HAHA
And here I thought writing it was going to be the difficult part. WRONG.
I have the stuff written. At least the stuff for the opening three scenes or so. I thought I would just hand it in to Eising, he would say, "OK," and we would start to make plans.
Of course, in supremely bad timing on someone's part (probably mine), we have a concert coming up on Tuesday, meaning that the last thing on Eising's mind right now is a play that (to him) is two and a half months away, give or take, and that also (to him) does not involve him very much. I also got the distinct impression that there are a lot of other things he would rather do with his time and the time of the rest of the class.
Which is, of course, completely fair. But I am stuck with this vague feeling that we are going to have problems before the end of this whole project. There seems to be a triangle going on here in which everyone has very low expectations of the other's abilities. Eising, D'Anna, and I are running in circles -- I know what D'Anna wants (vaguely) but Eising seems to think that the scene plots which I'm running off of can't possibly be enough to give a good impression of what has to happen, thereby (unintentionally, I'm sure) simultaneously denigrating D'Anna's ability to accurately tell his designers what he wants and my ability to write incidental music. He wants to see "a video of Macbeth, to see what sort of music goes along with it" and he doesn't seem to believe me when I tell him that what one production of Macbeth does, even down to which lines it uses, can be completely different in style, tone, and character from another.
I'm getting the impression that Eising knows (and cares) very little about theater, and D'Anna knows relatively little about the instrumental side of music, and I know very little about composing, except that if I put notes down on a page in different orders long enough, with a vague idea of the mood I need to create, I can make something decent.
The whole time I was writing these pieces, I was assuming that once I had it written, we would just slip it to the percussionists, and they would learn it and all would be well. But if I'm going to be getting resistance from Eising, this is going to be a lot more difficult, because the key to this whole thing is going to HAVE to be FLEXIBILITY. I may be writing things on the fly during rehearsals. I may be changing things around. I may be adding music to a scene where it wasn't originally intended. And if Eising is either wishing he was somewhere else the whole time or unwilling to cooperate...there's going to be problems.
As far as I know, D'Anna and Eising are going to talk tomorrow and things may soften up a little bit. I hope so...
Admittedly, I'm horrible at reading people, so what I saw today in Eising's manner may have simply been the fact that he was not willing to think beyond the concert at this point. But I'm worried. I'm very worried.
Thanks for listening. We now return you to your regularly scheduled program.
I have the stuff written. At least the stuff for the opening three scenes or so. I thought I would just hand it in to Eising, he would say, "OK," and we would start to make plans.
Of course, in supremely bad timing on someone's part (probably mine), we have a concert coming up on Tuesday, meaning that the last thing on Eising's mind right now is a play that (to him) is two and a half months away, give or take, and that also (to him) does not involve him very much. I also got the distinct impression that there are a lot of other things he would rather do with his time and the time of the rest of the class.
Which is, of course, completely fair. But I am stuck with this vague feeling that we are going to have problems before the end of this whole project. There seems to be a triangle going on here in which everyone has very low expectations of the other's abilities. Eising, D'Anna, and I are running in circles -- I know what D'Anna wants (vaguely) but Eising seems to think that the scene plots which I'm running off of can't possibly be enough to give a good impression of what has to happen, thereby (unintentionally, I'm sure) simultaneously denigrating D'Anna's ability to accurately tell his designers what he wants and my ability to write incidental music. He wants to see "a video of Macbeth, to see what sort of music goes along with it" and he doesn't seem to believe me when I tell him that what one production of Macbeth does, even down to which lines it uses, can be completely different in style, tone, and character from another.
I'm getting the impression that Eising knows (and cares) very little about theater, and D'Anna knows relatively little about the instrumental side of music, and I know very little about composing, except that if I put notes down on a page in different orders long enough, with a vague idea of the mood I need to create, I can make something decent.
The whole time I was writing these pieces, I was assuming that once I had it written, we would just slip it to the percussionists, and they would learn it and all would be well. But if I'm going to be getting resistance from Eising, this is going to be a lot more difficult, because the key to this whole thing is going to HAVE to be FLEXIBILITY. I may be writing things on the fly during rehearsals. I may be changing things around. I may be adding music to a scene where it wasn't originally intended. And if Eising is either wishing he was somewhere else the whole time or unwilling to cooperate...there's going to be problems.
As far as I know, D'Anna and Eising are going to talk tomorrow and things may soften up a little bit. I hope so...
Admittedly, I'm horrible at reading people, so what I saw today in Eising's manner may have simply been the fact that he was not willing to think beyond the concert at this point. But I'm worried. I'm very worried.
Thanks for listening. We now return you to your regularly scheduled program.