# Director's note
## WK0 (6--11 June 2022)
### 7 June
1. **Please hold off introducing changes to the script as well as live comments to the shared document until further notice by the end of WK0,** as the latest version is being re-typed into Final Draft format *in preservation of future sanity.*
2. **The kick-off of one-on-one seesions has been pushed off to WK1 or possible WK2.** With 7 characters, we have not only an ensemble cast but also the largest amongst all 8 plays, so I anticipate that alone could make my objective to speak with you one by one more challenging and hence would reuqire some planning.
3. **What do I wish to speak to the cast about in the first one-on-one session?**
a. Why make this journey (revisiting)?
b. What is your character's agenda in the script, a scene (later, a line, a choice of word)?
c. Actioning: For each line (or word even), the actor delivers it to a target, and he does so to fulfill an action (<-- must be a transive verb). Choose a scene and try to name the target and the (verb).
### 7 June 16.51
Please update your script to the Blue revision (06/07/22): https://drive.google.com/file/d/1vAQMfu7jMJWvssUEox2ZOVjs-I4dQYf0/view?usp=sharing
Revision note: nothing has been changed except reformating to Dramatist Guild format.
### 8 June
A **huge thank you** to the writer Bithiah for insights to her character designs.
#### By Jung's psychology types
- FAUST: Struggle between Extraverted Feeling and Introverted Thinking
- Mephistopheles: Extraverted Intuition
- Azrael: Extraverted Thinking
- Freya: Extraverted Feeling
- Ceres: Introverted Feeling
- Silva: Introverted Intuition
- Margaret: Introverted Feeling

#### On individual characters
For **Mephistopheles**
- it would also be helpful to look at Hermes and Mercury from Greek/Roman mythology and Loki (King of Flies 😂) from Norse mythology.
- There is actually a myth where he turns into a fly! I added "lord of flies" in the play because of this myth
- In the negative side, Mephisto is definitely a trickster, but on the positive side he is also a magician capable of bringing transformation and changes

For **Silvia**
- The character was inspired by Mímir from Norse mythology. Also the wise old man (senex) archetype

## WK3 (27 June--1 July 2022)
1. Please update your script to **Pink rev.** from here: [https://bit.ly/3A2FFCU](https://bit.ly/3A2FFCU)
- Removed from Blue rev. virtually all instructions that involve blocking, delivery, specific action and acting choices.
- Removed most music instructions due to the use of music is undergoing a thorough reconsideration, with one of the major concerns being risking acqustic over saturation.
- Re-structured some dialogues to make them less of monologues. Actors please take notes of your feelings to these changes, as we will certainly discuss them.
- The aforementioned changes, unfortunately, affects every pages. So, for those who keep a hard copy, you would need to print the whole file again.

2. We are aiming at holding in-person reading sometime mid- or late July.
3. I'm ready for online one-on-one session starting this **Thursday** and basically every school day morning.

## WK4 (3--9 July 2022)
### Sitrep:
1. Script re-writing: Pink rev. (published); Yellow rev. (ETA: by 9 June; WIP sneakpeak: [https://bit.ly/3OBy8zd](https://bit.ly/3OBy8zd))
2. Read through A (Yellow rev. pp. 2--9) --> scheduled for 3 July (Sunday)
3. Read through B & C (Yellow rev.) --> scheduled for WK5
4. Please let me know ahead your available time, thank you.

### Exercise
1. **Read the lines without recognising the punctuations,** so that *you* make the choices on how they should be delivered, not the commas and spacing.
2. **Identify the character's target and agenda.** Using one line or one dialogue block as a unit, consider **to what or on whom** the character is saying the lines or taking the action. The target is not necessarily the receipient of the dialogue. In fact, it is quite often not. For example, say I am at a pub answering Joe's question about the nitty gritty of compositing different elements of visual effects. It is true that Joe is having all my attention, but he is in no way my target. My target is his friend Zoe who seems to be intrigued each time I have trouble explaining something. Thus, my agenda is to seduce Zoe all along and never has for a second had anything to do with Joe. **Because your insight on this matter is crucial to our success,** I strongly encourage you to start investigating as early as possible, which would provide valuable guidance on re-writing, blocking, etc.

### On repetition

Anything, from the screenwriting perspective, that is in the script which also does not propel the story or change its status quo has no purpose of so being. From the editing perspective, these bits either get cut during the writing process (pre-production) and never get shot in the first place; or, they do get shot and live out remaining lives in the 'deleted scenes' bin. It is because of the latter, I believe the quality control provided by the former practice remains true in other medium such as theatre.

What this has to do with our story resides mainly in the structure of four spirits being summoned to make revelation of one idea. In other words, it seems the story speaks through them of 'the same thing' three times. However, whether or not -- and I doubt stroungly so -- such should make an accurate interpretation of the writer's intention, **blind repetition is hardly a purpose we should settle with.**

### On the many uses of 'Her'
Please consult the table kindly compiled by Bithiah: https://bit.ly/3yrLQ0W

## WK6 (17—23 July)
The **Goldenrod Rev.** is on the way, and it'll carry all the substential changes seen in the **Green Rev.**
### Synopsis: