Justification for characters stepsister and godfather
Wednesday, July 22, 2009, 12:26 AM
Ok after consulting Mrs Wong, an artistic director and chinese opera actress, we'd come to the conclusion that we were going to take the approach of modern chinese opera, where the need to appeal to the audience was of great importance, and as such decided to go along with an Americanized step sister and a 'Chinaman' type Fairy god father.This is due to the fact that the modern audience needs to have a connection with the characters and be consistently entertained by that 'one' character who does things differently and as such, the godfather became the stereotype of the strict, constantly annoyed chinese man who seems to have a funny side and the stepsister the shallow superficial girl like today's trend-chasing girls.The above allows the audience to connect with REAL people they may have met throughout their lives. As our target audience is teenagers, they will be able to relate to the Fairy Godfather as a teacher or parent who consistently nags and picks at them yet genuinely cares, while the stepsister is the girl in the class or the one in the street who looks like an airhead but tries to hide it.In terms of MOVEMENT, this will allow a more varied form of movement for each of these characters and give the play a contrast from the ancient norms of opera and fairytales.
The Fairy Godfather for example will have mechanicalish and rigid movement, yet he will have a few playful moments here and there to give him that 'human' connection. The stepsister will have more 'fluttery' and 'wavy' motions which will show her front of trying to be fragile and delicate. She will also have tantrum like behaviour to show her stubborn character which shows that she's a sore loser.
Director: All
Playwrights: Isaac
Secretary: Rachel
Costume: Wenzhen
Set: Priscilla
Lights/Sound: Priscilla
Movement coach: Saad
TSDian
Pris's Rojak I.blog
Rach's Rojak I.blog
Isaac's Rojak I.blog
Other TSD bloggers,
Melvyn
Isaac
Afiqah
Chenxing
Mark
Rachel
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