dramaturgy: ([Sherlock] Hng.)
I should be finishing my thesis.

but I’m not.

I’m on page twenty-five of about forty and I just. My brain. pffffffffffft

I mean I’m not actually going to finish my degree this semester because I haven’t had a professional internship.

so I’m kind of like what’s the point.

dramaturgy: ([AI] Johnny.)
All around me are familiar faces
Worn out places, worn out faces
Bright and early for their daily races
Going nowhere, going nowhere
Their tears are filling up their glasses
No expression, no expression
Hide my head I want to drown my sorrow
No tomorrow, no tomorrow

And I find it kinda funny
I find it kinda sad
The dreams in which I'm dying
Are the best I've ever had
I find it hard to tell you
I find it hard to take
When people run in circles
It's a very, very mad world mad world

Children waiting for the day they feel good
Happy Birthday, Happy Birthday
And I feel the way that every child should
Sit and listen, sit and listen
Went to school and I was very nervous
No one knew me, no one knew me
Hello teacher tell me what's my lesson
Look right through me, look right through me

And I find it kinda funny
I find it kinda sad
The dreams in which I'm dying
Are the best I've ever had
I find it hard to tell you
I find it hard to take
When people run in circles
It's a very, very mad world ... mad world
Enlarging your world
Mad world

dramaturgy: ([Panic] Sins Not Tragedies.)
So having never seen Katie Mitchell's production of The Seagull at the National (I was about half a year too late, DAMNIT), I have to say that I probably shouldn't talk, but I read this (rather negative) review:

As her loveless, emotionally disturbed son, Ben Whishaw makes a wilfully cool and composed Konstantin. Perhaps the fact that Crimp has cut his role down to raw basics explains why Whishaw expresses such muted grief or suicidal despair. He no more matures or changes than does Hattie Morahan's dazzled but insufficiently harrowed Nina.
Okay I could buy the point about Nina, and it's been awhile since I've actually read the play in depth so feel free to correct, but isn't the point of Konstantin that he DOESN'T change and he ISN'T going to change? He can't be anything but he is, and turns out that's not so good for him as an artist, and isn't that what drives him to take his own life?

Eh. I always do this. I always want to defend meanies who look down on something I like/likely would have liked. I am very picky when it comes to my work, and easy to please when it comes to everyone else.


(I have the first paragraph, and that's the easiest part, right? Right?)

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