Emily Dickinson Poetry Analysis

Blog post 2 due on sample poetry analysis due by midnight -- Choose any one of the sample questions but apply them to Emily Dickinson's poetry.

3. “Poets often withhold certitude, which can at the same time empower readers to think creatively.”
Consider the works of at least two poets you have studied in which ambiguity has enabled readers
to reach their own conclusions about meaning and implications.

Emily Dickinson uses ambiguity within a majority of her poetry. She often leaves things open ended and forces readers to reach a strong imagination to understand her poetry. A common theme within her pieces has been nature. In a majority of her poetry, she connects concepts of life to nature, however she never blatantly explains these metaphors. These comparisons paint beautiful pictures, however only those who can reader deeper than the words can find these hidden meanings. Dickinson's ability to withhold certitude makes for a more interesting experience as a reader. It makes audiences work harder which in turn makes her pieces more sophisticated and natural. Not everything in life is clear cut, Dickinson acknowledges this in her writing style.

A place where this ambiguity can be located is in Dickinson's poem "Hope Is The Thing With Feathers". This poem creates an analogy for peace, love, hope and nature with a bird flying around the text. This metaphor is never clearly stated, however Dickinson makes it clear. She also leaves it open to interpretation which is interesting for readers as we can create our own meaning for the bird. Also, it leaves us questioning Dickinson's intentions which allows the poem to be our own not only the writer's. In the first stanza, “Hope” is the thing with feathers - /That perches in the soul - /And sings the tune without the words - /And never stops - at all - " Dickinson never states that the feeling of hope resembles the freedom and joy of a bird, however this metaphor can be implied. Also, the balance of pessimism and hope is displayed to again allow readers to interpret the bird themselves. One person could view the bird as naive or unreachable, while others could view it as kind and reliable. These differences are valuable and add character to the poem. She also withholds the speaker's voice until the end. The last stanza, I’ve heard it in the chillest land - /And on the strangest Sea - /Yet - never - in Extremity, /It asked a crumb - of me." Dickinson introduces herself, however the whole poem could be read as internal thought, a note to another person or any other conversation. It creates a story many people can find themselves in.

Another place Dickinson withholds obvious meaning is in the poem, "I dwell in Possibility". The poem deals with the power of poetry and Dickinson's view on the concept. However, Dickinson never uses the word poetry, rather she replaces the word with possibility. This ambiguity allows the reader to explain the meaning of the poem to themselves."I dwell in Possibility – /A fairer House than Prose – /More numerous of Windows – /Superior – for Doors –" This stanza is free for readers to see 'possibility' as many things. Dickinson also withholds a concrete setting. She leaves us to find our own world the poem is in. Dickinson even mentions 'many doors' which implies that there is no setting, but only our own imaginations. Dickinson gives reader's the chance to be creative, which to me makes her a strong poet. Caring about the reader's experience as much as a writer's creates better and stronger literature.

Poetry Analysis Blog Post

Blog post on sample poetry analysis due Monday by midnight. Questions are on the class blog. Choose ONE question only to answer in a short essay. On the IB test, you will need to discuss TWO poets, but for this assignment, only talk about Naomi Shihab Nye.

1. Hope and/or pessimism are sometimes reflected in poetry. In the work of at least two poets you have studied, examine either or both of these attitudes and the way in which the poets have chosen to convert them.

A particularity strong theme within Naomi Shihab Nye’s poetry is the way she constantly balances hope with pessimism. Within all of her poems she finds a cohesive way to incorporate the negative or upsetting side of her culture with the love and pride she has for it. Navigating the process of understanding her Palestinian heritage will have beautiful moments and dark moments. These ups and downs of being a part of an immigrant family are inevitable, thus the truth Nye aims to examine and display in her writing brings an honest sense of humanity to her poetry.

The first poem where this unique and efficient balance of hope and pessimism is shown is My Father and the Fig Tree. In this poem Nye tells a short story of her father, their relationship and his obsession with figs, a fruit from his homeland. The poem goes into detail, using deep symbolism to show how the fig is a metaphor for her connection to Palestine and her father. It also follows the story of her own identity crisis. These themes can be seen clearly in the line, “At age six I ate a dried fig and shrugged./"That's not what I'm talking about! he said,/"I'm talking about a fig straight from the earth — gift of Allah! — on a branch so heavy it touches the ground./I'm talking about picking the largest, fattest, sweetest fig/in the world and putting it in my mouth."/(Here he'd stop and close his eyes.)” (Nye) In this short passage it is already clear that there is somewhat of a disconnect in culture between Nye and her father. Through the line “shrugged, That’s not what I’m talking about!” There is a conflict between the father and daughter. He loved the figs and she doesn't understand why. Since they come from the Palestine it is clear this has something to do with that part of their lives. This is obviously pessimistic because it conveys how Nye may never feel the same way about Palestine that her father does. She is confused by it and this bothers her father since he values it so much. However, this is where the balance comes in. The next line, when her father explains the love for figs, the vivid detail and kind words such as ‘sweetest’ and ‘gift from Allah’ it is clear this experience is a positive one. This line shows the other side of the story, which is the hope that one day Nye and her father can share their culture over figs.

The next poem where this hope and pessimism are balanced is in Blood. In the lines, “Years before, a girl knocked, /wanted to see the Arab. /I said we didn’t have one./After that, my father told me who he was, “Shihab”—“shooting star”— /a good name,/borrowed from the sky. /Once I said, “When we die, we give it back?” /He said that’s what a true Arab would say.” (Nye) These lines clearly show the mix of hope and pessimism in Nye’s poems. The first lines are of a negative experience, when a young girl causes Nye to question her pride of being Palestinian. It causes an internal conflict for her as now she must confront her own insecurities and differences. This shows the negative parts of being an Arab. This is upsetting as a reader because Nye writes in a way that seems like we may never progress. Although, this is contrasted by the hopeful moment when Nye talks with her father about her name’s origin. This memory sparks a feeling of pride and understanding. Nye in this moment learns of a reason her culture is beautiful, which combats the negative experience she had in the first lines.

This balance is integral in telling Nye’s story. This is because to not discuss the negative parts of being an Arab in America, she would be invalidating those struggles and stories. Although, never speaking of the hopeful or loving moments, further stereotypes of Palestinians and perpetuate their oppression by only allowing them to have one story. This is what Nye does best, she gives her experiences many voices and themes to be fully truthful of her culture. While Nye chooses to display hope and pessimism fairly obviously, there are moments to dig deeper and find even more layers.

Poem Set 2

Quote- She obviously has passion for her art, influenced by her heritage, internal conflict between America and Palestine informs her poetry

Arabic Coffee

• too strong for 'us'- family connection
• "Papa"very casual, close relationship
• white cups- specification to contrast dark coffee
• men and women- gender comparison
• handkerchiefs symbolize the suppression of dreams, folded away
• live long enough- a violent conflict?
• themes of fear, balance

My Grandmother in the Stars

• Death, loss right off the bat
• Close connection to, I'm assuming, dead Grandma
• Sky tying the universe- soooo pretty, symbol of connection to an afterlife
• value of knowledge
• respects grandmother
• hearts=mirror a reflection of ourselves and out thoughts
• cherishes memories
• strong themes of family
• love

Poem Set 1 Notes

My Father and the Fig Tree

• Symbolic parallels, little scarves
• Imagery of fig trees
• first person narrative
• taking place in the past
• Arabic- setting/character context
• kind poem, sweet message of father and child
• narrative poem
• figs are a symbol of the author's childhood

Blood

• Arab- setting/character context
• Same author
• About the father again
• Strong connection to nature in this writer's poetry
• narrator looks up to father for guidance in Arab culture
• "What a true Arab would say" a cultural conflict
• News it too much- political conflict/war?
• When is this set, what year?
• "uncivilized" cultural conflict present n a larger scale, maybe in country
• "True Arab" narrator struggling with own identity

The Words Under the Woods

• hyperbole/metaphor- grandma's hands and grapes
• beautiful analogy- "covering my head like cool prayers"
• Grandmother is a loving figure, described as warm
• grandma and connection to faith/religion
• inkling of narrator having a conflict/internal confusion on faith

Two Countries

• loneliness
• loss of love
• comparison between nature and life is a common theme
• emotion through imagery/nature
• skin is new, change etc.
• skin is a metaphor for body and touch
• intimacy?
• missing someone, loss of someone
• skin is directly a human nit just skin

Staging Proposal MLML

Staging proposal due on blogs by 11pm -- 500 words. Describe how you would stage MLML or TPG as a play, your vision of it. What does it look and feel like? Talk about how the stage is set up, color, characters, lighting, etc. Drawings optional.

The way that I imagine MLML on stage is very simple. I feel as though the most important piece of the book is the characters, the journeys they follow and the themes, not the set or scenery. While nature is necessary, I see it being reinterpreted in a more modern way. The scenes will mainly be set by lighting and the set itself will be extremely minimal. At the village the lighting will be bright, but more of an orange light to show heat and contrast from the white light when Desiree is at the hotel living with Daniel. This will show how alive Desiree feels in both places, but how the change in her attitude is reflected in the lights.

This will be the common theme of the lighting and set, it will all be centered around Desiree. She is the center of the show and all conflict comes back to her, thus focusing on highlighting her emotions is vital in my production. This will allow the audience to feel her emotions, as well as create a subconscious approach towards different mind sets as the lighting changes.

Again, the set will be minimal. In the village, there will be a backdrop of mountains and fields, and Desiree's home will have simply a chair and table with cooking supplies on it. The other villagers, including Tonton Julian and Mama Euralie, will wear dark colors (brown, black and grays). Desiree will wear white to contrast this darkness and show how she is different. The hotel will be a background of large windows and no set pieces. The rich looking actors dressed in jewelry and colorful gowns of the whole rainbow will act as the setting. Again, these costumes will contrast Desiree. During Desiree's journey the scenery will become all tress, bushes and flowers. The set pieces of nature will be bright, yet the lighting will be very dark. A simple white spotlight to show Desiree's sense of determination and independence will be shown but that's it.

An important piece of the show is the Gods. I see them as separated in some sort of 'heaven' above the people. I want them constantly on stage, standing above the other actors. Papa Ge and Erzulie will always be looking down, watching over the people. This displays their close connection to humans and human emotion. Asaka and Agwe will always look up and Agwe will only look down when flooding the village or creating a storm. Having the Gods above affirms their power over the humans and separates them. However, having them always on stage ensures a constant relationship between the people and Gods. They will not have much light on them the whole show, thus their faces will not be seen. This will simulate the way the humans see the Gods. They hear their voices and face their actions, but never see their faces. The one time Desiree connects directly with Papa Ge will be the only time a God leaves that platform.

The last vital detail is the butterflies that visit Desiree and symbolize her in general. I see these butterflies as being video projected on the stage. The butterflies show Desiree's youth and luck, thus I think having them look real, as in a video projection, keeps the theme interesting and unique from other things in the show. In general, I want a mixed media, simple production. The most important part of show is the characters, and drawing away from that with huge sets is an unnecessary distraction. My staging feels like a more authentic version of storytelling that comes naturally, rather than a fabrication or exaggeration. It looks visibly pleasing, but not over done. All characters from the book will be included and I want to emphasize staying true to the intentions and writing in the book.

In Class Writing 2

There is an obvious sense of conflict in tension during this conversation on page 60. A majority of the conflict stems from TiMoune being very different from her community. She is innocent and thirsty for exploration and adeventure, while her fellow peasants prefer a simple life of work. Whether this makes TiMoune naive or courageous is a different debate. M. Bienconnu obvuously is seen as a wise man who supports tradition. This can be seen in the line "one must hang one's hat where one can reach it" He clearly believes in staying in a place never pushing boundaries, however this contrasted by TiMoune's language which states "But I know belong in the big city" here TiMoune shows a strong feeling of curiosity. In reference to TiMoune vs. the community, it is clear that her peers worry about her. In the book she is seen as the treasure, thus when she wants to leave they fear for her. M. Bienconnu is a wise man and sees trouble in TiMoune leaving for a rich man he knows will never love. Although, TiMoune also thinks she is wise and knows best, therefore their conflict is built in their fundamental disagreements on taking risks. Even though M. Bienconnu treats TiMoune with respect and love by calling her "Ma Belle" however, TiMoune doesn't seem to care, she is determined to see Daniel. She takes offense to him saying Daniel doesn't love her, she "cried" when he told it was impossible. They contests eachother as M. Bienconnu seems calm even when frustrated, where as TiMoune tends to act out dramatically. These differences again highlight how TiMoune stands out in a more passive community.

In Class Writing

To costume TiMoune the most important part is balancing the fact that she is a peasant but also that she is unique. She must be very feminine and young looking, but also dressed sensually. I see TiMoune in a dress, something down to just above her knees, tight at the waist and chest and flowing out by her hips. The straps will be thin because of the heat. The top would be a bit low cut, provocative but not overly exposing. She is thin because she is poor, but she has natural curves which will be shown off in the dress. The dress is white. All other peseants in my mind wear dark colors, easy to work in, not form fitting and dirty. TiMoune will wear a dress that stands out. It will be dirty because of her work, however the color will still be a bright white. This symbolizes a lot things. Her innocence, youth, bright personality, and hope. Also, it to me is also shows a sense of a clean slate, someone who has not experienced much and is open for change. TiMoune also would not wear shoes, her hair would up to show her face and of course no jewelry.

Chapters 10-16 Notes

• Description of city on page 98 seems so foreign to Desiree
• Her shock of the cars highlights the rich vs. poor theme
• Desiree wishes to be something she is not
• The shoes and colors, she is losing the sense of who she is/her home
• Desiree is afraid of the new things
• she is beginning to feel regret from fear
• amazed as she sees the hotel, I wonder if she realizes the problem these differences could cause for her and Daniel
• Is it costume to call people brother and mama, even strangers?
• All these people telling her she is wrong or ridiculous yet she keeps going, sense of perseverance
• She is so smart to have kept the fruit, she is clever
• desperation, sacrifice on page 107
• woman doesn't think she is poor because she is beautiful, says a lot about how the poor are viewed
• this woman is kind, reminds me or Erzulie
• woman believes in Erzulie, must be why they are similar (page 110)
• the shoes symbolize her literally not fitting in, she is so different but forcing herself to be something she is not
• The butterfly continues to visit her in times of need, luck, love etc. She is the butterfly page 115
• Is she dreaming all this? page 118-119
• Could they know each other because pf 'fate' or 'destiny' ??
• "the distance of the madame from the peasant" page 122
• The father doesn't believe in Gods, does not like Desiree
• Does Desiree love or idolize Daniel, does he simply use her?
• Is Desiree just Daniel wanting to defy his father?
• "a peasant, a black"race also sets them apart in this culture/society
• I think Daniel does love her (as of page 136) however, this plan to win over the parents will never work, especially if it is not the intentions of her Gods
• "forced into silence" she is held back from being herself, her humanity is suppressed by language, but also this is a metaphor for rich vs. poor
• dancing resembles her free and vibrant personality, it is the first time she lets go in a while
• page 141, she could escape poverty with any man, but Daniel is the only one she wants- sacrifice and true love
• page 143, she is looking for a butterfly for protection but she cannot find one
• Andrea is jealous of Desiree, I think she really does love Daniel
• page 151, he became a part of her and now she is dying as she looses him
• this total dependency is affecting her
• Daniel sees his life with Desiree and his life with Andrea as two different worlds
• He is cruel to have played her like that, he lead her on, destroyed her
• page 157, intense
• Papa Ge is so strong to influence her in that way, though she has grown up she is still so impressionable
• Desiree believes in honesty, thats a reason why she is so mad, but also because of how much she loves him
• page 160, 'that is the way of the world', seems like they just deal with inequality
• weather is controlled by Gods, is it dark because they are sad for Desiree, why would they do this to her?
• page 163, denial
• page 165, he doesn't recognize her- was it all fake or is he in denial as well?
• last paragraph of book is really powerful

Chapters 6-9 Notes

• strong imagery on page 55, description of nature
• nature resembling Desiree's new attitude and change
• Desiree eager to leave to find the man
• Desiree's conflict of leaving her family, theme of relationships
• Tonton describes longs travels- separation between rich and poor
• concubine is a prostitute that lives with a family- bastard child?
• Man becomes Daniel
• rich from exportation of crops
• Does this old man tell the future, is she the story? 
• Curse???
• Mama Euralie doesn't want to upset Desiree, she just doesn't want to lose her
• family conflict
• bringing Desiree to talk with the Gods, Mama's belief in them and trust
• Drumbeats-heartbeat
• description of water and air page 66
• personification "moon played tricks" page 68
• drums and dancing don't please Desiree- she is different
• Desiree is beginning to doubt Gods
• Mama Euralie won? page 70 is it a competition-conflict
• Desiree still is young as se trusts only her mother
• strong family connection
• connection to Gods- can bring them together or cause conflict
• Page 73-  little creepy with the man's voice/woman in corner???
• Conversations between Gods are interesting
• gives insight to their relationships
• conflict page 74
• peasants or God's wants?
• do they work for themselves or the humans- are they all on the same page (no.)
• Erzulie and Papa Ge butt heads the most- love vs. death literal and metaphorically
• constant emphasis on drumming.. what else could it mean?
• big step for Desiree- leaving home, maturity
• long and tiring journey thus far
• found in a tree- rests under one
• Desiree's connection to nature
• As Desiree looses connection and trust in Gods, she is tempted to give up, they guide her even when she does not want them to
• strong imagery of forests, darkness and nature as she walks to the city
• Desiree protected by trees- protected by Asaka (mother Earth)
• pork and plantains yummy (page 87)
• Desiree always finds a way to use her friends and community- woman with food
• Desiree sees herself in the child- mirror
• She is growing up- sees herself in someone younger 
• looking for butterflies- common theme and parallel
• Desiree connects her wish to the butterfly, she thanks the butterfly not Gods- but the Gods are the butterfly?
• Missing her parents, reaffirms her love for them
• Desiree s becoming more self aware
• she is acting a bit selfish, however she has to chase her dreams 

Senses Chart

My Love, My Love Choaters One Through Five

Chapter One, Two, Three: important folk- Asaka, Agwe, TiMoune/Desiree, Mama Euralie, Tonton Julian

Musical opening line is same as book!!
No actual time period or definitive setting
Immediately vivid imagery and bright description
Gods- introduction of religion and regions importance to culture
Rich vs. poor- theme
Peasants work all day, hard physical work
"It makes for a very meager existence" peasant life is modest and looked down upon by culture
"And man" foreshadowing to character's (humans) mistakes  ???
Asaka- goddess of Earth
Asaka has strong connection to peasants
Distrust in the gods from the rich
Full dependency and trust to gods from the poor
Infatuation with the car, infatuation with the unknown
Butterfly- symbolism, Desiree is a butterfly in her society
Her dreams and wishes take away her innocence
She wants to leave- maturity

Chapters 4 and 5 Notes

"The police were not known to be gentle with peasants" don't trust the government
Such devotion raised the fears of Mama Euralie- dependency isn't love
Desiree is unhealthily involved with the man, innocence
Praying is a long term solution
The internal dialogue and questions of the characters are written as regular text..?
Storm resembles chaos
Agwes emotions reflect in storm
Desirees wish ends storm?
Blame storm on Agee AND Asaka and she leaves them with a destroyed land and earth
Relationship between peasants and gods within nature highlighted
Desiree defied Gods... respect and bravery or will gods punish her
How is she special that changed her fate
Julian's description of city is envious and stunned
Julian and Euralie typical old married couple, classic parents relationship

Reflection of Oral

Initially, I was very nervous about my oral for the scene. I wanted to explain all the ways we implemented themes of the story into our scene without repeating the same thing over and over. I wanted to also emphasis the amount of acting study we did to prepare. In the end, I think I did a good job of explaining both, without sacrificing detail.

The hardest part about the oral was finding room to balance text and stage analysis. Finding a suitable structure that flowed well and incorporated all my ideas was challenging, but ultimately similar to an essay. I find that often when writing, I use a similar process. I laid out the topics I needed to include and grouped them into over-arching ideas. I focused on themes, character, character development and reflection. By doing this, I was able to find the exacts details I wanted to add and avoided leaving out requirements of the criteria.

I think that overall the oral was really beneficial and valuable to both myself as a student and an actor. Taking time to reflect of what went well and what didn't is an important part of anything related to theater. I always enjoy an opportunity to grow and improve. In acting, the only way to get better is find the specific areas of improvement. Thus, by doing this oral I had the chance to do exactly that. Also, I have always found a strength of mine to be talking :) This was a positive and constructive outlet to use the talent.  This oral also challenged me to think about what I didn't like about the scene, which is something I often do not do. I always try to focus on the positive, however this can cause me to forget that mistakes are a good thing. This oral encouraged me to embrace my flaws and as an opportunity to learn!

FOA Draft

Introduction to novel and what I like about it-

Krik Krak is novel that combines both magical realism, intense relationships and Haitian culture into one. Edwidge Danticat weaved several powerful themes by writing in short vignette style- she writes very smooth and focuses of being true to the way she imagines characters. Danticat takes a lot of liberties in format and emphasizes her themes the most.

I liked the book because the vignette style kept each moment interesting- new characters, quick but natural character development. It also had great flow from story to story, the order made sense. The magical realism only comes in a few stories, such as 1937- however the majority of stories are realistic fiction. This is effective because it is a natural way to tell a story or history- it combines forms of storytelling. That is why this story is great for stage (storytelling). The book also focuses on relationships, whether it is family, marriage, people and government- it explores the complexity and simplicity of all relationships, never leaving out layers of detail. It was meant to be on stage because that kind of relationship can be seen and felt beyond paper.

Introduction of stage adaption ideas-

I thought a lot about which vignette to choose, however A Wall of Fire Rising kept coming back to me- the complex relationship, broken characters, absolute anger that also hid fear, longing, lust etc. There was so much emotion to play with that it seemed perfect for a stage scene. The short story had no magic realism, so we kept it that way, aimed to naturally explain the destruction of their marriage through a ‘prologue’ style. We used our own creativity to write what happens before what the book tells readers. Kept the set simple, script truthful and focused on using the whole book’s themes to capture their relationship.

Characterization-

The whole scene will be a collection of short vignettes that illustrate the deterioration of Guy and Lili's relationship. Their son is not a part of the scene, therefore the main focus remains spotlighted on gender roles, sexual disfunction/tension, and a loss of love. The scenes take place over a span of 10(ish) years by beginning when Lili discovered her pregnancy and ends when Guy kills himself.

It was also important to make sure neither myself or Guy took up more space than the other. We had to share the stage, we found our moments- however made sure that we equally worked off each other rather than competing for the spotlight. Our main technique was storytelling, and we focused each scene on the two characters. We allowed for the text to highlight both their individual themes, longing for Lili and insecurity for Guy, and also the whole book’s- relationships.

Characterization relating to themes-

The main themes of the scene were gender roles, sexual disfunction and tension, and a loss of love. Guy never felt like a real man, he didn’t make enough money, he barely knew his son, therefore Lili took on the role as the head of the home. Guy felt she belonged doing ‘female jobs’ and this caused a conflict in their marriage. Guy’s insecurities couldn't match Lili’s forward and bold personality, therefore they slowly fought their way out of love. As they began to fall out of love, their hope to even be civil went away- which related to the whole book’s theme of conflict and power. The struggle to connect left Lili completely broken, which connected to the book’s theme of relationships and internal conflict. She had many regrets, but Lili also struggled with recognizing her own fault.

(On stage) The most important piece of the scene was the people, the set was minimal and there were close to no props. This was because Danticat does the same thing in the novel and we valued that as something necessary to the story. She wrote about the family, money, power struggle and hopelessness, not their home or their material objects. This was purposeful in the book and our scene. It focused the attention of the audience on the characters. Lili is constantly conflicted. She wants to be the perfect housewife, but as Guy becomes more internally inferior, she feels the need to become more outwardly aggressive. This was important in the scene because it addressed the theme of gender roles. She forces herself to become more powerful, and confronting. Although she has a lot on her mind, she never talks about things, she internalizes everything. This is the theme of relationship conflict- and she takes her broken relationship as a personal dig to her own humanity. Theme of internal struggle.

Characterization in general-

Finding Lili in my body was a challenge, I had to find a feminine but also tired posture. I stood tall but relaxed my shoulders. She walked very naturally. She was modest, hair out of the face, a long dress- she was a stereotypical ‘wife’. She also was reserved, but had moments of explosive emotion. I varied these by speaking softly and calmly at times with my head down in obedience- then switch to using my arms, yelling and aiming to tower over Guy with my anger. This showed the two sides of Lili that she slowly was exploring more and more. She began to become more aggressive and angry as the scene went on, but I also balanced her vulnerability with this anger. I tried to always have pieces of hope or love, even when it didn’t seem obvious. I got this from Danticat’s constant emphasis on family and love throughout the book. It also made Lili multi-dimensional rather than one-toned and flat. Lastly, it gave Guy more emotion to work off of as he explored his own frustration.

Eventually, Lili gives up on Guy and puts all her energy into her son. The only thing keeping her going is the idea of her son's success. However, her loss of romantic love is slowly destroying her. Due to this, she walks very heavy, but also with purpose. She knows what she must do for her son so she works very hard to provide for him. She resents her husband for burdening her with all the household and childcare responsibilities.

Character Development-

Lili has a huge arch as a character, starting with excitement for the future, love because she is pregnant, the middle she is frustrated, anger but also very hurt and longs for love from her husband. By the end she is hopeless, still in love with Guy but knows that he is lost. I had to show all these changes through my body language- which slowly got less energized. I showed it in the way I touched, or didn’t touch Guy and the way I spoke to him. I felt it was important to be vulnerable and honest in my portrayal of Lily, I constantly changed things and made sure I didn't sound too rehearsed- this made the change believable.

In the book her change is similar, but not as drastic. She slowly gets angrier with Guy, and focuses on their lack of money and food. I searched deeper in the relationship for emotional reasons she could be upset. I found this development by using the aforementioned themes of relationships and conflict.

Possible Improvement-

If we had the chance to go back and fix things, I would have liked to add another scene of ‘love’. The first vignette is the only one where there is no anger. It is all excitement, there are undertones of insecurity, however to make their longing more believable and their fights more intense, I needed one more scene. Possibly of when the two met or when they got married. I also wished we had more time to truly put the lines and memorization into our bodies. I think I was a little caught in my head and over thinking the words, rather than focusing on how I wanted Lily to be portrayed. I don’t think it is clear on stage or obvious, although I think the scene had even more potential than what our final product was.

Conclusion-

Overall, I am very happy with the scene, the characters were multi-layered and interesting. We captured multiple themes of not only the scene and book, but of marriage in real life. It has the potential to connect to real people, which is what makes good theater. This relationship dynamic was integral to our scene's success. We focused on highlighting our own personalities while still challenging ourselves to make bold choices. We worked well as an ensemble and found moments to accentuate each other. Our story was simple, consisting of vignettes, but each scene grew in intensity and emotion. Our aggression matched each other. We were constantly able to build on one another. We found moments of silence to just look at each other which conveyed more emotion than our lines at some points.

The best scene in my opinion was the haunting radio scene. We were able to have such a build mixing in love with pure hopelessness reaching a point of extreme climax. When the radio hit the floor the audience felt the tension. When I picked it up and turned the music back on, the themes of gender roles and family were defied. The acting had depth and challenged me to be a character I never imagined myself as before. The scene grew so much overtime and faced rapid improvement.

Final Scene Reflection

While reading Krik Krak, the story that stuck out to me the most was A Wall of Fire Rising. After the chapter I was constantly interested in the character's and their lives before and after the few moments we got to read about. I wondered about Lili and Guy's relationship, Little Guy's future, and most importantly how things got so miserable, Guy took his own life. The characters seemed like they needed to put on stage, therefore I was so excited to create my own prologue of their lives. The most important part of our scene was exploring the stirring and fascinating dynamic between Lili and Guy, as well as man and woman in the perspective of this book.

This relationship dynamic was integral to our scene's success. We focused on highlighting our own personalities while still challenging ourselves to make bold choices. Lili was the first time I have ever played a character married and the first time I ever was challenged to capture regret, love, longing and hate in one moment. With the challenge to balance all these complex human feelings, I had to dissect Lili in the text and find where her motivations derived from. I wanted to focus on her hidden, internal want to be loved. Though I also wanted to look angry on the inside. By writing our own script, we were able to use language that showed this longing but initially displayed anger. For example, "Do you know how hard I work?", this line may seem simple but it has two layers. The first is intense frustration, the second is Lili's thirst to be noticed by her husband. Contrasts like this were huge parts of our script's style and encompassed the way I act and the Lili I read in the book.

Strengths of this piece were Kathleen's ability to push and contrast me, and my ability to do the same for her. We worked well as an ensemble and found moments to accentuate each other. Our story was simple, consisting of vignettes, but each scene grew in intensity and emotion. Our aggression matched each other. We were constantly able to build on one another. We found moments of silence to just look at each other which conveyed more emotion than our lines at some points.

The best scene in my opinion was the haunting radio scene. We were able to have such a build mixing in love with pure hopelessness reaching a point of extreme climax. When the radio hit the floor the audience felt the tension. When I picked it up and turned the music back on, the themes of gender roles and family were defied. In addition, the upbeat music behind the scene was perfectly eerie and disturbing- making the explosion of anger even more dramatic. Overall, this scene was a roller coaster.

Of course with more time we could have perfect the lights or sound, but all in all, the scene came together very nicely. The acting had depth and challenged me to be a character I never imagined myself as before. It pushed me as an actor. The scene grew so much overtime and faced rapid improvement. I am proud of this work and glad it was able to be completed.

School of Rock Review

At first, I was nervous this show was going to be too much for us to take on. I was nervous about the amount of energy needed to pull it off and all the scene changes, props etc. I wasn't sure if we were ready for such a big production, however I was completely wrong. This was by far the best musical we have done at CA and it showcased the insane amount of talent we have here. Everyone had a moment to shine and in the end we came together as an intense and strong ensemble. The dancing, singing and acting was at a whole new level. There were crazy laughs and also a balance of tenderness and emotion, which all together creates a great musical! The hard work really paid off.

Tomika was a lot like many characters I have played before, however I have never been so shy which was new. Many people were surprised by how I was able to contrast my true personality so drastically. Also, I think the music was challenging but also within my range enough to allow me to feel comfortable really going after the performance. I am pleased with my performance and glad I was able to do something different. I also liked how Tomika had a large character development throughout the show, I got to finally let loose at the end and I had so much fun. I also think I improved a lot with my dancing this year! I think the training helped me a lot, just the little bit of technique changed the whole way I move. If I could change one thing it would be to committed more to moving my arms during 'Amazing Grace'. I know it seems small and petty, but it is always the little things that bother me.

I think the comedic aspect of all the other characters in the show really worked well for our cast, the actors we had pulled off the comedic timing and style perfectly and everyone said how hilarious it was. The energy was so high and the set/scene changes went so smooth. Everything worked out so well. Audiences really loved the production and it got amazing reviews all around campus. I think this is because the story is so entertaining. It kept the audience engaged, the music was fun and everyone was on the edge of their seat. The production truly set a new standard for theater here at CA and I could not be more proud to have been apart of the show.

My favorite part of this experience is probably how I got to be a leader more towards the end of the production. I think helping the other kids in the classroom get their energy up not only made the scenes better, but kept me on my toes to constantly be high energy and alert. I am going to miss all the seniors and I can't believe I only have one more musical at CA?!?!?! What!?!?

Scene Progress

As of now, we believe our script is in good shape. We made a few updates to make the violence and aggression of the abuse scene to seem more natural. Kathleen and I have done a good job thus far of incorporating natural, conversational dialogue into our script. It flows well and seems truthful. The next step for us is putting the scripts into our bodies. Of course we need to run the science and begin to memorize, however the script seems too much in our heads right now. I think we need to do some more character development and study to understand their individual intentions.

I think a good idea would be to use Uta Hagen's verb attachment to our dialogue. I need to go into the words and begin to create my own subtext. I think my next step needs to be using a lot of text study within KK itself and then transferring that into my acting. I think I need more variety in my acting, such as more of a balance within anger, regret and longing. Uta Hagen teaches the process of acting humans and this is scene where that is important. Capturing the couple's sadness and regret is going to be very integral in the scene's success.

Something I overlooked during the first draft was Lili's desperation for Guy to go back to how he was. She loves him and wants more than anything for him to work hard for her. She wants to feel wanted and desired, she is tired of feeling alone in her home. She also is angry beyond her own comprehension. She doesn't understand why Guy isn't in love with her anymore, she is mad he can't keep a job. All of this is important to adding truth and contrast in our scene. To do this I want to analyze each line and attach reasoning for Lili's thoughts. For example, rather than constantly being angry, Lili can be regretful. I also believe in general we need to slow down. I think the lines themselves are fine, but the scenes rush. We need to identify moments of anticipation, silence and staring. This is something Kathleen and I need to work on together.

Lastly, we need to work together as a team to find ways to highlight each other. Kathleen and I need to find places to add moments of silence and longing. We need to also solidify the tech aspects and set. Where to place the blackouts and spots will put us into the world of our characters. The radio is a piece I am a little nervous about, both the throwing of it and the sound. I think Kathleen and I need to get more comfortable with each other to yell and touch each other easier. She needs to be more aggressive with me and I need to be less harsh. In total, we got good comments on our chemistry so I am excited to explore that more as we continue the scene. Our script and volume got good feedback, so the smaller things went well.

Final Script, Costumes, Props

Costumes:

Lili: long floral skirt, simple top, scarfs

Guy: oversized dress shirt, ‘peasant’ pants

Props:

• blanket baby
• bed
• box with blankets for baby
• pillows
• radio
• table

Scene 1

Scene begins with Guy and Lili in bed, the stage is in darkness

Lili

(Assertive, not angry)

Please, Guy, not tonight—

Guy

What? What do you mean?

Lili

We can't, I’m not feeling well…

Lights come up just enough to see , but not bright as they don't have electricity.

Guy

Should we call for the neighbors, do you need a doctor?

Lili

No. It's not necessary

Guy

Then why can't I—

Lili

I-I’m with child, I haven't bled. I was sick before you woke this morning, and last week as well, I know it's true.

Guy

Are you sure? What do you mean by “sick”?

Lili

My stomach, I haven’t been able to keep down breakfast in days. And my head, it aches every time I look at the sun. Simply walking pains me.

Guy

Alright, when do you suspect it will come?

Lili

Perhaps during harvest. Thankfully, you’ll be working, and we will have food.

Guy

That's fine.

Awkward silence

Lili

Are you not pleased?

Guy

No, I am, it’s good news.

Guy reaches to embrace her. Lili suddenly pulls away from him in pain.

Lili

I’m sorry, I...feel unwell.

She turns away, trying not to heave. More awkward silence follows.

Lili

(Hesitant) I think I'll be alright, let’s just rest for tonight.

Guy

(Stares at his wife while mostly preoccupied with worry about their finances) Okay.

Lili

Good-night, my love.

Guy

Mm, you too.

Lights fade to black

---

Scene 2

Lili stands over a crib, quietly humming a lullaby with the child in her arms. She places the baby in the crib and walks over to bed where Guy is already lying down, awake.

Lili

Goodnight Little Guy, sleep well. We need to do all we can to give him more than we had.

Guy

What do you mean? He just an infant, what more could need besides what he already has?

Lili

We need to think ahead, education is expensive, we need to put aside money now. Can you talk to Mr. Assad about getting more work?

Guy

I am already asking for more work than all the other men, I can't ask for anything more.

Lili

Guy, it can't hurt to ask.

Guy

No, it's not worth the risk to seem so needy all the time.

Lili

Guy, put aside your pride for once and think about our home, our baby. I am telling you to ask tomorrow.

awkward silence no. 3, Lili gets up in frustration to check on the child

Guy

Did we wake the child? (Heavy sigh) Perhaps you’re right, I will ask Mr. Assad for extra work tomorrow.

Lili

Thank you, it’d be so wonderful to have any extra money.

Guy

However, it's very unlikely. We shouldn't plan for anymore than what we have now.

Lili puts the baby down and returns to bed.

Lili

Well, we will know by tomorrow.

Guy

Don't get your get hopes up, Lili, we can't afford anymore disappointment.

Lili

What do you mean disappointment?

Awkward silence, the two look away from each other, Guy looks back at Lili however she is still turned the other way.

Lili

(Impatient) What do you mea-

Guy

(shouting) Lili, that's enough.

The baby wakes up and starts wailing (sound) Lili stares at Guy, stunned by his aggression, then shakes her head in disbelief. She walks towards the baby and the scene fades to black as Lili cradles the bay and sings to it. Guy stands on the other side of the stage looking away. As the lights fade, Guy stands with a single spotlight on him. His face shows regret and frustration.

---

Scene 3

Scene opens in the bedroom, with the baby box moved offstage before the lights go up. The pair are listening to a radio, arguing between music and sleeping. Lili is humming to the song and Guy is prepared for bed. The song ends just as the lights settle in. The music quietly plays in the background of the scene.

Guy:

Lili, we should sleep now.

Lili

Just one more song, I've a had long day. The music helps me to relax.

Guy

(under his breath) You've had a long day?

Lili hears him, music still plays in the background. Lili slowly turns towards him.

Lili

Yes. I did.

Guy

I meant no offense. I just.. I worked all day. I need to sleep. I can’t sleep when the radio is on.

Lili

I spent my day raising our son, taking care of the home. Just as I do everyday...alone—

Guy

(somewhat cutting her off) I know.

Lili

(Snappy. A little sassy) Do you really?

Guy

(Sighs) Yes. Please, let's just sleep… Please.

Lili

One more song.

Lili turns up the music and closes her eyes. She slowly waltzes by herself. Guy leaves the room, obviously displeased. Lili doesn’t react to his frustration. The lights fade to black. The music stays on during the blackout for a few seconds, then fades.

---

Scene 4

The lights fade up quickly. Lili storms in while Guy trails behind her, clearly peeved by her yelling.

Lili

(On the verge of tears) I can not believe you did that! He bled. That was too far.

Lili runs to the bed and sits down, sobbing into her hands. Guy tries to apologize and touch her shoulder, and she violently pushes him away in her anger.

Lili

(Yelling) DO NOT touch me!!!!

Guy

Lili, he needs to learn. It's what our parents did to us! Why should he be raised any different?

Lili

When we had this child we promised to never be like our parents. We promised to give him more. We wanted to give him the future they couldn’t.

Guy

I just-

Lili

We want to give him a future, not hit him.

Guy

Please sto-

Lili

I mean, what does violence really teach him? What does hitting him tell him about compassion or love.

Guy

Stop-

The tension builds until they are both talking over each other. Finally-

Guy

Grabs Lili by the shoulders and aggressively throttles her, her crying stops.

BE QUIET!

Lili stares at Guy in shock, before sobbing even harder. She turns away from him.

Guy

(With strong regret) Lili...

Lili

No.

Guy

(Stuttering in disbelief) I..I didn't.. I didn't mean it. I don't know. I just got so-

Lili turns back towards him and looks him in the eye.

Lili

How dare you. (Whimpering) You are not the man I married.

Guy

Lili.. I’m.. I’m sorry.

Lili

You are...angry. You're aggressive. You aren't there for your son. You aren't there for me. You don't support the family. We’re hungry, tired. Your son barely knows you. (Moment of silence) I can't… I don't love you anymore.

Guy

(Suddenly angry again)

You're not perfect yourself, so you shouldn’t expect me to be.

Lili

Excuse me? Everything I do is for our son. We both promised a better life for him, just because he has more opportunities than you-

Guy

(Cuts her off)

Don't you dare accuse me of jealousy.

Lili

(Yelling) You know it’s true-

Guy

(Yells over her)

I said, be quiet, Lili!

Lili

(Staring at him) You've probably woken him up again. (Leaves quickly)

Lights fade and a spotlight stays on Guy. The spotlight slowly fades as he stares in Lili’s direction.

End scene

---

Scene 5

Lili and Guy are together in the house. Lili is tidying up the bedroom while Guy

tries to make small talk.

Guy

I bought some flowers from the women down the street. I left them on the table.

Lili doesn't respond, she is clearly ignoring him. She doesn't look his way.

Guy

Tries again

I talked to Mr. Assad about getting a day off next week to spend time with you and Little Guy.

Lili

(Curtly)

You shouldn't, we need the money.

Guy

I just thought it would be good-

Lili

It wouldn't be. You need to work.

Guy

Alright. Would you like me to buy some vegetables after work for dinner tonight?

Lili

No, I will go.

Guy sits in silence, clearly upset. A few moments go by.

Guy

Do you love me anymore?

Lili looks at him, looks into his eyes, then turns away. She leaves the room and stops just before the door. She hesitates to respond but ends up leaving in silence. Guy sits alone.

Guy gets up and tries to tidy the room, but doesn’t really accomplish anything. The lights fade out.

End Scene.