Time

Anne Bogart's picture

I am late with this blog and I feel the pressure of time on my back.  I work on the blog in the five minutes before leaving for rehearsal or on a plane in an uncomfortable seat.  Afterwards of course I reproach myself for not using the extended time on the airplane to write.  Why did I “spend” this precious time watching inflight television?

The ancient Greeks conceived of time in two radically different ways and produced two different words to distinguish one from the other: chronos and kairos.  In English, we have to make do with only one word: time.  This “making do” has led us to confuse these two fundamentally diverse means of experiencing time. 

Chronos is measured time.  Kairos is unbound and unmeasured time. Chronos is quantitative while kairos is qualitative. Chronos is chronological time. It is the difference between time and timing. Any moment can be experienced as either chronos or kairos.  

Final #dailyGETTY

Will Bond's picture

Just a walk around the Getty.

Daily Getty May 22 #readingthegreeks

Will Bond's picture

See a quick video of Company members on otheir way to the Getty.

http://telly.com/OR31V

Getty Villa Day 6 May, 2013

Ellen Lauren's picture

Day 6,

An early morning after reading the Persians last night. The fog and clouds giving way to a pure light that etches everything with such clarity. The beauty is almost too much, overwhelming to the senses and the soul. A morning drive up into the canyon and down to the Pacific, which is now a color we haven’t seen before. 

After the formality, archaic structure and rigor of Aeschylus’ language, we give over today to the wild, unnerving energy of Euripides’ The Bacchae. One  has been read at night, sombre and strange. The other will be read midday, while this light outside shines on the white marble, glitters the fountains and herbs, spins the birds into the air. 

Getty Villa Readings Day 7

Will Bond's picture

Bondo:  Getty Villa Day 7 May 19, 2013

We are tired … and ….

Sunday was our 3rd and final public reading of the Greeks.  We read Euripides’ ION.  We arrived at the villa for training at 10:30 a.m.  I chose that we would work on the marches, then statues with speaking the “Midsummer” text.  We did a 15 minute VP session that was entirely open, then set up the tables to sit and do our rehearsal read. 

In Search of Stillness

Ellen Lauren's picture

I’VE BEEN HAVING A DIFFICULT TIME SITTING still to write about stillness.

What does the study and practice of stillness entail for the theatre artist? Perhaps my difficulty is an illustration of how elusive this knowledge remains, and how potent it is, once harnessed, in an unsettled world. Perhaps the difficulty lies in the fact that this subject, stillness, is at the root of all the essential values I hold in the making, teaching and study of the art of theatre. To achieve stillness as part of one’s expressive abilities requires training. In my case, the foundation of my practice and teaching has been the Suzuki Method of Actor Training. Created by Tadashi Suzuki and his remarkable Suzuki Company of Toga (SCOT), the work is widely known for its exact and rigorous physical vocabulary that gives the actor insights into basic issues of control.

Getty Villa Day Three : May 15, 2013

J.Ed Araiza's picture

Day 3 and 1/2  actually

I am starting this late and  will surely not finish until this evening after day 4…but so it goes.
 
Last night just as I was finishing supper and about to start my section of the daily blog…. the doorbell rang.. or someone knocked….. long conversations and a few drinks later I went to bed my report undone.
 
but to back up.
Some early memories of our amazing days here.
I had been in LA since late Friday evening having flown here from Windsor Ontario, via Detroit for 2 Saturday meetings (which caused me too miss the GALA). 

Getty Villa Play Readings 2013

Will Bond's picture

Members of the SITI company are back at the Getty Villa in Los Angeles to begin our third residency to read and develop a production to be premiered here at the Getty Villa in the summer of 2014.  Our production’s of THE TROJAN WOMAN (AFTER EURIPIDES) and ANTIGONE came out of this same generous residency support.

Getty Villa Day 1 , May 2013

Ellen Lauren's picture

Upon beginning our residency of readings at the Getty Villa with GM, J.Ed, Ellen, Kelly, Bondo, Anne, Jessica Hanna 2013.

DAY ONE
 
We are back. Into the blazing sunlight, the heat of the valley where we are staying this go round. Into the scent of eucalyptus and jasmine and car fumes and sea. Today we wove, drove, up the canyon and down it- and just as you reach the other side, there is the ocean stretching endless-and back into the grove of the Getty Villa. My mind is filled with memories, but my body is what really remembers it. And just entering, just that much, I remember the warmth of the marble on our feet at night, the feel of the night getting cooler, the smell of lavender, the taste of the figs we’d snitch- the memories of another time in this extraordinary place when we made Trojan Women. But here, now, again to read these fathomless plays-The Persians, Bacchae, Ion.

Longing, Frustration and Desire

Anne Bogart's picture

The Buddhists propose that pain is caused by personal attachment to desire. Accordingly, I consciously and vigilantly police my own burning desires in order to live closer to and in harmony with the realities of the unfolding present moment.  I try to stay free from what I perceive as a prison of “wanting.”

In public I have often suggested that the word “want” is killing the American Theater. I propose that in rehearsal we employ the word “want” excessively.  A director says to an actor, “now I want you to walk downstage,” or an actor asks a director, “is this what you want?”  In so speaking I believe that we unconsciously set up parent-children relationships between the director and actors.  And I see this manner of speaking as an endemic and a serious spiritual and political problem in our field.

Syndicate content