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By Marcus Youssef, James Long
Pals, theatre artists and long-time buddies Marcus and James, sit down at a desk and go the time jointly taking part in a made-up online game during which they identify humans, locations, or things" Pamela Anderson, microwave ovens, their fathers, Goldman Sachs" and debate whether or not they are winning or no longer; in different phrases, whether or not they are winners or losers. each one buddy seeks to defeat the opposite, and since this kind of males grew up economically privileged, and the opposite didn't, the contest veryquickly provides up. Winners and Losers showcases the paintings of 2 giants of the Vancouver indie theatre scene. James Longâe(tm)s Theatre substitute develops paintings particular to specific areas and the folks who reside in them. Marcus Marcus Youssef's Neworld Theatre investigates questions of strength, tradition, and belonging. Their first collaborative paintings is a staged dialog that embraces the ruthless good judgment of capitalism, and checks its effect on our closest own relationships in addition to our such a lot intimate reports of self.
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In dramatic narrative, the catalyst (or agent for change, or inciting incident) is the occasion or character that sets events in motion, precipitating the dramatic action of the protagonist. Let’s say that the main character learns that a former gunslinger has just ridden into town, or unexpectedly glimpses a former lover at a train station, or suddenly loses a job—any of these events could be a powerful catalyst moving the protagonist into action, into change. In a short film, we are usually introduced to the protagonist before the catalytic event occurs, so that we will have a chance to Discovering and Exploring a Main Character 45 identify with him or her.
Outside, a war rages for control of the university. When the dean dies, these last holdouts for tradition leave the building; the past that they and their dean had represented is over and done with. The writer/director wanted to create a world that would appear, on one level, to be sheltered and monastic but on another level suffocating and jaillike. He was able to accomplish this by using sound to establish both images. The sounds of photocopying and microfiche machines, and so on, suggest that the university is essentially a library, but on another level, a synthesized music track provides a distancing, troubling effect—a sense that what goes on in that library is not entirely “bookish” but something patterned, repetitive, and destructive.
Meanwhile, Thelma is cutting out coupons from a newspaper, pinning them onto a bulletin board covered with recipes and more cuttings. Here we get a first glimpse of Thelma’s characteristic mode of passive resistance: she may feel a little guilty about procrastinating, but she’ll still do things her own way. At this point, and for most of the script, the two women’s relationship is that of irresponsible little sister and responsible big sister. The tension between them ebbs and flows, and the balance of power shifts with changing circumstances.
Winners and Losers by Marcus Youssef, James Long