There are stories that are not even stories, they're memories, only memories . . .
One must always remember
the first rainstorm of the season.
Don't open an umbrella.
Let the life fall on your body.
Happiness is like rain, it arrives instantaneously
and then it goes away when it wants.
That kind of memory never fades.
Once in a while you come across a work of art that stirs your emotions, that makes you pine nostalgically for days past.
I enjoyed Rain by Cirque Éloize so much.
I love director Daniele Finzi Pasca's approach of using subtle, artful melancholy to invoke nostalgia. The show is simple but the results are beautiful and moving.
I really hope to see the new Éloize show Nebbia soon. Even if it is just more of the same, it's a style that really appeals to me.
Sunday, May 11, 2008
Sunday, February 24, 2008
Double Double Toil and Trouble, Electric Guitarias and La Habañera
We're in the full thick of winter now and it's COLD, the days are still short and it's too miserable outside to do anything. I've been taking in some performing arts events this past week to get through the boredom of the winter doldrums:
Macbeth
I took in a performance of The National Arts Centre's production of Macbeth. I studied Macbeth in Grade 11 English Lit but this is the first time I've seen a live-stage version (if you don't count MacHomer a one-man version of Macbeth done with the Simpson's characters). I'd been to other NAC productions of Shakespearean plays before (Othello, Hamlet and Love's Labour's Lost) but I found them lacking. If you have a play like Hamlet that's been staged thousands of times you really need to give it a fresh point of view to make it relevant to contemporary audiences otherwise it's just a costume pageant.
The Macbeth director understood that, he transposed the setting of the play to World War II era Europe and made really effective use of the symbols of that era; air raid sirens, bombs, scratchy radio broadcasts and he appropriated Nazi/fascist iconography to underscore the ruthless tyranny of the Macbeths' ascent to power. I thought setting the play in WWII was a brilliant choice since it allows the audience to draw modern parallels to the story plus Second World War imagery still invokes a visceral reaction in today's audiences.
Another interesting choice the director made was casting children in the role of the Witches ("Double double toil and trouble"), it made for a creepy effect in addition to underlining war's toll on the innocent.
I also loved how he staged the final act, the siege of Dunsinane castle by MacDuff and Malcolm's troupes. He had actors in World War II combat gear crawling around the stage like in a trench battle then, once inside the castle they were ducking around corners like the door-to-door combat of the Italian campaign. And then for the final showdown between Macbeth and MacDuff; a good old-fashioned Shakespearean sword fight. It made for some great theatre.
I also liked the production design, at the back of the stage they had this semi-transparent frosted-glass divider and when performers stood behind it they could be lit to give a ghostly aura which was a simple but really cool-looking effect.
The East Village Opera Company
Last weekend I went to a concert by EVOC, a band that does Rock-arrangements of operatic arias. It was a special concert being recorded for CBC Radio and they were trying out a bunch of stuff from their upcoming album.
I love this band they have some really original ideas for the arrangements and they totally rock.
For the second encore they performed one of my favourite songs of theirs; When I am Laid in Earth (Dido's Lament) from the opera Dido and Aeneas by Henry Purcell. Dido, Queen of Carthage sings this aria at the end of the opera after her lover Aeneas has left her and she decides to commit suicide. She pleads to be remembered for the way she lived her life and not how she chooses to end it. The EVOC arrangement puts another melody, a lullaby for a child, in counterpoint and it gives this amazing sense of drama. It starts off subtly with Indian tablas and then builds to the electric guitar crescendo. I love it!
Carmen, The Passion
Tonight I attended a performance of Carmen, The Passion by the Royal Winnipeg Ballet. It's an adaptation that takes one of the most famous operas and transforms the story for dance.
The ballet featured an original score. I was unsure about that decision since the Bizet score is so iconic but I enjoyed the original composition, it featured a lot more authentic Andalusian stylings and references plus setting the ballet to an original score really helps the viewer focus on the story.
The staging was minimal; the set consisted of some scaffolds and projection screens. Unfortunately, the projections looked like cheap Winamp visualizations. I understand they were used to fill in the negative space overhead but they didn't add anything to the scene and since I was close enough that the dancers filled my field of view I just found the projections distracting.
The dancers were good, I always marvel at the training and discipline it takes to dance ballet. When I saw the RWB's performance of Dracula a couple seasons ago I thought that production lacked some of the passion, gothic darkness and sensuality that the Dracula story allows. Their Carmen however was passionate and full of sexual energy, it was hot!
Macbeth
I took in a performance of The National Arts Centre's production of Macbeth. I studied Macbeth in Grade 11 English Lit but this is the first time I've seen a live-stage version (if you don't count MacHomer a one-man version of Macbeth done with the Simpson's characters). I'd been to other NAC productions of Shakespearean plays before (Othello, Hamlet and Love's Labour's Lost) but I found them lacking. If you have a play like Hamlet that's been staged thousands of times you really need to give it a fresh point of view to make it relevant to contemporary audiences otherwise it's just a costume pageant.
The Macbeth director understood that, he transposed the setting of the play to World War II era Europe and made really effective use of the symbols of that era; air raid sirens, bombs, scratchy radio broadcasts and he appropriated Nazi/fascist iconography to underscore the ruthless tyranny of the Macbeths' ascent to power. I thought setting the play in WWII was a brilliant choice since it allows the audience to draw modern parallels to the story plus Second World War imagery still invokes a visceral reaction in today's audiences.
Another interesting choice the director made was casting children in the role of the Witches ("Double double toil and trouble"), it made for a creepy effect in addition to underlining war's toll on the innocent.
I also loved how he staged the final act, the siege of Dunsinane castle by MacDuff and Malcolm's troupes. He had actors in World War II combat gear crawling around the stage like in a trench battle then, once inside the castle they were ducking around corners like the door-to-door combat of the Italian campaign. And then for the final showdown between Macbeth and MacDuff; a good old-fashioned Shakespearean sword fight. It made for some great theatre.
I also liked the production design, at the back of the stage they had this semi-transparent frosted-glass divider and when performers stood behind it they could be lit to give a ghostly aura which was a simple but really cool-looking effect.
The East Village Opera Company
Last weekend I went to a concert by EVOC, a band that does Rock-arrangements of operatic arias. It was a special concert being recorded for CBC Radio and they were trying out a bunch of stuff from their upcoming album.
I love this band they have some really original ideas for the arrangements and they totally rock.
For the second encore they performed one of my favourite songs of theirs; When I am Laid in Earth (Dido's Lament) from the opera Dido and Aeneas by Henry Purcell. Dido, Queen of Carthage sings this aria at the end of the opera after her lover Aeneas has left her and she decides to commit suicide. She pleads to be remembered for the way she lived her life and not how she chooses to end it. The EVOC arrangement puts another melody, a lullaby for a child, in counterpoint and it gives this amazing sense of drama. It starts off subtly with Indian tablas and then builds to the electric guitar crescendo. I love it!
Carmen, The Passion
Tonight I attended a performance of Carmen, The Passion by the Royal Winnipeg Ballet. It's an adaptation that takes one of the most famous operas and transforms the story for dance.
The ballet featured an original score. I was unsure about that decision since the Bizet score is so iconic but I enjoyed the original composition, it featured a lot more authentic Andalusian stylings and references plus setting the ballet to an original score really helps the viewer focus on the story.
The staging was minimal; the set consisted of some scaffolds and projection screens. Unfortunately, the projections looked like cheap Winamp visualizations. I understand they were used to fill in the negative space overhead but they didn't add anything to the scene and since I was close enough that the dancers filled my field of view I just found the projections distracting.
The dancers were good, I always marvel at the training and discipline it takes to dance ballet. When I saw the RWB's performance of Dracula a couple seasons ago I thought that production lacked some of the passion, gothic darkness and sensuality that the Dracula story allows. Their Carmen however was passionate and full of sexual energy, it was hot!
Friday, January 4, 2008
jPod
I realized that it's been over a year since I read a novel. Most of my reading consists of non-fiction and classics and while those are interesting it's been a while since I picked up a novel and read it for "fun".
I've been meaning to read jPod for a while.
It's by Douglas Coupland, a Canadian author who's best known for his novel Generation X: Tales for an Accelerated Culture in which he coined the terms "Generation X" and "McJob".
Since CBC is about to start airing the mini-series based on the novel I wanted to pick it up and read it before a made-for-TV version spoils it for me.
The novel is about six late-twenties workers who share a common cubical "pod" in the Vancouver office of a massive video game design company (a thinly veiled reference to Electronic Arts).
While the narrative surrounding the unassuming protagonist named Ethan is full of crazy plot twists and over-the-top scenarios involving his wacky family, at its core the book is largely a collection of wry, sardonic observations about contemporary corporate culture and is full of pithy observations belying the undercurrent of angst of today's average, corporate Microserfs (another Coupland-coined term).
I describe it as Dilbert re-imagined by Kevin Smith of Clerks fame. I really liked the style and slightly acerbic tone of the narrative. I can relate to the characters and it was really a lot of fun to read.
The novel is the opposite of timeless, it's about contemporary culture and captures the spirit of the times for today. While I doubt it will have the same resonance ten or even five years from now I think it works as a snapshot of the type of sarcastic detachment of today's young adults as a reaction to the media-overload we've had in our collective upbringing.
In between the chapters the author throws in artistically laid-out pages of techno-terms and non-sequiturs. Here are some of my favourites:
Engineers aren't funny or cute or nerdy. They're just damaged. I might be damaged, but they're way more damaged than in any other division of the company.
People say that everyone can be a success, but you look at the numbers and no, the world is way more about failure and compromised standards than it is about winning. The older the culture is, the less cutesy it is about saying, "Well, you're a winner because you tried your best." Can you imagine a Chinese person saying that? They'd just think you're a loser and buy all of your goods at fire sale prices during your bankruptcy yard sale.
TV and the Internet are good because they keep stupid people from spending too much time out in public.
I think computers ought to have a key called I'M DRUNK, and when you push it, it prevents you from sending email for twelve hours.
Even seasoned recruiters base their first impression on the basis of fuckability. The second thing they look at is whether you're competent, and the third thing they see is whether you're creative in disguising your lack of competence and/or fuckability.
"Hi, I'm Jeremy. I'm that high-energy new guy they stole from Remtech across the Parkway. I'm young, smart, good-looking and I'm using ever-escalating amounts of crystal meth to make me seem more alive than you. I'll either end up winning everything or be found holding up a cardboard sign and talking to myself at the Exit 23 off-ramp."
I've been meaning to read jPod for a while.
It's by Douglas Coupland, a Canadian author who's best known for his novel Generation X: Tales for an Accelerated Culture in which he coined the terms "Generation X" and "McJob".
Since CBC is about to start airing the mini-series based on the novel I wanted to pick it up and read it before a made-for-TV version spoils it for me.
The novel is about six late-twenties workers who share a common cubical "pod" in the Vancouver office of a massive video game design company (a thinly veiled reference to Electronic Arts).
While the narrative surrounding the unassuming protagonist named Ethan is full of crazy plot twists and over-the-top scenarios involving his wacky family, at its core the book is largely a collection of wry, sardonic observations about contemporary corporate culture and is full of pithy observations belying the undercurrent of angst of today's average, corporate Microserfs (another Coupland-coined term).
I describe it as Dilbert re-imagined by Kevin Smith of Clerks fame. I really liked the style and slightly acerbic tone of the narrative. I can relate to the characters and it was really a lot of fun to read.
The novel is the opposite of timeless, it's about contemporary culture and captures the spirit of the times for today. While I doubt it will have the same resonance ten or even five years from now I think it works as a snapshot of the type of sarcastic detachment of today's young adults as a reaction to the media-overload we've had in our collective upbringing.
In between the chapters the author throws in artistically laid-out pages of techno-terms and non-sequiturs. Here are some of my favourites:
Engineers aren't funny or cute or nerdy. They're just damaged. I might be damaged, but they're way more damaged than in any other division of the company.
People say that everyone can be a success, but you look at the numbers and no, the world is way more about failure and compromised standards than it is about winning. The older the culture is, the less cutesy it is about saying, "Well, you're a winner because you tried your best." Can you imagine a Chinese person saying that? They'd just think you're a loser and buy all of your goods at fire sale prices during your bankruptcy yard sale.
TV and the Internet are good because they keep stupid people from spending too much time out in public.
I think computers ought to have a key called I'M DRUNK, and when you push it, it prevents you from sending email for twelve hours.
Even seasoned recruiters base their first impression on the basis of fuckability. The second thing they look at is whether you're competent, and the third thing they see is whether you're creative in disguising your lack of competence and/or fuckability.
"Hi, I'm Jeremy. I'm that high-energy new guy they stole from Remtech across the Parkway. I'm young, smart, good-looking and I'm using ever-escalating amounts of crystal meth to make me seem more alive than you. I'll either end up winning everything or be found holding up a cardboard sign and talking to myself at the Exit 23 off-ramp."
Thursday, November 1, 2007
My "Wicked" Halloween in NYC
I've been in NYC for a couple days now and have been taking in some new (or new to me) shows.
I saw Spring Awakening last night, the winner of the Best Musical Tony this year. It was composed by 90s alt-rocker Duncan Sheik and is about a group of teens and their respective sexual awakenings in 19th century Germany (it was based on a play of the same title). I found it interesting in that it was kind of antithetical as a musical; it consisted of a young, energetic and good-looking (early 20s) cast belting out a pseudo-punk score (think "punk" made palatable for a broadway audience) and kind of figuratively telling a story in broad impressionistic strokes through the lyrics. At times it felt like it was trying too hard to be "edgy" and different (like the odd stylistic choice of having the characters perform the major numbers in "rock concert" style complete with hand-held microphones) but overall I enjoyed it, there was some good talent on display and the tunes were agreeable enough.
Here's a music video for "The Bitch of Living" Scene:
And I finally saw Wicked tonight. I wanted to catch it when it was in Toronto but the run was sold out and even nowadays on broadway the show is one of the hardest tickets to get; I scored a seat fourth-row dead center which was perfect for being close to the performance but just far enough to take in the big picture.
I didn't really know if I'd enjoy it going in; I'd heard a rough synopsis and given the popularity of the show I figured it would be a pretty vapid affair with some techy production designs. It certainly had the production design part but I actually found myself really enjoying the show. I thought the story was really clever and really enjoyed the "other side of the story" take on the Wizard of Oz and all of the social and political undercurrents woven into the story. The score was pretty standard for a broadway show, it's enjoyable if not particularly unforgettable. The performers were all really good (as is expected on Broadway). And of course I really enjoyed the production design. It was definitely extravagant and way over-the-top but I think the show balanced the razzle dazzle with a solid storyline that an audience member could really think about if he or she were so inclined. Maybe because I deliberately didn't listen to the score beforehand or research the show in too much depth but I thought Wicked lived up to all the hype.
I saw Spring Awakening last night, the winner of the Best Musical Tony this year. It was composed by 90s alt-rocker Duncan Sheik and is about a group of teens and their respective sexual awakenings in 19th century Germany (it was based on a play of the same title). I found it interesting in that it was kind of antithetical as a musical; it consisted of a young, energetic and good-looking (early 20s) cast belting out a pseudo-punk score (think "punk" made palatable for a broadway audience) and kind of figuratively telling a story in broad impressionistic strokes through the lyrics. At times it felt like it was trying too hard to be "edgy" and different (like the odd stylistic choice of having the characters perform the major numbers in "rock concert" style complete with hand-held microphones) but overall I enjoyed it, there was some good talent on display and the tunes were agreeable enough.
Here's a music video for "The Bitch of Living" Scene:
And I finally saw Wicked tonight. I wanted to catch it when it was in Toronto but the run was sold out and even nowadays on broadway the show is one of the hardest tickets to get; I scored a seat fourth-row dead center which was perfect for being close to the performance but just far enough to take in the big picture.
I didn't really know if I'd enjoy it going in; I'd heard a rough synopsis and given the popularity of the show I figured it would be a pretty vapid affair with some techy production designs. It certainly had the production design part but I actually found myself really enjoying the show. I thought the story was really clever and really enjoyed the "other side of the story" take on the Wizard of Oz and all of the social and political undercurrents woven into the story. The score was pretty standard for a broadway show, it's enjoyable if not particularly unforgettable. The performers were all really good (as is expected on Broadway). And of course I really enjoyed the production design. It was definitely extravagant and way over-the-top but I think the show balanced the razzle dazzle with a solid storyline that an audience member could really think about if he or she were so inclined. Maybe because I deliberately didn't listen to the score beforehand or research the show in too much depth but I thought Wicked lived up to all the hype.
Thursday, October 11, 2007
Diavolo Dance Theatre
I went to check out a performance by DIAVOLO the LA-based dance company founded by Jacques Heim the guy who did the choreography for Cirque du Soleil's KÀ. I went more out of curiosity than actual interest since I wasn't really impressed at all by what I've seen of Heim's work in KÀ but I was definitely pleasantly surprised.
Diavolo is known for incorporating over-sized surrealist sets and large structural pieces into their performances so I was expecting something vaguely KÀ-like, in fact some scenes in KÀ are blatantly borrowed from concepts developed by Diavolo. The difference was that Diavolo was able to effectively use these large props and set-pieces in a way so that the performances shone through and weren't upstaged by the sets. It didn't seem gimmicky at all like it does in KÀ.
The troupe performed five pieces from their repertoire tonight. The second piece tonight D2R-A was the inspiration for the Climb scene in KÀ:
In this version the Plinko board is stationary and doesn't fly around in the air. The piece was originally created back in 1995 but they've since reworked it and it's now performed to the end title theme of The Matrix Revolutions which gives it a bit of a KÀ feel but the choreographical concept for the Diavolo version is much better defined and the piece was powerful.
The finale piece tonight, Trajectoire, is performed on a large rocking boat-like platform (and was obviously the basis for the Storm scene in KÀ).
However, the way the choreography was structured with interesting variations in the styles of movement and above all the emotion projected by the dancers was able to transcend the overwhelming set-piece and create a beautiful work of art. I was completely captivated throughout the entire half-hour piece (by comparison I get bored and lose interest about a minute and a half into the three-minute Storm scene in KÀ). I was surprised that a piece featuring such an ungainly and cumbersome set-piece could actually be so lyrical. Trajectoire ends with a lone female dancer on the tilted platform doing a beautiful, heart-wrenching solo. Her expression combined with the music was just stunning.
Fast forward to about 6:45 in the vid for a clip of Trajectoire:
The other pieces they chose to perform tonight were also very good, they opened with one of their newest pieces called Foreign Bodies which was a very abstract expressionist piece involving a large cube that they de-construct and re-construct into a variety of different geometric shapes. I loved how the piece combined dance with the notions of geometry and architecture.
The other two pieces were pas de deux entitled Knockturne Duet I and II, "knock" being a pun because they are centered around a door set-piece; duet one was a little comedic vignette, duet two was very lyrical and poetic and reminded me of La Nouba's aerial cradle.
Anyway, I'm glad I decided to go check out Diavolo, Jacques Heim's original work for Diavolo is infinitely more interesting than the stuff that ended up in KÀ. He seems like an interesting guy too, he personally came out on stage to introduce the show and he hosted a talk-back with the cast afterward.
I definitely recommend checking out a Diavolo performance if you get the chance.
Diavolo is known for incorporating over-sized surrealist sets and large structural pieces into their performances so I was expecting something vaguely KÀ-like, in fact some scenes in KÀ are blatantly borrowed from concepts developed by Diavolo. The difference was that Diavolo was able to effectively use these large props and set-pieces in a way so that the performances shone through and weren't upstaged by the sets. It didn't seem gimmicky at all like it does in KÀ.
The troupe performed five pieces from their repertoire tonight. The second piece tonight D2R-A was the inspiration for the Climb scene in KÀ:
In this version the Plinko board is stationary and doesn't fly around in the air. The piece was originally created back in 1995 but they've since reworked it and it's now performed to the end title theme of The Matrix Revolutions which gives it a bit of a KÀ feel but the choreographical concept for the Diavolo version is much better defined and the piece was powerful.
The finale piece tonight, Trajectoire, is performed on a large rocking boat-like platform (and was obviously the basis for the Storm scene in KÀ).
However, the way the choreography was structured with interesting variations in the styles of movement and above all the emotion projected by the dancers was able to transcend the overwhelming set-piece and create a beautiful work of art. I was completely captivated throughout the entire half-hour piece (by comparison I get bored and lose interest about a minute and a half into the three-minute Storm scene in KÀ). I was surprised that a piece featuring such an ungainly and cumbersome set-piece could actually be so lyrical. Trajectoire ends with a lone female dancer on the tilted platform doing a beautiful, heart-wrenching solo. Her expression combined with the music was just stunning.
Fast forward to about 6:45 in the vid for a clip of Trajectoire:
The other pieces they chose to perform tonight were also very good, they opened with one of their newest pieces called Foreign Bodies which was a very abstract expressionist piece involving a large cube that they de-construct and re-construct into a variety of different geometric shapes. I loved how the piece combined dance with the notions of geometry and architecture.
The other two pieces were pas de deux entitled Knockturne Duet I and II, "knock" being a pun because they are centered around a door set-piece; duet one was a little comedic vignette, duet two was very lyrical and poetic and reminded me of La Nouba's aerial cradle.
Anyway, I'm glad I decided to go check out Diavolo, Jacques Heim's original work for Diavolo is infinitely more interesting than the stuff that ended up in KÀ. He seems like an interesting guy too, he personally came out on stage to introduce the show and he hosted a talk-back with the cast afterward.
I definitely recommend checking out a Diavolo performance if you get the chance.
Sunday, September 23, 2007
I'm Legally Changing my Name
I just downloaded the forms I need to legally change my name . . . any suggestions as to what my new name should be?
Nah, I'm not doing this on a whim and I already know what my new name is gonna be . . . exactly what it is now.
So why do I need to change it?
Well, being a child of first-generation immigrant parents there are a lot of little quirks that I've had to deal with. As some of you may know in Chinese names are read "backward" i.e. Last-middle-first. Unfortunately, this little factoid was missed by whomever was registering my name at birth so on my birth certificate my name is technically wrong, it came out middle-first-last so my middle name is legally my first name.
The same deal happened with my brother and when he registered for his teaching certificate they had to use his "legal" name on his birth certificate so he decided to legally change his name to what it was always intended to be so he could get the right name on his teaching certificate.
I originally wasn't going to bother since this hasn't been an issue for me in the past, I've been able to use my de-facto first name "Wayne" without any problems. Somehow I was able to get my Social Insurance Number and Passport under the correct name. But my mom was pretty adamant that I correct it too, to avoid any legal complications that may arise down the line for stuff like marriage certificates (not gonna happen anytime soon) or wills.
Changing your name is a hassle; there's this massive form you have to fill out (it's more complicated if you're under 18 or married which I am neither), they have to do a criminal background check and credit check to make sure you're not on the lam; you have to get a non-family member "guarantor" to sign that you've lived in the jurisdiction for at least five years, then you have to sign the form in front of a commissioner (a lawyer or civic official).
Then you send in the signed and commissioned forms along with your old birth certificate, wait 6 to 8 weeks and if everything goes smoothly they send you a change of name certificate and a new birth certificate.
Blah, it's such a hassle and it's expensive too: the cost is $137 plus the $34 I have to pay the commissioner to stamp my document. I'd be more motivated if I were at least changing my name to Max Power or something cool. It's especially pointless for me since I've already been using my intended name but I understand why my mom wants me to clear up the mistake to avoid legal problems down the line.
Damn, I was hoping to keep the old birth certificate so if I ever have to declare bankruptcy or fake my own death I can get a new identity :P
Nah, I'm not doing this on a whim and I already know what my new name is gonna be . . . exactly what it is now.
So why do I need to change it?
Well, being a child of first-generation immigrant parents there are a lot of little quirks that I've had to deal with. As some of you may know in Chinese names are read "backward" i.e. Last-middle-first. Unfortunately, this little factoid was missed by whomever was registering my name at birth so on my birth certificate my name is technically wrong, it came out middle-first-last so my middle name is legally my first name.
The same deal happened with my brother and when he registered for his teaching certificate they had to use his "legal" name on his birth certificate so he decided to legally change his name to what it was always intended to be so he could get the right name on his teaching certificate.
I originally wasn't going to bother since this hasn't been an issue for me in the past, I've been able to use my de-facto first name "Wayne" without any problems. Somehow I was able to get my Social Insurance Number and Passport under the correct name. But my mom was pretty adamant that I correct it too, to avoid any legal complications that may arise down the line for stuff like marriage certificates (not gonna happen anytime soon) or wills.
Changing your name is a hassle; there's this massive form you have to fill out (it's more complicated if you're under 18 or married which I am neither), they have to do a criminal background check and credit check to make sure you're not on the lam; you have to get a non-family member "guarantor" to sign that you've lived in the jurisdiction for at least five years, then you have to sign the form in front of a commissioner (a lawyer or civic official).
Then you send in the signed and commissioned forms along with your old birth certificate, wait 6 to 8 weeks and if everything goes smoothly they send you a change of name certificate and a new birth certificate.
Blah, it's such a hassle and it's expensive too: the cost is $137 plus the $34 I have to pay the commissioner to stamp my document. I'd be more motivated if I were at least changing my name to Max Power or something cool. It's especially pointless for me since I've already been using my intended name but I understand why my mom wants me to clear up the mistake to avoid legal problems down the line.
Damn, I was hoping to keep the old birth certificate so if I ever have to declare bankruptcy or fake my own death I can get a new identity :P
Friday, August 31, 2007
The Far Side of Robert Lepage
I recently found a DVD copy of Robert Lepage's La face cachée de la lune (Far Side of the Moon).
I'd seen this movie (adapted from the one-man play of the same title that Lepage wrote, directed and performed himself) in the cinema when it was first released back in 2003 and remember really enjoying it.
Face cachée de la lune is typical of Robert Lepage's intimate one-man shows (he's amazing to watch live on stage as he shifts from character to character). It's a richly drawn out character study of protagonist Philippe, an aloof 40-something grad-student fascinated with the cosmos, and his relationship with his estranged gay yuppie TV weatherman younger brother André (both played by Lepage). The two brothers are coming to terms with the passing of their mother.
Lepage parallels the brothers' relationship with the US-Russian space race of the 1960s and uses all of this as a background to explore the broader themes of loneliness and isolation, reconciliation and narcissism versus the innate need for self understanding.
As it was adapted from a play, the pace of the movie is languid and it is mostly dialogue-driven. Lepage densely packs both the narrative and the visual elements of the movie with layers of symbolism and allegory. The dialogue is often very witty and it is full of subtle humour. I love the visual style; it's a simple, low-budget film but the cinematography and art direction are superb and there are several symbolic surrealist sequences (and LSD trips) that add to the visual impact of the movie.
Despite being a bit cerebral the movie is accessible and also packs an emotional punch, you really empathize with Philippe by the end of the movie but the emotion is very well-balanced, it's definitely not the over-the-top, sentimental variety.
Having been familiar with Lepage's work prior to seeing Cirque du Soleil's KÀ in Las Vegas. I was so surprised at how flat and one-dimensional that production is (despite that flying monstrosity of a stage). Yes, Lepage is known for his use of technology in theatrical storytelling but not to the point where it overwhelms the production. At the end of the stage version of Face cachée there's a surrealistic sequence where Philippe is seen floating alone through the void of space (actually the audience is looking at a large, tilted mirror and watching the reflection of Lepage rolling around on the floor of the stage), but given the significance of what the scene symbolizes this simple "technological" trick made for a really touching moment to end the show . . . sometimes less really is more.
Anyway, as you can tell, the movie is kind of difficult to explain so I suggest you watch it yourself. I'd love to hear your opinions of the movie.
I'd seen this movie (adapted from the one-man play of the same title that Lepage wrote, directed and performed himself) in the cinema when it was first released back in 2003 and remember really enjoying it.
Face cachée de la lune is typical of Robert Lepage's intimate one-man shows (he's amazing to watch live on stage as he shifts from character to character). It's a richly drawn out character study of protagonist Philippe, an aloof 40-something grad-student fascinated with the cosmos, and his relationship with his estranged gay yuppie TV weatherman younger brother André (both played by Lepage). The two brothers are coming to terms with the passing of their mother.
Lepage parallels the brothers' relationship with the US-Russian space race of the 1960s and uses all of this as a background to explore the broader themes of loneliness and isolation, reconciliation and narcissism versus the innate need for self understanding.
As it was adapted from a play, the pace of the movie is languid and it is mostly dialogue-driven. Lepage densely packs both the narrative and the visual elements of the movie with layers of symbolism and allegory. The dialogue is often very witty and it is full of subtle humour. I love the visual style; it's a simple, low-budget film but the cinematography and art direction are superb and there are several symbolic surrealist sequences (and LSD trips) that add to the visual impact of the movie.
Despite being a bit cerebral the movie is accessible and also packs an emotional punch, you really empathize with Philippe by the end of the movie but the emotion is very well-balanced, it's definitely not the over-the-top, sentimental variety.
Having been familiar with Lepage's work prior to seeing Cirque du Soleil's KÀ in Las Vegas. I was so surprised at how flat and one-dimensional that production is (despite that flying monstrosity of a stage). Yes, Lepage is known for his use of technology in theatrical storytelling but not to the point where it overwhelms the production. At the end of the stage version of Face cachée there's a surrealistic sequence where Philippe is seen floating alone through the void of space (actually the audience is looking at a large, tilted mirror and watching the reflection of Lepage rolling around on the floor of the stage), but given the significance of what the scene symbolizes this simple "technological" trick made for a really touching moment to end the show . . . sometimes less really is more.
Anyway, as you can tell, the movie is kind of difficult to explain so I suggest you watch it yourself. I'd love to hear your opinions of the movie.
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