"I think it’s necessary to believe that feeling and meaning can survive—and in fact, be derived from—whatever ruptures you can cause in the language."

-Will Eno, BOMB Magazine interview, 2008

my favorite photo on the internet:

(NYT)

Will Eno's women

Notes, Draft #1

• PAUSE. (longer.)
• “Allow her to change her mind and think of something new.”
• Not a speech, not a poem, though there is speech and poetry--it is a performance.
• And a dialogue.
• Consider rhythms beyond lines.
• What are / where are her moments of difficulty?
• Pull away from cynicism.
• Why does she sit?
• How does one pose for soliloquy?
• → transitions ←
• Show-and-tell can be illustrated, even if non-literally.
• *Beat. Microbeat. Find the way to the end. Find her actions.*

I can sing, if you made me.

Midterm

script

stage properties

notes

"The history of plays and the history of the world is a set of the same conversations being had by different people."

-Epilogue, The Flu Season

Ambiguous illusions

"Ambiguous illusions are so powerful because even after we know that both images are on the page, we can only see one of them at a time. When we see the young girl, we can't simultaneously see the lines in context of the mother-in-law. When we switch our perception, the young girl disappears and we only see the old woman...Essentially, when we focus in on certain details, our brain makes sense of the rest of the image around these contours. Ambiguous illusions show the way that vision is a work of both the eye and the mind. The eye takes in a set of lines, and, depending on what they are, the brain organizes them into a recognizable pattern which we then "see." We can't see both images at once, because, at least at first, it isn't possible for the brain to construct both images and overlay one on the other. While it is possible to train the mind into recognizing two sets of patterns at once, that fact that it is a process shows that "seeing" is still a matter of mental practice, not simply taking in an image passively with one's eyes."

-The World's Most Famous — And Ambiguous — Illusion (io9)

Etymologies

lady (n.) 

"c. 1200, lafdi, lavede, from Old English hlæfdige (Northumbrian hlafdia, Mercian hlafdie), "mistress of a household, wife of a lord," apparently literally "one who kneads bread," from hlaf "bread" (see loaf (n.)) + -dige "maid," which is related to dæge "maker of dough" (which is the first element in dairy; see dey (n.1)). Also compare lord (n.)). Century Dictionary finds this etymology "improbable," and OED rates it "not very plausible with regard to sense," but no one seems to have a better explanation. 

The medial -f- disappeared 14c. The word is not found outside English except where borrowed from it. Sense of "woman of superior position in society" is c. 1200; that of "woman whose manners and sensibilities befit her for high rank in society" is from 1861 (ladylike suggesting this sense is attested from 1580s, and ladily from c. 1400). Meaning "woman chosen as an object of chivalrous love" is from early 14c. Used commonly as an address to any woman since 1890s. 

Applied since Old English to the Holy Virgin, hence many extended usages in plant names, place names, etc., from genitive singular hlæfdigan, which in Middle English merged with the nominative, so that lady- often represents (Our) Lady's, as in ladybug. Lady Day (late 13c.) was the festival of the Annunciation of the Virgin Mary (March 25). Ladies' man first recorded 1784; lady-killer "man supposed to be dangerously fascinating to women" is from 1811. Lady of pleasure recorded from 1640s. Lady's slipper as a type of orchid is from 1590s."

-Online Etymology Dictionary

ladylike (adj.) 

"also lady-like, 1580s, "refined, well-bred, courteous;" see lady + like (adj.). Middle English had ladily "queenly, exalted" (late 14c.)."

-Online Etymology Dictionary

Lady Grey: past productions

May 9 - 11 2014

Horn Rim Productions @ The Mix Studio Theater

Actor: Kristin Beckett 

Director: Ron Miller

(x.)

March 11 - April 10 2011

The Cutting Ball Theater

Actor: Danielle O’Hare

Director: Rob Melrose

(x.)

February 2010

Inscription @ Griffin Theatre Company & Melbourne Theatre Company

Actor: Tanya Burne

Director: Julian Meyrick

(x.)