Change in Plans...by Debbie Bagnato

So, just when I fet like things were moving along fairly well, my supervisor is thinking of transferring me to the Bayonne store. WHAT?!!! My store and my co-workers are all in this store which I have been in for twenty years now; my old store was moved and renovated but I stayed where I am as I had become used to it. More important than any of that---my thesis is based in my store! News of this plan shocked and distressed me, and it may happen whether I like it or not, but I had to stop and regroup. Despite my personal  reasons for not wanting to do this--especially now--I have found a ray of sunshine (a very small ray). Because I have incorporated all stores into my backstory, the move to one of the competing "sister" stores might be beneficial and add another layer to the story. I do not want or need to add anything to my upcoming scenes but there may be some positive ideas that will materialize from the transition to a new location.

Also, when I started this project, I was out of work because of my back but was able to clearly outline and frame the "story" as I was visualizing it. That is what I will do again if they send me traveling.
 I would greatly prefer NOT to go anywhere as I often get new ideas by looking at someone or having coffee (and complaints) with them, a regular Shoprite custom. The scene I was about to start is the hot and heavy scene where Mhyrrine teases her husband when he comes to visit her at the Acropolis---and beg her to return home. Oddly enough, in reality the two characters are no longer in my store--both transferred to other ones as well. But I am in contact with the one, and she dates the other so my perceptions of these real people is very current and any quirks I add to the characters very doable for this production. At present I am trying to beef up the shorter connecting scene that leads into the one I just mentioned; it is actually fun but I must not make it too long. The idea was to have a short, funny scene to illustrate the changing atmosphere in the store and also show the women trying to look more sexy as they tease the men (and also get a little "lonesome" themselves). The scene was also styled to show the men responding to this female takeover, and and the absence of attention. This little transitional scene will require some more tweaking but I think it will be a funny yet heated moment when it's done. That is the sentiment I am shooting for but I need to incorporate that tension among all the players involved in this scene. The next scene will be a doozy but I will be working on that one until I get it right. I am in  a supermarket with this version, so the character can run to fetch any number of things for their "moment" and then simply change her mind. And there will be a large audience onstage to monitor their sexy scene. I am still hopeful that I can finish my first full draft over break but if one scene takes more revising to get the ideas on paper, I will give it that time rather than write something that doesn't work. But I am full steam ahead to rewrite the little scene and then onto the sexy, funny one. Hoping that I can get it on paper the way I want! And hope everyone else is making great progress with their writing projects. Will see everyone on Thursday and cannot wait to find out how everyone is doing. Now, back to the script...

Moving Along! But now I am worried about the ending... by Debbie Bagnato

Well, I completed my character list--which is sizable but I am following Aristophanes lead. And I added my next scene after the lengthy one inside the store. This is a connecting scene that needed to illustrate the heated atmosphere while emphasizing the obvious--they are in a store which is open for business. Luckily, it was easier to write than I anticipated, much to my relief. The upcoming scene is all mapped out on paper and should be a fun one; there are always many changes and things I discover as I go along that are neglected initially. The job is then to iron those out but it is easier to address them as I find them. So, in the big scheme of things, I am pretty much on point. I bought a story-board so I can begin mapping out physical aspects of the play, as if it were to be produced. While we are on  break, of course, I will continue to write, revise, edit and change things a billion more times, as is the norm. I realize now that I am closer to the end of this story (not there yet but drawing nearer) and further from the opening. Unfortunately that means I am now faced with the dilemna of HOW to wrap this all up in a humorous, ridiculous, yet believable fashion. There will be free-writing in my immediate future and lots of brainstorming. And prayer, many, many prayers.

I had always planned on staying close to the master's (Aristophanes) original, and despite logistical and societal differences, as well as the obvious time period switch,  I have followed the basic format of his story. Also, I had particulars planned for the closing scene before I even wrote one word, but the pulling it all together part is going to be my most important challenge. Hopefully, the opening is a strong enough attention-grabber so that people want to read/ watch this play and not simply dismiss it. The follow-up scene seems pretty funny, fast-paced and a strong continuation of what is revealed in the opening. This was a relief as I read it back, but that scene has only been read by yours truly so far; guess I will ask my group mates if we can give that a read-through next week. Although I was delighted with what I had written, there are a lot of characters coming and going in this scene, and I need to find out if other readers can follow these rapid-fire conversations and get the intended humor. If so, I can gracefully slip into the upcoming scene which is a doozy. In truth, I call these "scenes" but they are really just different parts with the chorus of old--usually two groups of twelve representing the men, and the women--and the individual characters who speak. I have separated them into "scenes" in an effort to create this new story while maintaining Aristophanes timeless ideas--and utilizing the humor of both situations. So now, as I draw nearer to that final scene, the denouement, I realize the great importance of this scene. It needs to be funny, consistent with the story, and in its silliness, make a point of the women--and helpers--victory. The audience, or reader, should walk away from this with a good laugh and a sense of satisfaction that justice has been served--the women (and company) have made their point and the players will now go forward in harmony. Oh, and about "Harmony" she is going to be in that last scene, just like the original. It is my job to use her presence wisely, and help her--and possibly another (?) to fit in smoothly. On that note, back to work for now.

The Clock is Ticking by Debbie Bagnato

As I move on through my play, the process becomes more involved--naturally--and I find myself needing more time to get things accomplished the way I want. And time is the one thing there is never enough of. Work has become increasingly unbearable, as I have mentioned loudly, but I can use a lot of this in my story; these are the reasons that prompted my choice. However, I never in my wildest dreams anticipated my place of business would turn into the hellhole it has become. The only consolation is that I can infuse my aggravation, frustration and irritation into the lines of my play, and anyone who has ever had a similiar experience can identify with those raw emotions.

 It will be done with humor, because it is a comedy, but sarcasm as these are unacceptable work ethics and manner of treating people. Well, now that I have had my rant, let me tell you how my character list is doing. I have all my characters in both the opening and second scene completed, which comprises a sizable number of pages. It was very therapeutic and even funny, as I worked my way through descriptions of the people with whom I work, wait on line for coffee, share good and bad times, and cheer or jeer the bosses every day. In doing this lengthy task, I have discovered that many of these players in my piece need to simply be in the scene, not necessarily speak. There are a couple of other faces I want to introduce in the next scene, but I am uncertain if that is a wise thing to do, because the cast list is extraordinarily high right now! I will be putting that together over this week so I will make a decision then; one solution is an old theatre trick--small roles in different scenes are played by the same character. So perhaps that will be an underlying factor in the upcoming scene, as well as reusing a few players who had but a few lines in the previous one.

                       My new character is still in the story, but because she was prompted by--you guessed--a real person (who I tweaked for emphasis) I have, sadly, found some less pleasant attributes in the real character, and need to figure out the best way to utilize them in her stage persona. This may work out to the play's advantage, especially in lieu of the direct jab at corporate bull***t being emphaiszed in this production. The atmosphere that has to be brought to the forefront in the next two scenes involve the sexuality of the women, and the mens increased desire as they are being adamantly denied. The next scene will be transitional, but I hope to show a little more teasing in the manner the women (and specific others) are fighting with the men about the point of conflict. The corporate character is taking their side but can she be trusted? Maybe she wants her contest to be a fun interactive source of sales incentives instead of a heart-attack, stress making machine that will drive men to drink or destruction of each other simply to be the winner. And maybe she too has a significant other who is too involved in the biz to pay any attention to her. I have not ironed out all her details, but feel I am almost ready to tackle the next part. I have noticed a lot of what happens involves thinking, free-writing, and changing my mind. Then I usually have what I need--on numerous pieces of paper, post-it notes and sometimes, on the edge of books. Let's hope I can find all the little reminders of the latest brilliant addition when I try to put it on paper. I will be back next week and hoping that I have some solid writing completed on the next challenge. My prayers that we all get a lot of good writing out of our heads and on the paper as my favorite holiday, Christmas, draws near. The magic of the season is all around so let me get started!

A Very Cathartic Character List by Debbie Bagnato

Well as you may have guessed from the title, I have been writing my character descriptions--and they are all characters in true life! Because each cast member in this play is based on my real-life co-workers, as I am writing a short character breakdown of each (adding in any extra traits for the purpose of my play) I am finding that I really do work with a bunch of nuts. They are nice nuts, in most cases, and irritable or hot-headed in others, but it makes for a colorful blend of people to write about. Of course, on the days I get home late--most days of late--I do not attempt this type of writing project as my ability to treat each person objectively would be largely compromised. However, I had some sleep, and caught up on my household duties so now feel much more able to provide the balance of my character descriptions. The biggest problem in this feat is the nagging reminder that plays with large casts, such as Lysistrata, are rarely produced because of the cost of all those actors. But in my case, if a school or charitable organization wanted to do this as a fundraiser or student activity, I would be delighted, and probably ask to audition or offer to stage manage. If possible and if time permitted, I would be an excellent dramaturg as I know the inside story. Because I wrote it. Of course, I know I am being silly over these minor problems; Aristophanes had a large cast, and that is why I chose this setting--which always has a lot of people in that space--as the "center stage" for my piece. And sometimes, when I am so tired of being there late, I look at my Acropolis and can bear it.

My next scene will not begin just yet as I am still cleaning up a few parts that were muddled. I have notes for the next scene and will probably run them at the same time using lighting to differentiate the front end of the store from the backroom. The revolving stage sounded superb, sort of like the ekkyklema of Aristophanes day, but my idea of showing the two battles will work better downstage with contrast lighting (I think). This will be a short, rapid-fire scene, so I need to have that momentum from start to finish. Which is why I need to have everything up to there nailed down better before I begin writing it. After that I will be looking more at the scenes that lead to the end, as I follow the master's (Aristrophanes) layout or game plan for these characters. Two more very funny scenes (which will require a lot of work and fine tuning) and then the closing scene will be at hand. In the midst of this type of reasoning (which is unreasonable as I am still fixing the opening scene...) I have added another character to scene I who will help tie up the missing pieces. Aristophanes can afford to miss tiny details as they may simply be in the various translations, but I cannot with my modest adaptation. It does not add too much dialogue, so that scene is not greatly lengthened but it helps coordinate the missing pieces at store level and the ability to actually WIN their inter-store war. I will keep you posted, but I believe this character is a keeper. My cast list is so large--just like the original, but there are only so many in each scene. My second scene has a lot, so I may lose a couple or just have them there but without lines--just like Aristophanes. I want the stage to look like the number of people that would be there in the store at the different times of day, but thye do not all need to havve dialogue. But they can all look very different, as they do in real life. Oh boy, this is getting more complicated. But it is still fun, so I think we will be alright. On that note, back to work for me. And to everyone, a happy and very fun-food-filled Thanksgiving!!!

Moving Forward with a New Character! by Debbie Bagnato

Well, as I have been playing with the feedback and the GREAT idea suggested by Dr. Z this week, I made several drafts but none felt done. So, I knew I was still working through the how and the when, etc. of the best way to integrate these new sections into what I already have written. And then I realized that I am working with a young woman who is very much a boss, and often acts almost like those men who are  all-business all the time (my men in the play) but actually sees the ridiculousness of this competitive atmosphere.

 She is also a dynamic person, athletic, daring, young, strong: rather a Spartan type woman--WOW! That's the person I wanted in my opening scene---but I genuinely like all my characters that I put in that scene now. That's when I realized the obvious--I can fuse all these pieces together, and add her to the scene as well as the other ideas that came about thanks to Dr. Z's suggestions and the comments from my group (thanks guys). It may be tricky or not all work but I have a good feeling about this addition; I do need to go back to my big book and review the next scene I will be writing after I get this in order as well as the last scene as I believe it would be a good idea to note te characters who will be returning in the latter scenes and decide where and when they will all be onstage. As I write the character list, I will feel more confident about each description knowing how much we will be seeing each character, and how they should come across to the audience and their place within the cast. As much as I want to keep moving ahead, I need to tighten up what I have before I go too much further. So, my goal for now is to try and fuse the first scene with my new Spartan, and the great idea that I have numerous drafts for (the last one is almost there--I think) and then see where all my characters, as I form my list, will appear before I get to those scenes. If I can get all that done to my satisfaction, I will be thrilled and also feel like there is a firm footing from which to move forward.

The next scene has to be funny, and I have decided I would like to change the setting by using a revolving stage--so I need to invent a short, comic scene at the back of the store and then return to the business up at the front, by Courtesy (otherwise known as the modern-Acropolis). These are normal tpes of scene changes and being I don't have to worry about a budget, I can include these wonderful ideas. In truth, the facts are simple enough--if I were to produce the play and did not have a revolving stage available, the scene would darken and spotlights would illume another part of the stage where this comic scene would transpire. There may even be a way to juxtapose the backroom scene against a front-end scene on opposite sides of the stage--and I need to try all of these ideas out. There are only a few more scenes left, though each one takes a lot of time initially, and then a lot more to tighten up my rambling mess! But the fun is in the doing, and the re-doing and the imagining of it all being done in real time on a stage right out here on campus--that would be great fun. But for now, I'll just try and get through my next steps. I'll let you all know how it goes, and hope everyone else is sailing along well.

"So Far, So Good" by Debbie Bagnato

Well, we had our wonderful class on Thursday and now I feel like I am on the right track. Everyone seems to be looking good and the work, though much more of it ahead than behind us, seems like a fun adventure. We read the first fifteen pages of my play and I was a little worried about the reactions I would get from these guys but wanted to know their honest impressions. And I got them! Luckily, they were mostly very good, and also incredibly helpful on certain areas that I needed to get their feedback on. So with that in mind, I am on to some clarifications in sections and a possible new addition--thanks to Dr. Z's suggestion.   is the point of a comedy. I am calling these sections scenes, though they didn't actually have scenes or acts in Aristophanes day. However for me, as I write and visualize this piece being performed, it is easier and more realistic to break the play into "scenes" in order to look not at the whole story but instead at smaller bits of dialogue to construct (which is probably how and why someone thought of this idea of instituting acts and scenes in the first place...). The next scene is calling me but it is not time yet. I feel that I should go back to those first pages and make the changes and/ or corrections which are mostly to  clarify areas, and then move forward through the entire piece with those changes in mind. It may take longer but it will probably bring me to exactly where I have to be in order to move forward successfully. I also need to write a character list with some background information on each of these players; this will take long only because there are a lot of people in and out of these scenes--much like Aristophanes and his choruses. Luckily the characters are all very real as they are mostly based on real people who work with me. But the backstory always adds flavor for the reader, and some of that will be my imagination.

Not sure exactly where my next "scene" will lead me, but feel much better knowing that it is okay so far, and that we all got a laugh from it which

As I sat writing lists of things to do for the play instead of in the play, I thought of other essentials such as hair, costumes, lighting, and the use of the scrim beyond the opening scene. The set is already pretty well set in my mind BUT I may need to draw sketches of the scene changes and how they will be most effective. I had originally planned to use a revolving stage and switch the upcoming scene to the backroom, which is dark, cluttered and very hectic with vendors coming and going. I had also hoped to use this change of scenery to demonstrate the "battle" through the store, but with a cast so large, the scene would probably work better and be performed more simply if it stayed on the same stage set. That is how  Aristophanes original was performed--and then the players will simply arrive (and complain) from the other parts of the "store." The reality is to wait and see when I continue with the new writing for the next scene if that decision will become more apparent; there is no real budget for my hypothetical production so I can plan this performance any way that is feasibla and entertaining. Still, I want to make this play a possibility; despite the large cast it could otherwise be a great deal of fun to perform. Now to stop blabbering and get back to work; I'll write again soon and hoping for positive results for all of us!

Moving Along through Scene II!

Surprisingly, and most definitely to my relief, the second scene was not as bad as the first. I think the need to stick somewhat to Aristophanes opening for MY opening gave me a little trouble--that and my utter fear it was way over my head! But once I got that on paper, it became easier to see where I wanted to change, add, or absolutely delete lines. The second scene seemed to roll on the page; I had given even more thought to how I would constuct that one as it was not following the original piece. In truth, the idea is exactly like the original--the men and women bicker to the point of losing their tempers. But I am not using men or women choruses--I instead have a plethora of Shoprite employees to replace those. What seems to be such a great deal of fun is the fact I have characters to work with--my coworkers--so I do not need to create people entirely from scratch. It gives my characters their voices, complete with complaints, drawls, accents and often  a loud, sarcastic tone, but these are real voices from the very types of people I am focusing on. The enthusiasm from my coworkers over their personas being used for my play is overwhelming--and for me it is hugely helpful. When I start to picture how I want a scene to go, I visualize these people and know the reactions I will have. Sometimes I even hear their voices-in my head--in response to the questions posed to them .

 Usually these are funny lines even if the people in question are angry.  I have learned over the thirty nine years of working in this environment that most of us will respond more quickly with humor or sarcasm than outright bitterness. Once someone is finished venting, they go back to work--until somebody else brings up the very thing they are complaining about. I guess the luxury of knowing the "characters" in my story as real people who do find themselves being repressed, disrespected, and underestimated by a group of misogynistic men in power, is a gift that enables me to write some funny things that would undoubtedly happen if this fiction became fact. Those characterizations include the men I work with as well as the big cheeses I work for. This play does not require any true anger; only a sense of "right is might" and "power to the people" (right on)...Enough of my cliches for now. On a brighter note, as far as my bibliography goes, I had found about three more pieces that I liked very much and then the trail went cold. Until I ordered a book for my other class on Creative Nonfiction; its called Writing True by Perl and Schwartz, and as I read through the chapter headings I would be visiting, the realization came to me (finally) that although I am adapting Aristophanes classic piece, I am doing it in a very realistic setting. The facts are fictional but the people I am using as my models--who are very flattered to be included and have all given their consent to borrow their names and/ or personalities---those folks are very real. The setting is also real so my Lysistrata becomes a story filled with a nonfictional group of characters in a nonfictional grocery store. Even my customers--who will pop in during the next scene (I hope) are the real deal. So, after reading through a large portion of the Perl and Schwartz book, I recognize the potential it has for my writing of this tale. As for this Thursday, I cannot wait to try the cold reading of one of my scenes with my group and Dr. Z. Now I have to decide which one I want (or dare) to hear out loud.

At last: the Next Scene*** YIKES!

So after looking up a lot more information--a lot of which is the same information viewed differently by other writers--I have gotten up the nerve to forge onward. Admittedly, I once again made lots of notes, post-its attached to those notes with (you guessed) other notes, and finally--as I am writing--even more notes that need to be inserted into the story as I (eventually) type it up. Then, after it is typed up I will proceed to rewrite most of those lines AGAIN and replace my first words with entirely different BETTER words; maybe I can finish this project by spring. More likely, I will be submitting a draft of my project as every time I look at this piece, I find some small change that simply must be made. I really hope it will be a funny piece yet contain some merit for the voice it hopes to create. At this point, I want to get my "dry run" down on paper and then bit by bit, try and make it stronger, funnier, and more meaningful--but without becoming preachy. I certainly hope I can achieve all I am setting out to do.

  The encouraging thing is that all my co-workers--the inspiration for this insanity--are thrilled to even have their persona or their name included in my piece for school. I believe they think I am eccentric as I like school and have chosen to go back--again and again--while working any kind of crazy schedule with them. But, I too am one of these people I am writing about as I too am employed there. Just like them, I consider myself inconvenienced and sorely affected by some of the sales incentives that are a regular part of being an employee today in this form of retail. Gone are the days of simply working one's schedule and leaving the job entirely when you punch out--I am as much a part of the cause I am fighting, with my adaptation, as I am the voice of opposition. This realization has become clearer with the ridiculously long days at work which feel like they accomplish nothing. Sadly, there are still many of my co-workers who are put upon in a similar fashion yet also remain on the fringe of these inner-business wars. The world of business holds a much different lifestyle and creativity level than the worlds of writing or theatre--the worlds where I thrive and am happy. So the work atmosphere is very draining for me as a person, never mind as an employee. The many co-workers and lifelong friends through my job, face the concern of their other half becoming too enmeshed in this fast-paced, all-consuming business. Often with little or no hope of escaping the lure of the money and prestige held so highly in esteem. And there actually are many good, bright, warm-hearted folk who cannot get a break in this business despite their best efforts, as they are perceived as having less to offer than the people in charge--the all-knowing moguls who are, in truth, no better than those they overlook. Stolen time from important family moments are as commonplace as unfair expectations of higher authorities with no regard for the people below them--holding the business together. Worse still is being placed in a position of authority over people whose positions cannot be changed or improved upon easily, but would instead need an investment the company does not want to provide. All of these situations occur concurrently in my business, and with a staff of almost three hundred employees in my store alone, there are a lot of concerns to realize, recognize, and attempt to convey simply through a rewrite of Aristophanes classic. In the hope of having those voices heard and respected for their daily struggle while also laughing at ourselves as we all try to get by with a smile. Just keep  praying that I can pull off this feat; with God's help only will this be accomplished!

Trudging Along (with a cranky computer...)

Well, after reading through the new pieces I acquired for my Lit review--and being grateful for the smart things I have unwittingly done so far--I find myself fighting with my computer which has decided I am not paying it enough attention (perhaps) or that I am spending too much time working on my phone. Either way, I do frequently research on my laptop or my phone and when something seems like material I would like to have handy, information that will greatly benefit my play as I move forward in this (dreadfully slow) process, my desktop and its printer tend to be uncooperative. My frustration level with work--that place I find myself spending twelve hours a day of late--and my inability to form verbal sentences by the time I get home much less create humorous dialogue for my next scene, is greatly enhanced by the computer joining forces with Shoprite, Wakefern and the less personal but equally annoying rush hour traffic (which I am now in the thick of, as I get out of work so much later than I am supposed to). But enough of my complaints--for now. I am finding, through my research, that my instincts and my initial research about adapting a play from so long ago, were spot on--thank God! I will not have copyright fees or family members looking for compensation--unless Aristophanes has a relative who can validate their connection to him, which is fairly unlikely. I had learned that in Theatre and also in my many Shakespeare classes; being such a big fan of the Bard I was curious. But these articles confirm my safety in this area. So ancient Greeks are by far even safer than sixteenth century works. I was also pleased to learn that the characterizations I have carefully chosen are also following the good advice of experts--so I have made some smart moves with that as well. What I find of concern is that all three papers I read on adapting a play, recommend taking a "B" play and improving on it. I have chosen an "A" play that is one of my favorites, which is most definitely not the suggestion of experts at all. However, I feel it can work if I stay true to Aristophanes style of humor and humanity while infusing this piece with my own--in regard to this new setting and what my version is hoping to convey. He sought peace and that point was grasped through the humor. I seek understanding of self, for the people caught in the middle of corporate bull*** every day. I also hope to attain both respect and appreciation for all the people who make the business work and keep it going "round and round" every single day. That includes not only women, but also marginalized workers of race, religion, and sex. Aristophanes was the voice through this woman Lysistrata that made everyone laugh at themselves and at the stupidity and futility of war. I need to be able to create that same sentiment regarding the monster we all go to day after day, the machine with which we pay our bills and stay societally acceptable. BUT, that same machine robs us of so many of the important things that really matter while it creates a competitive atmosphere which make some obsessed with success. And the rest either get left in the cold or try to keep it together, albeit feeling horribly slighted and/ or alienated. As they should. This Lysistrata wants to stop that war and will also use the only way she can. I'll stop rambling now, but I do hope you can see my goal and my concern that I do this well and make a strong--yet funny--case for all to see. And maybe help some to have a change of heart. Just like Aristophanes did.

The First Big Step--It's in Docs! by Debbie Bagnato

Now I want to let you all know, that the actual first big step was trying to re-write an Aristophanes play. Me. Lady who works in Shoprite and went back to college (after having a family) on a dare to get her son to try college himself. So, if that "step" of taking  classic piece isn't intimidating enough, I have now been so brazen with my words (in place of his highly revered ones) and put them into a document. This document says "Lysistrata Revisited" and that is exactly what my version is doing. In truth though, I really love this play, and my adaptation suggests no disservice but a sort of homage to this man, from another time, who held such humor, talent, grace, understanding of humanity and exceptional foresight. So, I don't think he would be angry at having his concept brought to my setting albeit a supermarket is such an unusual place for a play. The transfer from paper and pen to Docs was very scary, as time-consuming (if not moreso) than the original creation. But it has morphed in its transition and will continue to do so. As I would share my writing progress with coworkers--many of whom are in this piece if only through their personalities, their enthusiasm and desire to be included--in any small way--was delightfully encouraging. In truth, I work with lots of men and women, but am in contact (in the office) with mostly the female side of the store. That is how the idea evolved for a play set in Shoprite--the center of everything is the upstairs office which overlooks the entire store. So it is now--in my play--the Acropolis. I did begin my next scene; unfortunately, I have not been able to work on it for a couple of days so now I need to review before I continue. I have noticed that sometimes it is better to step back for a minute--then when I go back to writing, I'll pick up on things I didn't catch before. Sometimes, it will be the way I wrote a section that does not click or seems unnatural. By walking away for a day or two I can be more objective and see where something does not gel. Or if a section is better than I thought I'm able to see it (and be relieved). Many of the things that make this adaptation easy to set in my workplace have been very apparent this entire week--it has been a horrible week filled with men trying to one-up each other and we women being treated like the women in ancient Greece may have been--if they worked for Shoprite. I am exhausted as I have worked 10-12 hour days all week in an effort to get my department on track/ cleaned up, and reported on to all the appropriate parties. Unfortuntely, my efforts seemingly have gone unnoticed, or are considered not good enough (I am a woman) much like the story goes in Lysistrata. Fuel for writing my play, that is what I tell myself while I try to stay awake and coherent as I edit...
On a happier note, I am moving forward and just found several great essays/ articles on the topics Dr. Zamora suggested for my research. I will read as much as I can online and probably print them out--you guys know I like to have the paper in front of me while I work so I can write on it. Next, I need to pick the ones that will help me in my process and then try to organize the works cited. But I think I am getting ahead of myself and that is never productive. So enough on my work to do and now to get to it! Hope everyone is having a successful journey with their thesis and making the progress they need to make...until next time. :-)

Can't Change the Usual Process; Paper first then Computer! by Debbie Bagnato

As I struggle to write the "lines" in my head quickly so as not to lose something good, I think, "Maybe I should just go on the computer?" Which sounds logical, rational, and a means to more speedy results. BUT, the rule of writing for me,always begins on paper. When I was a child learning to write, there really was no alternative so when I established my personal writing habits (a very long time ago) this was the routine. To abruptly change the process now is not only a sacrilege of sorts but has also proven to be unproductive. Whenever I try to tackle a new project this way, I end up back on the paper, scribbling notes, scratching out lines and feeling my confidence return. In the case of Lysistrata (rewrite) I seem to be making so little progress, mainly because the book is large and the print is rather small, but this is the translation I prefer to work from. The feeling of "Oh God, I'll never finish" is simply because the opening section of my intended Scene I is taking forever to adapt in the fashion I have planned. There are many different "voices" in his opening scene and I want to make them all real and also saying something worth hearing. The outcome is that I seem to move forward ever so slowly, that the possibility of finishing by May 2017 seems unlikely--and I am  being gentle... In truth, I know it will happen, and I am almost to the place I set as my initial goal for putting the paper aside, moving to the computer and typing it all up neatly. I know this is the place where massive editing, line changes, and assorted other sundries can be as simple as the touch of my delete key. The only problem is that now, because it has taken this long to arrive here, I am nervous to take the plunge. Perhaps I know that this step up to writing on the computer will pull me in to the story I am creating from his great piece, even further than I am already and I will need to edit almost all of what I have written thus far. More importantly...drumroll, please...I will have to move forward with the writing and completion of this iinsanity. Then will begin the true editing process, and all the bigger changes, additions, and stage business needed to make my humble, though overreaching attempt at transposing Aristophanes seminal piece of humor from 411 B.C.E. Athens to a downtown Jersey City Shoprite circa 2016. And make that transposition something worth reading and hopefully seeing onstage.. It is intimidating--daunting actually--so it's no wonder I have cold feet. BUT, I promise you all, the numerous pages of handwritten "stuff" will be getting an upgrade to the bright screen of my desktop as I have only a small piece of opening"rewrite" to finish and I will then be at that goal I set. I have decided the balance of the small changes, additions of lines, voices, and stage notes will be more easily accomplished on the computer so, after that part gets finished--this evening for certain--we are moivng on up to the shiny screen. Please say a prayer, I really need it.

Starting to Write? After Stalling for Days, Not as Scary as I Thought! by Debbie Bagnato

So, to prepare for peer review with my group--who are absolutely super--I went over my early thesis proposal with a fine-tooth comb, made a few changes then shared with them. Omar was great--I needed a good cheering gallery and he gave me what I needed and sweetly. Colin also was a great ego booster and made a suggestion about moving one area around in a paragraph--so I did--and it worked splendidly. Thank you Colin for such a sharp eye--it really made the wording have a greater impact! So then the thesis proposal was looking very promising. Hurrah! But I still had not written one word of my "play." Yes, I know Aristophanes wrote the actual play and I only get to revamp it but I really needed to start putting the words, the lines--dialogue--the things they say to each other--the stuff that MAKES IT A PLAY---on the paper. Then I needed to see if it would BE funny in my deranged, non-sensical setting in a supermarket...in downtown Jersey City...which is always terribly busy...where I happen to work...six days a week...since I'm young. So, after carefully reviewing all my research (thus far), the entire idea from start to fiinish which I wrote down in my notebook while studying the play line by line, which explains (to me) what I was planning to do with the characters, scenes, choruses, etc., and then re-reading the notes on my main characters (potential personalities) based on Aristophanes original and this offbeat adaptation I am attempting, while keeping in mind my production concept, stage set, and "how can this be achieved on a Kean stage--such as Wilkins theatre?"--then belaboring how, who, what I would rename people, which traits I should give them, how raunchy I was comfortable with the script being--what the play needed to sound like---any and all other things to possibly delay the actual process of writing---then and only then did I finally--yes--begin to write. And, I am ecstatic to report that it is actually working; however, it takes very long and I will be editing right up until we hand it in (and probably after). BUT it is working. And it is a reasonable complement to Aristophanes masterpiece so far--of course i m only on about page three.... But as I get into it more, all that background work will really be a big help. The frightening part is that one page from my Worthen book of plays (the text I like best and will use for their translation) takes about four pages of writing because the print is so small. The good news is the entire play is fifteen pages of dialogue so I should be alright and still fall into the guidelines of a run of about ninety minutes, or within that time frame. So, friends, I have begun, ever so timidly to write the crazy adaptation, and although it will change many times I'm quite sure, and I am only in the opening scene, nonetheless I feel like I CAN DO THIS!!!! Just wanted to share my joy with all my pals. Now I only ask you all for many prayers so that I can maintain this positive outlook through all the gritty scenes ahead and writing for the sizable cast this play requires. And never fear,  I will return the prayers at least twofold for everyone in our group. This is the biggest project we've worked on so far, but with Dr. Zamora leading the way, I am confident we will all have stupendous, miraculous results, and no bad surprises. At least not ones that cannot be fixed.

Masters Thesis (take one) by Debbie Bagnato

A most enjoyable class tonight as always with Dr. Zamora and my wonderful classmates! Finally, after many failed attempts, succeeded in creating a new blog--blogger did not approve of any of my url suggestions--until the very last one,,,grrrr. But now I am ready, or at least ready to blog. This will be the easier part of the process ahead, I'm afraid, but I have some terrific company to share my miseries and my victories--oh I hope there are some victories--as we move along. My potential storyline is written down, based loosely on Aristophanes original but applied/ adapted--made to fit-- with the characters representative of my production concept. The next test or rather the real proof of its ability to be recreated onstage (as an adaptation of something very dynamic) will be the deciding factor for  keeping this carefully thought out "thesis proposal." If it falls flat and I can see no chance of it ever being what I had intended, it is off to a different creative project that I am more comfortable with. The writing shall begin and I hope the creative ideas are a-plenty; I need to run with this a little and then see if it is what I envisioned.  I truly hope it is, as I have spent some hefty amounts of time already, re-writing Aristophanes to fit a version more appropriate to a setting very far removed from ancient Greece and with  no bearing on a war with Persia, Sparta or anywhere. Instead, I will create a war in my workplace--a supermarket--that involves business, money, prestige, and the ever popular, coveted prize--power. Of course, all of those elements were attributes of the men who decided on involvement in the Pelopponesian War and kept it going until Athens (and its elegant citizens) became a mere shell of their former self, subject to takeover and destruction. Sadly enough, I see elements of corrupt, misguided individuals in the business where I work, becoming ever so much more pronounced. On that note, what began as a fun re-creation of one of my favorite ancient comedies has taken on more serious connotations. Hopefully, I can retain the comic element while I make a point--very strongly--about the unimportance of the competition within and the greater value of "family business" being a true "partner in caring" and actually being of real service to the community--all of the bylines this company falsely projects which used to be essential to them. Perhaps through humor, this old play, with a new slant, can make people recognize the real importance in life, in business and actually appreciate what is important at the end of the day. I don't know if I can tie it all in but I would love to give it a try! And do not worry, I will keep you posted for better or worse. If the laughs are not in the script, they may be AT the writing, but then hopefully, we can laugh together! But please, do be gentle...