Persa

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Persa online!

Our videotape is here—check us out!

 

Persa was filmed on Wednesday, July 18th, in beautiful Gerrard Hall.  The single performance of this scene was performed in Latin, to the accompaniment of Ted’s music as performed by Tony on the clarinet.  More (and better) photos will be posted here—check back later.  If you have better photos, email them to me (Sharon), so that I can post them soon!

 

The pimp on his knees….

Tibicen (Tony), Paegnium (Seth), Dordalus (Tarik), Lemniselenis (Mimi), Sagaristio (Angela), and Toxilus (Amy).

 

The pimp underfoot….

Sagaristio (Angela), Lemniselenis (Mimi), Dordalus (Tarik), Toxilus (Amy), Paegnium (Seth).

Session 10: July 13

Today we met with Ted (composer) and Tony (clarinetist) in the space (Gerrard) for the last time before we film. We are a bit nervous that we don’t know the exact dimensions of our space as it will be for the camera, but we are guesstimating. We did a full sing through of the show, answering questions and marking spots that need breaks. Then we put together the music and action again. We had time to detail out a few spots–trying to find clarity of action and using the music to make moments pop. Today we found some breath in the scene, so hopefully a couple of days off will give us some space to work out the songs on our own and come back hungry to do some more!

Session 9: July 12

Thursday we had a second rehearsal with the clarinet, and we got to rehearse in the space (Gerrard). It was so much easier today with one musical run-through under our belts! Also, we had a small audience, which was absolutely necessary for remembering that it’s a comedy and that it can be funny! (So, thanks much to those of you who were there!) We began our rehearsal with fight call to make sure everyone felt comfortable and safe in the new space. During this time, we realized that we will need to be aware of the boundaries of the space as far as the camera is concerned. We were so much more confident in the music today that we actually were able to play parts of the scene for the audience. We did a stop and go run-through, trying to detail action and clarify cues as much as possible. Tomorrow we get two hours with the clarinet, and we are confident that we will leave with a scene! To speak for the group, I’m quite proud. We’ve had this difficult music for only two weeks, and we are doing some pretty intricate fight choreography while singing. It has been overwhelming at times, but as we see it come together (and as we hear a few laughs!) we are starting to have a lot of fun. (And today i think we looked like we were enjoying the whole thing!) So, three cheers for the Persa group! We’re pretty excited to see all the other scenes now too.

Session 8: July 11

Wednesday we had our first run-through with the clarinet. It was tough–adding in more layers on top of the Latin and the physicality of the scene just makes it all more complex . . . and fun. After a sing-through, a fight call, and a slow stumble through of the singing with the action, we were exhausted. We decided to make the last half hour a note-giving and planning session. And we found that ice cream did much to boost our confidence. We made some final costume and prop decisions, then split off for our other rehearsals. It was a good day, but we know just how difficult this scene is and how excited we are to see it all come together.

Our group met an hour early today and worked out the fight scene (from Sagaristio’s gleeful “Heus vos!” in 844 to the end). One of our members had expertly choreographed all the mayhem and humiliation and taught us safe and effective techniques for slapping Dordalus silly, kicking him in the crotch, etc. We ran through the blocking for the fight and for the entire scene more than once. Paegnium arrived prepared to dazzle us with his cinaedic dance moves. Toxilus dealt with his turn to social commentary at line 838. We spent extra time on physical sequences that needed hammering out.

The composer joined us for part of our time, and we sang through our entire blocked-out scene for him from start to finish, bringing attention to a couple of spots where the music will have to accommodate our planned stage business. We sang through the whole score one more time without action and gratefully received the composer’s reassurance that we were on the right track.

Session 5 (July 3)

We had a three-hour rehearsal today, which we began by working on the music for our scene. We spent the majority of the time today blocking the scene, using the Latin text to decide which actions should accompany the words and then running the actions with the music to get the timing down. We then planned which areas needed more detailed blocking and finished up the rehearsal by finalizing our list of costume and prop needs.

Session 4 (June 29)

We met twice today, once to review the music with the composer, Ted, and once during our usual meeting time.  This session was held in the basement of Hill Hall, where we practiced the music to piano accompaniment.

Session 3 (June 28)

Today we put aside the text to envision the atmosphere and possible settings for the scene in its different representations. This led to creating props lists and collaborating to create a group vision for each different incarnation of the scene. We anxiously await our music to be able to work with the text as it will be used in Latin, and to begin to find the timing and length of music available for the physical action of the scene.

Session 2 (June 27)

On our second day, after discussing the music with Ted, we started to work on the Latin.  At the moment we’re just trying to get the sounds to come out of our mouths and not mangle the meter.  We got help from two experts, Sander Goldberg and Tim Moore, and we’re beginning to feel more confident about what we can accomplish.

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