Instruction of a Wastrel - Revision history

Storyteller at 20:20, 18 February 2020

2020-02-18T20:20:33Z

Storyteller at 14:18, 24 September 2012

2012-09-24T14:18:36Z

Storyteller at 02:58, 1 September 2012

2012-09-01T02:58:39Z

Ledaal Shinjo: /* The Instruction of The Wastrel */

2012-09-01T01:00:51Z

‎The Instruction of The Wastrel

Ledaal Shinjo: /* The Instruction of The Wastrel */

2012-09-01T01:00:29Z

‎The Instruction of The Wastrel

Ledaal Shinjo at 01:00, 1 September 2012

2012-09-01T01:00:09Z

Ledaal Shinjo: Created page with "=== The Instruction of The Wastrel === '''Cast''' Leads: Ize Fuu Ozutsu Dosan Supporting: Ize Saku Ozutsu Beru '''Introduction:''' Two noble Gens, Ize and Ozutsu, are intro..."

2012-09-01T00:59:08Z

Created page with "=== The Instruction of The Wastrel === '''Cast''' Leads: Ize Fuu Ozutsu Dosan Supporting: Ize Saku Ozutsu Beru '''Introduction:''' Two noble Gens, Ize and Ozutsu, are intro..."

New page

=== The Instruction of The Wastrel ===

'''Cast'''
Leads:
Ize Fuu
Ozutsu Dosan

Supporting:
Ize Saku
Ozutsu Beru

'''Introduction:'''
Two noble Gens, Ize and Ozutsu, are introduced embroiled in negotiations of alliance. A deal is proposed that would join them in common cause, sealed by a marriage between scions of both families; the Ozutsu representatives propose a pair of betrothals, offering their talentless scoundrel son Dosan in hopes of finding him a match (and getting him out of their house!). The agreement dissolves into argument until a young Ize bureaucrat at the table agrees to marry him. The scene ends with Ize Fuu salvaging the negotiations through self-sacrifice.

{The anachronism of matriarchy during the Shogunate period is deliberate pandering to the audience’s expectations; Shinjo just uses the backdrop of actual history to add an air of authenticity and verisimilitude with his other works.}

'''Act 1'''
Fuu and her sister Saku are together in their rooms, with Fuu confessing worries that plague her over her prospective betrothed; Saku shares court gossip about Dosan, enumerating his many flaws while on the opposite side of the stage Dosan enacts each rumour in succession {played for humour as Dosan simultaneously gambles, drinks, duels, and wenches). Fuu vows to reform her future husband, lest he ruin her fortune and prospects; a plan is formed between the sisters to don disguises and observe Dosan.

{scene shifts to Dosan around a dicing pit, while the women enter the den; the scene is tamer than the rumours}

Dosan is engaged in an escalating battle of wagers with his opponents. At first he is winning each roll, but an extravagant bet sees him lose everything to a swarthy foreigner. Fuu and Saku share stage whispers about the recklessness of men while Dosan gives a monologue on seeking joy in life. Glimpsing the women across the stage, he saunters over and attempts to woo Saku with sweet words. After some wordplay where he is repeatedly rebuffed she leaves, but Fuu stays and tells Dosan that she has agreed to marry him. He swears he will not marry, enumerating his own flaws with pride; Fuu counters each, recasting them as virtues. They argue until Dosan says farewell, aiming to drown his sorrows in wine, while Fuu rejoins Saku outside and admits she has her work cut out for her. The two are whispering behind fans as they exit the stage.

{Although the dialogue is full of harsh tones, there is a report between the two to the observant audience; they are already finishing each other’s sentences in efforts to twist words to their own meaning.}

'''Act 2'''

Dosan enters the market district to speak with a banker. At first he is happy to find all his loans have been repaid in full, but the banker refuses to advance him any further funds. Dosan angrily presses the banker to answer, exclaiming that should his credit not go up now that he has finally paid? The banker admits that he prefers to lend at usurious rates to vagrants and ne’er do wells, and now that Dosan is reformed there is no profit in lending to him. A similar scene plays out as Dosan wanders the city: the courtesans have heard he is marrying a gorgeous princess and no longer believe his honey-words about their beauty and the gamblers know well his reputation as a lucky rake and refuse to bet against him at dice. He challenges the swarthy foreigner from Act 1 to a duel, but the man relents and hands over the bag of silver rather than anger a fearsome duelist. Frustrated he enters a pavilion and orders wine only to discover he’s been given grape wine and not his usual sake. {All of the above is played comedically, but implies that Saku and Fuu have manipulated rumours about Dosan across the city to invert Dosan’s reputation}

{Scene changes to the Ozutsu manor with Fuu speaking with an elderly Ozutsu matron, Beru}

Fuu and Beru are discussing plans for the wedding while drinking tea. Fuu swears that Dosan has agreed to the marriage, extolling his bravery and fertility. Beru wonders if Fuu is speaking about the same Dosan, but Fuu explains that his antics are a clever front to confound others but in private he has promised to be dutiful.

{Dosan enters. This scene has multiple layers of subterfuge for audiences to unravel, but is presented here as plainly as possible.}

Dosan accuses Fuu of reversing his fortunes, but Fuu pretends to take this as a compliment. Beru misunderstands everything the two say, taking Fuu’s playful misrepresentations as truth and believing Dosan is merely “acting the role” with his dramatics. Dosan grouses that if he said the noonday sky is blue she would paint it red just to prove him false. Fuu takes up the challenge and begins to make claims that are patently illogical; in each exchange, Dosan is forced to play the voice of reason if he wishes to continue to disagree with her. This strange game of courtship mimics Act 1 but now with allusions to the elements and animals instead of virtues; eventually, Dosan tires of confrontation and begins to agree with Fuu’s ludicrous claims in an attempt to displease her. Instead it seems to delight her as the pair enters a harmony of the absurd. Beru exclaims that the attraction is plain between the two young lovers and decides that the wedding should be held as soon as possible.

'''Act 3'''

{Dosan and Fuu wearing marriage ceremony garments walk through a garden together}

Dosan offers a short poem to the beauty of the day, and Fuu agrees with the sentiment. The two share a brief moment of contentment. They are joined by well-wishers and family members, offering poems and toasts to the new couple. Beru thanks Fuu for showing them all the true nature of their son. Only Saku amongst the party seems displeased, as she alone knows the deception and is convinced Dosan will revert to his wastrel ways. She tempts Dosan with wine, but he drinks only water. She playfully flirts with him, but he remains faithful to his soon-to-be wife. Frustrated, she approaches Fuu and asks how she can trust a man who just days ago spent all his hours wenching and dicing. Fuu offers a small wager between the two sisters that she can get Dosan to agree to swear their marriage oaths using ancient words from the Immaculate Texts as a show of piety and devotion. Saku agrees, assured of victory.

{Scene change to the wedding itself. Although the dialogue is now formal, the hints of harmony from the end of Act 2 are prevalent}

The priestess enters and consecrates the marriage. Fuu and Dosan swear their vows in a two-part harmony, and then kiss.

← Older revision		Revision as of 20:20, 18 February 2020
Line 47:		Line 47:
	The priestess enters and consecrates the marriage. Fuu and Dosan swear their vows in a two-part harmony, and then kiss. <br>		The priestess enters and consecrates the marriage. Fuu and Dosan swear their vows in a two-part harmony, and then kiss. <br>

−	[[Category:Literature]] [[Category:Music & Theater]]	+	[[Category:Literature]] [[Category:Music & Theater]] [[Category:Plays by Ledaal Shinjo]]

← Older revision		Revision as of 14:18, 24 September 2012
Line 47:		Line 47:
	The priestess enters and consecrates the marriage. Fuu and Dosan swear their vows in a two-part harmony, and then kiss. <br>		The priestess enters and consecrates the marriage. Fuu and Dosan swear their vows in a two-part harmony, and then kiss. <br>

−	[[Category:Literature]]	+	[[Category:Literature]] [[Category:Music & Theater]]

← Older revision		Revision as of 02:58, 1 September 2012
Line 46:		Line 46:

	The priestess enters and consecrates the marriage. Fuu and Dosan swear their vows in a two-part harmony, and then kiss. <br>		The priestess enters and consecrates the marriage. Fuu and Dosan swear their vows in a two-part harmony, and then kiss. <br>
		+
		+	[[Category:Literature]]

@@ Line 1: / Line 1: @@
 === The Instruction of The Wastrel ===
-'''Cast'''
+'''Cast''' <br>
-Leads:
+Leads: <br>
-Ize Fuu
+Ize Fuu <br>
-Ozutsu Dosan
+Ozutsu Dosan <br>
-Supporting:
+Supporting: <br>
-Ize Saku
+Ize Saku <br>
-Ozutsu Beru
+Ozutsu Beru <br>
 '''Introduction:'''

@@ Line 15: / Line 15: @@
 {The anachronism of matriarchy during the Shogunate period is deliberate pandering to the audience’s expectations; Shinjo just uses the backdrop of actual history to add an air of authenticity and verisimilitude with his other works.} <br>
-'''Act 1'''
+'''Act 1''' <br>
 Fuu and her sister Saku are together in their rooms, with Fuu confessing worries that plague her over her prospective betrothed; Saku shares court gossip about Dosan, enumerating his many flaws while on the opposite side of the stage Dosan enacts each rumour in succession {played for humour as Dosan simultaneously gambles, drinks, duels, and wenches). Fuu vows to reform her future husband, lest he ruin her fortune and prospects; a plan is formed between the sisters to don disguises and observe Dosan. <br>
@@ Line 24: / Line 25: @@
 {Although the dialogue is full of harsh tones, there is a report between the two to the observant audience; they are already finishing each other’s sentences in efforts to twist words to their own meaning.} <br>
-'''Act 2'''
+'''Act 2''' <br>
 Dosan enters the market district to speak with a banker. At first he is happy to find all his loans have been repaid in full, but the banker refuses to advance him any further funds. Dosan angrily presses the banker to answer, exclaiming that should his credit not go up now that he has finally paid? The banker admits that he prefers to lend at usurious rates to vagrants and ne’er do wells, and now that Dosan is reformed there is no profit in lending to him. A similar scene plays out as Dosan wanders the city: the courtesans have heard he is marrying a gorgeous princess and no longer believe his honey-words about their beauty and the gamblers know well his reputation as a lucky rake and refuse to bet against him at dice. He challenges the swarthy foreigner from Act 1 to a duel, but the man relents and hands over the bag of silver rather than anger a fearsome duelist. Frustrated he enters a pavilion and orders wine only to discover he’s been given grape wine and not his usual sake. {All of the above is played comedically, but implies that Saku and Fuu have manipulated rumours about Dosan across the city to invert Dosan’s reputation} <br>

@@ Line 11: / Line 11: @@
 '''Introduction:'''
-Two noble Gens, Ize and Ozutsu, are introduced embroiled in negotiations of alliance. A deal is proposed that would join them in common cause, sealed by a marriage between scions of both families; the Ozutsu representatives propose a pair of betrothals, offering their talentless scoundrel son Dosan in hopes of finding him a match (and getting him out of their house!). The agreement dissolves into argument until a young Ize bureaucrat at the table agrees to marry him. The scene ends with Ize Fuu salvaging the negotiations through self-sacrifice.
+Two noble Gens, Ize and Ozutsu, are introduced embroiled in negotiations of alliance. A deal is proposed that would join them in common cause, sealed by a marriage between scions of both families; the Ozutsu representatives propose a pair of betrothals, offering their talentless scoundrel son Dosan in hopes of finding him a match (and getting him out of their house!). The agreement dissolves into argument until a young Ize bureaucrat at the table agrees to marry him. The scene ends with Ize Fuu salvaging the negotiations through self-sacrifice. <br>
-{The anachronism of matriarchy during the Shogunate period is deliberate pandering to the audience’s expectations; Shinjo just uses the backdrop of actual history to add an air of authenticity and verisimilitude with his other works.}
+{The anachronism of matriarchy during the Shogunate period is deliberate pandering to the audience’s expectations; Shinjo just uses the backdrop of actual history to add an air of authenticity and verisimilitude with his other works.} <br>
 '''Act 1'''
-Fuu and her sister Saku are together in their rooms, with Fuu confessing worries that plague her over her prospective betrothed; Saku shares court gossip about Dosan, enumerating his many flaws while on the opposite side of the stage Dosan enacts each rumour in succession {played for humour as Dosan simultaneously gambles, drinks, duels, and wenches). Fuu vows to reform her future husband, lest he ruin her fortune and prospects; a plan is formed between the sisters to don disguises and observe Dosan.
+Fuu and her sister Saku are together in their rooms, with Fuu confessing worries that plague her over her prospective betrothed; Saku shares court gossip about Dosan, enumerating his many flaws while on the opposite side of the stage Dosan enacts each rumour in succession {played for humour as Dosan simultaneously gambles, drinks, duels, and wenches). Fuu vows to reform her future husband, lest he ruin her fortune and prospects; a plan is formed between the sisters to don disguises and observe Dosan. <br>
-{scene shifts to Dosan around a dicing pit, while the women enter the den; the scene is tamer than the rumours}
+{scene shifts to Dosan around a dicing pit, while the women enter the den; the scene is tamer than the rumours} <br>
-Dosan is engaged in an escalating battle of wagers with his opponents. At first he is winning each roll, but an extravagant bet sees him lose everything to a swarthy foreigner. Fuu and Saku share stage whispers about the recklessness of men while Dosan gives a monologue on seeking joy in life. Glimpsing the women across the stage, he saunters over and attempts to woo Saku with sweet words. After some wordplay where he is repeatedly rebuffed she leaves, but Fuu stays and tells Dosan that she has agreed to marry him. He swears he will not marry, enumerating his own flaws with pride; Fuu counters each, recasting them as virtues. They argue until Dosan says farewell, aiming to drown his sorrows in wine, while Fuu rejoins Saku outside and admits she has her work cut out for her. The two are whispering behind fans as they exit the stage.
+Dosan is engaged in an escalating battle of wagers with his opponents. At first he is winning each roll, but an extravagant bet sees him lose everything to a swarthy foreigner. Fuu and Saku share stage whispers about the recklessness of men while Dosan gives a monologue on seeking joy in life. Glimpsing the women across the stage, he saunters over and attempts to woo Saku with sweet words. After some wordplay where he is repeatedly rebuffed she leaves, but Fuu stays and tells Dosan that she has agreed to marry him. He swears he will not marry, enumerating his own flaws with pride; Fuu counters each, recasting them as virtues. They argue until Dosan says farewell, aiming to drown his sorrows in wine, while Fuu rejoins Saku outside and admits she has her work cut out for her. The two are whispering behind fans as they exit the stage. <br>
-{Although the dialogue is full of harsh tones, there is a report between the two to the observant audience; they are already finishing each other’s sentences in efforts to twist words to their own meaning.}
+{Although the dialogue is full of harsh tones, there is a report between the two to the observant audience; they are already finishing each other’s sentences in efforts to twist words to their own meaning.} <br>
 '''Act 2'''
-Dosan enters the market district to speak with a banker. At first he is happy to find all his loans have been repaid in full, but the banker refuses to advance him any further funds. Dosan angrily presses the banker to answer, exclaiming that should his credit not go up now that he has finally paid? The banker admits that he prefers to lend at usurious rates to vagrants and ne’er do wells, and now that Dosan is reformed there is no profit in lending to him. A similar scene plays out as Dosan wanders the city: the courtesans have heard he is marrying a gorgeous princess and no longer believe his honey-words about their beauty and the gamblers know well his reputation as a lucky rake and refuse to bet against him at dice. He challenges the swarthy foreigner from Act 1 to a duel, but the man relents and hands over the bag of silver rather than anger a fearsome duelist. Frustrated he enters a pavilion and orders wine only to discover he’s been given grape wine and not his usual sake. {All of the above is played comedically, but implies that Saku and Fuu have manipulated rumours about Dosan across the city to invert Dosan’s reputation}
+Dosan enters the market district to speak with a banker. At first he is happy to find all his loans have been repaid in full, but the banker refuses to advance him any further funds. Dosan angrily presses the banker to answer, exclaiming that should his credit not go up now that he has finally paid? The banker admits that he prefers to lend at usurious rates to vagrants and ne’er do wells, and now that Dosan is reformed there is no profit in lending to him. A similar scene plays out as Dosan wanders the city: the courtesans have heard he is marrying a gorgeous princess and no longer believe his honey-words about their beauty and the gamblers know well his reputation as a lucky rake and refuse to bet against him at dice. He challenges the swarthy foreigner from Act 1 to a duel, but the man relents and hands over the bag of silver rather than anger a fearsome duelist. Frustrated he enters a pavilion and orders wine only to discover he’s been given grape wine and not his usual sake. {All of the above is played comedically, but implies that Saku and Fuu have manipulated rumours about Dosan across the city to invert Dosan’s reputation} <br>
-{Scene changes to the Ozutsu manor with Fuu speaking with an elderly Ozutsu matron, Beru}
+{Scene changes to the Ozutsu manor with Fuu speaking with an elderly Ozutsu matron, Beru} <br>
-Fuu and Beru are discussing plans for the wedding while drinking tea. Fuu swears that Dosan has agreed to the marriage, extolling his bravery and fertility. Beru wonders if Fuu is speaking about the same Dosan, but Fuu explains that his antics are a clever front to confound others but in private he has promised to be dutiful.
+Fuu and Beru are discussing plans for the wedding while drinking tea. Fuu swears that Dosan has agreed to the marriage, extolling his bravery and fertility. Beru wonders if Fuu is speaking about the same Dosan, but Fuu explains that his antics are a clever front to confound others but in private he has promised to be dutiful. <br>
-{Dosan enters. This scene has multiple layers of subterfuge for audiences to unravel, but is presented here as plainly as possible.}
+{Dosan enters. This scene has multiple layers of subterfuge for audiences to unravel, but is presented here as plainly as possible.} <br>
-Dosan accuses Fuu of reversing his fortunes, but Fuu pretends to take this as a compliment. Beru misunderstands everything the two say, taking Fuu’s playful misrepresentations as truth and believing Dosan is merely “acting the role” with his dramatics. Dosan grouses that if he said the noonday sky is blue she would paint it red just to prove him false. Fuu takes up the challenge and begins to make claims that are patently illogical; in each exchange, Dosan is forced to play the voice of reason if he wishes to continue to disagree with her. This strange game of courtship mimics Act 1 but now with allusions to the elements and animals instead of virtues; eventually, Dosan tires of confrontation and begins to agree with Fuu’s ludicrous claims in an attempt to displease her. Instead it seems to delight her as the pair enters a harmony of the absurd. Beru exclaims that the attraction is plain between the two young lovers and decides that the wedding should be held as soon as possible.
+Dosan accuses Fuu of reversing his fortunes, but Fuu pretends to take this as a compliment. Beru misunderstands everything the two say, taking Fuu’s playful misrepresentations as truth and believing Dosan is merely “acting the role” with his dramatics. Dosan grouses that if he said the noonday sky is blue she would paint it red just to prove him false. Fuu takes up the challenge and begins to make claims that are patently illogical; in each exchange, Dosan is forced to play the voice of reason if he wishes to continue to disagree with her. This strange game of courtship mimics Act 1 but now with allusions to the elements and animals instead of virtues; eventually, Dosan tires of confrontation and begins to agree with Fuu’s ludicrous claims in an attempt to displease her. Instead it seems to delight her as the pair enters a harmony of the absurd. Beru exclaims that the attraction is plain between the two young lovers and decides that the wedding should be held as soon as possible. <br>
-'''Act 3'''
+'''Act 3''' <br>
-{Dosan and Fuu wearing marriage ceremony garments walk through a garden together}
+{Dosan and Fuu wearing marriage ceremony garments walk through a garden together} <br>
-Dosan offers a short poem to the beauty of the day, and Fuu agrees with the sentiment. The two share a brief moment of contentment. They are joined by well-wishers and family members, offering poems and toasts to the new couple. Beru thanks Fuu for showing them all the true nature of their son. Only Saku amongst the party seems displeased, as she alone knows the deception and is convinced Dosan will revert to his wastrel ways. She tempts Dosan with wine, but he drinks only water. She playfully flirts with him, but he remains faithful to his soon-to-be wife. Frustrated, she approaches Fuu and asks how she can trust a man who just days ago spent all his hours wenching and dicing. Fuu offers a small wager between the two sisters that she can get Dosan to agree to swear their marriage oaths using ancient words from the Immaculate Texts as a show of piety and devotion. Saku agrees, assured of victory.
+Dosan offers a short poem to the beauty of the day, and Fuu agrees with the sentiment. The two share a brief moment of contentment. They are joined by well-wishers and family members, offering poems and toasts to the new couple. Beru thanks Fuu for showing them all the true nature of their son. Only Saku amongst the party seems displeased, as she alone knows the deception and is convinced Dosan will revert to his wastrel ways. She tempts Dosan with wine, but he drinks only water. She playfully flirts with him, but he remains faithful to his soon-to-be wife. Frustrated, she approaches Fuu and asks how she can trust a man who just days ago spent all his hours wenching and dicing. Fuu offers a small wager between the two sisters that she can get Dosan to agree to swear their marriage oaths using ancient words from the Immaculate Texts as a show of piety and devotion. Saku agrees, assured of victory. <br>
-{Scene change to the wedding itself. Although the dialogue is now formal, the hints of harmony from the end of Act 2 are prevalent}
+{Scene change to the wedding itself. Although the dialogue is now formal, the hints of harmony from the end of Act 2 are prevalent} <br>
-The priestess enters and consecrates the marriage. Fuu and Dosan swear their vows in a two-part harmony, and then kiss.
+The priestess enters and consecrates the marriage. Fuu and Dosan swear their vows in a two-part harmony, and then kiss. <br>