But just to ask a question.
Why does it matter if the books are shallow? The only books that really make it anywhere are the ones who cater to people who have IQs equivalent to, or lower than, our President. Therefore I say enjoy the shallowness, get a good hearty chuckle out of how stupid they are, and move on.
I don't say this to tear down the fandom. I think fandom is wonderful. I think If You Are Prepared and A Bittersweet Potion are probably two of the greatest ... novellas, I suppose ... that I've ever read. And I have absolutely no problem reading too much into books and then arguing over them and stuff.
But really, those with an above average IQ have got to stop expecting too much from people. Subtlety is a tough thing to deliver, that's why its subtle. And it doesn't sell especially well, either.
I thought HBP was great, because it quickly covered a lot of things that I wanted to happen (lots of extra Snape goodness, and That Person Who Dies -- god finally!), without a whole lot of crap that I didn't want to happen. The middle was kind of boring, I'll admit, and it wasn't especially well-written, but to be fair, JKR is not that spectacular a writer on the grander scale of things. She is, however, very postmodern, and that's pretty in with pop fiction right now. Additionally, she's working on a deadline. She's under a lot of pressure from us, her fans, to get novels out and get them out NOW before we suffer serious withdrawal symptoms. Its basically impossible to write something really good without having time to think it through thoroughly.
Although the stealing from your own fandom needs to stop, JKR. That whole thing with Blaise Zabini was a cheap trick.
1. Body image -- tell me how you feel about it. Both your personal image, other people's views, and/or the concept itself.
2. Eugenics (the theory of stemming population growth to solve hunger, poverty, etc). Feelings on if that works, how it would, why do you personally like it, etc.
3. Obesity -- disease, genetic, or just a personal problem?
I'm working on a solo performance piece, and I'm interested in these issues. I may use your words personally in the play, and if I do, I'll be sure to ask your permission. But in general, I just find it an interesting discussion, so DISCUSS!
before you read it, two things:
1. i am, in fact, allowed to express a personal opinion. i am therefore allowed to use pronouns. if you try to edit this, i will ignore you.
2. i have not finished putting in all the references yet. i've worked this essay a little backwards -- i wrote it first, THEN added quotes. i do, however, know what i'm talking about enough for you to get the general idea, so when i say something historically that doesn't have a reference, just trust me. ( Paper on Augustine's Anti-Theatre StanceCollapse )
as many of you already know, i have a huge problem with samuel beckett.
i also have a huge problem with the way acting is taught in various acting classes.
i also have a problem with academia, although i really enjoy playing devil's advocate, and i love to write, and the more pretentious i can sound, the better.
finally, i am extremely interested in crowd psychology and audience dynamics.
to explore all this in no especially systematic way, i propose a sort of performance art take on Waiting for Godot by beckett -- me and three other actors memorize the script and perform it somewhere, like a busy parking lot at a grocery store or something. just do it, as if its happening naturally, with no intended audience except passersby who may or may not be interested. its not theatre -- its just a happening.
i post this here because i like comments. so comment, dammit!
art mostly from dada artist max ernst, but some also from picabria and douchamp. Dadaism by Tristan Tzara
: hopefully will have some effect on style of production. some dadaist poems
also, i am stealing "staralfur" from the Life Aquatic soundtrack and using it as curtain call music. you can't stop me.
once again i'm cleaning up and redesigning this journal. while claustrophilia
is my main journal, about my daily life, i refuse to give this one up since it was my first lj. so i'm making it my official "professional" journal (thus the new title, The Oldest Profession, because we in the theatre world aren't really sure which came first -- actors, or prostitutes) and i'm going to stick a lot of crap here about stuff that i'm working on, and it may be of no interest to any of you, but what do i fucking care.
there's some good news at theatre south carolina this season -- richard jennings, a brilliant actor and one of the few people in the drama department who stands up for undergrads, has officially taken over the undergrad program and is making drastic reforms to how we're trained and the opportunities we're given. it seems like puppet regime is going out the window, and we're creating a coed theatre fraternity (like a lot of colleges in the US), and we can actually like speak up for our ideas and stuff.
this has led me to resurrect this journal so that i can keep track of ideas when they occur to me.
i'd really like to direct Rossum's Universal Robots (by karel capek) next year. i think we have the undergrads to do it.
would like to do Everyman. as director or actor, whichever.
at some point i'd like to edit 120 Days of America, get t.c. mcmanus to make the necessary changes, and direct it (aiming to do this over spring break, provided i'm not so behind on class reading that i have to spend the whole time doing that). i dunno if i'd do that through the university, though -- i may do it through High Voltage instead.
i'd like to get 500 Clowns down from chicago for a workshop. have a friend that knows some of them.
while i'm thinking about High Voltage, i should find a copy of Monty Python's Holy Grail and start adapting it. also get isabel to help me with an adult version of Sleepy Hollow for next year, maybe.
one day i'm going to write a play, swear to god. will have zombies in it. for fun.
that's about all that's stewing right now. will probably post some research on R.U.R.
so a question. if you guys were going to stage a "romzomcom" ie a romantic zombie comedy -- like Shaun of the Dead, for example -- how would you do it? would you get as many zombies on stage as possible, or would you just establish the convention that they're offstage somewhere trying to break in? would you center the plot around conflicts between the characters, or would it be more like a chase? keep in mind that this is THE STAGE and not THE MOVIES.
also, feel free to throw out any other ideas for something like that.
its aaaaaaaaaaaaaaaaaaaaaaaaaall true.
things to do once this fucking semester is over:
1.) RACHEL'S WEBSITE
2.) Harmonica + Gig. am waaaaaaaaaaay fucking behind.
3.) Intertexius. also waaaaaaaaay fucking behind.
4.) watch as much of Six Feet Under as i can get my grubby little hands on.
5.) make everyone in my general vicinity watch Queer as Folk AND LIKE IT!
6.) write that mary sue fic i've been meaning to for some time now.
7.) read anything and everything i can get my grubby hands on at the library and/or bookstore.
8.) hooking off ????????
now that's all just fandom-related shit. i would add "sleep" to the list, but sleep is for the weak.
and because i'm proud of myself for finishing it.
the backstory: i'm taking theatre history part one this semester. the semester is, of course, almost over. i have this floating assignment gig where i have to write two dialogues with some historical information in them. its like an essay only requiring more wit and less structure -- and i know that sounds easy, but i actually enjoy having the structure of an 8 page essay to help me out now and again. anyway, the dialogues are due "sometime before the end of the semester," so naturally EVERYONE in the class has been putting it off until now. and i, slack-ass that i am, finally managed to write one. ( and its so goddamn special you're all going to fucking reading and LIKE ITCollapse )
you don't have to read this if you don't want to, actually, that's why its lj cut. ^_^