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Aug. 17th, 2008 04:48 am![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
hoosierbitchSome lasting effects of Charles Mee's True Love.
This play's haunting me.
There was one aspect of this play that I didn't comment on when first gathering my thoughts because I didn't recognize its lasting relevance/significance.
There's parts of his play where, while reading, I could almost recognize the first impulse/idea of the writer instead of the impulse/thoughts of the character. Like he started to write about a guy who got off on feet, and went: hmm. This is interesting. Wonder how far I can get with this. Just wandered through different things he could follow. And it did feel like a writer meandering (almost as if this was an exercise--a free write--before the play).
I don't know that I would have recognized/thought of this watching the play as opposed to reading it, or it I would have noticed it if I didn't have a writing/theatrical background.
But it's popped up in my thoughts and writing this last day. Following monologues and comments to their last conclusion. Not their first glance. Grace Paley who goes until the scene stops vs. Tom Jones, who always cuts his poems off early.
I think I"m getting more written, learning more, getting opportunities to reveal more by having characters really follow their own thoughts in conversation--while almost ignoring the standard flow/structure/polite reservedness of conversation.
Also, I'm doing that thing where everyone's talking about sex. About shocking things they shouldn't reveal. Realism against...surrealism? Theatrical reality? Or a tense situation stirring things up?
To consider.
This play's haunting me.
There was one aspect of this play that I didn't comment on when first gathering my thoughts because I didn't recognize its lasting relevance/significance.
There's parts of his play where, while reading, I could almost recognize the first impulse/idea of the writer instead of the impulse/thoughts of the character. Like he started to write about a guy who got off on feet, and went: hmm. This is interesting. Wonder how far I can get with this. Just wandered through different things he could follow. And it did feel like a writer meandering (almost as if this was an exercise--a free write--before the play).
I don't know that I would have recognized/thought of this watching the play as opposed to reading it, or it I would have noticed it if I didn't have a writing/theatrical background.
But it's popped up in my thoughts and writing this last day. Following monologues and comments to their last conclusion. Not their first glance. Grace Paley who goes until the scene stops vs. Tom Jones, who always cuts his poems off early.
I think I"m getting more written, learning more, getting opportunities to reveal more by having characters really follow their own thoughts in conversation--while almost ignoring the standard flow/structure/polite reservedness of conversation.
Also, I'm doing that thing where everyone's talking about sex. About shocking things they shouldn't reveal. Realism against...surrealism? Theatrical reality? Or a tense situation stirring things up?
To consider.