Love's Labors Lost: I wrote a scene! (Snow White)

January 14, 2009

I wrote a scene! (Snow White)

(Note: This part of the play continues from the Rapunzel portion. Like the red cloak going from Sleeping Beauty to Red Riding Hood, I'm imagining the mirror somehow transferring from Rapunzel. This may change later, though.)

We are mirrors in the queen's private rooms, watching and judging all. The place has an air of decayed splendor.

There is a magic MIRROR that is a statue of perfect beauty - tall, thin, and pale with dark hair and blood red lips. It wears a Mona Lisa expression and holds a mirror in its hands. Despite its beauty, there's something creepy about it - as if, when we gaze at it, it gazes back and finds what it sees ugly or pathetic.

Orixa paces, fresh from a bath. She is now approaching menopause, but there remains an elegance to her. She examines herself in the magic mirror. Notices crows' feet at her eyes and brow, wrinkles on her mouth, stray gray strands of hair (all of which maybe only she can see).

SNOW WHITE enters as if going inside a secret chamber within a temple. She bears an eerie resemblance to the magic mirror.

[Mood music: The Velvet Underground, "Venus in Furs"]

Snow White dresses Orixa, applies her make-up (a face mask, perhaps?), and does her hair. There is something erotic about how reverent and meticulous she is. This is no chore, but a kind of liturgy. She may even sneak kisses onto Orixa's feet and hands.

Meanwhile, Orixa struggles to keep her regal reserve and avoid looking at Snow White. Snow White places a crown on her head. Orixa now resembles a kabuki dominatrix - a terrible beauty with clothes for armor and make-up as war paint.

Orixa admires herself in the magic mirror. The mirror gives an approving nod. It could even glance at Snow White.

Orixa notices Snow White waiting with neck bared. Considers. Pounces on Snow White, bites, and gorges on her blood. Holds Snow White in fierce, predatory embrace as Snow White clings to her (may even shiver and cry out in ecstasy). Orixa tears away. Harshly dismisses Snow White.

[Mood music: Bauhaus, "Bela Lugosi's Dead"]

Orixa allows the blood of youth and life to flow into her, invigorating her. Marvels at the breath coming from her lungs, the heart beating in her chest. All her earlier coldness melts away as she succumbs to rapture. Dances for joy - free, expressive, graceful.

When the magic fades, Orixa literally tries to hold on to it. She fails.

2 comments:

Travis Bedard1/14/2009 11:32 AM
There is a lot here that really rings with what my wife created with Transformations last year. Transformations was a performance piece based on Anne Sexton's poetry, a swathe of which was retold fairy tales including Snow White (http://plagiarist.com/poetry/?wid=597) and while I don't think it will directly inform you piece, I think it's worth having in the image banks (and forgive my blithe assumption that I'm adding something you don't already know)
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RVCBard1/14/2009 5:31 PM
Travis,

I remember seeing something like that a while ago and thinking, "Damnit!" and almost scrapped the piece. Fortunately, I hadn't read Sexton's poems at the time. Now that I have (in my own personal library now), I'm much more at ease with what I'm doing.

I have a particular fondness for Angela Carter's "The Bloody Chamber" myself.
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Words, Words, Words

. . . a lot of it [fostering rather than smothering students' playwriting] has to do with finding a way to construct a dialogue about ongoing work that empowers the writer. A lot of it has to do with making sure there's a diversity of voices around you. A lot of it has to do with thinking of the writing program as a brain trust for writers, not as some infantilization in which the dramaturg gets the power. And basically trying to find a place where everyone's aesthetic in the room grows larger rather than smaller. There are many ways to do that. It's really not a hard thing to do.
--Paula Vogel, interview with Ann Linden in The Playwright's Muse

Here is what seems to me an elementary truth that must precede any other: namely, that the theater, an independent and autonomous art, must, in order to revive or simply to live, realize what differentiates it from text, pure speech, literature, and all other fixed and written means.
--Antonin Artaud, letter, 9/15/1931

I can take any empty space and call it a bare stage. A man walks across this empty space whilst someone else is watching him, and this is all I need for an act of theatre to be engaged.
--Peter Brook, The Empty Space

My work is characterized by one thing above all --- invention. In theatre we imagine the world, we do not record it, we are not documentary makers. I hold all social realism and journalistic theatre in contempt. It is a sordid habit. And the social realists have the impertinence to pretend they are 'telling the truth…'
--Howard Barker, interview

Women and writers of color are still seen as threats because, in essence, when a woman or writer of color is defining a play world, there's another definition of what our society is, and that's very threatening.
--Paula Vogel, interview with Ann Linden in The Playwright's Muse

Through this experience [working on " . . . and last week it was a mountain"] I learned the importance of the life and the dynamics under the words, and began to see the power of working from the silent space within - the emotions, the images, the experience and the feelings - rather than relying on the words.
--Sande Shurin, Transformational Acting: A Step Beyond

How does it happen that . . . the Occidental theater does not see theater under any other aspect than as a theater of dialogue?
--Antonin Artaud, Theater and Its Double

All conventions are imaginable, but they depend on the absence of rigid forms.
--Peter Brook, The Open Door

I never 'say' anything in my work. I invent a world. Let others decide what is being 'said'. Nor do I claim to tell the truth or enlighten people. We are suffocated by writers who want to enlighten us with their truths. For me, the theatre is beautiful because it is a secret, and secrets seduce us, we all want to share secrets. That is also its politics, if it has any politics at all. And modern democracies hate secrets, they want everything transparent. Obviously the critics collaborate in this desire to expose everything to the light of day, they are the police force, after all.
--Howard Barker, interview

I think that form is content . . . I've always been more interested . . . in the formal devices and the structure rather than in the subject matter . . . I really am a follower of Viktor Shklovsky, who said that in some ways the subject matter doesn't even matter. It's whether or not we see the subject matter anew that matters.
--Paula Vogel, interview with Ann Linden in The Playwright's Muse

I am well aware that the language of gestures and postures, dance and music, is less capable of analyzing a character, revealing a man's thoughts, or elucidating states of consciousness clearly and precisely, than is verbal language, but who ever said the theater was created to analyze a character, to resolve conflicts of love and duty, to wrestle with all the problems of a typical and psychological nature that monopolize our contemporary stage?
--Antonin Artaud, Theater and Its Double

The mediocre artist prefers not to take risks, which is why he is conventional.
--Peter Brook, The Open Door

"Transcendence became my life theme. I wanted to be lifted beyond everyday circumstances and everyday reality."
--Sande Shurin, Transformational Acting: A Step Beyond

I actually think of writing for the stage as not writing . . . It's about structuring, about gaps between the language that are really filled in by the collaborators and the process. It's all about indirection rather than a direct statement . . . It's like a three-dimensional chess game in a way. If I say this, will the director go in this direction? If I say this, will the actor respond? And one of the delights of the process is actually not having your intention fulfilled, but finding out at times that other people's interpretation or intention is actually more interesting than you originally thought of.
--Paula Vogel, interview with Ann Linden in The Playwright's Muse

The person who has an idea of what this language is will be able to understand us. We write only for him. --Antonin Artaud, letter, 9/28/1932