Support My Show!

According to the United Nations, ONE out of every THREE women on the planet will be physically or sexually abused in her lifetime.




Quick links: Three ways you can support the cause:

3) Buy an ad in our program! Contact Andrea

I am proud to be granted the rights to direct a V-Day benefit production of  The Vagina Monologues, on May 22nd and May 24th at the Triad Theater in NYC. V-Day is a global activist movement to stop violence against women and girls.  
In addition to ticket sales, I have set up a fundraising page. My goal is to personally raise $1,000. If you can’t attend the production on May 22nd or May 24th, this is a great opportunity for you to show your support!
As the organizer for the event, I was asked to pick a NYC based beneficiary. That was an easy choice! I wanted to pick an organization that uses theatre to empower young women. viBe Theater Experience is an organization that I have worked with in the past. I’m extremely passionate about their mission. viBe provides a safe space for under-served girls (ages 13-19) to express their voices, take on challenge and responsibility and gain the self-confidence to succeed personally, socially and academically.   See the YouTube video below for more information! 

We were asked to donate 10% of all net profits to V-Day 2011 Spotlight on Women of Haiti. After that, we have set a goal of 94 cents of every dollar raised to be donated to  viBe Theater Experience. Help us raise awareness. The truth is shocking. According to the United Nations, ONE out of every THREE women on the planet will be physically or sexually abused in her lifetime.

“The world needs dreamers and the world needs doers. But above all, the world needs dreamers who do.”
-Sarah Ban Breathnach

Get Your Tickets!


We expect to sell out immediately. There is a large cast and a limited number of tickets. 
Get your tickets now…
The show is outrageous, sexy, raw and empowering. Not for the faint of heart.

Bonus? There is a bar in the theatre. This is sure to be a wild night. 



Tickets:
$20.00 General Admission
$100.00 VIP Seating
2 drink minimum.

Dates:
May 22nd, 2011 @ 3pm
May 24th, 2011 @ 7pm.

“The world needs dreamers and the world needs doers. 

But above all, the world needs dreamers who do.”
-Sarah Ban Breathnach

Can’t make the show? Make a donation. Even $10 helps! http://www.firstgiving.com/fundraiser/andreabertola/thevaginamonologues







The Cast!

I’m delighted to announce our cast! 


Fierce. Passionate. Talented.





V-Day New York City, Triad Theatre (The Vagina Monologues)

May 22, 2011 at 3pm
May 24, 2011 at 7pm


Important: Cast members! You should have received this memo via email, along with the script.
If you didn’t, please contact me right away. 
AndreaBertola@gmail.com


In order of appearance…

WE WERE WORRIED: THE CAST
INTRO TO HAIR: ANNETTE
HAIR: JULIA
THE WEAR AND SAY LIST: THE CAST
INTRO TO THE FLOOD: CINDY
THE FLOOD: FRANCES
THE VAGINA WORKSHOP: KIRA
VAGINA HAPPY FACT: SUE
INTO TO BECAUSE HE LIKED TO LOOK A IT: JULIA
BECAUSE HE LIKED TO LOOK AT IT: AVEL
VAGINA NOT-SO-HAPPY-FACT: CINDY
INTRO TO KAMBRI’S TESTIMONIAL: JUSTINE
KAMBRI’S TESTIMONIAL: KAMBRI
MY ANGRY VAGINA: TAY AND QUENNA
INTRO TO MY VAGINA WAS MY VILLAGE: DANA
MY VAGINA WAS MY VILLAGE: JUSTINE AND OLIVIA
INTRO TO COOCHIE SNOORCHER: LISA
THE LITTLE COOCHIE SNORCHER THAT COULD: CAROLYN
MY SHORT SKIRT: TALIA, LISA, DANA
INTRO TO RECLAIMING CUNT: FRANCES
RECLAIMING CUNT: JESSICA
A SIX YEAR OLD GIRL WAS ASKED: CINDY AND SUE
INTRO TO THE WOMAN WHO LOVED TO MAKE VAGINAS HAPPY: TALIA
THE WOMAN WHO LOVED TO MAKE VAGINAS HAPPY: ERICA
INTRO TO I WAS THERE IN THE ROOM: CAROLYN
I WAS THERE IN THE ROOM: ANNETTE
INTO TO MYRIAM (SPOTLIGHT MONOLOGUE): KIRA
SPOTLIGHT MONOLOGUE: CINDY, AVEL, JESSICA AND THE CAST 

Auditions!

V-Day: The Vagina Monologues
Audition Announcement!!

We are proud to be a participant in the V-Day New York City 2011 campaign. We have been granted the rights for a V-Day benefit production of Eve Ensler’s award-winning play, “The Vagina Monologues” to raise money and awareness for local organizations that work to stop violence against women and girls. Directed by Andrea Bertola.

Want to be on stage? Come to this meeting!
Have fun, explore the script, be empowered
and meet cool women willing to take a risk!
Looking for a diverse group of women.
(All ages, ethnicities, and types are requested)
Bonus!

No acting experience necessary, we’re looking for real women to portray real stories in a professional production. Some participants will be allowed to read from note cards. You will be challenged to test your limits in evoking truthful emotions for a dynamic performance.

Audition Details:
Date: April 3, 2011
Time: From 1 pm UNTIL 5 pm.*
*This will be a group audition, please arrive promptly at 1pm.


Location: 
CAP21
18 West 18th Street, #6
New York, NY

If you want to be a cast member, please make your best effort to join us!

Performance dates:
5/22/11 @ 3pm
5/24/11 @ 7pm

Performance venue: 
The Triad Theater

PLEASE RSVP “YES” IF YOU PLAN ON AUDITIONING….

If you are unable to attend, please contact Andrea at AndreaBertola@gmail.com

Also- If you are interested in being involved behind the scenes…contact Andrea.

The Vagina Monologues!

I am proud to be a participant in the V-Day 2011 Campaign.  We have been granted the rights for a V-Day benefit production of   Eve Ensler’s award-winning play, “The Vagina Monologues” to raise money and awareness for local organizations that work to stop violence against women and girls. 
In 2010, over 4000 V-Day benefit events took place, produced by volunteer activists in 130 countries around the world, educating millions of people about the reality of violence against women and girls both locally and globally.  In 2011– I will be organizing one of thousands of events around the world, channeling creative energy into making a difference as part of the V-Day Campaign.  It is our intention to make V-Day 2011 a huge success.  This will be possible, in large part, through the assistance and generosity of volunteers. 




Five reasons why YOU should participate in the production:
1. Mother
2. Girlfriend
3. Sister
4. Friend
5. Daughter
Do you want to get involved????
You need to have time, patience, love working with people, and you shouldn’t be shy!
We need lots of help, women AND men!!! Roles to be filled:

PR
Crew
Publicity
 Marketing 
Social Media
Stage Manager
Assistant Director
Production Team
Program Design
Administration
Music Director
Hair & Makeup
Ticket Sellers
Tech Crew
Fundraisers
Treasurer
Etc.

….and actresses! (Looking for diversity! All ages and types!)


Contact me or leave a message in the blog comments!
Andrea@thenewyorkwebsitedesigner.com

-Andrea

Final Self- Assessment

Advanced Directing
New York University
Educational Theatre Program
Dr. Nancy Smithner
May 14, 2010

Final Self- Assessment

To articulate my personal growth that took place in this course is almost incomprehensible. This was by far the most challenging class I enrolled in this semester. I approached my work with vigor and ferociously defended the beliefs I have set for myself as to what makes quality theatre. I have honed my critical eye and raised my standards, knowing what I am capable of and never settling for less. I have defined my ideals of artistic integrity and look to reevaluate those ideals with every new piece of theatre I have experienced.
In order to keep challenging myself with the course work, I explored our assigned readings with eagerness. When I came across an unfamiliar name, theory, technique, etc. I would research it online. Many times that research would lead me to new research, which would lead me to new research and before I would even realize it… 2 hours of concentrated learning had gone by and I was still on page 3 of the reading. That is really the beauty of the internet. It was in these moments that I relished in my role as a student of the theatre. I have gotten such immense pleasure out of directing and our assigned readings that I wanted to soak up more material. I was like a sponge. Coming from a girl that struggled with some devastating learning disabilities through out my childhood and adolescent years… (dyslexia, dysgraphia, ADD) I really savor the moments when school ignites a deep passion to learn. It is such a radically different feeling from what I am accustomed to, I could write an entire book on the ways a class such as “Advanced Directing” has changed me in my role as an accomplished learner. I’m leaving for a vacation to Italy on Tuesday and I’m excited to take some of the readings from the class with me. I’ll have a whole looong plane ride to delve back into the material and reevaluate it based on the experiences I had in class.
I can’t wait to direct my next full scale piece. I am salivating! I have all of these tools and no venue to work in! This class has given me a plethora of techniques, tools and ideas just waiting to be used! My one regret, I wish we had gone into some “career development” talk. How to make connections and where to find more professional directing opportunities. I’m very eager to direct in “the real world” again, and I’m a little confused as far as which route I should take to work towards that goal. I am inspired by directing, it engages my artistic interests on so many levels. From design to research, inspiration to collaboration; I find directing wholly fulfilling.
In finishing this course I feel as though I have a strong understanding of many of the techniques we learned and confidence in my ability to facilitate several of them as a director. I am anxious to explore future productions through the eye of the director and help others to make connections to theatrical work. I was passionately dedicated to my scene work and able to learn from my mistakes. I maintained my attention to detail and made clear choices in my directing that translated onto the stage. I enjoyed the weekly reading assignments and made notes of my favorites so that I can revisit them in the future. Being that I plan on teaching in colleges and communities I am excited about the freedom I will have to explore this work in a way that mirrors your facilitation of the techniques.
I learned the most about myself as an artist and learner. I redefined my identity by taking ownership of the type of student I was versus the type of student I have become. By challenging myself and overcoming personal obstacles I have made the connection of how to use the content learned in class and apply that passion to my everyday life. I have become an astute observer of the nuances in our world and my artist eye has only improved from that realization. I leave this class with confidence in my capability as a director, an artist and as a hungry student, which is truly the most priceless lesson of all.

Memorization Technique

Today we started with a memorization technique that Nan taught us. It was awesome! 
First we had to free write a story we recalled from our childhood. Something about family. I wrote about my crazy grandmother! I love the freedom of free writing and not having the chance to edit yourself. I think it’s so important for an actor to do.
After that we read the pieces out loud. After that we paired up with a partner and assigned a specific imagery picture to each word. Nan told us, when actors forget their lines, it is because they don’t have an image for the word. How cool! I didn’t know that. It totally make sense. Assigning imagery to each word added so much color to the work. I wonder how that works when an actor is really enthralled with their character. My first reaction would be to think that the imagery would work against deeply emotional character development. I guess it ties the actor’s life and experiences in with the life of the character…helping to blend the two. Very interesting! Either way… it really did help me memorize my piece. I was able to perform off book! Crazy!

Oh the places You’ll Go…

I had originally decided to deconstruct Klaus Kinski’s book, “Kinski Uncut”. As I was reading it, the text was so dark that I thought it would be interesting to juxtapose it with something really childlike and innocent. “Kinski Uncut” follows Klaus through his chaotic life. It’s an erotic story as he explains (it vivid detail) his never-ending desire for women. I thought juxtaposing this story with “Oh the places You’ll Go” would be very interesting. That particular Dr. Seuss book is often given out as a graduation present. It is a symbol for the opportunities that lay before a young person. I wanted to explore what happens when a person takes the wrong road. I also wanted to explore Klaus’ book from the perspective of the scorned women he left behind. I chose to have the (literally) hundreds of women he left behind represented in one person. Of “all the places you’ll go” how far could a person get to that line? What is the ultimate revenge? I wanted to push myself in this scene and explore a really dark topic. I wanted to see if I would be able to create and direct a powerful piece that doesn’t rely on fluff, pop culture, comedy or any other tricks I have up my sleeve.
Below are some excerpts I cut from the Dr. Seuss poem. As you can see… when they stand alone they are quite dark:
Oh! The Places You’ll Go!
You won’t lag behind, because you’ll have the speed. 
You’ll pass the whole gang and you’ll soon take the lead. 
Wherever you fly, you’ll be best of the best. 
Wherever you go, you will top all the rest.

Except when you don’t. Because, sometimes, you won’t.

I’m sorry to say so but, sadly, it’s true that Bang-ups and Hang-ups can happen to you.
You will come to a place where the streets are not marked. 
Some windows are lighted. But mostly they’re darked. 
A place you could sprain both your elbow and chin! 
Do you dare to stay out? Do you dare to go in? 
How much can you lose? How much can you win?
You can get so confused that you’ll start in to race down long wiggled roads at a break-necking pace and grind on for miles across weirdish wild space, headed, I fear, toward a most useless place.

The Waiting Place…for people just waiting.
I’m afraid that some times you’ll play lonely games too. 
Games you can’t win ‘cause you’ll play against you.
All Alone!
Whether you like it or not, Alone will be something you’ll be quite a lot.
And when you’re alone, there’s a very good chance you’ll meet things that scare you right out of your pants. There are some, down the road between hither and yon, that can scare you so much you won’t want to go on.

But on you will go though the weather be foul. 
On you will go though your enemies prowl. 
On you will go though the Hakken-Kraks howl. 
Onward up many a frightening creek, though your arms may get sore and your sneakers may leak. 
On and on you will hike. 
And I know you’ll hike far and face up to your problems whatever they are.
I took the idea of “the waiting place” and thought of it as a sort of ‘Limbo’ where people are waiting all alone. They might have to face their fears. A “weirdish, wildish space where you find things that “scare you so much you won’t want to go on”. I decided to use the idea of abortion and a woman’s womb. A woman taking back control of her body. I wanted it to be heavy on symbolic meanings so that an audience could impose their own story on the piece. I wanted to play with universal themes. However, I needed to have a very clear story for my actress. You can’t play universal themes if you don’t have an underscoring thru line. This just leads to confusion.
The story we came up with for my actress:
She was in love with Klaus and would do anything to be close to him; however he just used her for sex. (like many of the women he describes in the book). She was poor, desperate and not well educated. She has no identity other than when she is with him. He gives her self-worth. The type of woman that puts a man before herself. No confidence, no self respect. She found out she was pregnant with his baby and he wanted nothing to do with her. This enraged her. She thought the baby would change their relationship. She despised him and she despised herself. Even worse she despised his growing fetus inside of her. The rage empowered her to take the life of the baby. She tried to terminate the pregnancy. She ended up killing herself in the process.
As the scene begins she wakes up in a hazy fog, as she finds herself in “limbo”… however she doesn’t know where she is yet. She finally discovers the blood on her hands (symbolic) and realizes where she is. She tries to wipe the blood off her hands and this results in staining her white dress with blood (symbol). She starts hearing voices and seeing bits of her life flash before her. She hears her own voice and sees herself in the mirror. The last voice of Klaus, saying, “We can’t be together right now.” She falls to the floor in a fit of despair. As she rises, we see that her skirt is covered in blood. Her womb bleeds for him.
She finds the bowl of water and decides to cleanse herself. (A symbolic baptism). As she pours the clear water into the bowl, it fills with red blood. She tries to cleanse the blood from her hands and at the bottom of the bowl she discovers the placenta. She instantly connects with it and mothers it. She rocks it and kisses it. Sorry that she terminated the fetus’ life out of revenge. For once, she is in control. She has her own identity away from Klaus. In a final symbolic moment she ingests the placenta as a way to become whole once more. She has resolved her tormented feelings and can leave limbo. Symbolically the baby with go with her. Blackout.
Inspiration Pictures:
 
 

 
Yikes. Pretty sick. I don’t know where this piece came from! But I think it’s beautiful at the same time. Though I’m prochoice, I didn’t want this piece to be political in nature. I tried to find balance. She terminated the pregnancy, which is a prochoice stance… yet she ended in limbo, which leans towards the stance of the prolife team. However, she could be in limbo for a number of reasons: killing herself, revenge, unresolved issues, self loathing…etc. She could be in limbo because the baby died with the “original sin”. Or it could be perceived as a dream/nightmare.
Luckily enough after scouring the internet for audio versions of the poem, I found a version that someone had made for an art project. They had used some of the text, but integrated it with really creepy music! Perfect.
I wanted to use a fog machine… I felt it was really important to create the right atmosphere.
In rehearsal we did a ton of emotional work as we deconstructed the moments. I wanted her emotional reactions to the scene to be authentic. Everything else is so gruesome and horrifying that we need the audience to become immediately invested in her and willing to go with her on the journey. I felt as though leaving a sense of ambiguity would “hook” them. Their curiosity would lead them through our story.
Each person in the audience will be engaged as they as themselves:
Who is she?
Where is she?
What is wrong with her?
Who are the voices she hears?
What does the blood represent?
What does her white outfit represent?
What does the water represent?
And finally, I hope it would foster dialogue and begin a conversation on the ‘controversial’ subject of abortion, life, death and the afterlife.

After notes:

I was thrilled with my scene. I was glad the smoke machine worked so well. I own the machine and have used it in numerous performances before so I knew how to alter it for the purpose of using it in a classroom environment. I had adjusted the ratio of “smoke juice: to water” this way it wouldn’t bother anyone’s eyes, or lungs…and it wouldn’t set of the smoke alarm in the building. It’ was basically a 90% water solution. This worked against me in some ways, because had there been more fluid the smoke would have stayed in a thicker layer on the floor, instead of rising up and evaporating so quickly. I had really hoped to create the illusion of her walking through the clouds…but I think a moody atmosphere was achieved, so I’m happy with that. The scene was visually beautiful. I think the grey walls, big windows, and use of the setting natural light really helped to set the mood. The red blood added serious “shock value” especially against her stark white dress in the blank space. I was excited when people had asked me later— “where did you hide all of the blood?” This was the first time I had ever used elements of “magic” in my scene and I’m glad that it turned out so well! I definitely ruined a couple of shirts practicing THAT one… but it was totally worth it.

This scene was such a stretch for me and I was cringing while I watched the scene. It went against every bone in my body to rely so heavily on the emotional work with my actress. I have never used a bare stage and those first minutes of her exploration killed me! I was afraid the audience would be bored! I had to trust myself and trust our work. I was rewarded as I watched the faces of the audience and they seemed to be captivated! Success!

Advanced Directing

Today was a great class! There were so many instances where I thought to myself, “I could use that in rehearsal” or “this would be great to use when working with kids! I feel like this class helped to cement my knowledge and understanding on the technique. We revisited the viewpoints work in crossing the space. This time, instead of feeling intimidated, I felt free to explore. I made a mental note that this is not a great activity for someone that is insecure or vulnerable. There must be some sense of ensemble and trust within the group for it to be successful. This time, being that we knew eachother better I feel as though the work was better.
I loved the part where we added a word to our movement. The scenes that immerged were so fun! You could literally see new worlds develop right before your eyes! What an interesting way to create a new story! It would allow the collaborators to explore new worlds with new rules! Fascinating! I also enjoyed the ritualistic nature of the whole exercise. It forced participants to honor the “sacred space” and commit fully to their actions.
Next, we brought the work into work with text. We stood in two lines across from eachother and read a small scene in unison. One line was one character and one line was the other. It felt odd. Having to speak in sync with the whole class felt very limiting. We had to think as one unit. It forced us to be in tune with the people around us. I’m not quite sure how this would work in a rehearsal process. I think it would be time consuming, to say the least.
After that, we broke off into pairs and deconstructed the text. I was paired with Pip and we turned the scene into a conversation between a chair and its owner. It was fun and playful and really helped me to understand what deconstructing a scene feels like. There were so many different versions! I love seeing how text could be played in so many different ways!
Finally we did an activity with the text that reminded me of the “shadowing” work that I did in my drama therapy class. We had one person read the text and someone else would speak the subtext. Another version was reading the text and having someone narrate the action. I really enjoyed this! This is a great exercise to bring into class to teach to young actors. It deals with trust, spontaneity, improv, subtext, cause & effect.