So in case anyone was wondering, Salve Regina University’s Playwriting Guild just performed an incredible (and surprisingly accurate) play about my Obama Experience™. A huge, heartfelt, teary-eyed, sad-violin-music thank you to everyone involved in turning this train wreck into a dramatic masterpiece.
I’m still comparing your past to my FUTURE, It might be your wound but they’re my sutures!
Ashley Hawke | Ala Mhigan-born / Limsan Raised Highlander Chaotic Good | Self-Titled Adventurer | Twenty Six | Mateus Is Looking for Contact / A Free Company!
Ala Mhigan by blood and Limsan by choiceupbringing, Ashley Hawke grew up in Limsa Lominsa after fleeing her fallen city-state with her father and other countrymen. Feigning masculinity for the better part of her youth, this allowed her passage from Thanalan to La Noscea as a deckhand and prevented her from falling into the dangerous trappings that often entangled her gender. Because of this, the woman grew up tomboyish and unafraid of labour; picking up odd jobs from around La Noscea before self-titling herself as an ‘adventurer’ for the purposes of travel and work. Though she very much came to love and appreciate Eorzea for her people and places, she was always acutely aware of her father’s desire to return home and his dedication to the resistance – sending money and supplies where possible in place of his physical presence.
However, with her Arnor’s death on the cusp of revolution, Ashe is now faced with a trying and difficult decision. Though born in Ala Mhigo and with her father’s dying wish to return ‘home’, she now faces the question as to what she considers her home – whether that be her birthright and her countrymen, or those she grew up with and alongside. In picking one she fears that she will forsake the other, and thus doom her to that regretful choice.
More information below the cut! Likes/reblogs are appreciated!
Mystery plays are short Medieval plays depicting or dramatising scenes from the bible and one of the older traditions of formal drama in Europe. There’s some debate over the word ‘mystery’, which might mean ‘miracle’ as in the miraculous events of the bible or ‘ministerium’, the Latin term for ‘craft‘.
In the earliest days (dating back to 9th century) these plays seem to have been acted in churches by the clergy, but following the 1210 Papal edict forbidding the clergy from acting in public, they became lay dramas and came to be performed in vernacular. In England, it became a tradition for the guilds in prosperous towns like London or York to put on these productions (hence the debate about whether ‘mystery’ refers to craft) on Corpus Cristi day. Each guild would perform one tale from the bible, often one that related to their trade (the carpenters for the building of Noah’s ark, the goldsmiths for the nativity, the nail-makers for the crucifixion(!)…). The laity also began to incorporate comic scenes, and the acting and characterisation became more sophisticated.
In York, it’s known that the plays were played on large wagons with a platform at head height which served as a stage. These wagons processed around the city, stopping at each waypoint and performing their part before moving to the next point. Each play is quite short, but the events covered stretch from the fall of man to Christ’s redemption of mankind on the cross, so taken as a whole it can take an entire day to perform.
Mystery plays were eventually banned in England, mostly as a result of the Reformation, because of the Protestant disapproval of the depiction of Godhead, and because the mystery plays were a firmly Catholic tradition that the Church of England had an interest in suppressing. It probably didn’t help that religious drama was also banned on the Catholic side at the Council of Trent (1545–63) in response to Protestant criticisms. In England, there were clear attempts to continue the much-loved tradition for a while after, evidenced by the fact that the Wakefield plays show some signs of Protestant censorship, but it did eventually die out (the last records are 1579).
The other type of medieval drama to look out for is the ‘morality play’ (plays include Mankind, and Everyman: both worth a read). These aren’t biblical and aren’t associated with particular feast days. They often depict a single person (who represents all mankind) as they struggle to be virtuous amongst the earthly temptations faced in their life. The characters are often allegorical, with names like ‘World’, ‘Good Deeds’, 'Greed’ (the seven deadly sins frequently make an appearance). The texts of many of these plays (but not all) have been preserved and are occasionally produced in professional theatres as well as by towns like York. If you have any interest in Middle English, they’re also quite entertaining to read.
From an early modern perspective medieval drama is important because it’s quite likely that a lot of the sixteenth-century dramatists we study today would have seen some of these plays (Shakespeare maybe in Coventry). The consequent influence of the mystery plays on Elizabethan and Jacobean drama in England can’t be underestimated: the mixing of tragedy and comedy, the struggle between virtue and vice, the free treatment of time, and the metaphor of the stage as the world come from the English tradition rather than Greek drama, the other major influence. Marlowe’s Dr Faustus is probably the most obvious instance: allegorical characters, the fate of the sinner, the good and bad angel, the seven deadly sins, the time-frame covering 24 years in a single play: it’s a sophisticated morality play that self-reflexivly comments on its own genre and tradition by making it about the struggle of a single man rather than the representative of humankind in general. Characterisation had some influence too: for instance, stock characters like the ‘Vice’ character (Lucifer or Herod are biblical examples) traditionally had monologues detailing their evil plans spoken directly to the audience, and informs characters like Richard III, Edmund and Iago in Shakespeare’s plays. In fact, Shakespeare alludes to the Herod character, famous for drama-queen shouting, directly in Hamlet’s advice to the Players: ‘I would have such a fellow whipped for o'erdoing Termagant; it out-herods Herod’ (3.2.12-14).
Wait, did I say the next thing you’d get from me was the fifth Pale Moon chapter? Scratch that. I had this in my mind and had to get it out.
Inspired by my headcanon, and also by rboz. The lines “You’ll make the song better.” - “Okay.” are hers. ;)
Gajeevy oneshot - Levy and Gajeel perform together.
“Are you ready for tonight’s special surprise performance??”
Gajeel’s announcement was met with all-encompassing silence. Not that he minded: he was long used to it. The girl in the revealing bunny suit standing behind him however could not hide the heated blush on her cheeks, even as she squinted at him with an accusing expression.
It told him two things: Why did you drag me into this?? aswell as Why are you doing this to yourself??. The latter was easily answered. He could not care less about how many people liked his performance, as long as he believed in himself. Or something. At least that was what Mira had told him after he had stood before her, shattered, after his first ever performance in the guild. The first question however, albeit just as easily answered, proved more difficult for him to even think it to himself.
He had dragged her into this because he wanted her there. Because he enjoyed her company. Because he loved seeing her in that bunny suit. Because… he wanted her to be a part of his life.
“Tch, shrimp, don’t be a crybaby. Let’s get this started!”
Despite trying her best to look as miserable as possible, the corners of her mouth twitched as he brought the guitarre to his front and turned to face the audience. How had he dragged her into this again…? Ah, yes.
“Levy, I need you to be my background singer.” – “And why in all the worlds would I agree to that?” - “You’ll make the song better.” - “Okay.”
Why was it that she just couldn’t say no when it came to him? Deep down, she knew the answer, but was not ready to admit it to herself just yet.
Then his voice filled the room, and she quickly was able to push the thought to the back of her mind as the hair on her arms stood up. He was a great guy, he really was, but singing might just not be his strength… With a sigh, she prepared herself to save what was to save.
When, suddenly, the usual rough, iron slightly-out-of-tune voice was accompanied by a soft, melodic one, the first heads began to rise.
“Wait, is it actually good this time?” – “Pst, did you know Levy could sing?” – “Hey, this is good.”
Murmurs rose throughout the guild hall, and soon a little crowd had gathered around the small stage. Gajeel grinned.
“Seems like y’all finally appreciate my talent.”
Macao was the first to roll his eyes. “Yeah, right, it’s you we’re here for.”
Only then did he pause, and the song that reached his ears made him shudder. In a good way. Now that his own yowling had died down, her fine voice had the chance to make itself heard, to fill the whole hall with tones as clear as a summer’s sky and as high as a soaring free bird.
Devout silence fell.
She continued even as he turned his upper body to catch a glimpse of her. There she stood, eyes closed, carried away by the music. Gajeel’s eyes grew wide. He had always thought Levy pretty, but right now she was downright beautiful. His heart beat loudly against his chest.
Unable to avert his gaze, he mindlessly strummed some tunes on his guitar alongside the little music lacrima, but not once daring to lift his voice.
“Gajeel.“ His feline partner ripped him out of his dazzled state. “You’re staring again.”
“Tch.” He wrinkled his nose as Pantherlily’s knowing grin reached his eyes, and he looked away, sulking. Then, quieter: “How could I not?”
His thoughts as he had watched his tiny friend still rang clear in his mind, and he had no shame in admitting them.
Jared and Shannon as Riff Raff and Magenta Bawdy Caste Half Moon Bay, CA
“I have been going to Rocky since 1986. My dad took me when I was 12 years old. I tried to convince him to go back the next week, but he didn’t think it was such a great idea. When I got to high school, I went off and on whenever I could, and when I was in college, I started going as much as I could. In 1996, I took a bunch of friends to go see a show on Halloween in Modesto. There was no cast, but I’d had a bottle of Sangria (the blood of Christ) in the parking lot and decided there needed to be a cast. So I went through the theater and grabbed people in costume or remotely looking like characters and started a cast. We became Sensual Daydreams which lasted less than a year.
In 1997, I joined the Berkeley cast. I drove 90 miles every Saturday night for the show until the UC Theater closed. On New Year’s Eve 1998-1999, I started dating Shannon, a Magenta from the Bawdy Caste, who was the other local Bay Area Cast. In 2001, we were married. We left the show for a while, and then we went back a few years later. Since 2006, we have been performing at the Guild Theater in Menlo Park and the Clay in SF. I started playing Riff Raff because my wife played Magenta and told me it would be fun for her to have a Riff Raff she had natural chemistry with. And she was right, it has been fun, and I’ve been playing Riff Raff ever since.
I have played every part (even the girls), and after 24 years, I still love the show. In real life, I’m a high school teacher. I teach math. Every now and then, some of my students will show up at a show. It’s always strange for them to realize not only does their teacher have a social life, but he’s got a pretty interesting one.
As far as the show still going strong after 35 years, I think it’s the combination of the film, the cast, and the audience. If one of the three factors is missing, the show just isn’t as good. But since it’s a show that everyone can be a part of, people just keep coming back. And that’s good, because it gives people like me, my wife, our friends, and all kinds of weirdos, freak shows, teenagers, and outcasts a place to be that they can feel like they fit in. I’m hoping it continues for at least another 35 years…and then some. ”
Mr. SEEGER: Sir, I refuse to answer that question whether it was a quote from the New York Times or the Vegetarian Journal.
I am not going to answer any questions as to my association, my philosophical or religious beliefs or my political beliefs, or how I voted in any election, or any of these private affairs. I think these are very improper questions for any American to be asked, especially under such compulsion as this.“
- Pete Seeger in rely to a HUAC (House Committee on Un-American Activities) subpoena
Testimony of Pete Seeger before the House Un-American Activities Committee, August 18, 1955
… Mr. TAVENNER: The Committee has information obtained in part from the Daily Worker indicating that, over a period of time, especially since December of 1945, you took part in numerous entertainment features. I have before me a photostatic copy of the June 20, 1947, issue of the Daily Worker. In a column entitled "What’s On” appears this advertisement: “Tonight—Bronx, hear Peter Seeger and his guitar, at Allerton Section housewarming.” May I ask you whether or not the Allerton Section was a section of the Communist Party?
Mr. SEEGER: Sir, I refuse to answer that question whether it was a quote from the New York Times or the Vegetarian Journal.
Mr. TAVENNER: I don’t believe there is any more authoritative document in regard to the Communist Party than its official organ, the Daily Worker.
Mr. SCHERER: He hasn’t answered the question, and he merely said he wouldn’t answer whether the article appeared in the New York Times or some other magazine. I ask you to direct the witness to answer the question.
Chairman WALTER: I direct you to answer.
Mr. SEEGER: Sir, the whole line of questioning—
Chairman WALTER: You have only been asked one question, so far.
Mr. SEEGER: I am not going to answer any questions as to my association, my philosophical or religious beliefs or my political beliefs, or how I voted in any election, or any of these private affairs. I think these are very improper questions for any American to be asked, especially under such compulsion as this. I would be very glad to tell you my life if you want to hear of it.
Mr. TAVENNER: Has the witness declined to answer this specific question?
Chairman WALTER: He said that he is not going to answer any questions, any names or things.
Mr. SCHERER: He was directed to answer the question.
Mr. TAVENNER: I have before me a photostatic copy of the April 30, 1948, issue of the Daily Worker which carries under the same title of “What’s On,” an advertisement of a “May Day Rally: For Peace, Security and Democracy.” The advertisement states: “Are you in a fighting mood? Then attend the May Day rally.” Expert speakers are stated to be slated for the program, and then follows a statement, “Entertainment by Pete Seeger.” At the bottom appears this: “Auspices Essex County Communist Party,” and at the top, “Tonight, Newark, N.J.” Did you lend your talent to the Essex County Communist Party on the occasion indicated by this article from the Daily Worker?
Mr. SEEGER: Mr. Walter, I believe I have already answered this question, and the same answer.
Chairman WALTER: The same answer. In other words, you mean that you decline to answer because of the reasons stated before?
Mr. SEEGER: I gave my answer, sir.
Chairman WALTER: What is your answer?
Mr. SEEGER: You see, sir, I feel—
Chairman WALTER: What is your answer?
Mr. SEEGER: I will tell you what my answer is.
I feel that in my whole life I have never done anything of any conspiratorial nature and I resent very much and very deeply the implication of being called before this Committee that in some way because my opinions may be different from yours, or yours, Mr. Willis, or yours, Mr. Scherer, that I am any less of an American than anybody else. I love my country very deeply, sir.
Chairman WALTER: Why don’t you make a little contribution toward preserving its institutions?
Mr. SEEGER: I feel that my whole life is a contribution. That is why I would like to tell you about it.
Chairman WALTER: I don’t want to hear about it.
Mr. SCHERER: I think that there must be a direction to answer.
Chairman WALTER: I direct you to answer that question.
Mr. SEEGER: I have already given you my answer, sir.
Mr. SCHERER: Let me understand. You are not relying on the Fifth Amendment, are you?
Mr. SEEGER: No, sir, although I do not want to in any way discredit or depreciate or depredate the witnesses that have used the Fifth Amendment, and I simply feel it is improper for this committee to ask such questions.
Mr. SCHERER: And then in answering the rest of the questions, or in refusing to answer the rest of the questions, I understand that you are not relying on the Fifth Amendment as a basis for your refusal to answer?
Mr. SEEGER: No, I am not, sir… .
Mr. TAVENNER: You said that you would tell us about the songs. Did you participate in a program at Wingdale Lodge in the State of New York, which is a summer camp for adults and children, on the weekend of July Fourth of this year?
(Witness consulted with counsel.)
Mr. SEEGER: Again, I say I will be glad to tell what songs I have ever sung, because singing is my business.
Mr. TAVENNER: I am going to ask you.
Mr. SEEGER: But I decline to say who has ever listened to them, who has written them, or other people who have sung them.
Mr. TAVENNER: Did you sing this song, to which we have referred, “Now Is the Time,” at Wingdale Lodge on the weekend of July Fourth?
Mr. SEEGER: I don’t know any song by that name, and I know a song with a similar name. It is called “Wasn’t That a Time.” Is that the song?
Chairman WALTER: Did you sing that song?
Mr. SEEGER: I can sing it. I don’t know how well I can do it without my banjo.
Chairman WALTER: I said, Did you sing it on that occasion?
Mr. SEEGER: I have sung that song. I am not going to go into where I have sung it. I have sung it many places.
Chairman WALTER: Did you sing it on this particular occasion? That is what you are being asked.
Mr. SEEGER: Again my answer is the same.
Chairman WALTER: You said that you would tell us about it.
Mr. SEEGER: I will tell you about the songs, but I am not going to tell you or try to explain—
Chairman WALTER: I direct you to answer the question. Did you sing this particular song on the Fourth of July at Wingdale Lodge in New York?
Mr. SEEGER: I have already given you my answer to that question, and all questions such as that. I feel that is improper: to ask about my associations and opinions. I have said that I would be voluntarily glad to tell you any song, or what I have done in my life.
Chairman WALTER: I think it is my duty to inform you that we don’t accept this answer and the others, and I give you an opportunity now to answer these questions, particularly the last one.
Mr. SEEGER: Sir, my answer is always the same.
Chairman WALTER: All right, go ahead, Mr. Tavenner.
Mr. TAVENNER: Were you chosen by Mr. Elliott Sullivan to take part in the program on the weekend of July Fourth at Wingdale Lodge?
Mr. SEEGER: The answer is the same, sir.
Mr. WILLIS: Was that the occasion of the satire on the Constitution and the Bill of Rights?
Mr. TAVENNER: The same occasion, yes, sir. I have before me a photostatic copy of a page from the June 1, 1949, issue of the Daily Worker, and in a column entitled “Town Talk” there is found this statement:
The first performance of a new song, “If I Had a Hammer,” on the theme of the Foley Square trial of the Communist leaders, will be given at a testimonial dinner for the 12 on Friday night at St. Nicholas Arena… .Among those on hand for the singing will be … Pete Seeger, and Lee Hays—
and others whose names are mentioned. Did you take part in that performance?
Mr. SEEGER: I shall be glad to answer about the song, sir, and I am not interested in carrying on the line of questioning about where I have sung any songs.
Mr. TAVENNER: I ask a direction.
Chairman WALTER: You may not be interested, but we are, however. I direct you to answer. You can answer that question.
Mr. SEEGER: I feel these questions are improper, sir, and I feel they are immoral to ask any American this kind of question.
Mr. TAVENNER: Have you finished your answer?
Mr. SEEGER: Yes, sir… .
Mr. TAVENNER: Did you hear Mr. George Hall’s testimony yesterday in which he stated that, as an actor, the special contribution that he was expected to make to the Communist Party was to use his talents by entertaining at Communist Party functions? Did you hear that testimony?
Mr. SEEGER: I didn’t hear it, no.
Mr. TAVENNER: It is a fact that he so testified. I want to know whether or not you were engaged in a similar type of service to the Communist Party in entertaining at these features.
(Witness consulted with counsel.)
Mr. SEEGER: I have sung for Americans of every political persuasion, and I am proud that I never refuse to sing to an audience, no matter what religion or color of their skin, or situation in life. I have sung in hobo jungles, and I have sung for the Rockefellers, and I am proud that I have never refused to sing for anybody. That is the only answer I can give along that line.
Chairman WALTER: Mr. Tavenner, are you getting around to that letter? There was a letter introduced yesterday that I think was of greater importance than any bit of evidence adduced at these hearings, concerning the attempt made to influence people in this professional performers’ guild and union to assist a purely Communist cause which had no relation whatsoever to the arts and the theater. Is that what you are leading up to?
Mr. TAVENNER: Yes, it is. That was the letter of Peter Lawrence, which I questioned him about yesterday. That related to the trial of the Smith Act defendants here at Foley Square. I am trying to inquire now whether this witness was party to the same type of propaganda effort by the Communist Party.
Mr. SCHERER: There has been no answer to your last question.
Mr. TAVENNER: That is right; may I have a direction?
Mr. SEEGER: Would you repeat the question? I don’t even know what the last question was, and I thought I have answered all of them up to now.
Mr. TAVENNER: What you stated was not in response to the question.
Chairman WALTER: Proceed with the questioning, Mr. Tavenner.
Mr. TAVENNER: I believe, Mr. Chairman, with your permission, I will have the question read to him. I think it should be put in exactly the same form.
(Whereupon the reporter read the pending question as above recorded.)
Mr. SEEGER: “These features”: what do you mean? Except for the answer I have already given you, I have no answer. The answer I gave you you have, don’t you? That is, that I am proud that I have sung for Americans of every political persuasion, and I have never refused to sing for anybody because I disagreed with their political opinion, and I am proud of the fact that my songs seem to cut across and find perhaps a unifying thing, basic humanity, and that is why I would love to be able to tell you about these songs, because I feel that you would agree with me more, sir. I know many beautiful songs from your home county, Carbon, and Monroe, and I hitchhiked through there and stayed in the homes of miners.
Mr. TAVENNER: My question was whether or not you sang at these functions of the Communist Party. You have answered it inferentially, and if I understand your answer, you are saying you did.
Mr. SEEGER: Except for that answer, I decline to answer further… .
Mr. SCHERER: Do you understand it is the feeling of the Committee that you are in contempt as a result of the position you take?
Mr. SEEGER: I can’t say.
Mr. SCHERER: I am telling you that that is the position of the Committee… .
Mr. SEEGER: I decline to discuss, under compulsion, where I have sung, and who has sung my songs, and who else has sung with me, and the people I have known. I love my country very dearly, and I greatly resent this implication that some of the places that I have sung and some of the people that I have known, and some of my opinions, whether they are religious or philosophical, or I might be a vegetarian, make me any less of an American. I will tell you about my songs, but I am not interested in telling you who wrote them, and I will tell you about my songs, and I am not interested in who listened to them… .
Source: Congress, House, Committee on Un-American Activities, Investigation of Communist Activities, New York Area (Entertainment): Hearings, 84th Congress, August 18, 1955
Summary: In a world full of magic, 9 girls will struggle with their fate and themselves. Will they be able to overcome their greatest fears, inner demons and enemies, becoming more than just friends in the end? Or will they fail? (Love Live! with aspects of Fairy Tail)
Note: It’s finally starting. I’m really excited, because this is going to be my first really big project, where I did world building and all this stuff. I’m not sure if you’ll like it, but I hope you will.
A huge “thank you” @megapixelpichu again for being my beta reader. Knowing my grammar I’m sure it wasn’t easy.
Well, enough notes. I hope you enjoy the journey we are now about to begin.
The kingdom of Tokyoshi; a small and peaceful country with 10 Million inhabitants. It is a world full of magic. Magic is bought and sold everyday, being an integral part of people’s lives. There are those who use magic as their occupation, these people are referred to as mages. Mages belong to various guilds, and perform jobs on commission. There are an immense number of guilds all across the country; and in a certain city there lies a certain guild. A guild from which incredible mages were once born - and will continue to be born into the future. That guild’s name is : Sakura Heaven.
The Tirisfal Theatre Troupe's BIG Hallow's End Bash! (RP Event!)
There is a party to attend! And you’re invited…
“We invite you to come along, and join us in celebration and song! One year of theatrical nonsense past, our anniversary is upon us at last!
This is our gift to you, our guests, who give us reason to do our best!”
~ Father Irreverent, Director & Founder of the Tirisfal Theatre Troupe
What: The Tirisfal Theatre Troupe’s Big Hallow’s End Bash & Anniversary Celebration! Where: Zeramas - Zul'Drak (Wyrmrest Accord Server) When: Friday, October 24th at 8:00 PM (Pacific server) to 11:30 PM or later! Stay for as long as you like! Who: Anyone! Though, you may want your toon to be Horde! Come join us! Enable GHI and benefit from the various GHI supported games and music! Additional: This is a costume party! You don’t have to wear one, but if you choose not to, please come in your best attire!
Contact Atos or any member of the Tirisfal Theatre Troupe to receive an invitation via calendar!
It’s been a year since the Tirisfal Theatre Troupe did their first major performance at Razor Hill for the troupes on the eve before their first push to take Orgrimmar back for the Horde! Though the troupe itself is older than that, the mark of our birth is the date of the very first performance of “Hellsqueal: The True Warchief’s Tale” in late October last year. Thus, our guild’s first anniversary is coming up fast, and we want to celebrate in a big way!
Gathering all available resources, the Tirisfal Theatre Troupe plans to not only present our newest comedy, a collection of Scourge themed shorts titled “Wrap of the Lunch King”, but we’re in the midst of preparing several fun and exciting events for everyone who wants to join in! Take a look at some of what we have in store for you;
Why do I have to be a hero? Why do you have to like me? And why do I have to be a mentor? My job as an actor is just to create a human being…to the best of my ability. Flawed, messy, maybe not always likable, maybe not cute.
It is my job, and I do it to the best of my ability and I get so much joy out of being an actor
—Viola Davis (Screen Actors Guild Awards 2016)
The Kingdom of Fiore, a neutral country of 17 million people. It is a world of magic. Magic is bought and sold there everyday. It is an integral part of people‘s lives. And there are those who use magic as their occupation. Those people are referred to as wizards. The wizards belong to various guilds, and perform jobs on commission. There are a large number of guilds within the country.