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Make graceful and lasting change

Final notes on the deconstruction

Cindy Tonkin - August 17, 2011

An “art installation”
joint work by Erin Foy,
Sophie Long and Cindy
Tonkin, July 2011

I found these notes when i was packing. These are i believe all the notes i have on the deconstruction

.To do the deconstruction you need a handle on the 5 types of scenes (see the chart on the last entry).

First scene must move around emotionally.

In the run:

  • Pace is more important than content – pace will take care of bad work
  • Good work at the wrong pace is worse than bad work at the right pace
  • Characters from the opening scene can appear, but never with each other
  • Storyline characters first, then tangents. If there’s a reference in there weave it into the story (batman helping grandpa in WWII)
  • Every detail from the opening, 2nd and 3rd scenes can be a scene in the run
  • Can do anything in a run, monologues, poems, as long as it’s fast and gets faster
  • Will likely end in a scenic rant
  • Run is in part the “story” of the first scene
  • In a run the characters fromthe opening scene are the straight guys
  • Look for “runners” – find a mov which recurs and keep on making it recur
  • Make the run “feel” like story, but muck around with it
  • The run is in part a La Ronde: all the characters surround the primary event

Watching the end of a decon is like watching 6 people fall down a flight of stairs and land on their feet

After the theme if it’s not abundantly clear why a character in the opening is like they are, then explain (give some back story)

  • 2 characters introduced: this is art; here are the themes; here’s what we think; here’s what connects them and connections we normally wouldn’t make
  • Never end the story before the final scene

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