Florence – Early Opera is a drama that combines soliloquy, dialogue, scenery, action, costume, and continuous music. Caccini would be a perfect composer for this. He was a singer and composer. He wrote in a more lyrical style based on the madrigal and on the airs that poets and singers used when singing or reciting poetry. Music from the opera Euridice by Giulio Caccini. Caccini also developed a tuneful style of solo songwriting that did not distort the text. He wanted to have clear and flexible declamation of the words, with melodic embellishments at appropriate places. He wrote 2 types of these songs (Airs – strophic and Madrigals – through composed [music for each stanza of poetry different]). The collection Le nuove musiche by Caccini – you can listen to examples on the following website: http://www.last.fm/music/Giulio+Caccini.
Also, Monteverdi’s opera “Orfeo” is very popular at this time.
Rome – Vocal Chamber Music. The strophic aria was developed. This song form offered the best framework for setting poetry without interfering with the poem’s continuity. Composer repeated same melody for each stanza of poetry, but they would write new music of each stanza for the accompanying instruments. A specific type was called the Romanesca. The was the air for singing a poem organized in eight-line stanzas and having a rhyme scheme of abababcc. Monteverdi’s Ohime dov’e il mio ben (Alas, where is my love) is an example. This piece is a duet. There is also the composer by the name of Barbara Strozzi. She was huge back in the 17th cen. She composed cantata’s for the voice. These were compositions that were continuous, usually for solo voice, lyrical text that included recitative and aria sections. Her most significant is “Lagrime mie” my tears.
Venice – Opera and Choral music. The music composed in this city was characteristically full and rich in texture, homophonic rather than contrapuntal, varied and colorful in sonority. Opera was available to the paying public now. There was also Monteverdi’s “Poppea”. This was his masterpiece. It can be listened to here: http://www.amazon.com/Monteverdi-Lincoronazione-Poppea-Hanchard-Gardiner/dp/B0000057F0
Choral music includes composer Giovanni Gabrieli and a piece entitled “In ecclesiis”.
Instrumental music – improvisatory compositions flourished under Girolamo Frescobaldi who was an organist at St. Peter’s in Rome. He wrote toccatas which were “warm-up” pieces, full of scalar and other florid, fast moving passages that burst forth from the player’s fingers at irregular intervals. http://www.last.fm/music/Girolamo+Frescobaldi
Madrigals – used during this time to express the text through harmony rather than following the traditional rules of counterpoint. Used dissonances more freely. Monteverdi is a good composer for this style. http://www.naxosdirect.com/MONTEVERDI-Madrigals-Book-5-Il-Quinto-Libro-de-Madrigali-1605/title/8555311/
Oratorio – written by Giacomo Carissimi. Look at his mid-century oratorio called Jephte. Pieces like this were performed as a part of church during the sermon and singing of devotional songs.
Other composers to consider looking up compositions are Francesco Cavalli and Antonio Cesti. They both composed opera. One thing to remember, all the mentioned composers did compose all types of genres during the Baroque period, they just excelled in particular areas.
All of the above is from "Concise history of western music" - Barbara Russano Hanning.
Friday, July 25, 2008
Wednesday, July 23, 2008
World of the Play: Space
Flat shoes were worn to around 1610, when a low heel became popular. The ribbon tie over the instep that had appeared on late sixteenth century shoes grew into elaborate lace or ribbon rosettes called shoe roses that were worn by the most fashionable men and women. Backless slippers called pantofles were worn indoors.
By the 1620s, heeled boots became popular for indoor as well as outdoor wear. The boots themselves were usually turned down below the knee; boot tops became wider until the "bucket-top" boot associated with The Three Musketeers appeared in the 1630s. Spurs straps featured decorative butterfly-shaped spur leathers over the instep.
By the 1620s, heeled boots became popular for indoor as well as outdoor wear. The boots themselves were usually turned down below the knee; boot tops became wider until the "bucket-top" boot associated with The Three Musketeers appeared in the 1630s. Spurs straps featured decorative butterfly-shaped spur leathers over the instep.
Paola Adorno, Marchesa Brinole-Sale wears a black gown and a sheer ruff with large, soft figure-of-eight pleats seen in Italian portraits of this period. Her hair is caught in a cylindrical cap or caul of pearls. Genoa, c. 1626. 
Margaret Laton wears a black gown over an embroidered linen jacket tucked into the newly fashionable high-waisted petticoat of c. 1620. She wears a sheer apron or overskirt, a falling ruff, and an embroidered cap with lace trim. The jacket itself is in the longer fashion of the previous decade.
Wears an embroidered jacket-bodice and petticoat under a red velvet gown. She wears a sheer partlet over an embroidered high-necked chemise, c. 1620
Peasant wear.
Old Procuratie-They are constituted by a long building (m.152) that skirts the northern side of St. Mark's Square. They were built in a unique floor during the twelfth century but they suffered some renovations beginning from 1514, up to 1532, the year when Jacopo Sansovino intervened raising an ulterior floor on the original building. Initially it was assigned to offices and residence for St. Mark's attorneys (the attorney was the more important magistrate in the Republic after the Doge), today it is ownership of Assicurazioni Generali, and in the future it will welcome the offices of the municipal administration. Behind the Old Procuraties there is the Orseolo Basin, realized in 1863 for the docking of the gondolas. 
The bridge of the Sighs, architectural work of the late '500, is composed by two corridors superimposed that put in touch the Palace of Justice and the ancient jails with the cells that are beyond the canal of the Building. It's told that it could be heard the sighs of the prisoners when they passed the bridge, because they could not escape
anymore. The Old Jails were the ancient jails of the Doge's Palace, and were divided in Leads, that is cells set under the lead roofs of the Building that housed famous personages like Casanova, Manin, Pellico and Tommaseo, and in Wells, narrow places at the ground floor that were damp and dark reserved to the condemned for the most serious crimes and to the political prisoners.
anymore. The Old Jails were the ancient jails of the Doge's Palace, and were divided in Leads, that is cells set under the lead roofs of the Building that housed famous personages like Casanova, Manin, Pellico and Tommaseo, and in Wells, narrow places at the ground floor that were damp and dark reserved to the condemned for the most serious crimes and to the political prisoners.
Doge Palace-
Through the Door of the Paper, work of Bartholomeo Bon (fifteenth century), characterized by a winged lion to whose presence is knelt the Doge Francesco Foscari, we get in the building crossing the Foscari Arc, in Gothic style that is in front of the Staircase of the Giants with colossal
statues of Mars and Neptune it works of Sansovino (1554); really behind the statues, took place the ceremony of crowning of the doge. Inside, on the Courtyard overlook the façades that propose the same solutions of the external ones; from here we can get to the Staircase of the Censors and the Gold Staircase begun in 1549 from Sansovino and from Scarpagnino and decorated wiyh works of Tiziano Aspetti, Alessandro Vittoria, Giovan Battista Franco and Segala; it was reserved to the Magistrates and important personages passage.
Commedia Dell'arte was a huge form of entertaiment in Italy that consisted of a half improved, half scripted sketch performed by specific stereotyped characters. It was usually performed with masks on and done in the streets.
Monday, July 21, 2008
The World of the Play: Time
Scenes from an Execution placed in 1620.
Some of this information is lengthy, but all important. In bold are maybe the more memorable statements.
"In Germany, the Thirty Years' War broke out in 1618, pitting German Protestants and allies such as Lutheran Sweden against the holy Roman Emporer, backed by Spain.
"One historian has estimated that by about 1600 the average Western peasant or artisan owned five times as many "things" as his or her counterpart."
Johannes Kepler is an important figure in the study of planetary motion. Also around 1600, anatomical work by the Belgian Vesalius gained great percision.
"World Civilizations- The Global Experience by Peter N. Stearns*
Battle of Lepanto
The greatest moment in the history of Venice occurred on the morning of October 7, 1570 at Lepanto. The Turks who had threatened many times to conquer Italy and Europe had amassed an armada of ships in the Gulf of Patras and yet again a divided Europe left Venice to take up the challenge.
Both sides were evenly matched, and the Christians led by the Venetians immediately attacked the Turkish fleet. Over 200 galleons engaged in head-to-head combat. The battle raged all day, as each of the opposing forces tried to out-manoevure the other, appalling loses were sustained by both sides. It was estimated that the Christians lost 15,000 men, the Turks twice as many.
Finally, as the flagship of the Turkish fleet was taken and the admiral beheaded the battle drew to an end. With their flagship taken and their admiral dead, the Turks lost heart and tried to flee. Over 8,000 of them were taken prisoner by the Christians.
On October, a Venetian galley entered the bay of San Marco trailing the Turkish banners in the water behind her stern, with her deck piled high with trophies. Within an hour the whole of Venice was celebrating the victory.
Upon hearing the news, the Pope ordered the church bells of all the churches to ring at midday to celebrate the victory. As so today, at the stroke of midday, the chimes of the bells ring out still celebrating this famous Venetian victory.
The Decline of Italy.
After the Italian turmoil of the early 16th century, Venice enters a long and gradual period of decline. This is in no way diminishes the artistic brilliance of the city. The Venetian school of the 16th century includes Giorgione, Titian, Veronese and Tintoretto; two centuries later Venice is home to Tiepolo, Canaletto and Guardi. But politically the great days are over.This is evident in the fact that the republic, once so pugnacious, maintains a cautious neutrality from the mid-16th century onwards. Venice now fights only to defend its Mediterranean possessions from the Turks. In the long run even this proves a hopeless battle.
At first the omens seem good on the Mediterranean front. The Turkish invasion of Cyprus in 1570 prompts a vigorous Christian response. A joint Spanish and Venetian fleet defeats the Turks decisively at Lepanto in 1571. But it proves a hollow victory. Only two years later, in 1573, Venice cedes the island to Turkey. A century later, in 1669, the Turks finally evict the Venetians from another great prize, Crete. Of the island staging posts to the east, so carefully accumulated by Venice, only the Ionian group (including Corfu, Cephalonia and Zante) escapes Turkish
Losing its political will, Venice finds the new role which it has enjoyed ever since - as a place of pleasure and delight, Europe's most sparkling tourist attraction. The city has the world's first public opera house, which opens in 1637. It has the pageantry seen in Canaletto, the titillating tradition of masked women who feature in paintings by Longhi, the social comedy of the plays of Goldoni.
http://www.historyworld.net/wrldhis/PlainTextHistories.asp?groupid=435&HistoryID=aa43
-I think understanding the Italian Renaissance is key, eventhough it is on the downward slope.
Just as with Florence, Venice was a Republic during the Renaissance. Actually, Venice was an empire that controlled land in modern day Italy, a whole lot of sea coast down the Adriatic and countless islands. It enjoyed a stable political climate and thriving trade economy, both of which survived outbreaks of the Black Death and the fall of Constantinople (a major trading partner). Venice was, in fact, so prosperous and healthy that it took someone named Napoleon to undo its empire status...but, that was quite a while after the Renaissance had faded away and had nothing to do with art.
The important part is, Venice (again, like Florence) had the economy to support art and artists, and did so in a big way.
As a major port of trade, Venice was able to find ready markets for whatever decorative arts Venetian craftsmen could produce. The whole Republic was crawling with ceramists, glassworkers, woodworkers, lace makers and sculptors (in addition to painters), all of whom made entirely satisfactory livings.
The state and religious communities of Venice sponsored massive amounts of building and decorating, not to mention public statuary. Many private residences (palaces, really) had to have grand facades on at least two sides, since they can be seen from the water as well as land. To the present day, Venice is one of the most beautiful cities on earth because of this building campaign.
Artisan guilds - and there were lots of these (wood carvers, stone carvers, painters, etc.) - helped ensure that artists and craftsmen were properly compensated. When we speak of the Venetian "School" of painting, it's not just a handy descriptive phrase. There were actual schools ("scuola") and they were highly selective about who could (or couldn't) belong to each. Collectively, they guarded the Venetian art market zealously, to the point that one did not purchase paintings produced outside of the schools. It simply wasn't done. (Modern labor unions have nothing on the control these schools employed.)
Venice's geographic location made it less susceptible to outside influences - another factor which contributed to its unique artistic style. Something about the light in Venice, too, made a difference. This was an intangible variable, to be sure, but it had an enormous impact.
For all of these reasons, during the Renaissance Venice gave birth to a distinct school of painting.
What are the key characteristics of the Venetian School?
The main word here is "light". Four hundred years prior to Impressionism, the Venetian painters were keenly interested in the relationship between light and color. All of their canvases clearly explore this interplay.
Additionally, the Venetian painters had a distinct method of brushwork. It's rather smooth, and makes for a velvety surface texture.
It seems, too, that Venice's geographic isolation allowed for a somewhat relaxed attitude toward subject matter. A great deal of painting dealt with religious themes; there was no getting around that. Certain wealthy Venetian patrons, however, created quite a market for what we refer to as "Venus" scenes. (Oh, all right - they were paintings of naked ladies.)
The Venetian School had a brief fling with Mannerism, but mostly resisted depicting the contorted bodies and torturous emotion Mannerism is known for. Instead, Venetian Mannerism relied on vividly painted light and color to achieve its drama.
Venice, more than any other location, helped make oil paint popular as a medium. The city is, as you know, constructed on a lagoon which makes for a built-in dampness factor. Venetian painters needed something durable! By the way, the Venetian School is not known for its frescoes...
When did the Venetian School arise?
In the mid to late 15th century. Pioneers of the Venetian School were the Bellini and Vivarini (descendants of those marvelous Murano glassworkers) families. The Bellini were of particular importance, for it is they who are credited with bringing the Renaissance "style" to Venetian painting.
Who were the important artists?
Well, there were the Bellini and Vivarini families, as mentioned. They got the ball rolling. Andrea Mantegna, though from nearby Padua (not Venice) was an influential member of the Venetian School during the 15th-century.
Giorgione ushered in 16th century Venetian painting, and is rightly known as its first really big "name". He inspired notable followers such as Titian, Tintoretto, Paolo Veronese and Lorenzo Lotto.
Additionally, a lot of famous artists traveled to Venice, thanks to its reputation, and spent time in the workshops there. Antonello da Messina, El Greco and even Albrecht Dürer - to name but a few - all studied in Venice during the 15th and 16th centuries.
http://arthistory.about.com/cs/arthistory10one/a/ven_ren.htm
The characters in this show are basically trying to uphold tradition and history or trying to make something new. This is basically Galactia against everyone else. She holds truth and honesty and reality above just about everything. She is challenged by her daughters, the church, her lover, and the politics of the time. Galactia feels that nothing is so important whether it be religion or a war that should interfere with her painting and the truth that it will tell. She seems to be trying to tell this epic story not for all women and in favor of feminism. It's almost as if she doesn't see herself as a woman, but regardless of her intent, she is definitely telling the struggle of women at this time. She is trying to have her voice heard through a story full of men.
Some of this information is lengthy, but all important. In bold are maybe the more memorable statements.
"In Germany, the Thirty Years' War broke out in 1618, pitting German Protestants and allies such as Lutheran Sweden against the holy Roman Emporer, backed by Spain.
"One historian has estimated that by about 1600 the average Western peasant or artisan owned five times as many "things" as his or her counterpart."
Johannes Kepler is an important figure in the study of planetary motion. Also around 1600, anatomical work by the Belgian Vesalius gained great percision.
"World Civilizations- The Global Experience by Peter N. Stearns*
Battle of Lepanto
The greatest moment in the history of Venice occurred on the morning of October 7, 1570 at Lepanto. The Turks who had threatened many times to conquer Italy and Europe had amassed an armada of ships in the Gulf of Patras and yet again a divided Europe left Venice to take up the challenge.
Both sides were evenly matched, and the Christians led by the Venetians immediately attacked the Turkish fleet. Over 200 galleons engaged in head-to-head combat. The battle raged all day, as each of the opposing forces tried to out-manoevure the other, appalling loses were sustained by both sides. It was estimated that the Christians lost 15,000 men, the Turks twice as many.
Finally, as the flagship of the Turkish fleet was taken and the admiral beheaded the battle drew to an end. With their flagship taken and their admiral dead, the Turks lost heart and tried to flee. Over 8,000 of them were taken prisoner by the Christians.
On October, a Venetian galley entered the bay of San Marco trailing the Turkish banners in the water behind her stern, with her deck piled high with trophies. Within an hour the whole of Venice was celebrating the victory.
Upon hearing the news, the Pope ordered the church bells of all the churches to ring at midday to celebrate the victory. As so today, at the stroke of midday, the chimes of the bells ring out still celebrating this famous Venetian victory.
The Decline of Italy.
After the Italian turmoil of the early 16th century, Venice enters a long and gradual period of decline. This is in no way diminishes the artistic brilliance of the city. The Venetian school of the 16th century includes Giorgione, Titian, Veronese and Tintoretto; two centuries later Venice is home to Tiepolo, Canaletto and Guardi. But politically the great days are over.This is evident in the fact that the republic, once so pugnacious, maintains a cautious neutrality from the mid-16th century onwards. Venice now fights only to defend its Mediterranean possessions from the Turks. In the long run even this proves a hopeless battle.
At first the omens seem good on the Mediterranean front. The Turkish invasion of Cyprus in 1570 prompts a vigorous Christian response. A joint Spanish and Venetian fleet defeats the Turks decisively at Lepanto in 1571. But it proves a hollow victory. Only two years later, in 1573, Venice cedes the island to Turkey. A century later, in 1669, the Turks finally evict the Venetians from another great prize, Crete. Of the island staging posts to the east, so carefully accumulated by Venice, only the Ionian group (including Corfu, Cephalonia and Zante) escapes Turkish
Losing its political will, Venice finds the new role which it has enjoyed ever since - as a place of pleasure and delight, Europe's most sparkling tourist attraction. The city has the world's first public opera house, which opens in 1637. It has the pageantry seen in Canaletto, the titillating tradition of masked women who feature in paintings by Longhi, the social comedy of the plays of Goldoni.
http://www.historyworld.net/wrldhis/PlainTextHistories.asp?groupid=435&HistoryID=aa43
-I think understanding the Italian Renaissance is key, eventhough it is on the downward slope.
Just as with Florence, Venice was a Republic during the Renaissance. Actually, Venice was an empire that controlled land in modern day Italy, a whole lot of sea coast down the Adriatic and countless islands. It enjoyed a stable political climate and thriving trade economy, both of which survived outbreaks of the Black Death and the fall of Constantinople (a major trading partner). Venice was, in fact, so prosperous and healthy that it took someone named Napoleon to undo its empire status...but, that was quite a while after the Renaissance had faded away and had nothing to do with art.
The important part is, Venice (again, like Florence) had the economy to support art and artists, and did so in a big way.
As a major port of trade, Venice was able to find ready markets for whatever decorative arts Venetian craftsmen could produce. The whole Republic was crawling with ceramists, glassworkers, woodworkers, lace makers and sculptors (in addition to painters), all of whom made entirely satisfactory livings.
The state and religious communities of Venice sponsored massive amounts of building and decorating, not to mention public statuary. Many private residences (palaces, really) had to have grand facades on at least two sides, since they can be seen from the water as well as land. To the present day, Venice is one of the most beautiful cities on earth because of this building campaign.
Artisan guilds - and there were lots of these (wood carvers, stone carvers, painters, etc.) - helped ensure that artists and craftsmen were properly compensated. When we speak of the Venetian "School" of painting, it's not just a handy descriptive phrase. There were actual schools ("scuola") and they were highly selective about who could (or couldn't) belong to each. Collectively, they guarded the Venetian art market zealously, to the point that one did not purchase paintings produced outside of the schools. It simply wasn't done. (Modern labor unions have nothing on the control these schools employed.)
Venice's geographic location made it less susceptible to outside influences - another factor which contributed to its unique artistic style. Something about the light in Venice, too, made a difference. This was an intangible variable, to be sure, but it had an enormous impact.
For all of these reasons, during the Renaissance Venice gave birth to a distinct school of painting.
What are the key characteristics of the Venetian School?
The main word here is "light". Four hundred years prior to Impressionism, the Venetian painters were keenly interested in the relationship between light and color. All of their canvases clearly explore this interplay.
Additionally, the Venetian painters had a distinct method of brushwork. It's rather smooth, and makes for a velvety surface texture.
It seems, too, that Venice's geographic isolation allowed for a somewhat relaxed attitude toward subject matter. A great deal of painting dealt with religious themes; there was no getting around that. Certain wealthy Venetian patrons, however, created quite a market for what we refer to as "Venus" scenes. (Oh, all right - they were paintings of naked ladies.)
The Venetian School had a brief fling with Mannerism, but mostly resisted depicting the contorted bodies and torturous emotion Mannerism is known for. Instead, Venetian Mannerism relied on vividly painted light and color to achieve its drama.
Venice, more than any other location, helped make oil paint popular as a medium. The city is, as you know, constructed on a lagoon which makes for a built-in dampness factor. Venetian painters needed something durable! By the way, the Venetian School is not known for its frescoes...
When did the Venetian School arise?
In the mid to late 15th century. Pioneers of the Venetian School were the Bellini and Vivarini (descendants of those marvelous Murano glassworkers) families. The Bellini were of particular importance, for it is they who are credited with bringing the Renaissance "style" to Venetian painting.
Who were the important artists?
Well, there were the Bellini and Vivarini families, as mentioned. They got the ball rolling. Andrea Mantegna, though from nearby Padua (not Venice) was an influential member of the Venetian School during the 15th-century.
Giorgione ushered in 16th century Venetian painting, and is rightly known as its first really big "name". He inspired notable followers such as Titian, Tintoretto, Paolo Veronese and Lorenzo Lotto.
Additionally, a lot of famous artists traveled to Venice, thanks to its reputation, and spent time in the workshops there. Antonello da Messina, El Greco and even Albrecht Dürer - to name but a few - all studied in Venice during the 15th and 16th centuries.
http://arthistory.about.com/cs/arthistory10one/a/ven_ren.htm
The characters in this show are basically trying to uphold tradition and history or trying to make something new. This is basically Galactia against everyone else. She holds truth and honesty and reality above just about everything. She is challenged by her daughters, the church, her lover, and the politics of the time. Galactia feels that nothing is so important whether it be religion or a war that should interfere with her painting and the truth that it will tell. She seems to be trying to tell this epic story not for all women and in favor of feminism. It's almost as if she doesn't see herself as a woman, but regardless of her intent, she is definitely telling the struggle of women at this time. She is trying to have her voice heard through a story full of men.
Friday, July 18, 2008
The Facts: Characters and Casting
Galactia- Female, Venetian, Painter, 46 years old.
Carpeta- Male, Painter of "pity", Galactia's lover, appears to be around the same age as Sordo so possibly about 37 years old.
Urgentino- Male, politician, the Doge, Venetian.
Suffici- Male, Venetian Admiral, being painted by Glactia.
Rivera- Female, critic, poet, sensualist, brought to critique Galactia's work by Urgentino.
Ostensibile- Male, Cardinale, Secretary of State for Public Education.
Prodo- Male, "Man with the Crossbow Bolt in His Head", shows battle wounds for money to Galactia.
Sketchbook- Androgynous, sort of a narrator to Galactia's painting, no sense of age, race, etc.
Supporta- Female, Venetian, Galactia's daughter, in a professional relationship with her mother for 20 years.
Dimentia- Female, Venetian, Galactia's daughter.
Sordo- painter, acquaintance of Carpeta, 37 years old.
The text of this play lends very little to the race or ethnicity of the characters except for one named Mustafa who is an Albanian. Beyond that, there is no reference besides being Venetian and European. However, gender seems to matter significantly. If Anna Galactia were played by a man it would completely alter major themes of the play. It would also alter relationships that Galactia is suppose to have with Carpeta and her daughters and mainly everyone else's view of her being a female painter. I happen to believe that altering any of the major character's gender would result in completely changing author's intention and even further than that it would create a sense of confusion amongst the audience. I strongly believe that gender should stay as intended except for maybe more minor roles such as the Sketchbook or Sailor.
Carpeta- Male, Painter of "pity", Galactia's lover, appears to be around the same age as Sordo so possibly about 37 years old.
Urgentino- Male, politician, the Doge, Venetian.
Suffici- Male, Venetian Admiral, being painted by Glactia.
Rivera- Female, critic, poet, sensualist, brought to critique Galactia's work by Urgentino.
Ostensibile- Male, Cardinale, Secretary of State for Public Education.
Prodo- Male, "Man with the Crossbow Bolt in His Head", shows battle wounds for money to Galactia.
Sketchbook- Androgynous, sort of a narrator to Galactia's painting, no sense of age, race, etc.
Supporta- Female, Venetian, Galactia's daughter, in a professional relationship with her mother for 20 years.
Dimentia- Female, Venetian, Galactia's daughter.
Sordo- painter, acquaintance of Carpeta, 37 years old.
The text of this play lends very little to the race or ethnicity of the characters except for one named Mustafa who is an Albanian. Beyond that, there is no reference besides being Venetian and European. However, gender seems to matter significantly. If Anna Galactia were played by a man it would completely alter major themes of the play. It would also alter relationships that Galactia is suppose to have with Carpeta and her daughters and mainly everyone else's view of her being a female painter. I happen to believe that altering any of the major character's gender would result in completely changing author's intention and even further than that it would create a sense of confusion amongst the audience. I strongly believe that gender should stay as intended except for maybe more minor roles such as the Sketchbook or Sailor.
Tuesday, July 15, 2008
The Facts: Exegesis
1. Galactia- wildflower, galactia regularis, common name= milk pea
-means milk in Latin.
http://www.ces.ncsu.edu/depts/hort/consumer/factsheets/wildflowers/galactia_regularis.html
2. Doge-was the chief magistrate and leader of the Most Serene Republic of Venice for over a thousand years. Doges of Venice were elected for life by the city-state's aristocracy. Commonly the person selected as Doge was the shrewdest elder in the city.
http://en.wikipedia.org/wiki/Doge_of_Venice
The doge held office for life and was regarded as the ecclesiastical, the civil and the military chief; his duties and prerogatives were not defined with precision and the limits of his ability and ambition were practically the limits of his power. Nominally the citizens confirmed the election, thus maintaining as a constitutional fiction the right of the whole people to choose their chief magistrate. During the dogeship of Dominico Flabianico, this tendency towards a hereditary despotism was checked by a law which decreed that no doge had the right to associate any member of his family with himself in his office, or to name his successor. It was probably at this time also that two councillors were appointed to advise the doge, who must, moreover, invite the aid of prominent citizens when discussing important matters of state.
http://www.1911encyclopedia.org/Doge
3. Battle of Lepanto-The five-hour battle was fought at the northern edge of the Gulf of Patras, off western Greece, where the Ottoman forces sailing westwards from their naval station in Lepanto met the Holy League forces, which had come from Messina, on the morning of Sunday, 7 October.[2] The battle gave the Holy League temporary control over the Mediterranean, protected Rome from invasion, and prevented the Ottomans from advancing into Europe. This last major naval battle fought solely between rowing vessels was one of the world’s decisive battles "in history, inasmuch as 'after Lepanto the pendulum swung back the other way and the wealth began to flow from East to West, a pattern that continues to this day'", as well "as a 'crucial turning point in the ongoing conflict between the Middle East and Europe, which has not yet completely been resolved. Despite the significant victory, however, the Holy League's disunity prevented the victors from capitalizing on their triumph. Plans to seize the Dardanelles as a step towards recovering Constantinople for Christendom, were ruined by bickering amongst the allies.
http://www.en.wikipedia.org/wiki/Battle_of_Lepanto_(1571)
4. Cutlasses-264- is a short, thick sabre or slashing sword, with a straight or slightly curved blade sharpened on the cutting edge, and a hilt often featuring a solid cupped or basket-shaped guard. The cutlass is best known as the sailor's weapon of choice, the naval side arm, likely because it was also robust enough to hack through heavy ropes, canvas, and wood.
http://www.en.wikipedia.org/wiki/Cutlass
5. The Albanian sells pineapples on "San Marco." -(266)-Piazza San Marco (St Mark's Square) contains the 11th-century Byzantine cathedral of S Marco, the 9th-16th-century campanile (rebuilt in 1912 after it collapsed in 1902), and the 14th-15th-century Gothic Doge's Palace, linked to the former state prison by the Bridge of Sighs (c. 1600).
http://encyclopedia.farlex.com/Venice+(city)
6. Mustafa-268-was an army officer, revolutionary statesman, and founder of the Republic of Turkey as well as its first President. Following the defeat of the Ottoman Empire at the hands of the Allies, (Battle of Lepanto) and the subsequent plans for its partition, Mustafa Kemal led the Turkish national movement in what would become the Turkish War of Independence. Having established a provisional government in Ankara, he defeated the forces sent by the Entente powers. His successful military campaigns led to the liberation of the country and to the establishment of the Republic of Turkey. As the first President of Turkey, Atatürk embarked upon a major programme of political, economic and cultural reforms.
http://www.en.wikipedia.org/wiki/Mustafa_Kemal_Atatürk
*-Just thought it was an interesting connection between the person being painted and this fact.*
7. Gaoler-The keeper of a jail. Same as Jailer.
The keeper of a gaol or prison, one who has the legal custody of the place where prisoners are kept.
It is his duty to keep the prisoners in safe custody, and for this, purpose he may use all necessary force. 1 Hale, P. C. 601. But any oppression of a prisoner under a pretended necessity will be punished; for the prisoner, whether he be a debtor or a criminal, is entitled to the protection of the laws from oppression.
http://www.legal-dictionary.thefreedictionary.com/Gaoler
8. Cavil- To find fault unnecessarily; raise trivial objections.
To quibble about; detect petty flaws in.
A carping or trivial objection.
http://www.answers.com/topic/cavil?nr=1&lsc=true
9. Inquisition.-(275)-occurs in broad use in reference to the judgment of heresy by the Roman Catholic Church. It can mean:[1]
-a number of historical expurgation movements against heresy (orchestrated by the Roman Catholic Church)
-means milk in Latin.
http://www.ces.ncsu.edu/depts/hort/consumer/factsheets/wildflowers/galactia_regularis.html
2. Doge-was the chief magistrate and leader of the Most Serene Republic of Venice for over a thousand years. Doges of Venice were elected for life by the city-state's aristocracy. Commonly the person selected as Doge was the shrewdest elder in the city.
http://en.wikipedia.org/wiki/Doge_of_Venice
The doge held office for life and was regarded as the ecclesiastical, the civil and the military chief; his duties and prerogatives were not defined with precision and the limits of his ability and ambition were practically the limits of his power. Nominally the citizens confirmed the election, thus maintaining as a constitutional fiction the right of the whole people to choose their chief magistrate. During the dogeship of Dominico Flabianico, this tendency towards a hereditary despotism was checked by a law which decreed that no doge had the right to associate any member of his family with himself in his office, or to name his successor. It was probably at this time also that two councillors were appointed to advise the doge, who must, moreover, invite the aid of prominent citizens when discussing important matters of state.
http://www.1911encyclopedia.org/Doge
3. Battle of Lepanto-The five-hour battle was fought at the northern edge of the Gulf of Patras, off western Greece, where the Ottoman forces sailing westwards from their naval station in Lepanto met the Holy League forces, which had come from Messina, on the morning of Sunday, 7 October.[2] The battle gave the Holy League temporary control over the Mediterranean, protected Rome from invasion, and prevented the Ottomans from advancing into Europe. This last major naval battle fought solely between rowing vessels was one of the world’s decisive battles "in history, inasmuch as 'after Lepanto the pendulum swung back the other way and the wealth began to flow from East to West, a pattern that continues to this day'", as well "as a 'crucial turning point in the ongoing conflict between the Middle East and Europe, which has not yet completely been resolved. Despite the significant victory, however, the Holy League's disunity prevented the victors from capitalizing on their triumph. Plans to seize the Dardanelles as a step towards recovering Constantinople for Christendom, were ruined by bickering amongst the allies.
http://www.en.wikipedia.org/wiki/Battle_of_Lepanto_(1571)
4. Cutlasses-264- is a short, thick sabre or slashing sword, with a straight or slightly curved blade sharpened on the cutting edge, and a hilt often featuring a solid cupped or basket-shaped guard. The cutlass is best known as the sailor's weapon of choice, the naval side arm, likely because it was also robust enough to hack through heavy ropes, canvas, and wood.
http://www.en.wikipedia.org/wiki/Cutlass
5. The Albanian sells pineapples on "San Marco." -(266)-Piazza San Marco (St Mark's Square) contains the 11th-century Byzantine cathedral of S Marco, the 9th-16th-century campanile (rebuilt in 1912 after it collapsed in 1902), and the 14th-15th-century Gothic Doge's Palace, linked to the former state prison by the Bridge of Sighs (c. 1600).
http://encyclopedia.farlex.com/Venice+(city)
6. Mustafa-268-was an army officer, revolutionary statesman, and founder of the Republic of Turkey as well as its first President. Following the defeat of the Ottoman Empire at the hands of the Allies, (Battle of Lepanto) and the subsequent plans for its partition, Mustafa Kemal led the Turkish national movement in what would become the Turkish War of Independence. Having established a provisional government in Ankara, he defeated the forces sent by the Entente powers. His successful military campaigns led to the liberation of the country and to the establishment of the Republic of Turkey. As the first President of Turkey, Atatürk embarked upon a major programme of political, economic and cultural reforms.
http://www.en.wikipedia.org/wiki/Mustafa_Kemal_Atatürk
*-Just thought it was an interesting connection between the person being painted and this fact.*
7. Gaoler-The keeper of a jail. Same as Jailer.
The keeper of a gaol or prison, one who has the legal custody of the place where prisoners are kept.
It is his duty to keep the prisoners in safe custody, and for this, purpose he may use all necessary force. 1 Hale, P. C. 601. But any oppression of a prisoner under a pretended necessity will be punished; for the prisoner, whether he be a debtor or a criminal, is entitled to the protection of the laws from oppression.
http://www.legal-dictionary.thefreedictionary.com/Gaoler
8. Cavil- To find fault unnecessarily; raise trivial objections.
To quibble about; detect petty flaws in.
A carping or trivial objection.
http://www.answers.com/topic/cavil?nr=1&lsc=true
9. Inquisition.-(275)-occurs in broad use in reference to the judgment of heresy by the Roman Catholic Church. It can mean:[1]
-a number of historical expurgation movements against heresy (orchestrated by the Roman Catholic Church)
- the trial of an individual accused of heresy.
In 1542, Pope Paul III established the Congregation of the Holy Office of the Inquisition as a permanent congregation staffed with cardinals and other officials. It had the tasks of maintaining and defending the integrity of the faith and of examining and proscribing errors and false doctrines;[10] it thus became the supervisory body of local Inquisitions. Arguably the most famous case tried by the Roman Inquisition involved Galileo Galilei in 1633. Because of Rome's power over the Papal States, Roman Inquisition activity continued until the mid-1800s.
http://en.wikipedia.org/wiki/Inquisition
10. barmy-275- barmy
Adjective
[-mier, -miest] Slang insane [originally, full of barm, frothing, excited]
http://www.thefreedictionary.com/barmy
11. Dimentia- reference to pre-alzheimer's state.-Dementia (from Latin de- "apart, away" + mens (genitive mentis) "mind") is the progressive decline in cognitive function due to damage or disease in the brain beyond what might be expected from normal aging.
http://www.en.wikipedia.org/wiki/Dementia
12. Sailcloth-
noun
Date: 13th century
a heavy canvas used for sails, tents, or upholstery; also : a lightweight canvas used for clothing
http://www.merriam-webster.com/dictionary/sailcloth
13. Shoals-A shoal is a somewhat linear landform within or extending into a body of water, typically composed of sand, silt or small pebbles. Alternatively termed sandbar or sandbank, a bar is characteristically long and narrow (linear) and develops where a stream or ocean current promote deposition of granular material, resulting in localized shallowing (shoaling) of the water.
http://en.wikipedia.org/wiki/Barrier_island
14. Pathos- Pathos (Greek: πάθος) is one of the three modes of persuasion in rhetoric (along with ethos and logos). Pathos appeals to the audience's emotions. It is a part of Aristotle's philosophies in rhetoric. Not to be confused with bathos which is an attempt to perform in a serious, dramatic fashion that fails and ends up becoming comedy.
Emotional appeal can be accomplished in a multitude of ways: by metaphor or story telling, common as a hook, by a general passion in the delivery and an overall amount of emotional items in the text of the speech, or in writing.
In rhetoric, 'pathos' is the use of emotional appeals to alter the audience's judgment. A common use of pathos in argument is creating a sense of rejection if the audience doesn't agree. Creating a fear of rejection is in essence, creating a pathos argument.
Many refer to Pathos as the "band-wagon" appeal, or trying to convince the audience to join in on the speaker's belief. By making the statement in a way that cannot be argued, the audience feels driven to believe the speaker's opinion as a fact, thus joining the speaker in the belief that it is a commonly accepted idea. This is a major theme used in any form of propaganda.
Over-emotionalism can be the result of an excess of pathos.
The term is commonly used by critics, especially in positive reference to the dramatic performances of actors.
http://en.wikipedia.org/wiki/Pathos
15. Catechisms- A catechism (pronounced /ˈkætəkɪzəm/; Ancient Greek: κατηχισμός) is a summary or exposition of doctrine, traditionally used in Christian religious teaching from New Testament times to the present.[1] Catechisms are doctrinal manuals often in the form of questions followed by answers to be memorized, a format that has been used in non-religious or secular contexts as well.
http://en.wikipedia.org/wiki/Catechism
Link to an interesting Baptist catechism:
http://www.reformedreader.org/ccc/acbg.htm
16. tumult-
1. a state of commotion and noise and confusion
2. violent agitation
3. the act of making a noisy disturbance
http://dictionary.reference.com/search?db=*&q=tumult
17. damascene-
Noun
1.Damascene - a native or inhabitant of Damascus
- an ancient city (widely regarded as the world's oldest) and present capital and largest city of Syria; according to the New Testament, the Apostle Paul (then known as Saul) underwent a dramatic conversion on the road to Damascus
2.damascene - a design produced by inlaying gold or silver into steel
Verb 1.damascene - inlay metal with gold and silver
Adj. 1. damascene - of or relating to or characteristic of Damascus or its people; "damascene city gates"
2. damascene - (of metals) decorated or inlaid with a wavy pattern of different (especially precious) metals; "a damascened sword"
http://www.thefreedictionary.com/damascene
18.Vicarage-
The priest of a parish in the Church of England who receives a stipend or salary but does not receive the tithes of a parish.
A cleric in charge of a chapel in the Episcopal Church of the United States.
A cleric acting in the place of a rector or in the Anglican Communion generally.
Roman Catholic Church. A priest who acts for or represents another, often higher-ranking member of the clergy.
http://www.en.wikipedia.org/wiki/Vicar
19. Intones-
1. To recite in a singing tone.
2. To utter in a monotone.
v.intr.
1. To speak with a singing tone or with a particular intonation.
2. Music To sing a plainsong intonation.
http://www.thefreedictionary.com/intones
20. Gunwale-is a nautical term describing the top edge of the side of a boat.
http://en.wikipedia.org/wiki/Gunwale
21. Burnt umber is both a pigment, and colour. The dark brown pigment is made by heating umber, a clay containing oxides of iron and manganese, and is used for oil and water colour paint.
http://en.wikipedia.org/wiki/Burnt_Umber
22. Dilettante
Etymology: Italian, from present participle of dilettare to delight, from Latin dilectare — more at delight
Date: 1748
1 : an admirer or lover of the arts 2 : a person having a superficial interest in an art or a branch of knowledge
http://www.merriam-webster.com/dictionary/dilettante
23. Squaddies- a private soldier.
2. a new recruit in the armed forces.
www.answers.com/topic/squaddie
24. Ornithological map- is the branch of zoology concerned with the study of birds.
http://en.wikipedia.org/wiki/Ornithology
25. Bridge of Sighs- is one of many bridges in Venice. The enclosed bridge is made of white limestone and has windows with stone bars. It passes over the Rio di Palazzo and connects the old prisons to the interrogation rooms in the Doge's Palace. It was designed by Antoni Contino (whose uncle Antonio da Ponte had designed the Rialto Bridge), and built between 1600 and 1603.
http://en.wikipedia.org/wiki/Bridge_of_Sighs
The Facts: Basics
Scenes from an Execution
Written by: Howard Barker
Language: English, no adaptation or translation.
Year of original publication: 1984
Genre: Drama
Structure: 20 scenes
Royalty Fees: $75.00 per performance
Cast breakdown: 15 males, 3 females, various extras.
Time and Setting: Post Battle of Lepanto (1571) in Venice.
Brief author bio: the son of Sydney Charles and Georgina Irene Carter Barker, was born in Dulwich, London. Between 1958 and 1964 he attended Battersea Grammar School, before going to Sussex University where he took an M.A. in history in 1968. Four years later he married Sandra Mary Law.
http://www.bookrags.com/biography/howard-barker-dlb/
Barker has coined the term 'Theatre of Catastrophe' to describe his work. His plays often explore violence, sexuality, the desire for power, and human motivation.
Rejecting the widespread notion that an audience should share a single response to the events onstage, Barker works to fragment response, forcing each viewer to wrestle with the play alone. "We must overcome the urge to do things in unison" he writes. "To chant together, to hum banal tunes together, is not collectivity."[1] Where other playwrights might clarify a scene, Barker seeks to render it more complex, ambiguous, and unstable.
Opposing the predominance of comedy in the contemporary culture, which unifies us through the banality of a shared response, he argues for the rebirth of a tragic theatre, which will force us to recognize our differences. Only through a tragic renaissance, Barker argues, will beauty and poetry return to the stage. "Tragedy liberates language from banality" he asserts. "It returns poetry to speech." [2]
http://en.wikipedia.org/wiki/Howard_Barker
Brief plot summary: Glenda Jackson starred in this brilliant drama about a sixteenth century Venetian painter commissioned by the Doge to do a mural commemorating the naval victory at Lepanto. She is a woman, a realist, a rebel and a free spirit, so the government does not get the jingoistic celebration of political and military might it expects. Galactia reveals war in all its horror, cruelty and suffering and chooses prison over changing the mural. This fascinating parable raises issues of contemporary resonance. As the play unfolds, the paradoxical mystery of art is espoused: that works exist independently of their creators.
http://www.samuelfrench.com/store/product_info.php/products_id/2229
Written by: Howard Barker
Language: English, no adaptation or translation.
Year of original publication: 1984
Genre: Drama
Structure: 20 scenes
Royalty Fees: $75.00 per performance
Cast breakdown: 15 males, 3 females, various extras.
Time and Setting: Post Battle of Lepanto (1571) in Venice.
Brief author bio: the son of Sydney Charles and Georgina Irene Carter Barker, was born in Dulwich, London. Between 1958 and 1964 he attended Battersea Grammar School, before going to Sussex University where he took an M.A. in history in 1968. Four years later he married Sandra Mary Law.
http://www.bookrags.com/biography/howard-barker-dlb/
Barker has coined the term 'Theatre of Catastrophe' to describe his work. His plays often explore violence, sexuality, the desire for power, and human motivation.
Rejecting the widespread notion that an audience should share a single response to the events onstage, Barker works to fragment response, forcing each viewer to wrestle with the play alone. "We must overcome the urge to do things in unison" he writes. "To chant together, to hum banal tunes together, is not collectivity."[1] Where other playwrights might clarify a scene, Barker seeks to render it more complex, ambiguous, and unstable.
Opposing the predominance of comedy in the contemporary culture, which unifies us through the banality of a shared response, he argues for the rebirth of a tragic theatre, which will force us to recognize our differences. Only through a tragic renaissance, Barker argues, will beauty and poetry return to the stage. "Tragedy liberates language from banality" he asserts. "It returns poetry to speech." [2]
http://en.wikipedia.org/wiki/Howard_Barker
Brief plot summary: Glenda Jackson starred in this brilliant drama about a sixteenth century Venetian painter commissioned by the Doge to do a mural commemorating the naval victory at Lepanto. She is a woman, a realist, a rebel and a free spirit, so the government does not get the jingoistic celebration of political and military might it expects. Galactia reveals war in all its horror, cruelty and suffering and chooses prison over changing the mural. This fascinating parable raises issues of contemporary resonance. As the play unfolds, the paradoxical mystery of art is espoused: that works exist independently of their creators.
http://www.samuelfrench.com/store/product_info.php/products_id/2229
Friday, July 11, 2008
Graduate Degree Programs
1.University Of Iowa
Iowa City, IA
Master of Fine Arts in Dramaturgy
64 credit hours
*Students are required to serve as dramaturgs in the Playwrights Workshop*
2.Roosevelt University
Chicago, IL
MFA in Directing/ Dramaturgy
*Fancy website, but minimal information. Every website I went to said that this university had this program and even the main Roosevelt page, but any further information was unavailable*
3.University of Hull
United Kingdom
Offers research degrees (PhD) in many areas including dramatrugy
*it's kind of a pick your own adventure college.*
4.University of Glasgow
United Kingdom
There appears to be a Masters in Dramaturgy and Playwrighting. It is described as an MLitt.
It is a one year program.
*A key feature of the Department, and of this programme, is its strong links with the vibrant and various theatre culture of Scotland including the Traverse Theatre, Citizens’/TAG Theatre, and Playwrights’ Studio Scotland.*
5.Texas State University- San Marcos
Offers a Graduate MFA
The history-criticism emphasis is especially recommended for students who plan to go into a doctoral program after completing their master's degree. A research thesis is part of the history-criticism degree plan. Some history-criticism students choose to specialize in production dramaturgy. Students who choose the dramaturgy specialization complete assignments as dramaturgs on Mainstage productions, and assemble a dramaturgical production book and production archive as part of their written thesis.
Two Year Program
6.The University of British Columbia
PhD
We are a small Graduate Program, and expect that applicants will be able to match their research interests to those of the Graduate Committee: Canadian Studies, Dramaturgy, Post-Colonial Theatre, and some aspects of 19th Century European and Modern British, American and Canadian Theatre.
Program is at least "two winter sessions." What a Canadian way of putting something...
This is a very interesting tid-bit:Doctoral candidates must demonstrate reading knowledge of one language (other than English) relevant to their research area and/or in which there exists a significant body of dramatic literature, performance history documents, or criticism. Where appropriate, this language may be a “language of the stage” including musical, choreographic, and gestural notation systems (e.g., Labanotation, American Sign Language). Special cases for examination in other language systems not covered here will be heard and evaluated individually.
Iowa City, IA
Master of Fine Arts in Dramaturgy
64 credit hours
*Students are required to serve as dramaturgs in the Playwrights Workshop*
2.Roosevelt University
Chicago, IL
MFA in Directing/ Dramaturgy
*Fancy website, but minimal information. Every website I went to said that this university had this program and even the main Roosevelt page, but any further information was unavailable*
3.University of Hull
United Kingdom
Offers research degrees (PhD) in many areas including dramatrugy
*it's kind of a pick your own adventure college.*
4.University of Glasgow
United Kingdom
There appears to be a Masters in Dramaturgy and Playwrighting. It is described as an MLitt.
It is a one year program.
*A key feature of the Department, and of this programme, is its strong links with the vibrant and various theatre culture of Scotland including the Traverse Theatre, Citizens’/TAG Theatre, and Playwrights’ Studio Scotland.*
5.Texas State University- San Marcos
Offers a Graduate MFA
The history-criticism emphasis is especially recommended for students who plan to go into a doctoral program after completing their master's degree. A research thesis is part of the history-criticism degree plan. Some history-criticism students choose to specialize in production dramaturgy. Students who choose the dramaturgy specialization complete assignments as dramaturgs on Mainstage productions, and assemble a dramaturgical production book and production archive as part of their written thesis.
Two Year Program
6.The University of British Columbia
PhD
We are a small Graduate Program, and expect that applicants will be able to match their research interests to those of the Graduate Committee: Canadian Studies, Dramaturgy, Post-Colonial Theatre, and some aspects of 19th Century European and Modern British, American and Canadian Theatre.
Program is at least "two winter sessions." What a Canadian way of putting something...
This is a very interesting tid-bit:Doctoral candidates must demonstrate reading knowledge of one language (other than English) relevant to their research area and/or in which there exists a significant body of dramatic literature, performance history documents, or criticism. Where appropriate, this language may be a “language of the stage” including musical, choreographic, and gestural notation systems (e.g., Labanotation, American Sign Language). Special cases for examination in other language systems not covered here will be heard and evaluated individually.
7. Mary Baldwin College
You can receive an MFA with an emphasis in Dramaturgy at this college. It is 63 credit hours including the MLitt (still not quite sure what this is.)
Located in Stauton, VA
This is an interesting program because anything you find out about dramaturgy or their MFA in any sort of art is assocaited with the MFA in Shakespeare Studies, which is unusual. And it is also uncommon just because this is an all women's college. They say the stress both academics and stagecraft. This is what they say about their dramaturgy emphasis: DramaturgyDramaturgy, the art of writing for the theatre, is the discipline which unites scholarship and stagecraft. Dramaturgs use their knowledge of the Early Modern social, historical, and cultural context to contribute to choices made by actors, directors and designers in rehearsal and in production. The dramaturgy emphasis leaves little room for elective classes. The program advises MLitt dramaturgy students to begin taking MFA required courses during the two MLitt years because some of the required courses are offered every other year
Ones that only partially work:
-I thought it was interesting that one can get their BFA in dramaturgy at the University of Arizona and DePaul in Chicago and the University of Oklahoma and University of Nebraska, Lincoln (sort of).
-An MA in Critical Theory and Dramaturgy is available form the University of Ottawa
-Virginia Commonwealth University
Richmond, VA
MFA in Pedagogy with specialization in Dramaturgy
-Vague description of a PhD program with emphasis in Dramaturgy at the University of Michigan.
-You can now win an award at KCACTF in Dramaturgy. That's new and exciting.
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