play shares similar qualities to Greek drama - using words to describe the action not necessarily performing it, commenting on the action as it occurs like a Chorus does. And then the relationship the Greeks had to The Gods "Men need them in order to make sense of their own experience, in reality chaos - blind, brutal chaos - always lies somewhere beneath the surface of human life." (John Barton) The Gods help man kind reflect on their lives, and so too does Saint Sebastian The Moth.