Started by sirogit, January 08, 2009, 04:45:20 AM
Quote from: sirogit on January 08, 2009, 04:45:20 AMNote about Lines and Veils: I didn't get these. I never got these since I first read about them in Sex & Sorcery. I just don't see it as part of normal human interaction, that people can off the cuff announce stuff they want to be off-limits. I can't imagine anyone stepping up beforehand before a game and directly saying "Don't rape nobody" even if they're strongly against the idea. If people find something strong discomforting to think about, they don't want to think about it to the degree of bringing it up as an objection until it actually comes up. Our discussion about lines and viels pretty much mirrored my expectations, which was some minor posturing about how its hard to make themselves uncomfortable followed by inconsequential viels. If anyone would want to bring up how a lines and viels discussion functions in a productive context, I'm all ears.
QuoteFirst, you need to discuss Boundaries. A Flower for Mara deals with some very personal issues, and without a clear understanding of these rules, people can be seriously hurt. Boundaries allow the Troupe to address them safely, so make sure that everyone is clear about them.During the game, anyone is completely free to state discomfort with the direction that the story is taking, or with a particular event that is being acted out. At that point, the Troupe must interrupt the play to have a brief discussion about how to resolve this problem.The simplest solution is to move the action off-stage. The Troupe agrees that something happened, but doesn't feel the need to depict the action on stage. The classic example of this is the infamous "blowing curtains" in many movies which indicate that two characters are engaging in sexual activity.At times, this will not be enough to ease the performer's discomfort. A topic may be so sensitive for him that it simply can't be included in the developing story at all. When this is the case, the Troupe must respect that performer's discomfort and look for other interesting directions where they can take the narrative that everyone is comfortable with.Individual cast members do need to embrace developments in the story that might hit close to home, though. This play is supposed to be about issues and concerns that are close to the hearts of the Troupe members. People should be as open to these developments as they can manage.As the Director, you must ensure that these rules are observed at all times. Any time you are concerned that someone is being pushed too far, pause the action and raise the concern yourself. You need to make the play a safe place for the Troupe.