10 October 2014
Big Love: Emotion in Entity
Prior to any and all discussion regarding the Brooklyn college production of Big Love, allow me to express that I now consider Charles L. Mee an excellent playwright. I had (and to some extent, still do) notions about such a drastic artistic interpretation of what it is to love; I felt that anyone who could, through any medium, explain the application of said concept within the institution of marriage had completely confused themselves. After witnessing the performance, I felt that I had misunderstood for so long what it can mean to love; one can want, one can lust in intent to love, one can fear to love- all in or out of, with or against time and circumstance. In my view, Mee encompasses everything love has to offer in this emotional script. The different elements of the play (music, costumes, lighting, etc.) were all beneficial to the scene. Costumes, in my opinion, were a little lacking; when I say the costumes were lacking, I refer to the wedding dresses worn by Carolyn Coppedge as Lydia, Nazli Sarpkaya as Olympia, and Stephanie King as Thyona. Costantin Stanislavski’s An Actor Prepares has a chapter on the actor’s super objective. Stanislavski states clearly what a production should strive for as a whole. ‘In a play the whole stream of individual, minor objectives, all the imaginative thoughts, feelings and actions of an actor, should converge to carry out the super-objective of the plot. The common bond must be so strong that even the most insignificant detail, it is not related to the super objective, will stand out as superfluous or wrong.’ (Stanislavski 271) Perhaps I misunderstood the garments they wore; the girls’ dresses may have been meant to appear as though they traveled a great distance to escape their planned marriages. This was an impression I did not receive. That having been said, the performance was captivating. The action from scene to...
Cited: Stanislavski, Constantin. An Actor Prepares. New York: Routledge, 1989.
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