Question
Find the costumes, props and furniture on the scene below
Scene One
The lights are down. Three women’s voices sing a hymn in Xhosa. When the lights
come up, Pumla, Karabo and Andiswa – wearing a similar, contemporary (black and
white – large check) uniform (Pumla’s fits more uncomfortably than that of Karabo’s
and Andiswa’s) and sunglasses. They are singing and moving, their movements
choreographed so that the impression is of a team of singers that has done this
many times before. The choreographed movements are laced with irony, a
comment by the team itself on what they are doing as professional mourners.
(It is up to the Director and/or the cast to find appropriate music for this opening
sequence, some could be well-known hymns, others from popular local gospel
singers and even appropriate popular songs).
After two verses or so, they abruptly break into exaggerated mourning, wiping their
“tears” with exaggerated movements as each repeats a few words over and over
again, at the same time as each other, but giving the audience and opportunity for
the words of each to be heard.
Pumla: He was such a good man. (repeat)…such a good man…a good man…
Karabo: The most amazing father. (repeat)…most amazing…an amazing
father…
Andiswa: A loyal and loving husband. (repeat)…a loving husband…a loyal
husband…
They stop abruptly as if someone has corrected them. They lift up, or look “over”
their sunglasses, look ahead, look at each other…
Karabo: (as if speaking to someone who has corrected her) Sorry…(she
whispers to Pumla and Andiswa without the audience hearing)
They slip their sunglasses back on and without missing a beat, pick up where they
left off.
Pumla: She was such a good woman…such a good woman…a good woman…
Karabo: We will miss this loyal wife…a loving wife…we will miss her…
Andiswa: The most amazing mother…so amazing…an amazing mother….
After a bit, the lights change, Andiswa and Karabo continue to hum and sway as
Pumla steps forward, takes off her sunglasses and talks directly to the audience.
Pumla: My father was stabbed to death. On his way home from work. My
mother was told that she couldn’t slaughter an animal for the funeral. Because blood had already been spilt. But she refused. She had all
these people to feed.
Karabo puts on her glasses and steps back into line with Pumla and Andiswa. They
start singing a more upbeat song than the one they started with, with new
choreography. They end - after a verse or two and a chorus – on their knees, with
their arms in the air, each one calling angels to come and do different things, again,
saying these things at the same time, and with exaggerated speech and movement.
Andiswa: The angels are here…they’ve come to take her soul…come
angels…take her…
Karabo: Angels from high…take her and fly…take her and fly…angels on
high….
Pumla: The ancestors are waiting…to welcome another…rejoice
ancestors…rejoice...
Karabo gets up and steps forward while Pumla and Andiswa continue to recite their
words on their knees, quietly, but ever more excitedly.
Karabo: When my brother passed…all these women came to our
house…everyone with a baby or a young child. We knew that he was
a father, but we only discovered then that he had six children. And he
was only twenty-eight. They all came to the memorial…these women
and their young children. They were the ones who complained the
loudest…why don’t you have any food? Our children are hungry! We
said this is a memorial not a funeral….
Karabo puts her sunglasses back on, leading a new song as she steps back, with
Pumla and Andiswa rising to join her. This song is almost celebratory, and they
dance with great gusto, and yet with respect for the dead and the occasion at which
they are performing.
Finally, Andiswa steps forward while Pumla and Karabo hum and sway in the
background.
Andiswa: They wanted my mother to sit on a mattress. And just look down.
That’s our tradition when someone dies. The elders wanted this to
happen even more…because of the shame of his death. My father
committed suicide. We were young. My mom said she had to put food
on our table. So she went to work. The elders weren’t happy.
Andiswa steps back into line and the three end this sequence with a rousing
rendition of a popular song, with concomitant choreography
Scene One
The lights are down. Three women’s voices sing a hymn in Xhosa. When the lights
come up, Pumla, Karabo and Andiswa – wearing a similar, contemporary (black and
white – large check) uniform (Pumla’s fits more uncomfortably than that of Karabo’s
and Andiswa’s) and sunglasses. They are singing and moving, their movements
choreographed so that the impression is of a team of singers that has done this
many times before. The choreographed movements are laced with irony, a
comment by the team itself on what they are doing as professional mourners.
(It is up to the Director and/or the cast to find appropriate music for this opening
sequence, some could be well-known hymns, others from popular local gospel
singers and even appropriate popular songs).
After two verses or so, they abruptly break into exaggerated mourning, wiping their
“tears” with exaggerated movements as each repeats a few words over and over
again, at the same time as each other, but giving the audience and opportunity for
the words of each to be heard.
Pumla: He was such a good man. (repeat)…such a good man…a good man…
Karabo: The most amazing father. (repeat)…most amazing…an amazing
father…
Andiswa: A loyal and loving husband. (repeat)…a loving husband…a loyal
husband…
They stop abruptly as if someone has corrected them. They lift up, or look “over”
their sunglasses, look ahead, look at each other…
Karabo: (as if speaking to someone who has corrected her) Sorry…(she
whispers to Pumla and Andiswa without the audience hearing)
They slip their sunglasses back on and without missing a beat, pick up where they
left off.
Pumla: She was such a good woman…such a good woman…a good woman…
Karabo: We will miss this loyal wife…a loving wife…we will miss her…
Andiswa: The most amazing mother…so amazing…an amazing mother….
After a bit, the lights change, Andiswa and Karabo continue to hum and sway as
Pumla steps forward, takes off her sunglasses and talks directly to the audience.
Pumla: My father was stabbed to death. On his way home from work. My
mother was told that she couldn’t slaughter an animal for the funeral. Because blood had already been spilt. But she refused. She had all
these people to feed.
Karabo puts on her glasses and steps back into line with Pumla and Andiswa. They
start singing a more upbeat song than the one they started with, with new
choreography. They end - after a verse or two and a chorus – on their knees, with
their arms in the air, each one calling angels to come and do different things, again,
saying these things at the same time, and with exaggerated speech and movement.
Andiswa: The angels are here…they’ve come to take her soul…come
angels…take her…
Karabo: Angels from high…take her and fly…take her and fly…angels on
high….
Pumla: The ancestors are waiting…to welcome another…rejoice
ancestors…rejoice...
Karabo gets up and steps forward while Pumla and Andiswa continue to recite their
words on their knees, quietly, but ever more excitedly.
Karabo: When my brother passed…all these women came to our
house…everyone with a baby or a young child. We knew that he was
a father, but we only discovered then that he had six children. And he
was only twenty-eight. They all came to the memorial…these women
and their young children. They were the ones who complained the
loudest…why don’t you have any food? Our children are hungry! We
said this is a memorial not a funeral….
Karabo puts her sunglasses back on, leading a new song as she steps back, with
Pumla and Andiswa rising to join her. This song is almost celebratory, and they
dance with great gusto, and yet with respect for the dead and the occasion at which
they are performing.
Finally, Andiswa steps forward while Pumla and Karabo hum and sway in the
background.
Andiswa: They wanted my mother to sit on a mattress. And just look down.
That’s our tradition when someone dies. The elders wanted this to
happen even more…because of the shame of his death. My father
committed suicide. We were young. My mom said she had to put food
on our table. So she went to work. The elders weren’t happy.
Andiswa steps back into line and the three end this sequence with a rousing
rendition of a popular song, with concomitant choreography
Answers
GPT-4o mini
Based on the description of Scene One you provided, here’s a breakdown of what costumes, props, and furniture might be included in this theatrical scene:
### Costumes
1. **Uniforms**:
- Each woman (Pumla, Karabo, and Andiswa) wears a contemporary black and white large check uniform, which signifies their role as professional mourners.
- Pumla's costume is noted to fit more uncomfortably than Karabo’s and Andiswa’s, perhaps indicating her emotional state or social standing.
2. **Sunglasses**:
- All three women wear sunglasses, contributing to their contemporary look and adding to the irony of the scene as they portray professional mourners.
### Props
1. **Tissues or Handkerchiefs**:
- Used during the exaggerated mourning scenes where they wipe their “tears.” This can enhance the physical comedy of their performance.
2. **Light Source**:
- The scene begins with dimmed lights that come up, possibly stage lighting or spotlights to emphasize their entrance and movements.
3. **Musical Elements**:
- Any instruments or audio equipment needed to play the hymns and songs they perform. This might include a speaker system, microphones, or, if live music is involved, instruments like a guitar or a keyboard.
4. **Imaginary Props for Choreography**:
- In some scripted parts, gestures suggest the presence of angels or ancestors, signifying a connection to the spiritual elements of their performance (e.g., gestures with arms raised to evoke angels).
### Furniture
1. **Seating (Optional)**:
- While not explicitly mentioned, having a few pieces of simple seating could represent the traditional setting for mourners, such as chairs or benches, that may be used during standing moments or integrated into choreography.
2. **Floor Space**:
- The performance takes place on a stage area that allows for movement, dancing, and the various transitions from singing to talking directly to the audience.
### Additional Considerations
- **Set Design**:
- While not detailed, the background or set design can contribute to the mood, possibly featuring elements that reflect a traditional memorial space or a contemporary urban setting combined with symbolic elements representing loss and remembrance.
- **Lighting**:
- The light changes significantly throughout the scene, indicating shifts in emotion and tone, which can be an essential element in the production design.
This scene combines elements of performance, addressing themes of mourning, memory, and cultural significance through both costumes and props while maintaining a humorous and ironic tone.
### Costumes
1. **Uniforms**:
- Each woman (Pumla, Karabo, and Andiswa) wears a contemporary black and white large check uniform, which signifies their role as professional mourners.
- Pumla's costume is noted to fit more uncomfortably than Karabo’s and Andiswa’s, perhaps indicating her emotional state or social standing.
2. **Sunglasses**:
- All three women wear sunglasses, contributing to their contemporary look and adding to the irony of the scene as they portray professional mourners.
### Props
1. **Tissues or Handkerchiefs**:
- Used during the exaggerated mourning scenes where they wipe their “tears.” This can enhance the physical comedy of their performance.
2. **Light Source**:
- The scene begins with dimmed lights that come up, possibly stage lighting or spotlights to emphasize their entrance and movements.
3. **Musical Elements**:
- Any instruments or audio equipment needed to play the hymns and songs they perform. This might include a speaker system, microphones, or, if live music is involved, instruments like a guitar or a keyboard.
4. **Imaginary Props for Choreography**:
- In some scripted parts, gestures suggest the presence of angels or ancestors, signifying a connection to the spiritual elements of their performance (e.g., gestures with arms raised to evoke angels).
### Furniture
1. **Seating (Optional)**:
- While not explicitly mentioned, having a few pieces of simple seating could represent the traditional setting for mourners, such as chairs or benches, that may be used during standing moments or integrated into choreography.
2. **Floor Space**:
- The performance takes place on a stage area that allows for movement, dancing, and the various transitions from singing to talking directly to the audience.
### Additional Considerations
- **Set Design**:
- While not detailed, the background or set design can contribute to the mood, possibly featuring elements that reflect a traditional memorial space or a contemporary urban setting combined with symbolic elements representing loss and remembrance.
- **Lighting**:
- The light changes significantly throughout the scene, indicating shifts in emotion and tone, which can be an essential element in the production design.
This scene combines elements of performance, addressing themes of mourning, memory, and cultural significance through both costumes and props while maintaining a humorous and ironic tone.