Meeting+Notes


 * Please add new notes to the top of the page. (KB)**

10/26 Production Meeting #1

All here except for Michael

Major Ideas Video
 * Not about therapy
 * A cultivation of madness through theraputic endevors
 * No happy ending – love this
 * Represents pull/death drive
 * Focused on faces
 * Exists within the shadows
 * Thematic element – not storytelling
 * Two in-set cameras and two projectors


 * BIGNEWCHANGE
 * Alex Spieth is now playing Catherine
 * Part of Foxhill still uncast

Set
 * The using and discarding of people
 * In nature and human nature
 * Making sure of a surface for Michael to project media onto
 * What was once distressing has now become more dirtiness
 * Show opens with all actors on pool deck – ends with all actors in deep end of the pool

Costume
 * Contemporary time period
 * Difference btw family and outsiders
 * Luxe family members
 * People dressed by Sebastian

Lighting
 * Based on mysteries between characters
 * Inspiration from Film Noir
 * Heightened levels of light and darkness
 * Truth lives in the darkness

Sound
 * Glitch
 * Sharp contrast
 * Cultivating rhythms
 * Haze
 * Mutation

Media
 * Shadows are where the media emerges from
 * Makes sense thematically with madness emerging
 * Working closely with Calvin
 * Video having a psychological effect on characters while within their shadow

Larry
 * Must make sure the video isn’t separate
 * That is doesn’t only physically exist in an isolated area
 * Can cheat this a little bit

Katie
 * Everyone is welcome to come and sit in on rehearsals
 * With some warning please!

10/20

Video m anyone seen a picture helen posted? dummy and light shining on dummy and the shadow m thinks hard to get angle low enough for lighting c we do have lighting positions m projector (pointing to booth) here.. weird k can you make the notes helpful m we need to sit down and mathematically sit down and figure angle of lights and projector k can i say something arty k feedback art wise k loves the way that looks..let's think about edges for the video always m we can do something in the lightlab and record actors shadows k actors make them live k likes the challenge, it is exciting (making shadows live) k we know the lighting and projector positions m yes k is it going to be that? c i can make the lighting go anywhere we need it to be k c shines flashlights at rehearsals k not only way we define edges m start with that and move forward. don't want to get locked into the only way we use video k ideas edge wise? m not worried about that k interested in circle square? m not really m record shadows of actors as masque k like peter pan? k no fake shadow dancing behind actors k i'm standing like this (gesture), my shadow is like this (makes funny gesture) k likes real shadows m LIGHTS WASH OUT MEDIA k YES! k making video edges by washing out m video will never provide an edge m edge for video will be scenery boundary or washed out m clean cue sheet k if that is rule we need to tell calvin right now ALL: conversation about shadows k KATIE MAKES VERY SPECIFIC HARSH CHOICES AND FEELS ENTITLED TO CHANGE THEM k BOLD CHOICES m likes footlights c thinks it looks like a musical all general footlight questions k have you heard anything from john ward about the status of the asian screen k likes the glammed fan k good job lasercutting the thing k meeting with ethan at 9:30 i fabric for catherine dress


 * REDACT** *

all: strip light being visible when it is off, is this a problem? k c what is your hunch c lip hanging down? k stock platform c final dimension? h 4 inches h talks about stock platform and luan k can we have all the furniture for first day of rehearsals? k ramp for third day? h ramp going to be tilted, submitted last night h you can have a stand in. won't be exactly what it is k ok, if he (john w) doesn't have them h function the same way k rehearsal furniture is fine k need the fan h needs to be painted k good

Sound- New Discovery Oblique Strategies Card Play Exploit something you'd never do Wildly playing with tempo Building things to go under the story Varying Tempo speed of sound based on action of story

Sound Meeting (10/17) Suddenly Last Summer Sound Meeting Sound Moments & etc.

Act one scene 1 page 5 Looking at the breathing, remembering it Page 7 Eric thinking about strange bird sounds Whole first bit, especially when talking about the Galapagos Page 9 Btw page 11 and the doctor discussing knife
 * Starting off slow and pure moving into something abstract and primal
 * Slow and pure means one frequency
 * Sine waves
 * Many minutes between beginning and when Violet speaks
 * Sound design to go with the establishment of hysteria
 * trying to open mind to underscoring at some points
 * Until Violet grabs book – could be important video moment – could also be a potentially loud and important aural moment
 * When does this beat end/climax (esp in terms of sound)
 * After foxhill comes in on page 10?
 * There are lots of little moments (Ending with book) then has another one with the sea turtles
 * we should not be avoiding melodrama, esp with Violet
 * one sentimental sound that mutates really quickly
 * Savage bird cries – ends with encantadas section with Foxhill entrance
 * Nice defining moment for sound when they talk about stories
 * Also George and Mrs. Holly are coming
 * They do not inspire Eric
 * using birds as the specific beginning or end to an audible shift
 * No club beat until Catherine shows up
 * or at least her entrance should be a big deal
 * we don’t want a moment of purity because we don’t want to be flagging her to the audience as something pure
 * not that she’s bad, but she is just as bad and fucked up as everyone else is
 * She’s as much of a consumer and sexual transgressive as everyone else is
 * We don’t want the audience to just feel bad for Catherine the whole time
 * What can sound do to help?
 * Her relationship with the doctor helps to make sure we don’t feel bad for her
 * the sound shouldn’t play the part of judgement in the play
 * Doctor should be the one we associate with the “pure sound”
 * Scene II frenetic music?
 * Katie doesn’t know yet what to do with this scene…
 * Scene III Mrs. Holly is the one having a hysterical fit
 * This is her scene
 * How is this supported by sound?
 * Theme of scene is the Mrs. Holly scene
 * Scene IV Violet entrance
 * Quirky. Silly.
 * Her entrance music should be very melodramatic, making it more quirky and silly
 * Page 26 w/ jungle clamour
 * Maybe we hear here the thing we heard at the beginning
 * Page 27&28
 * Violet begins cycle of getting really worked up
 * w/fight on 28 everyone getting worked up
 * overlapping sounds etc
 * moment of video intruding, the overlapping being caused by the video and is ended by Catharine running away
 * Page 29
 * Whole dance sequence
 * Page 31
 * Trying to make herself a victim but really just reveals herself as a slut
 * Injection
 * Must be creepy, upfront-ly weird, truth serum
 * Half a minute passes during this
 * Telling the ‘true story’
 * What does it mean we have no bird cries here no animal sounds?
 * Does this mean its not glitchy
 * Should be different
 * Dry rhythm without other details
 * Page 34
 * birdsongs begin again when everyone is back
 * then the play just keeps pressing on until the end
 * keep working in those cycles, relentless
 * What about the Oompah-oompah
 * Should sounds like house music if anything does
 * Should be a looong time after the doctor’s last line
 * Sound at end doesn’t peak – Catharine gets totally cut off by violet
 * Simple yet glitchy and fucked up and repeating
 * Bc the play is not resolved
 * Sound is outside the video stop/starting the action etc.

Media Meeting (9/26)

Pinpointing lines where media comes in The subject matter does not have to be about something in the past Every time someone goes down the ladder an image is captured Video should not be underlining anything Not just one rule of when/where/why media is happening “the rules of why the media is there needs to be clear as day. They can change and grow through the production, but must be clear or else they become just decoration or alienation.” – KB ~*~*~*~* Media in moments of hysteria *~*~*~*~* We don’t want to be illustrating the actor’s emotional life WHERE/WHEN (Captured for later) ú Because the doctor is never able to give a diagnosis and tell a succinct story Page 16 – General – transition into next scene
 * Lines that are hightened or more performative
 * High emotionality & melodrama
 * If the video is acting as the death drive.
 * Highlighting when people are fleeing
 * Job of media should not be just to draw parallels of the play
 * question is why the media is interrupting time
 * What the video could do in these moments is grab the actor and make them
 * Video can both slows them down and speed them up
 * Media CULTIVATES MADNESS
 * Even if they actors are not interacting with the media – they feel it
 * compelled by the spirit of the video
 * We want to primarily be playing with time
 * EX. Showing video of actors exit’s as they enter
 * Media can be used to force actors to re-do certain moments/lines
 * the media is rooting for madness
 * Page 7 – Violet – “poets are clairvoyant…”
 * She could start looping as a result of video looping
 * Page 9 – Violet “and the sand all alive, all alive…”
 * Page 9 – Doctor “what was it about the spectacle..”
 * Interesting because the doctor is trying to streamline the narrative where the media is trying to fuck with it
 * *** Doctor in a fight with the media
 * In the fight with the video and the doctor – the video wins the play
 * Page 10 – Violet – “Mr. Venable critically ill…”
 * Not exactly like the other moments – pure hysteria etc, but definitely exemplifying death-drive
 * Page 13 – Violet - “Babbled, babbled”
 * Video stopping a progressive, helpful, theraputic narrative, then in this moment she’s stopping herself – but instead we can justify what we’re doing with the video by having the video here be what stops her
 * Page 14 – Doctor – describing procedure (Captured for later)
 * Page 15 – Violet – “SHE’S HAD THAT ALL…” (Captured for later?)
 * Blast all those bright lights for a scene change?
 * Page 18 – Catherine – moment of burning the Sister
 * Page 19 – Catherine – “ Said he was famished for blondes…”
 * Page 22 – Moment with George/ Mrs. Holly/ Catherine
 * Catherine freak out later replayed at this point
 * Violet upset replayed at this point
 * Page 25 – Mrs. Holly “Violet! Not Lion’s View”
 * Recorded for use when she first enters
 * Page 28 – Violet/Catherine – overlapping
 * Page 30 – Whole page basically

Manipulating time (= MEDIA) vs. mutating content (= SOUND)
 * It’s different!

GENERAL MEETING (9/26 continued) ú Blue/grey ú No straps necessary with this cut ú Shrug/covering to go with outfit ú Outfit should exist as a whole ú He is not the sex object – hence not such short shorts ú Only one in bright white ú Mutation of a beat
 * Costumes
 * Violet
 * What color purple
 * Catherine
 * What color blue?
 * George
 * Longer shorts, chic-er fit
 * No socks
 * Foxhill
 * Not all white exactly
 * Muted tones?
 * Sister
 * Dr. Sugar
 * Bright white
 * Sound
 * Glitch machine created
 * Establishing beat then shifting/changing/shuffling the rhythm
 * Jazz drums
 * Jazz/new Orleans = ew.
 * Wanna use analog tape?
 * Female hysteria is manic
 * Sample of painted tile to come
 * Budget comes back Thursday
 * then we edit down

(9/24) Script work-thru @ Katie's

Changes generally happen after moment of emotional climax Violet repetitions (ex. Pg 9) When did all their trips start? Sebastian and Violet are ageless Violet attempting to stop herself from getting carried away with the Catherine stuff Weird disconnect between what Catherine knows and doesn’t know How weird is it that everyone calls Catherine “Sister” like a nun or something, or calling her sister as in family George resentful of Catherine for getting to go with Sebastian? 1317057511 loves to be in someone else’s control The Blue Jay Notebook allows Violet to take over The sense of this summer being different, or changed, it that it is sudden, when really it was gradual
 * Might be a hint for Michael
 * Might be fun to repeat even more
 * 25 years? Doesn’t matter – seemingly forever
 * Disturbed by aging
 * Why does Violet tell Dr. Sugar the story of not going home to her dying husband?
 * Ex) bringing up her reticule bag in middle of story pg. 13
 * Embellished memory of her trying to save him
 * Dichotomy between her really appealing portrait of Sebastian and her very unappealing one
 * Doing what one does when blindly in love” speaks of Sebastian’s faults as if they were charming
 * She’s in love with him – FagHag.
 * Why is mother calling her daughter sister?
 * Confusing because of the nun in the play
 * George wants to be like Sebastian?
 * Catherine loves to be compelled to do things
 * almost a sex/ S&M scene btw her and the doctor
 * v. sexy
 * He wants to, wants to talk about it and bring it up
 * She thinks she can control the story by talking about his artwork
 * But people are experiencing time as all of these sudden shifts

Suddenly Last Summer: Producer Meeting

Peter: Katie: Anne: Peter: ? Joe Pino Susan Tsu Katie Peter: Costume: Katie: Peter: Susan Peter: *** listen to Katie’s recorded response Michael: Katie: Michael: Peter Michael:
 * Metaphor of swimming pool is clear and strong
 * How is it dealt with practically and how do we immerse the audience into this world?
 * What does having the cast only enter and exit literally through the pool mean? — More interesting to say this is the convention of the world that no one ever leaves
 * Curious about state of swimming pool
 * Do we hear water? How do we know this is a magical realism situation? Because this is how it will read to the audience
 * How do we start the play? There needs to be a way to bring us into it
 * Why does it (edges of the pool) stop where it does? Bc right now it stops because the space stops
 * Putting plants up around the top rather than within the body of the swimming pool it diminished the power of the inside of the pool space
 * Is it just Violet’s world? What has she brought with her
 * __ Should not start to have a decorative feel: toughen up, it cannot be pretty __
 * Using the top area as the waiting space for performance
 * Swimming pool is Violet’s home
 * Not supposed to be magical realism – strange maybe, but not imaginary – she is hiding out here
 * Relationship btw top and body of the pool
 * Are there areas that mean different things
 * Entrances and exits create a hard dividing line
 * Make sure this specific way of doing entrances and exits says what you want it to say
 * Defining whether the pool is indoor and outdoor can be done with light
 * Flickering bad light adds something to the edginess of the play, rather than just the bright pool lights
 * Needing to set up two separate worlds and define them with light
 * When there is a big surface, it is worth exploring what exactly is on a surface like the deck of the pool
 * What happens at the edge? Why does it stop?
 * Is there some catastrophic thing at the edges to contrast with Violet saying this is my safe little world
 * Right now the edges feel like scenery – how to finish it at the edge
 * Maybe not necessary to directly quote the idea of a swimming pool
 * If the whole thing was rattly or weak at the edge, or if the walkway creaked or felt tenuous
 * Building the tension
 * This feels not only like a pool but also like a medical operating theater
 * May not have to just be a pool per say
 * Reality of space with feel more claustrophobic because of catwalk above.
 * How’re we gonna know we’re in an outdoor pool and not inside a gymnasium?
 * Why is it the shape that it is?
 * A bit of life breaking through refers to what once was
 * Living in three different time periods
 * Once it was full of water and there is an element of sexuality and hedonism that now it is gone
 * A feeling of exposure to the elements
 * Everyone is under examination
 * Kinetic work with the actors
 * Using hysterical, gestural work
 * Important to be able to cover a lot of ground physically
 * * one worry
 * we don’t want to be referring to Katrina
 * Are we running that risk with this design?
 * Just holes and cracks might provide more creepiness than lighting fixtures
 * This feels a little too neat
 * Some life growing up through the crack and trying to survive
 * How you treat Violet’s area is interesting
 * Why hasn’t she made this a little perfect world for herself in this destroyed place?
 * Bc right now it’s destruction on top of destruction
 * A little beauty will change this
 * Sebastian dressed everyone, everyone is haunted by him
 * He treated them as sex objects
 * Dressed them campy, sexy, luscious
 * Exploring how far we feminize the make violet
 * Costumes should be decadent and uncomfortable
 * Not quite working with their body types
 * How are their clothes interacting with the world?
 * Trying not to smudge? Get them durty? Etc.
 * Is this the first time any of them has seen Violet in this world?
 * How do they react to seeing her where she is
 * Imagery right now takes the world to a surreal place in a way that feels right
 * The minute you start to string together logical realities it becomes very complicated
 * Where did the clothing come from if it isn’t in there already?
 * How are the actors acting?
 * What is the basis
 * What exactly are the actors doing? Are they shaking and rattling?
 * That’s a wonderful opening to all design
 * Discussing fraction of the story
 * Media is based on the death drive
 * Desire to return to being inanimate again
 * Trauma victims returning to and repeating their trauma
 * In this way using media to fuck around with time and jump around all within the frame of the show
 * Previewing things that happen within show and reliving things as well
 * Highlighting the acting and emotionality
 * Media is lingering sexual displacement and Sebastian’s presence
 * Existing within the space to screw with time and flow
 * Media is a character as a opposed to a design per se
 * Media behaves as this overwhelming thing that takes over and forces time to change – which is exactly what death drive does
 * Repeated actions
 * Breathing portrait of a still image
 * Forces you to examine a point in time
 * Using walls of pool
 * Always on, but sometimes washed out to almost nothing by lights
 * Looking at organic elements like clouds and lights to help frame how the images move through the space
 * Is it on all night? During action? Pausing? All over pool? ETC.
 * Who is in the video? The Subject
 * All media is of actors in the show
 * Two types:
 * Filming live on show
 * Filming beforehand on set, in costume
 * Both to be regurgitated later either changed or altered or manipulated
 * Videos are examples of speed, and maybe content and emotive response

Larry (options for cameras):
 * Embedded cameras in back of pool, within set, so the audience would never know they were being filmed
 * Potential of survelance dome cameras with excellent zoom following the action throughout the show
 * Never want to see the edge of the media imagery
 * How is the glitching happening? What does it look like?
 * How does this interact or even work at all with an organic shape?
 * There need to be live operators of these cameras
 * Must identify where in the text this shot moments are going to happen
 * Must be story-boarded and decided upon
 * Camera positioning must be flexible

Peter: Katie: Eric: Peter: Eric: Katie: Joe Pino: Calvin: Katie: Peter: Costumes: Brian: Peter: Larry: Anne Katie Peter: Susan
 * Why is media on the slope and back wall but not on the floor – why include only 2/3 of the space?
 * When including only parts it may become a slide show instead of an environment
 * Difficulty capturing faces, in a space, in the moment
 * Where are they? Who is operating the cameras?
 * Set designer needs to know where these cameras are
 * Need to have a flexible blueprint of where/when video is happening and how that can be changed and worked on and solidified in rehearsal
 * Dionysian rhythms
 * Sharp contrast
 * Haze
 * Cultivating rhythms
 * Harvesting this jungle even after his death
 * Sound lacks identifiable form
 * Applying this idea to sounds that embrace glitch and mutation
 * Glitch as window into primal underlying of what defines the system
 * A steady state of sound that deviates and then changes the pattern: this is the glitch/mutation
 * There is an actual aural haze that is underneath the show over a period of time
 * No ambient noise
 * But bringing in other noise and ideas
 * Like gay club music
 * This juxtaposes with the haze
 * What in the sounds suggests the garden
 * We don’t hear a literal garden but the sound creates a jungle in ideas
 * The sounds bump up against each other in interesting ways
 * BIG SUBWOOFER!
 * Subwoofers are the haze of sound…
 * Contrast between light and darkness
 * The truth lives in the darkness rather than the light
 * Moments in the story revealed in the lighting
 * Film noir lighting
 * Highlighting and helping to support the themes of haunting and tension between the characters
 * Colors very de – saturated
 * Calvin’s been talking about strong silhouettes
 * Long shadows and a black and white palatte
 * Back to costumes: how do you feel about a man playing a woman?
 * What about hair?
 * Going away from costume drag
 * Natural makeup – we know he is a man
 * Blurring the lines – not a literal drag queen
 * Fabulously complicated world.
 * It’s very very interesting where you’re heading
 * Michael and Calvin need to talk about lighting and media together
 * Shadows, camera, backlight/front-light etc.
 * Lighting people who are higher up in this room then we are normally used to
 * All the challenges that go along with this
 * Come up with a more concise way to put all this together and distill it into one common exploration
 * Its all about the displacement of sexual desire. And all will cohere to that
 * That is an intellectual concept that will effect the world
 * This must become a visual/creative concept/world/manifestation
 * How does the clothing interact with the hysteria?

Katie Michael
 * Michael and Helen and Katie to set up a system that is restrictive can be a good thing so there is something to work off of and work within
 * Fish-eye lens camera in the raked floor for a warped effect

Helen Katie: ??? Helen: All Helen Katie: Eric Helen Katie Helen: Katie: Katie
 * Although we all understand the play and directorial vision – there needs to be more cohesion among all the design elements
 * If things are strong and abrasive in all areas, for the good of a piece there needs to be a way to back off somewhere
 * Go extreme with ideas and roll with them so that we stay within the bounds of the ideas we have and want to keep ascribing to
 * Confident in the way everyone is working
 * There just needs to be a better summary
 * Chlorine smell?
 * Stale smell, trash, urine, taxidermy, rotten chlorine
 * (DEAD BIRDS!!!!!!! BUY A CHICKEN!! DEAD PEACOCK!!!!)
 * Garden?
 * Good to evoke the garden but no creeping along fake ivy bc that invokes magic – which we do not want
 * No Venus fly trap
 * Great what larry said about this being a medical space too
 * Amen this.
 * Metal on metal sharpening sounds
 * Incline of the rake
 * What can we have?
 * Not a subtle incline, more drastically rakes then not
 * No raked rehearsal room
 * Could we have opportunity to work on this in rehearsal
 * All actors are on the stage at all times
 * Whatsup with the wheelchair
 * Don’t know if Adam is actually acting like an old lady or not so that bridge will be crossed when we come to it
 * Should service people be costumed by Sebastian also?
 * They should be in the same world without being glam

Ing Katie >> >> Design Meeting (9/12/11)
 * Maybe it should be clear that Violet and Catherine are WAY more costume-y and over the top than everyone else
 * Time: this world is not realistic to now, it is using the way now looks – not literally in 2011
 * Objects mentioned that may or may not be there can be figured out in rehearsal
 * Keep Venus flytrap conversation open
 * Its great we’re being specific to everything thing but they don’t have to perfectly go together
 * We are precise but not necessarily accurate.
 * Kimono are timeless
 * Catherine is less flowy – more structured

Sets: Pool - Actors able to enter and exit via latter into the pool - proscenium set up to ensure control over stage picture and for the purpose of exciting staging and will be good for media and projection purposes - important that once in the deep end it is impossible to get out - garden exists above the surface of the pool with a few vines or weeds growing down into the pool - pool lights up along wall and drain and water filter - specific pool details - glamorous home objects discarded into the pool - what about a dead or taxidermy animal

Lighting - pool lights: enabling flash of hot bright blinding light - one light flickering or effected in some way (-?)

Media - live or fake live from actors on stage - media as character to be develop - media as misplaced sexuality of characters > sexuality of deal > what is Sebastian's attitude > predatory - function is to screw with time and draw attention to particles and details > what these moments are TBD in rehearsal - focus on what helps you fuck with time: - media that helps represent death-drive - may not be connected only to script, but to what is going on with actors - inspired by Sebstian with Jouissance - draining and flawed in the same way Sebastian is > presence of sebastian - Sebastian will not be pictured: but capturing his essence - media echoing in real time and focusing specifically in on details of what just happend - effects the action on stage - all the visuals should look as though they're live - over-emphasize the acting of it - they're acting is real - but it is what is being done to their acting that abstracts their performance - not a movie screen: images billowing and floating away - media lighting and coordinating with one another to find a happy medium


 * Sebastian is present. His aesthetic dominates. All are haunted by his taste.


 * we may not necessarily have scene breaks or blackouts, but we have pauses - maybe dictated by design or media

Sound - working in a temporal medium - sound and media should not interact in a pre-planned way > two separate elements > sound is a design, media is a character - cultivating rhythms - contrasting sharp and primal with things that are tonal and harmless - haze and ambiguity in the text - all this manifested in "GLITCH" >>> def of glitch is: - a glitch is often the window into the primal code or internal working of the system that drives the thing - hypnosis is used to get at the glitch - the glitch changes the pattern and effects sequence - how mutation happens - parallel evolution - generative music, ex: a virus that multiplies and generates sound - haze and ambiguity cannot be humorless - gay music, gay club music - dionysian, reveling > combining this with the dark hazyness, or alternating between - most responsible design-wise for savagery > club music, raw gay sex

Costumes - Sebastian dressed everyone in the play > choose one gay fashion icon/designer and let that dictate - must be fun and sexy - can't be too conservative - no one in the play should have an aesthetic identity - their aesthetic belongs to sebastian - glitzed out, over the top, a little ridiculous - way too femmed out - Catherine has just emerged from hospital so she must be helpless to some degree, and the realization that she is not so innocent comes later - Dr. Sugar belongs to a euro-trashy, almost tacky world - Sebastian doesn't just necessarily dress people nicely, but rich looking, moneyed, gaudy - maybe the garment catherine is in doesn't fit properly, or annoys her, or makes her uncomfortable, shoes too big, but wears it because it was chosen by Sebastian - costume can be used to make sexy poses > giver her undergarments - clothing that is current but with

Overview of what was discussed today (Launch 8/30/11):

- Show Looping - //How// the action is more than what it is - Characters fighting for the role of victim - Looping becomes hypnotic in and of itself - images and words are delved into more deeply when repeated/looped - in this way parts and details can become more important than the whole - trance-like state induced by small and specific repetitions - emotional cycles that happen when viewing over and over - life broken into pixels and fragments - deconstructing action by forcing audiences vision
 * Media Design**

- death/disaster - Andy Warhol - looking at pain through new eyes w/color and repetition - experiencing trauma - moments play over and over in your mind and change as they recur - palate of black and white with splashes or bursts of violent color - memories come back in shocking pulses like a strobe light - frozen movement in time - motion study - one action seen at every moment of it's progression - spaces and areas of discarded objects - how Sebastian used others and they ways in which nature and people use one another
 * Set Design**

- Contrast, opposites - dream vs. reality, good vs. bad, light vs. dark - psychology and dream like contrasts - outdoor garden, brightness, hot and full of vivid contrast and color
 * Costume Design**

- Why is this play set in this wild jungle garden? What does this mean? For what purpose? - The story is personal to Williams - family history - the choice to have his own sister lobotomized - Is hysteria present within all of the characters? - This play is about Barbarism - away from control - that's why the natural world is creeping into the world of the play. we except viciousness and baseness in nature and on television, but are repulsed by it our own lives - the pain of the natural world is present everywhere
 * Peter**:

- the jungle is still ambiguous - sharp contrast - the jungle plays a large part in defining the competing narratives - the literal and metaphorical "Haze" that pervades throughout the piece - hysteria within a machine - a glitch - hypnosis as working the glitch - exploring the jungle - sexual world and its framework
 * Sound Design**

- Casting as hugely important - Adam as Violet, a man playing Violet, effects every aspect of the show. In this deception is inherent. Honesty as a question. Takes the play immediately out of naturalism.
 * Peter**:

- drag is a different impression than a woman trapped in the body of a man or visa versa
 * Susan**:

- Darkness & Shadow - representing tension - Still not sure between abstraction and realism - stark, black and white color scheme - film noir inspired
 * Lighting Design**