Ib Theatre sl Journal
Below is my IB Theatre SL journal. There, I will have any reflections, insights, thoughts, or reviews on our work in class.
A set from a production of Rumors, a play performed by WSA's own group of thespians.
Journal of week 9/17
When trying to decide what war to choose for my Practice Director's Journal I spent some time looking for a war with an appropriate scenario that would match the war within Lysistrata. Initially, I thought of WWII, but even by looking at it from different angles I was not able to discern a viable project with the war. Instead, I began to look through history, with my main criteria being wars where the enemies in question were close together (location) and also where the enemies were not completely ideologically separate, one of the main reasons why I couldn't do WWII. I stumbled upon the French Wars of Religion, 1562-1598. Not only were these wars done in close proximity, within the Kingdom of France, they were also not a clear civil war. By that, I mean that, unlike the American Civil War with a clear North/South divide, the French Wars of Religion had people on both sides all over the nation, even within cities themselves. This, coupled with the already exciting wardrobe of the French during this time, has led me to select the French Wars of Religion as the war in which I will situate my Director's Notebook on Lysistrata.
Journal of week 9/10
This week, we looked at a near-comprehensive history of theatre, mainly in Europe. For me, one of the subjects that caught my eye was the type of theatre practiced in Spain. What intrigued me was that, while most of Europe was still practicing mostly religious forms of theatre, the playwrights in Spain had branched out into a more adventure style of performance, of the type written by Calderon or Lope de Vega. I wanted to know more about this, so I looked into it and found some very interesting history. I specifically looked at Calderon, and found that, while for most of his life he wrote religious plays, after he had gained a good reputation, as well as some standing in the Church, he switched to writing non-religious focused plays. I would have thought that becoming a member of the clergy would make Calderon, if anything, more likely to write about religious events. This for me leads into a larger topic of theatre history, which is the relationship between playwrights and the Church. I think that this case of Calderon shows how that relationship can shape the actions of a playwright, but in the end not truly control those actions.