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Studies in Motion on the Stage and Screen

The following is a response to Canadian Stage’s production of Studies in Motion, in collaboration with Electric Company. In this thought provoking show, director Kim Collier explores filmmaker extraordinaire Eadward Muybridge’s accomplishments as one of the first people to capture movement with a camera.

Muybridge is known as the father of cinema, so we all have much to learn from him. Google him if you’re interested in learning more about his discoveries.

Here are some tips to take away from the play, which should be of interest to those who were stuck writing exams and couldn’t make it to a theatre recently. Canadian Stage aims to present the best in Canadian contemporary theatre, so they’re definitely worth keeping an eye on.

How to Produce a Memorable Show

Take the time to select a good soundtrack, regardless of what the show’s running time may be. Everything makes a difference and adds to the production value. It also makes hearing about someone’s life story more entertaining.

Create dynamic stage pictures. The entire show’s choreography proves why lessons involving tableau-making are essential for a successful acting career. Kudos to the talented cast.

When producing a play set a century in the past, choreograph chorus members to act as if they are the horses carrying an orphan boy in a buggy. Not just any ordinary boy, but one who has been misled about the differences between a famous photographer and an omniscient religious figure because this makes for great comedic relief.

Assemble a cast of men and women who are willing to disrobe within seconds according to the script’s stage directions and parade across the stage in the nude.

You can maintain audiences’ interest by making them curious about just how much nudity will be in each scene. An audience advisory is one thing, but there’s always room for surprises. There’s a reason The Globe and Mail’s review is entitled ‘The Naked Truth about Eadward Muybridge’, as it’s very telling about what patrons could expect: a revealing tell all that’s not very kid-friendly.

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No Apple Care for me. I’m a PC.

School’s back in session, but this blogger’s computer is still in repair!

Here’s what happened in the last few weeks: I turned nineteen, moved back to London, and then downloaded Facebook Mobile, something I said I’d never do. But as someone majoring in media studies and enrolled in a course called ‘The Brief History of Social Networking’, downloading it seemed like the natural thing to do, considering the circumstances. It’ll be the first thing to delete off my phone once I pick up my laptop next week.

Nevertheless, I am still determined to never watch Gossip Girl, no matter how often I overhear my roommate following the lives of Blair and Serena. I’ll admit that I enjoyed reading the series’ prequel, but that’s where I drew the line. I just hope Blake Lively doesn’t lose sight of the genuinely friendly, down-to-earth girl she was when I met her at a movie premiere six years ago.

Despite weekly updates from Rescue Time (which tracks your online habits), my lack of computer access has also emphasized how much time we waste casually browsing the Internet. One minute you’re checking your e-mail, and then suddenly you come across an interesting news article or click a link in someone’s tweet, without acknowledging how time consuming this process becomes. Outside of keeping up with current events courtesy of The Globe and Mail’s mobile app, I’ve also had time to read two fantastic books: plus size model Crystal Renn’s autobiography, Hungry, and The Secret Life of Bees.

I’ve also been listening to new music releases on MuchMusic and MTV and adding to my list of albums and singles to download. You can be sure Brandon Flowers’ Crossfire album is on that list, in addition to Kings of Leon and Goo Goo Dolls. Hopefully they won’t be as disappointing as Katy Perry’s Teenage Dream record. Her latest two singles may be catchy, but the rest of the album was a letdown and not what I was expecting from her follow up to One of the Boys.