Electra/Orestes

This will be a short summary on my thoughts, as the final exams (including the TPPP) are coming this week!!
DESCRIPTION
This Friday we watched the performance of "Electra/Orestes", a play directed by Gisela Cárdenas, which shows an adaptation of Greek theatre, in a more "contemporary style" (in terms of set design, and also acting).

ANALYSIS
Some of my partners claimed not to like the play. However, I think that it was innovative, and contained a great variety of interesting aspects.
What aspects made it interesting for me?

• The use of a chorus with choreographies added dynamism to the scenes
• Their use of the lighting also created different atmospheres (e.g. candles always work when a solemn or mysterious atmosphere is to be created)
• Dividing the whole play into two style was original, and created more interest in the audience? why? because after watching one style for more than an hour, at least what the audience sees changes completely, and connects more to our 'time'.
  However....
• Very long texts tend to bore members of the audience, even more if the play lasts more than 2 hours. Plays with long texts should have LOTS of action, and last less time.
• Is the sudden change in style confusing at the beginning? Should the scene change occur during an intermission rather than with the audience sitting there?
  *Maybe its purpose is to clearly show the audience that the whole style of the play is changing. *
• Should the projection of images be used less? Do they distract the audience from the actual acting on stage?

CONNECTIONS

• As well as in "La Cocina", also directed by Gisela Cárdenas, choreographied movements are often used as a resource to catch the audience's attention. As an experienced director, maybe she knows it is effective in creating dynamism.
• This examples show us that choreographies on stage are successful, as a technique for next year's school play. 
• The actor should always be "at risk" on stage - e.g. with "risky" choreographied movements  (this connects with Meyerhold's idea of Biomechanics)

• Characters such as Clitemnestra acted in a "very expressionist" way. Her movements were exagerated, and her 'opened' eyes always portrayed what she felt. Colours such as black and red were used in her make-up and costume, and this contributed to the "mysterious" effect she conveyed. We could certainly use this colour scheme if we want our play to have this effect or atmosphere.

REFLECTION

• Choreographies and the use of a chorus are good resources to add dynamism to a play, create rhythm, and catch the audiences attention.
• Colours and lighting are essential to create different types of moods and atmospheres.
• Games should try to include CHANGES and twists. For example, in Shadow Queendom, the game included perspective changes. In split, the "stage conventions" changed, and in A matter of dissection, characters CHANGED al the time. In this case, there was a twist in the style of the play, which created a connection and interest amongst the audience.

Can a play have two opposite concepts for two different parts? Should we get used to watch longer plays (with long texts), or should plays adapt to the audience, which tends to enjoy shorter plays and dialogues?