Today I could not write. I'm stuck with my play and where it needs to go next because I know it's time to dig in a bit deeper so I decided to paint and work on my website instead. You see it's too easy for me to stop working altogether when I get frazzled with writing and my inner critic. A fellow writer suggested a brilliant solution of duct taping the critic. That totally cracks me up. That doesn't quite work for me tho'. I've spent too many years believing this critic so I shake her loose when I paint.
Butterfly Dawn << This link is one of three pieces I painted today. One didn't turn out well at all so I'm not going to bother showing that one. I have an easier time allowing myself to make mistakes in painting. The critic's claws don't take huge chunks of flesh from me the way writing does. And Joan Mitchell's abstract work really stayed with me all week. I tried a different color pallet and looked at fields of color within the piece. I lost myself in the process and it was quite wonderful. * happy sigh *
The writing:
Here is my dilemma, I went to see this gorgeous film last week called CAIRO TIME with Patricia Clarkson and Alexander Siddig. It's a quiet love story that unfolds moment by moment. It's so beautifully done that it made I realize I'm missing something in my play. I know the mediums are different, movies are a visual medium so quiet is better tolerated in front of screen. But there must be a way to create a level of intimacy between characters on the stage without it feeling rushed or contrived. I'm trying to figure out where those stolen moments are. But I know it means MAJOR rewrites. And I'm feeling lost right now and I don't quite yet how to break apart this play.
Butterfly Dawn << This link is one of three pieces I painted today. One didn't turn out well at all so I'm not going to bother showing that one. I have an easier time allowing myself to make mistakes in painting. The critic's claws don't take huge chunks of flesh from me the way writing does. And Joan Mitchell's abstract work really stayed with me all week. I tried a different color pallet and looked at fields of color within the piece. I lost myself in the process and it was quite wonderful. * happy sigh *
The writing:
Here is my dilemma, I went to see this gorgeous film last week called CAIRO TIME with Patricia Clarkson and Alexander Siddig. It's a quiet love story that unfolds moment by moment. It's so beautifully done that it made I realize I'm missing something in my play. I know the mediums are different, movies are a visual medium so quiet is better tolerated in front of screen. But there must be a way to create a level of intimacy between characters on the stage without it feeling rushed or contrived. I'm trying to figure out where those stolen moments are. But I know it means MAJOR rewrites. And I'm feeling lost right now and I don't quite yet how to break apart this play.
But the website work, which I've been procrastinating for the last three weeks, was a good place to hide myself in for early evening work. It's a great big puzzle with pieces that I just needed quiet time to figure out. I've had the house all to myself since 5:30 so work on it I did. I am relieved that it's finally live. I know I can go in and tweak it FOREVER but for now it's a good starting point.
All for now, I am maxed out and in need of a cold drink and a cool bed.
L~
All for now, I am maxed out and in need of a cold drink and a cool bed.
L~
P.S. Forgive the typos, I am too tired to proof this entry.
All artwork, photos, and text © Copyright 2008-2010 Liliana Almendarez unless indicated otherwise. All Rights Reserved. Any downloading, copying or use of images on this website is strictly prohibited without express written consent by Liliana Almendarez.
All artwork, photos, and text © Copyright 2008-2010 Liliana Almendarez unless indicated otherwise. All Rights Reserved. Any downloading, copying or use of images on this website is strictly prohibited without express written consent by Liliana Almendarez.
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