Humor Personality Tests
Kate Watson-Wallace’s conceptual dance piece, Store, the highly anticipated third installment in her American Spaces Trilogy, left the audience begging for less concept and more dance. The choreographer’s statement of uncontrolled consumerism in the US, visually enhanced by costume designer Millie Hiibel’s seemingly endless mounds of mass-produced clothing, was well taken, but needlessly belabored. When she and her beautifully toned dancers (anonymous bodies) finally began to dance, the audience’s excitement rose, then the piece quickly ended. It left us frustrated and wondering why such a talented dance troupe would have spent so little stage time doing what they do best. But when they did dance, it was extraordinary.
The Live Arts and Fringe Festival succeeds in presenting a mixed bag from which we all can choose to suit our own tastes; the question remains as to whether it will continue to raise its prices, so that it no longer suits many wallets, and becomes increasingly exclusive. If it does, it will surely eliminate the remainder of the real fringe audience and performers from the Fringe Festival. I wonder how many of the artists themselves could afford a pass to their own festival, especially if they wanted to bring their partners? At $650 per couple, maybe Kate Watson-Wallace was right to warn us about the dangers of rampant commercialism.
Check out the Philly Fringe Fest at YouTube
This review was originally published in the Central Voice.
You’ve probably heard so much about Anne Frank throughout your life that a post on it right now may seem redundant and typical – a Jewish blog writing about one of the most famous nonfiction Jewish books. I get it. And yet, I recently read about a book that analyzes Anne Frank’s diary and its adaptations over time.
How has this well-known account changed as people alter it into movies and stage plays?
According to Francine Prose, author of the new book Anne Frank: the Book, the Life, the Afterlife, the book’s fate following initial publication is just as interesting as the history it portrays. With different parts emphasized, universalized, or downplayed, the overall story of the girl hiding in the annex has changed. And, despite what people think, the book does not necessarily “teach itself.” So what are we supposed to take from it? How do we learn the lessons as the product morphs over time?
Prose’s critique made me think. I remember in eighth grade being assigned this book, and instead of writing papers about it or taking tests, each class was broken into groups and told to perform the book in skit form. We could adapt the book as necessary, with the goal being to maintain the major plot line while being unique (especially since there were probably 20 groups that had to perform the same story!) I have to admit, it wasn’t my favorite assignment. Like the good little nerd that I was, I preferred writing! Not to mention, I have pretty bad stage fright. So, the idea of getting up in front of my entire grade to perform a skit was terrifying. Still, the assignment had been made and I dutifully played my part, fully decked out in a hideously embarrassing flannel nightgown.
As we tried to meet the teachers’ expectations, my group decided to assign each character a stereotypical personality – scholarly, preppy, ditsy, snobby, sporty, and more. Let’s face it. It was middle school and these were the stereotypes each of us encountered everyday. With these personalities in mind, the play took on a comedic mood and earned first place for the assignment. Exciting, right? Of course!
But, that’s the problem.
Our skit became more about having fun and getting a good grade than learning the lessons intended. Not to mention, the performance stood out by adding humor to a story that, in reality, isn’t very funny. True, some pieces of Frank’s narrative may invoke humor, but few can argue that the story of a girl hiding from a group committing genocide is funny. So, I can’t help but think of my eighth grade skit and how it fits right into Prose’s look at how society has altered this story. In the end, it begs the question. How far is too far? And, at what point do we lose the essence of the original piece?
-Sarah
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