3 Matching Annotations
  1. Jan 2025
    1. You won't work past seven or onweekends. And I don't need you to say smart shit all the timeor come up with the best most brilliant idea. I mean it's greatif you do but the most important thing is that we all feel com-fortable saying whatever weird shit comes into our minds. Sowe don't feel like we have lo self-censor and we can all justsit around telling stories. Because that's where the good stuffcomes from. These guys know this ... I mean you guys havebeen through this ...(Daveand Danny M1 nod vigorously)I'd say half the stuff on Heathens was from our lives or just /stories we'd heard from other people.

      A key moment in The antipodes is when Sandy promises the group they won’t work late or on weekends. He tells them they don’t need to be perfect, just creative. This makes the job seem relaxed and easy at first. But as the play goes on, this promise fades. The gtoup loses track of time, pressure builds, and work takes over their lives. This moment is important because it shows how things can quickly sprial out of control.

    Annotators

    1. LUCKY. Hey, dummy.Can I let you onto a little secret?The guy you're trying to reach isn't here ... cause thething is, drum-roll ... he never existed.MALCOLM. V\lhat?LUCKY. Thank you, ladies and gentlemen - boys andgirls, the role of the powerless BFF has been playedadmirably by yours truly.

      The audience and characters experience another form of confession but this time being from Lucky himself. Lucky had confessed in Act II that he was actually the Chief Walker; this confession from Lucky on his true identity leaves the audience and characters in shock, especially the audience. The audience though were suspecting Lucky not actually being who he portrayed himself to be, the weight of Malcolm’s and Jess’ betrayal was felt. Allow the audience to have their perspective align with that of Malcolm and Jess.However, Lucky’s point of view and justification leads the audience to either have empathy or to condemn him.

    Annotators

    1. MALCOLM. I'm not interested in your friend. Not in thatway. Now now. Not ever.Because, see, there's one particular ingredient here inthis jealousy stew that you're brewing that doesn't quiteadd up.LUCKY. What's that?MALCOLM. I'm gay.LUCKY.You're what?MALCOLM.And not as in "happy" either. I mean gay asin homosexual as in queer as in one beautiful badassunicorn bursting with rainbow fruit flavors ... that lovesdoing dudes.LUCKY. So you're a gay black Eng~~gi,.l!t,aj,cow]:>_2y? ✓MALCOLM.Yeah .LUCKY. That's a lot of labels to wear.MALCOLM. It is.

      The very noticeable “Audience Event" is when Malcolm lets the audience and Lucky know he is gay. This moment is structured to be quite comedic and an unexpected confession to the audience and also to the characters. Initially, the audience may have understood why Lucky would be suspicious and jealous but with the turn of events, the audience is placed in a position to create empathy for Malcolm and humor for Lucky’s misguided assumptions.The audience then learns something the characters did not know while Lucky is still in dilemma(whether to trust him or not).Before the confession of Malcolm’s sexual orientation the perspective of the audience and Luck were aligned until Malcolm confessed this created a feeling of empathy for Malcolm and leaving the audience perspective to change. This leads the audience to see Malcolm as a layered and self-assured character.

    Annotators