ITALIA: June 13, 2007


If ever I worried about how we were going to spend our time in Italy this time around (and, I did) it was a waste of time. Fortunately I’ll be gaining back six hours on the return trip. (Which will of course go directly into the jetlag 401(k) that I am gradually adding hours to.) When we weren’t preparing food, eating it or working today, we were planning more meals and times to work in the coming days. There is a temptation to make this entire Italy section of the log about the meals we ate while here, but that would be fairly out of keeping with the purpose of my ‘blog.

Breakfast was a nice meal of fried polenta con spinichi e carne, after which much of our time was spent shopping and preparing for the lunch we had planned to host for Andrea, his wife, and our friend, Lucianna. Actually, David and Todd went off to buy groceries, and after Heather and I had finished the breakfast dishes we worked on our handstands in the sunny yard overlooking a lush valley and a castle in the distance. What can I say? It’s a harsh, unforgiving environment out here.

Lunch was wonderful, but way too involved. It may be difficult for you to imagine why a meal begun at 1:00 wouldn’t resolve itself until 4:00, but only if you’ve never been here before. Nevertheless, afterward we ventured off to Acquapendente and the Teatro Boni to introduce our style of theatre to Andrea, and vice versa.

We were nervous to begin. Sometimes the basic building blocks of what we do seem so basic it’s difficult to conceive of a fellow professional actor appreciating them. We were all probably distracted from this nervousness, however, upon entrance into the theatre. It is small, but not remotely modest, a classical theatre with gilded balconies and a chandelier, and a beautifully maintained, hardwood raked stage that we didn’t think twice about working barefoot on. Once we had ooed and ahed enough over the space, we started with a warm-up. I suggested we collaborate around a circle, each contributing a warm-up activity, and we were off.

The warm-up evolved quite naturally into exercises in characterization and comic timing (tempo comico). Before long, there was very little of us demonstrating our training techniques (which is how Andrea preferred we begin together) and quite a lot of back-and-forth of sharing ideas. We capped off the encounter with a showing of photographs from our previous shows and a promise to demonstrate finished works live tomorrow, the idea seeming to be that unless we are intimidated by the prospect of what we’re doing the next day, we’re not doing enough. We’ll present our excerpt from Silent Lives that we used to fulfill our performance obligations last year, but not before running through it once or twice in the morning.

Thereafter, it was off to Lingua Si, the language school we were affiliated with last trip, to finally (I know we’ve only been here two-and-half-days, but it seems amazing we only did this by now) meet up with our friend, Piero. Once we had gathered him and some of his current studenti up, it was off to our friend Lorella’s agriturismo for dinner. I was very excited when I discovered this was the plan, not having understood this was in fact the plan. I chalked this up to my complete and utter failure to comprehend the Italian language, and just savored the memories of that beautiful place (and the anticipation of their unbelievable vino rosso). The evening progressed, and after we sat down to begin another extensive meal, our favorite Italian teacher from last year, Antonella, and her husband Toni arrived. It seemed so fortuitous. I am a moron.

At the dessert course, out went the lights, and out came a little chocolate and pistachio ice cream cake with a candle affixed to a plastic “30”. Ah, thought I. I hope they don’t expect me to make a speech.

They both expected and demanded.

“Grazie tanti, grazie mille. Mi piace Italia, si, ma mi amore tutti.”

Not even remotely correct. But hopefully I got my point across.

ITALIA: June 12, 2007


We have arrived in Italy. Actually, we arrived almost two days ago now, but owing to jetlag I am only this moment become self-aware again. It is just as we’ve left it (although, okay: with more construction on the highway) and it feels like home. Today we took our first visit to Orvieto, home of last year’s extravaganza, and it really was wonderful to revisit. Prior to that, when heading to the car rental place attached to da Vinci airport, each of us purported to feel as though we had never left…we just took a year to get lost before finding where we were supposed to be again.

Our occasion to visit Orvieto, as though we needed any excuse, was to meet David’s friend, Andrea Brugnera, and plumb the prospects of collaboration. The meeting, it was agreed, went very well. This was not merely because Andrea fed us coffee and ice cream, nor because the ice cream was topped with rum, nor because his rooftop porch faced onto the duomo. No, the meeting went well because we discovered that our interests were quite similar and we established times to work (read: play) together during the week that Todd is still here in order to discover one another as actors, improvisers and general old people. Tomorrow we’ll host lunch here at the agriturismo, then we’ll head to a gorgeous little theatre nearby to run through the patented Zuppa del Giorno™ technique. Later in the week we’ll get a taste of what Andrea’s been up to, and we’ll all discuss possible future collaboration. The important agreement between us all is valuing commedia dell’arte as a living tradition. We’ll see if the specifics enforce or betray this commonality.

One other very interesting thing Andrea showed us was a DVD of a Spanish program done on a fellow actor of his, Adolfo, who has been doing traditional commedia for years. It was fascinating, and in no small part due to the fact that what he does is so similar to what we do! Working in somewhat of cultural isolation as we regularly are it has been easy to imagine we were getting off track with our updating and transposing of the commedia tradition into contemporary (relatively) forms. It turns out we seem to be more in keeping with what the modern traditional commedia performer values than we could have hoped. There were moments in the DVD when his workshop looked exactly like one we would run. Basically the only difference is that we don’t adhere strictly to the stock characters, but venture to use them as inspiration for more complex or contemporary types.

There’s a lot to be done, a lot to explore. We ended our time out today by driving around the area we’re staying, trying to find a road to a castle you can see from our front porch. We made it to the nearest town and had a look around, never quite getting to the castle proper this day. But we got a hell of a view of it. Tomorrow, maybe, we’ll walk its walls.

But Mom, I've Got, Like, a Gagillion Hours of Homework...

Keeping with the theme of assignments (see

6/4/07

), today I write to you, most dear reader, about some of the behind-the-scenes work of creating a show from scratch. This, I realize, imperils my ratings (

kicking people in the head

and complaining about

irrepressible sexual urges

, for some unfathomable reason, gets more readership) but it is more in keeping with the purpose of this here 'blog and so I heedlessly hurry onward.

The thing about (okay: only one of the many things about) creating one's own work in a theatrical context is that--at least at the no-to-low-paying level--the creator has to do a lot of work outside the collaborative setting of a kind he or she wouldn't otherwise be doing. I mean, if I'm working on, say,

Rosencrantz & Guildenstern Are Dead

(a totally random example, and not at all a play I am performing voodoo rituals in the hope of being cast in), I will do plenty of work outside of rehearsal. There's the simple line memorization, reading up on the backgrounds of Stoppard, Hamlet, late-1960s theatre, Denmark, absurdism, determinism, Shakespeare, etc., working on any tricks or skills the director may want included, dialect training . . . it goes on and on. A good actor becomes obsessed with his or her role and the world of the play for the time he or she is working on it, and does it all to more thoroughly incorporate his or her self into it all. (Man, but I hate the standing rule about not using "them" or "they" to refer to male or female hypothetical persons. He's got the right idea over at

xkcd

.)

(Parenthetically, [this is the most parenthetical parenthetical

ever

{my boss insists on doing this in her letters: saying "Parenthetically," at the start of something

in parentheses

, no matter how many times I point out it's redundant, and I deserve a medal or ribbon or something for not throwing my keyboard at her head}] I have a giant tape X on my lumbar region today, applied by my physical therapist to remind me to sit up straight and bend--if I absolutely

must

--from the hips. I consider this some kind of oblique revenge by

Anton Chekhov

from beyond the grave for

this post

. Plus it's a sign that my body will actually explode this Saturday when I turn thirty. Parenthetically.)

When you are responsible for building the show from the ground up, however, homework takes on all-new, mammoth proportions. The best example of this I have, to date, is the period of weeks leading up to

Zuppa del Giorno

's debut of

Silent Lives

.

Friend Grey

was directing, and we were all pretty obsessed with the subject matter--silent film characters and actors--so it didn't take much to motivate us to spend all our time building that one. Yet somehow Grey managed to motivate us to spend literally every waking hour working on the show. I mean, we just never stopped. Sleep was watching silent films. Eating was learning the bread dance from Arbuckle cum Chaplin cum

Downey Jr.

and

Depp

(Brits: Please don't censor me for my use of "cum" in this context). It was, to borrow a term, ridonkulous.

As Far As We Know

is not that bad. In fact, we often eat and drink during our table sessions, so it's like the opposite. Except for the assignments, which are

hard

and just keep getting

harder

. I have written about these on past occasion (see

2/28/07

-

3/1/07

) and this last, due by early Saturday, is no exception. The assignment, as comprehended by me, is as follows:

We've been given a bunch of material. Using this material (act one of three and numerous transcripts of interviews with people from Matt's hometown and people of related significance), 1) rewrite or create a new scene far act one, or 2) create a stage "moment" with a piece of text from the interviews, or 3) present your character in an impossible situation, or 4) all of the above.

Now, this kind of assignment is how a great deal of the play got created in the first place, with even less to go on. Sometimes these assignments would be assigned in rehearsal, with ten minutes provided for a group to pull something together. I like working this way. Parameters are fun for me (I like the crunching noise they make as I break them, to paraphrase Douglas Adams). Yet somehow I always stress about these

Joint Stock

/

unCommon Cause

assignments. One I stayed up until two in the morning working on one, blasting

Damien Rice

(like that's a bad thing) and practicing punching holes in paper with my finger. It's a measure, I believe, of how high an esteem I hold my fellow collaborators in. They're all such skilled

and

talented actors and writers and directors that I feel a need to rise to their level, and that feeling is most poignant the night before a presentation.

This one's going in a funny direction for me so far, possibly because it lacks some of the specific parameters the prior ones have featured. I had an initial idea: to explore the similarities between my character (the captured soldier) and

Sara Bakker

's (the casualty assistance officer who ministers to his family). But I didn't then set to an examination of their particular scenes, or even rumination on their respective characteristics. Instead, I got fascinated with this idea of

re

writing a scene that we already had. I began to wonder how the play would read if I had been writing it by myself all along. (The answer, it seems to me, is that it wouldn't read, at least not particularly well. I couldn't have gotten more than few steps with this material by myself, and don't excel at writing naturalistic dialogue.) So what I started doing, quite unintentionally at first, was underlining any dialogue that--out of context--directly addressed the experience of the captured soldier or his family and town.

I have NO idea what I'm going to do with this yet. I have some vague notions involving gathering all these fragments together, finding appropriate music (always my favorite element of the assignments) and perhaps drawing more connections between Sara's character and my own. And that's about it. Tonight, I will sit quietly and let my mind stretch and wander over the raw material, and see what happens. Laundry will be done as well, and packing for Italy. Somehow mundane chores always help with idea flow.

And hopefully, by 2:00 AM, I'll be making props out of defunct coat hangers and leftover moving boxes. This, in the mind of a "

creactor

," is the image of a perfect sort of evening. I'm looking forward to it.

Panic Panic Panic Panic Panic ... wait. Yes: Panic.

So today was the first day, since

starting

this Aviary of Odin's, that I came into work with plenty of free time, and didn't feel remotely like doing an entry.

AAAAAAAAAAAAAAAAAAAAHHHHHHHH!

Perhaps you think I'm overreacting. Perhaps I am. I've been sitting here, between assignments, trying to conceive of what innocuous reason might be attributed to this change. I've considered: having finished my apartment hunt, coming up on a birthday, not having worked in a while ("a while" in this context being two weeks) and my recent forays into "interior massage," as my physical therapist(s) refer(s) to it. None of these offers me decent enough explanation, so I begin to fear the worst.

Odin's Aviary may be going the way of every previous attempt at journaling I've ever ventured, and losing relevance in my grand scheme of things.

I don't want to jump the gun on this. I mean, one day of waning enthusiasm in a five-month run is hardly a death knell. Still, it worries me. Prefer my day job over my 'blog? What's next? Preferring collating over memorizing lines? Choosing to compile uncontested divorce papers over practicing my handstand? That was part of the idea in starting this thing in this way. If there's one thing in my life I'm unlikely to lose enthusiasm for--not to mention one thing I

need to be aware of

losing enthusiasm for--it's my pursuit of fulfilling work, and a fulfilling life thereby. So the panic seemed a bit more justified in that context. This isn't just some private diary for recording my thoughts on who I'd like to sleep with (Rachael Leigh Cook,

I'm looking in your direction...

), but a gauge for and exploration of my choice of T

he Third Life

(all rights reserved).

So what do I do in my office-ensnared panic? I turn to the interwebzizines for comfort. Fortunately, I didn't resort to YouTube or some such nonsense, but turned instead to one of the great gifts of these worldwidenettingz:

xkcd

. Wherein I found

this

.

And I was struck by how funny I found it. It's so CRUEL. So cruel. But it's a delicate thing, too, up for interpretation. If there was a punchline, even one preceded by an ellipse (suggesting a pause) it would lose its charm. Instead, the punchline is the silence. I love that. I love how funny a silence, even (or perhaps: particularly) an awkward or painful one, can be. The lack of information is a significant part of the humor. Similar to Buster Keaton's

stoneface

, a stick figure can reveal nothing about the slighted character's reaction, and we are instantly compelled to identify with it, to interpret the blank according to our own experiences and needs.

AND THEN

Friend Todd

, amidst a flurry of emails confirming travel plans (apparently I am to be the Sherpa of Todd's toiletries; no sacrifice too small for our art), recommends to the kernel group of

Zuppa del Giorno

this article

. For those of you unfamiliar with Bill Irwin, for shame. Plus: You're probably more familiar than you think (he was in the music video for "

Be Happy

" and made an appearance on

The Cosby Show

. . . so everyone knows his face, if not his name). A lot of his self-generated, clown-style work is silent, though now he is clearly transitioning into more conventional theatre. He's an amazing physical performer.

All of which serves to reorient my mind toward work, and thereby away from panic. Now I'm thinking about how my noseless clown (dubbed Lloyd Schlemiel in some circles) came to life the last time I was in Italy, and how little I've done with him since, and how the few times I have revisited him it's been surprisingly fulfilling. I'm thinking about the pure joy of the first time I stilted in the New York Halloween parade, silently communicating with hundreds of revelers from the middle of the Avenue of the Americas. I'm thinking about how easily I can post my work online now, and the possibilities of that.

I'd be panicking, but I'm too excited.