OH MY GOD LOOK AT THEM ALL JESUS CHRIST
OMG TAKE ME THERE 4 A SHOPPING SPREE
My Neighbor Totoro origami paper - Summer
Remember that time that Three was being attacked and he gave so few fucks he went to get a coaster before he finished the fight
Martin Mcdonagh’s In Bruges (2008) and Seven Psychopaths (2012).
When we took Shakespeare’s “Measure for Measure” into a maximum security woman’s prison on the West Side…there’s a scene there where a young woman is told by a very powerful official that “If you sleep with me, I will pardon your brother. And if you don’t sleep with me, I’ll execute him.” And he leaves the stage. And this character, Isabel, turned out to the audience and said: “To whom should I complain?” And a woman in the audience shouted: “The Police!” And then she looked right at that woman and said: “If I did relate this, who would believe me?” And the woman answered back, “No one, girl.” And it was astonishing because not only was it an amazing sense of connection between the audience and the actress, but you also realized that this was a kind of an historical lesson in theater reception. That’s what must have happened at The Globe. These soliloquies were not simply monologues that people spoke, they were call and response to the audience. And you realized that vibrancy, that that sense of connectedness is not only what makes theater great in prisons, it’s what makes theater great, period.
EVERYONE SHOULD CHECK OUT SHAKESPEARE BEHIND BARS. The documentary about their production of The Tempest is on Netflix and everyone should watch it.