#act ii. ⸺ elena gilbert.

[muzelor]

once upon a tag.

act i. the writer

act i. ⸺ ooc. act i. ⸺ prompts. act i. ⸺ starter calls. act i. ⸺ promos. act i. ⸺ self promos.

act ii. the muses

act ii. ⸺ tatia anderdottir. act ii. ⸺ kai parker. act ii. ⸺ hayley marshall. act ii. ⸺ henrik mikaelson. act ii. ⸺ davina claire. act ii. ⸺ josie forbes. act ii. ⸺ kol mikaelson. act ii. ⸺ elena gilbert. act ii. ⸺ dorcas meadowes. act ii. ⸺ ginny weasley. act ii. ⸺ bellatrix lestrange. act ii. ⸺ josie dumont. act ii. ⸺ fred weasley. act ii. ⸺ red riding hood. act ii. ⸺ esmeralda fernandez. act ii. ⸺ elsa arendottir. act ii. ⸺ anna arendottir. act ii. ⸺ alex russo rahid. act ii. ⸺ evie grimhilde. act ii. ⸺ mal. act ii. ⸺ snow white. act ii. ⸺ barbara holland. act ii. ⸺ kali prasad. act ii. ⸺ velma dinkley. act ii. ⸺ thorn. act ii. ⸺ shaggy rogers. act ii. ⸺ daphne blake. act ii. ⸺ paul. act ii. ⸺ nancy downs. act ii. ⸺ erica jones. act ii. ⸺ sarah fox. act ii. ⸺ benny weir. act ii. ⸺ kuina hikari. act ii. ⸺ karube daikichi. act ii. ⸺ akane heiya. act ii. ⸺ aguni. act ii. ⸺ chishiya shuntaro. act ii. ⸺ usagi yuzuha. act ii. ⸺ arisu ryohei. act ii. ⸺ niragi suguru. act ii. ⸺ mira kano. act ii. ⸺ robin sherbatsky. act ii. ⸺ marshall eriksen. act ii. ⸺ barney stinson. act ii. ⸺ lily aldrin. act ii. ⸺ ted mosby. act ii. ⸺ tracy mcconnell. act ii. ⸺ leonard hofstadter. act ii. ⸺ melissa cooper. act ii. ⸺ michael langdon. act ii. ⸺ pugsley addams. act ii. ⸺ morticia addams. act ii. ⸺ gomez addams. act ii. ⸺ thing. act ii. ⸺ uncle fester. act ii. ⸺ ophelia frump. act ii. ⸺ lenora frump. act ii. ⸺ lurch. act ii. ⸺ evelynn. act ii. ⸺ jinx. act ii. ⸺ caitlyn. act ii. ⸺ stereotypical barbie. act ii. ⸺ singer barbie. act ii. ⸺ beach ken. act ii. ⸺ backflip ken. act ii. ⸺ magician ken. act ii. ⸺ allan. act ii. ⸺ teresa. act ii. ⸺ raquelle. act ii. ⸺ harley quinn. act ii. ⸺ joker. act ii. ⸺ peter parker. act ii. ⸺ eddie + venom. act ii. ⸺ morgan stark. act ii. ⸺ cheryl blossom. act ii. ⸺ georgiana dumitrescu. act ii. ⸺ viviana olteanu. act ii. ⸺ ecaterina ivan. act ii. ⸺ narcisa lupu. act ii. ⸺ daniel. act ii. ⸺ parascheva.

act iii. the camouflage

THE VAMPIRE DIARIES: [ #vampires hide ] ALICE IN BORDERLAND : [ #gamers hide ] HOGWARTS UNIVERSE: [ #wizards hide ] DISNEY : [ #fairytale hide ] STRANGER THINGS: [ #experiments hide ] SCOOBY DOO: [ #meddlers hide ] THE LOST BOYS: [ #night sluts hide ] HOW I MET YOUR MOTHER: [ #fahrampton hide ] THE BIG BANG THEORY: [ #geniuses hide ] AMERICAN HORROR STORY: [ #monsters hide ] ADDAMS FAMILY: [ #goths hide ] LEAGUE OF LEGENDS: [ #champtions hide ] MATTEL / BARBIE WORLD : [ #dolls hide ] DC COMICS & MARVEL : [ #heroes hide ] ARCHIE COMICS : [ #horrors hide ] MYTHOLOGY: [ #folklore hide ]

[zodiyack]

The Vampire Diaries Masterlist

(updated per upload)

Back to Masterlist | The Originals Masterlist

Prompt List  / Prompt List Two / Smut Prompts | Requests &/or feedback! | To Do List

Taglist(s)

★ = smut

⋆ = presmut

♡ = fluff

☁ = angst/violence

☠ = death

Damon Salvatore

Series ~

Opposites Attract (1,000+ Follower Special) ☁ ♡ ☠ (Incomplete)

Y/n Pierce and Damon had been a secret couple until Katherine, who Damon only demanded the safety of for Y/n’s sake, used their sisterly bond to force Y/n into escaping the tomb and running with her. Hundreds of years later, Damon’s still determined to find Y/n.

Part I. Part II. Part III. Part IV. Part V. Part VI.

Nonship / Platonic / Relative!Reader fics ~

Snapping Is Over Rated ☁

It’s a bad time to be dating a Mikaelson when your brothers decide they want to go on a quest to kill the Original Family, who happen to be linked to each other.

Bad Boys

(Request) Klaus falls for the Salvatore’s sister, which doesn’t sit well with Damon. Unfortunately for Damon, hearing her sing, Klaus falls deeper.

Fics And More ~

His Little Secret ☁ ♡

While she enjoys human blood, she prefers Damon’s. Blood sharing is an intimate act for vampires; For a long time, their love remained a secret... Until Elena and Stefan race each other.

My Fucking World ☁ ♡

(Request) Y/n can’t handle Damon’s death and takes it hard, but when he comes back, everything can’t help but bubble up to the surface.

Big Bad Vampire, Flustered  ☁ ♡

(Request) Y/n is new to Mystic Falls and Damon’s too stubborn and shy to confess. Looks like a job for the Salvatore-Forbes Cupid Company.

Virgin Marry ♡★

(Request) Damon and Y/n get to second base, but he finds out Y/n has yet to pop her cherry and decides he wants to make her first memorable.

Stefan Salvatore

Nonship / Platonic / Relative!Reader fics ~

Snapping Is Over Rated ☁

It’s a bad time to be dating a Mikaelson when your brothers decide they want to go on a quest to kill the Original Family, who happen to be linked to each other.

Bad Boys

(Request) Klaus falls for the Salvatore’s sister, which doesn’t sit well with Damon. Unfortunately for Damon, hearing her sing, Klaus falls deeper.

Elena Gilbert

Nonship / Platonic / Relative!Reader fics ~

Snapping Is Over Rated ☁

It’s a bad time to be dating a Mikaelson when your brothers decide they want to go on a quest to kill the Original Family, who happen to be linked to each other.

Jeremy Gilbert

(No fics yet, but feel free to request when requests happen to be open!)

Bonnie Bennett

(No fics yet, but feel free to request when requests happen to be open!)

Caroline Forbes

(No fics yet, but feel free to request when requests happen to be open!)

Tyler Lockwood

(No fics yet, but feel free to request when requests happen to be open!)

Matt Donovan

(No fics yet, but feel free to request when requests happen to be open!)

Kai Parker

Fics And More ~

Lunchtime Sabotage ★ ☁

(Request) Y/n has a way with words, and Kai takes pleasure in making sure she lives up to them.

Tease ★ ☁

(Request) Y/n uses Kai’s love for her body against him in the angry tension between the two.

Moments Like These ★ ♡

(Request) Kai and Y/n have some fun in a hot-tub.

Imprisoned (2,000+ Follower Special!)  ☁ ♡

Whilst imprisoned in the prison world, Kai reflects on his girlfriend. She’d been searching for a way to free him, despite him knowing exactly how, and the thought of her is what keeps him from giving up hope. If only Bonnie and Damon cared.

Lorzenzo St. John

(No fics yet, but feel free to request when requests happen to be open!)

STILL ADDING CHARACTERS??? POSSIBLY.

[seraphfellarch]

                              ACT I      :    the girl becomes the hero.                               ACT II     :    the girl becomes divine.                               ACT III    :    the angel falls from grace.

       novel based elena gilbert. show verses available.  penned by kita.   promo credit.

[thevampirediariesdiary]

2.07 Masquerade (part II)

(part one here)

Jeremy rushes back to Bonnie and Elena’s side.  “Are you okay?” he asks.  “Are they?” Elena asks.  “They’re stuck in there with her,” he answers, and tells Bonnie what Katherine said about the witch; Bonnie goes off to look for Lucy.  Jeremy tries to give Elena the Gilbert ring, telling her that she needs it more than he does; “What I need is for you to be safe,” she says.  The scare with Jenna a few days earlier clearly hit her hard; she would rather risk herself than anyone she loves.

“The three of us together, just like old times!” Katherine says. “The brother who loved me too much...and the one who didn’t love me enough.”  Stefan watches her, stoically.  “And the evil slut vampire who only loved herself!” Damon finishes drily.  “What happened to you, Damon?” Katherine says, clipped. “You used to be so sweet and polite.”  “Oh, that Damon died a looong time ago,” he answers.  “Good,” Katherine says, “he was a bore.”  “Oh, why don’t you two stop antagonizing each other?” Stefan says, and asks Katherine what she wants with the moonstone.  “Does Elena enjoy having both of you worship at her altar?” she asks.  Stefan and Damon exchange amused looks.  “That was desperate, Katherine,” Stefan says, “don’t you think we could see right through you?”  Behind him, Damon does this:

A gesture which seems to answer Katherine’s question “Kind of”, or “Who wouldn’t?”.  “So it doesn’t bother you that Damon’s in love with your girlfriend?” Katherine says, innocently curious.  “Stop it,” Stefan says, coldly.  “Or what, you’ll hurt me?” she says, and snorts.  “Come on, Stefan.  Everything I feel, Elena feels.  So go ahead! Or better yet?  Kiss me, Damon.  She’ll feel that, too.”

“So what happened to Amy?” says girl whose name I can’t remember #2.  (RIP Amy, I’m sorry I could only remember your name in The Good Place and not here.) “She disappeared,” Matt says, and proceeds to act like a drunken asshole, making fun of Tyler for his dead abusive father.  Tyler still won’t fight him; but Matt tackles him to the ground.  Caroline hears the commotion and runs in to tear Matt off of him. “Stop!” she tells him, while Tyler looks a little spooked that she threw a full-grown man halfway across the room. “I can’t,” Matt grunts, “let me go, I have to finish!”  “What’s wrong with you?” Tyler shouts.  Caroline looks into Matt’s eyes; comprehension dawns, and she elbows him sharply in face. He falls down, unconscious.  While Caroline is seeing if he’s okay, girl #2 picks up a letter opener from the desk and says flatly “Matt failed. If Matt fails, I can’t.”  “Tyler, look out!” Caroline yells; he spins around and whats-her-name stabs him in the shoulder.  He lashes out blindly; she falls, hits her head on the edge of the desk, and doesn’t move.  “No, no, no,” Tyler says, his voice becoming panicked.  He drops to his knees, begs the girl to wake up, open her eyes.  

“Oh my god,” Caroline breathes.  “This can’t happen,” Tyler says. “This can’t be happening.” He stands up, starts to pace, then drops to his knees and punches the ground.  “Tyler, what’s happening?” Caroline asks.  

“Get away!” he says.  “What’s happening?” she screams.

Ladies and gentlemen, we have a werewolf.

“Damnit,” Damon complains, “where’s that witch?”  Katherine gasps. “We could play charades!” she suggests, proving once and for all that she is evil incarnate.  Stefan monologues about Katherine’s history with the moonstone; she says her bargain with the Lockwoods of old would have worked if people hadn’t found out she wasn’t in the tomb.  “Thanks to you, by the way,” she says, turning on Damon, who raises his glass to her (how did he find bourbon??).  “Have I mentioned how inconvenient your obsession with me has been?”  “Hmm,” says Damon, “you and me both, honey.”  Detective Stefan continues to monologue, finding his way back to the question of who Katherine was running from when she faked her death.  Katherine continues to throw non sequiturs at him, telling him he looks good in a suit, and that she watched him and “that wench Lexi” at a Bon Jovi concert in the 80s.  “Who were you running from?” he repeats.  She mouths ‘I love you’ silently, which, since Damon’s back is turned, seems to be an absolutely surprising concession to his feelings - or else an attempt to make Stefan feel like they’re in cahoots together.  Who knows.   

Bonnie finally tracks down Lucy at the party, who tells her “Tell your friends to hand over the moonstone, and all will be groovy.” Lucy senses that Bonnie has the moonstone, Bonnie senses that Lucy’s trustworthy.  It’s all very witchy.

Damon pours himself another drink.  “I’ll have one of those!” Katherine exclaims.  “Right away Miss Katherine,” says Damon, in a very sad impression of his former self.  He hands her a drink, and then tackles her while she’s distracted.  “As soon as the spell’s lifted, I’m gonna drive this stake through your heart,” he tells her.  “God, you’re hot,” she answers. “When did you get so hot?”  Stefan pulls him off her, and Lucy appears in the doorway with the moonstone.  “The spell on this room has been removed, you’re free to go,” she announces.  “Thank god,” Katherine whines.  Lucy hands her the moonstone, Katherine looks pleased for only a moment and then begins to choke.  “You should have told me another witch was involved,” Lucy says coldly. “She’s a Bennet witch, Katherine, but I’m sure you knew that.”  Katherine falls to the ground, gasping.  “Wait, Elena!” Stefan exclaims.  “Elena’s fine,” Lucy says. “The spell’s broken, she’ll heal quickly, Bonnie’s with her.”  Both boys watch Katherine slip into unconsciousness; the reality that the long fight is over begins to sink in.  “I apologize for my involvement,” Lucy says, and leaves. 

Caroline tells Mrs. Lockwood that Sarah (that’s her name! RIP Sarah) was drunk and dancing and she tripped, and then, when she’s gone, tells Tyler that she’ll deal with Matt.  “What are you doing?” he asks sharply.  “I’m fixing a very bad situation,” she answers.  “Why?” he asks. “I did this.  I killed her.” “No!” Caroline says.  “You…didn’t mean to.  And I think it’s best, for everyone –”  “But, she’s dead,” Tyler interrupts her. “You don’t know what that means.” “Actually, Tyler,” Caroline says, looking him in the eyes, “I think I do.”  He sighs, says, “No, you don’t, Caroline.”  She looks him up and down, says, “Has your wound healed?”  He checks his chest, and looks at her, stunned.  “How did you…?”  She just looks at him, steady and confident.  She doesn’t say anything, but she’s not going to let him think he’s all alone in this, like she thought when she turned.  She’s found her life’s purpose: Caroline Forbes, ambassador to new supernaturals.

Lucy tells Bonnie that they’re kind of related, and that she’s been a wakeup call for her: “I gotta stop letting vampires control me.”  “Please, don’t leave,” Bonnie begs.  “I have so many questions.  I don’t wanna be in the middle either, I hate it.  How do I stay out of it?”  “Unlike me you’re one of the good ones, Bonnie,” Lucy says. “The middle of it is exactly where you need to be.”  Balance, etc. blah blah blah.  “You take care, cuz,” she says. “Don’t worry, you’ll see me again.”  And then she left the show, never to return (as far as I remember).  “Hey,” says Jeremy, coming up next to Bonnie, “I was gonna head home, can I offer you a ride?”  He looks at her teary face, asks, “Are you okay?”  She nods, asks laughingly, “When did you get your driver’s license?”  He laughs too, says, “I’m not a kid anymore, Bonnie.”  Dun dun duuuun. 

“Brave” by Tawgs Salter starts up: “I think I’ll be brave, starting with you, but I’ll fall away if you tell me to.”  Shit’s about to go down.  Stefan finds Elena at the edge of the lake; she reassures him that she’s okay.  “I heard about Katherine,” she says. “Is she really gone?”  “Yeah,” Stefan says.  Elena lets out a sigh; he smiles at her, takes her face in his hands. “I was so worried about you – ” he starts, but she cuts him off.  “Stefan – ”

She takes his hand, removes it from her face, and then looks away – she can’t say it.  “Katherine being gone doesn’t change anything for you, does it?” Stefan realizes. “I wanna be with you Stefan, you know that,” Elena says.  He nods. “But first,” she says, “I need to wake up and know that the people that I love are safe.  I need to feel safe.  Do you understand?”

“Yeah,” he says, quietly. “Yeah, I understand.” They lock eyes for only a moment, and then she nods, and walks away from him.  This is an important moment in Elena’s journey – she still wants to be with Stefan, but she doesn’t want to hide with him anymore, she doesn’t want him to be her escape.  She doesn’t want life with him, loving him, to be the only thing in her life that makes her feel alive.  There are so many things, so many people in her life that she loves – and she wants to be secure in that before she starts something with him.  He was the first thing to make her feel alive after her parents died – but now she wants to wake up all the way.  If they can start over again later with that foundation, they might actually have a chance.

Katherine wakes up in the dark, on the dirty ground, with the moonstone next to her.  She drags herself to her feet and makes for the doorway, only to hit an invisible wall, again.  She begins to panic, and then somebody enters across from her.

“Hello, Katherine,” Damon says.  He’s not glib or sarcastic or self-deprecating, or any of the other things he was when they were trapped together in the Lockwoods’ upstairs room.  He’s subdued, maybe even a little sad.  “Where am I?” she asks.  “Where you should have been all along,” he says. “I thought you’d have learned your lesson by now, messing with a Bennet witch.” “You should have killed me,” Katherine hisses.  “Death would have been too kind,” Damon answers, the slightest quaver in his voice. He steps forward, and takes hold of the stone door to push it into place.  “No!” Katherine says.  “No, Damon, don’t please.  You need me, Elena’s in danger!”  

He stops abruptly,and without seeming to intend to, breathes, “From who?”  Katherine takes a shaky breath, but says nothing.

“You’re lying,” Damon realizes, bitterly, adding in a small voice, “you’re always lying.”

“Why do you think I haven’t killed her?” Katherine begs.  “Because she’s the doppelganger, she needs to be protected.”  Damon takes this in, says simply: “Then I’ll protect her.”  “No,” Katherine breathes.  “While you rot in hell,” he says. “No,” Katherine begs, “please, Damon, I’ll do anything! You need me!”  His stony mask breaks, but he shuts her in.  “You need me!” she screams, falling to the ground as the darkness envelops her.  He takes a step back from the door, lets out a breath, and sets his jaw – but you can see the glint of tears in his eyes as he turns towards the exit.

And then Elena gets kidnapped walking to her car. 

Now.  Let’s recap the recap, since I’m at this point over 5000 words total.  This is a perfect arc finale for several reasons:  

1. As discussed above, the episode leads to real growth for the protagonist.  Elena’s journey to feeling alive is, arguably, her central arc for the duration of the entire show, and it’s majorly thematic here.

2. There’s a perfect mix of things going according to plan, things being hidden from the audience, and things that are genuine twists.  It’s great to see Caroline turn Katherine’s victimization of her around on her, the fight in the upstairs room is, as previously stated, fantastic, and the revelation that Elena and Katherine are linked is a great twist.  Lucy choosing to turn on her isn’t a very satisfying solution, but I think maybe it could have been if Lucy had been a recurring character, as they clearly meant for her to be. Then, the twist that they don’t kill Katherine packs a serious punch.  Even the sideplot with Tyler is handled well – Matt’s sweet conversation with Elena early on and his tragic-glance-exchange with Caroline make it believable that this just might be his last episode.

3.  Katherine’s fate has a real poetic, ironic justice to it; it isn’t merely cruel.  If you look at the way Teen Wolf disposes of their villains, for example, the first three go like this: traumatized, criminally insane burn victim is set on fire; traumatized, criminally insane near-drowning victim is held forcibly underwater until he drowns; mutilated revenge-seeking sorceress has her true, hideous appearance revealed before she’s killed. That’s not what happens with Katherine – she’s not subjected to her worse fear, or to something generically painful.  She’s put “where she should have been all along”.  Damon wanted to save her from the tomb – but she didn’t want to be saved, didn’t want his efforts on her behalf or his love, and precisely because of that she ends up in that same place, where she never actually was, except no one wants to save her.  And she really does know things that are essential for Elena’s safety – but because she lied, and specifically lied about being in the tomb, Damon won’t believe her.  Because she rejected him, and because she lied, the one person who would have gone to the ends of the earth to save her closes the door on her and tells her to rot in hell.

4.  There is a natural opening for the next phase of the story; questions are left unanswered, and the next twist (Elena getting snatched) doesn’t come out of left field. The transition from 2a to 2b, from Katherine to the real big bad, is seamless.  This villain bait-and-switch is on par with Spike and Druscilla being joined by Angelus in Buffy season 2.

[kiss-my-freckle]

Damon Salvatore: Family Ties

Damon was done the moment Elena slapped him for trying to kiss her. He goes straight to the source of his hate to hand him a dream. "You really need some human blood. It might even the playing field." His comment is every bit what the writers do, but understand this works both ways. Stefan will even the playing field in his Ripper arcs, Damon will even the playing field in his humanity arcs. That's why the field isn't truly even until 3x1. That's when Elena sees the whole of both brothers. And she needs to see them because her character is written in denial. Seeing is believing with her.

Damon gives Stefan reason to reconsider caging him. He's no longer leaving bodies for the council to find. He's ready to lay low because he always had plans to stay, he just wanted to cause chaos for Stefan before he got serious with rescuing Katherine. His promised eternity of misery. Stefan doesn't trust it, so he still plans to cage him. "Well, the vervain keeps me out of her head. Maybe that's not my target." Trust when I say Stefan did Damon a favor by giving Elena that necklace. Seducing her is a threat, but not one to take seriously yet because Damon isn't being serious. He doesn't start seducing Elena until Miss Mystic Falls.

His conversation with Caroline is every bit showing what he's compelling. Her fear. Reminiscent of Katherine and Stefan. She asks questions about his vampirism. Questions Elena won't be asking until she finds out Stefan is a vampire. Again, the difference between brothers. Damon has no reason to hide the fact that he's a vampire. "Go about living my life. See, therein lies your eternal struggle. You're dead, dude. Get over it." Damon's mentality, as I've mentioned before. Dead people don't live, they exist. That's why he asked Stefan if it's working... being around Elena, being in her world. If it makes him feel alive. Damon has to feel it to believe it. Right now, he truly believes the closest he can get to humanity is by ripping it open and feeding on it. It's a dual thing for Delena... making eachother feel alive in death. "I have to go to the party angry. Who knows what I'll do?" Exactly what I've been saying of his character. He's driven by emotion. Anger becomes rage, and Stefan knows this.

Damon is using Caroline's nose, which is always where it doesn't belong. He handed her a lie to feed Bonnie. Bonnie then fed that lie to Elena. An obvious lie, but purposeful. It's not the lie he's pushing, but a simple concept. As I said in a previous post, Stefan doesn't talk about the past unless and until it's convient for him. His desire to keep the past buried gave Damon the idea to push this concept. Sell a lie that Elena wouldn't like. It's one thing to have both brothers date the same girl. Quite another if one of those brothers is a calculating, manipulative liar. Elena tells Bonnie Stefan is none of those things. Bonnie asks, "How do you know?" Point of concept. How is Elena to know Stefan isn't any of those things when he refuses to talk about Katherine every single time Damon brings her up in conversation. This will cause Elena to push Stefan for answers. Damon doesn't like seeing his brother happy when he's been promised an eternity of misery. Thanks to Caroline, the soil is ready.

Stefan gets upset when Damon helps con him into a dance with Caroline, so he uses Caroline to vervain him... the very same way his father used him to vervain Katherine. "My therapist says I'm acting out, trying to punish Stefan." A shame he cuts jokes about therapy because I actually think he needs it  to deal with his emotions. I'm glad he apologizes to Elena for trying to kiss her. I love the narrative he gives her about their attempt to save Katherine because that would be the seed, now he's ready to watch it grow. "This is my fault. I planted doubt. I'm a doubt planter." 100% effective until Elena sees Caroline's bite marks. "But with mystery comes secrets, and this thing with Katherine." Damon pointing out the very flaw in their relationship. It's built on secrets and lies. Their collapse is inevitable, it’s just a matter of time. Stefan isn't Elena's boyfriend, he's playing the role of Elena's boyfriend. There's a difference.

This episode iis just the beginning for Jeremy. Right now, he's trying to hold onto his father. It starts with the pocket watch, shifts to the Gilbert journal, then pushes forward to the moonstone and wolfsbane. "When I'm with him, it feels unpredictable. Like I'm free." Damon is the only one that doesn't treat Jeremy like he's 12. He wants to be fully involved. I believe that's why he reaches out to Damon after he snapped his neck. A vampire on the council. One that's as honest as he can be. Jeremy saw an opportunity with Damon, and in that, the chance to discover who he is. That's why he talks to him about his father.

"I did what I had to do. To protect Elena. To protect everyone." Stefan isn't protecting Elena. If Damon wanted to kill her, he wouldn't be throwing it in a fake dream, he'd be killing her because he's already been invited in. "Believe it or not, Stefan, some girls don't need my persuasion." I think Stefan took Damon's threat seriously and knows his brother is capable. 

[1millionstoryideas-blog]

Your outlining questioned answered + my personal outlining process.

Hey everyone! So today I am going to be covering your Most asked outling questions in addition to a step by step walk through of my personal outlining process.

So, first of all the #1 question people always ask me! What form of outline do I use?

Now, here's the thing guys. I actually don't use a certain form of outlining in particular. However, after reading this chapter about how I outline and you don't think this way is good for you, their is a video above by one of my fav YouTubers Kim Chance (she gives amazing writing advice and she is releasing her debut novel Keeper in January, 2018!) that includes some info about five popular methods of outlining which include: the snowflake method, the three act structure, the cork board method, fray tays pyramid, and lastly the goals stakes and motivations method. (At the end of this chapter I will also be leaving some amazing YouTube videos that you should definitely check out about outlining)

Alrighty, so now imma talk about how I outline. So, when we are talking about an outline for just one story these are the main parts/categories that I have.

I. Basic Story Information

II. Thought Process

III. Character Profiles

IV. Chapter Outlines

V. Goals|Stakes|Motivations

VI. Plot Diagram

VII. Final Chapter Outlines

VIII. Final Plot Diagram

So I personally have eight parts to my outline, and now I am going to break it down for you guys.

I. Basic Story Information

This is the very first thing that I do when outlining. Now, before I start explaining it I wanna state one simple thing: for my entire outline, I just use normal lined paper. Honestly, I just get it from the 99¢ store.

Alrighty, so now that I've made that disclaimer imma state all the info I include. Under each category if i believe that it's confusing/unclear I'll explain it a little. I will also include an example even if it's self explanatory.

i. Title

(Eg. Twilight, Scintilla, The hunger games, etc)

ii. Genre

(Eg. Mystery, Romance, Paranormal, etc)

iii. Plot

(The way that I think of the plot is this: what is the one sentence that can describe your entire story and it also drives the story. That's the plot. Eg. an entire town beginning to die because of a mysterious plague, a romance between John and Mary, etc.)

iv. Sub-Plot

(Sub-Plots are one of my favorite parts of a good book. Sub plots are the side things that directly impact your plot and their very important and impactful, just not as much as the main plot. I think of this like this: Let's say the main plot is about a girl fighting to save her kingdom, but along the way she meets a prince and falls in love. To be honest, a lot of sub plots are romantic subplots, but of course yours doesn't have to be.)

v. Main Character

(Your main character is the main person that your story is about. This is usually pretty easy to identify. Eg. Elena Gilbert, Bella Swan, Harry Potter, etc.)

vi. Main Characters

(Now don't confuse main characters with your main character. Your main characters are characters in the story that appear in at least 50% of your novel. This is my general rule of thumb, but you of course don't have to go by this. Eg. Rosalie Cullen, Damon Salvatore, Lydia Martin, etc)

vii. Supporting Characters

(These are basically the characters who appear in your novel for less than 50% of it, but they still make some sort of impact on it. Eg. Lucy Bennett, Raphael McCall, Billy Black, etc)

viii. Rating

(Your rating is basically what target audience you are shooting for, not just if your book -on wattpad- would be considered mature or not. However, if you plan on posting this on wattpad, then feel free to include this information as well. Eg. Young adult, New adult, Adult, Children, Teenagers, etc.)

ix. Any Additional Information

(For me I typically use this section to state something that I wanna make sure my story has. You of course could include anything that you would like. I just like having this to have a spot where I can put 1-3 things that I just have to have in my novel. Eg. The love interest must appear perfect and lovable because their really the bad guy, the real villain can't be revealed until the climax, my main character can't get their memories back until the falling action, etc.)

II. Thought Process

So this part of my outline is pretty self explanatory and basic. Basically, I just skip a line on my paper, label it Thought Process, and then make bullet points with any ideas I got for my story. This could be a Characters backstory, a line of a dialogue, an entire conversation, a certain scene idea, etc.

III. Character Profiles

My stories often Showcase a lot of characters, and they change and progress as the novel goes on. So because of that my character Profiles are usually pretty detailed. This is the info I include:

i. Name

ii. Age

iii. Nationality

iv. Social Economic Level as a Child

v. Social Economic Level as a Adult

vi. Hometown

vii. Current Residence

vii. Occupation

ix. Significant Others

x. Relationship Skills

xi. Height

xii. Weight

xiii. Race

xiv. Eye Color

xv. Hair Color

xvi. Skin

xvii. Build

xviii. Face Shape

xix. Attire

xx. Mannerisms

xxi. Habits

xxii. Health

xxiii. Strengths

xxiv. Weaknesses

xxv. What species is this character (I tend to write fantasy so most of my characters aren't normal humans if that makes sense. If this isn't your case, then just don't include it)

xxvi. What does your character want out of life

xvii. What motivates this character

xviii. What frightens this character and what is the root of it

xxix. What angers this character and what is the root of it

xxx. What makes this character sad and what is the root of it

xxxi. How does this character deal with anger? Sadness? Death?

xxxii. List some favorites of this character

xxxiii. What is the characters role in the story

xxxv. Describe relation to other characters and include how that came to be and how it changes as the novel goes on. If they are related also include information about that.

xxxvi. How does this character change as the novel goes on

xxxvii. Does this character have any family? If so, name the family members and how they are related along with their relationship with them. If the character doesn't have any family explain what happened to them and what their relationship was like before they died or left or whatever happened.

xxxviii. How does the character impact the main plot and/or sub-plots.

Yeah, I know it's pretty long. However, I advise anyone who is making a character profile to look at several and then decide on what information you think you should include. I looked at several character Profiles before deciding what information I wanted to include.

I would also advise to look at famous people who you could picture as your characters. This makes it a lot easier to fill out certain parts of this. But, I beg you don't put in your book 'he was the spitting image of Dylan o' brien' that is lazy! Freaking describe the celebrity you picture your character as. Trust me, your readers will thank you.

IV. Chapter Outlines

So when it comes to my chapter outlines what I like to do is just sit down on my bed with my paper and first decide this: am I going to include a prologue?

If I decide that I am going to include a prologue then I write: Prologue:

And I basically just write what I want to happen in the prologue. Once I'm done I go on to chapter one and so on.

When deciding what I want to happen in each chapter I look back at my thought process part of my outline and then I try and decide what I want to happen. Keep in mind that I only write 2-10 sentences and I try to leave lots of room for creativity, but at the same time like to have a game plan.

V. Goals| Stakes| Motivations

So, for this part I make one paper per character. Each page has that characters goals, stakes, and motivations and of course how they change as the novel goes on.

I do not include this in the character profile part of my outline just because I think it's better to be able to compare each characters goals, stakes, and motivations if the papers are right next to each other if that makes sense.

VI. Plot Diagram

For this, I look at my outline so far and I determine all the parts of my plot diagram to fill out. The exposition, The rising action, the climax, the breaking point, the failing action, and the resolution.

I do this because it gives me a good solid idea about how my story is going to go on as the book goes on, and it's a source I like to go back to later.

VII. Final Chapter Outlines

Okay so this is something that I don't add to the outline until after the chapter is written. Once the chapter is written on a piece of lined paper I put a small sticky note indicating what chapter it is and then I write a quick 1-3 sentence summary of the chapter.

For me, this is done for two reasons. The first is that it's pretty cool to see how the story develops as each chapter is written. The second (and more important reason) is because this is typically how I check the overall pacing of my story. Based on what I have written for my quick 'summary' it's easy to feel if that chapter is a boring one or if it's super action filled. This makes the revision process so much for easier for me.

VIII. Final Plot Diagram

This is the last part of my outline, and again it is something that doesn't get added until later. Actually, it doesn't get added until I am around a week away from publishing the book on wattpad.

So, I do this final version of the plot diagram for one reason: it's easy to tell if the events are clear. If I the writer can't tell where the climax is, well that's a problem. Or (a more realistic situation) if it's really hard to tell the actions that take place for the rising action I might wanna make it a little bit more...easy to identify.

[koriginaladdict]

im just wondering but why do u only stan white characters??? in arrow, spn, tvd, teen wolf u go ham for the whites o_0

first off i don’t owe anyone anything, much less justify myself but i want to discuss this because tumblr is a messy place and little sanity won’t hurt

You know i really don’t pay attention to race, gender or orientation when i watch tv? i’m watching tv to have fun not turn into a wannabe sjw or use sjw arguments to force everyone else to like characters they don’t or better yet? fake liking them

that said, all I care about is the story and character development, i don’t like ALL white character some i even hate like elijah mikaelson, peter hale, theo, savitar was annoying af, elena gilbert, kate argent (omg that’s the worst) gerard argent,  shall i continue? it’ll take me forever and trust me, ii have more white characters I dislike than poc ones, so the point is invalid 

it’s not my fault the tv industry is mostly with white people, that’s why we need representation, it’s all about proportion, i’ll give a little example, there are 100 white characters, 15 poc, if i happen to like 20 white characters ad 5 poc does that make me racist? No because there isn’t as many poc characters as there are white ones it’s not fan’s fault it’s the industry itself

also let’s add in that poc are in much less episodes and seasons than white ones, the writers neglect them, let me tell you, i’d trade the twins, theo, gerard, peter hale, even liam and hayden if it meant i’d have a full season of braeden and kira back, they had more potential, were more interesting, badass and fun to watch in the little time they had than all of the ones i mentioned had in seasons

it’s not my fault poc characters aren’t given good material some times (like some white characters) or are neglected by the writers

and fans instead of wanting better for them (side eyeing iris and james) they  act like they’re pure perfection who don’t need improving and anyone pointing it out is attacked for being “racist” which makes it only worse for the character who can have amazing potential

every single character needs criticism, we all criticize white characters to no end, but if we do poc we’re racist or biased? you’re being more harmful and creating more conflict, if someone insults a poc character, over their race and hate them for it THAT’S RACISM, and i saw that and it’s disgusting, target those people instead of the ones who genuinely care about the show and want what’s best or are just enjoying other characters in their little corner

i’m sorry how is it racist to point out that on s1 james had nothing but being kara’s love interest and also lucy’s ? it’s true, while yeah the break up was sh/t the guardian storyline made me love him and see the potential in him

i loved iris on s1, back when her work as a reporter was actually there and she wasn’t just a half of westall/en, if i dare point it out i’m the racist one? sure

since we’re here, let me fix the misconception, you said “i only like white characters” 

but how about nyssa? she’s my 2nd favorite after laurel, mc kenna was so amazing back on 1 that’s a character i miss, diggle was awesome on s1-2 ish till the WRITERS reduced him to being an olicity prop, 

I love bonnie, lucas had potential, lucy bennet too, but again WRITERS chose not to explore them

i love kira (who and arden deserved so much better) and braeden (oh that woman is so badass i can’t), BOYD !!!!! i was so sad for boyd he didn’t deserve to die like that !!!!  i wanted so much more of him, more interactions especially with derek, i wanted more !!!

trashnatural? that sh*/hole is mostly white straight guys and only worships the winchesters so ? whatever little representation we had I sure as hell enjoyed it (do you even follow me? the only character i don’t like on spn is post s5 dean)

lucifer? that’s a show with good rep, that a perfect show, maze is my favrorite, she’s badass af, in all episodes, had big character development, tied good friendships with pretty much everyone, that’s a character to love, and i think personally she’s the best character of the late 2010′s new shows hands down

amenediel is good too, ella is fun af (even tho she isn’t there as much) but point is, when a character is 

so there your point is completely invalidated

if you actually knew me, I’m algerian, kabyle and my people fought and died to have our identity recognized and our language to be allowed to be spoken publicly (i mean conferences, tv radio ect), some people weren’t allowed to name their kids amazigh names like massinissa, aghiles, tawes, feta, ect…  so i know damn fucking well about how important racism, discrimination is it’s really insulting to me to be accused of such things just because of fictional characters 

here educate yourself 

 https://en.wikipedia.org/wiki/Berber_Spring

https://en.wikipedia.org/wiki/Black_Spring_(Algeria)

to finish this off, i see people as people, I see characters for their personality, i don’t see them as labels, i didn’t love derek hale and castiel because “white guy” but because over the course of 5 and 8 seasons (almost a decade) respectively, they had amazing stories, amazing characteristics, always saving people and rarely get credit for anything

i think tumblr should stop obsessing so much over lables and solely judge characters over their personality and actions and DEMAND WRITERS to treat AND WRITE them better and longer

[joandawson-archive]

danger will follow me everywhere i go | an elena gilbert mix

I. tell me how's the way to be to evoke some empathy II. i'm dead in the water, can't you see, can't you see? III. but my heart, it don’t beat, it don’t beat the way it used to and my eyes, they don’t see you no more IV. i go to a funeral everyday V. [instrumental] VI. no more dreaming of the dead as if death itself was undone VII. you got some kind of nerve taking all i want VIII. she carries the act so convincingly, the fact is sometimes she believes it IX. oh death, won't you spare me over ‘til a another year? X. i felt the tight rope break, snap beneath my step 

// listen //

[rudyroth79]

Între 20 – 27 iunie 2018 s-a desfășurat la Constanța Festivalul Internațional de Teatru ”Miturile cetății”, aflat la a treia ediție. Festivalul a luat ființă din lăudabila inițiativă a directoarei teatrului constățean, Dana Dumitrescu, care a dorit o re-naștere a ”Serilor de teatru antic”, petrecute la țărm de mare în anul 1978, născute atunci din gândul lui Silviu Purcărete. Prin acest festival, Teatrul din Constanța ”naște tradiție”, ”depistând mituri în cetăți milenare, în contexte medievale și-n imediatul realității din vecinătate”, după cum afirmă criticul de teatru Doru Mareș, selecționer al festivalului. Au fost prezentate optsprezece spectacole, manifestații stradale, un concert-spectacol, spectacole studențești, un recital de poezie, conferințe, lansări de carte și de reviste. Pe scenele constănțene – fie la Teatrul de Stat, la Teatrul pentru Copii și Tineret, pe scena special amenajată din Piața Ovidiu, ori în fața Cazinoului aflat în paragină sau în sala ”Jean Constantin” – au fost prezente, pe lângă trupe autohtone și trei trupe din străinătate.

În debutul festivalului a evoluat Teatrul ”Toma Caragiu” din Ploiești cu spectacolul ”Zaraza” pe un scenariu original de Daniel Chirilă, în regia coregrafului Răzvan Mazilu. În atmosfera de teatru de revistă, cu ghirlande de lumini, costume cu paiete și pene și muzică din perioada interbelică, s-a derulat povestea-mit a Zarazei, femeia misterioasă în jurul căreia s-au țesut multe istorii menite să rămână pe veci ”sub pecetea tainei”. Zaraza a fost ”însoțită” de Ion Pribeagu, Jean Mascopol, Titi Botez, Zavaidoc, Silly Vasiliu, Constantin Tănase, Ionel Fernic, dar și Elena Lupescu și Carol al II-lea. Desfrâul de la Crucea de Piatră, stradă a plăcerilor deșucheate din anii ’30 – ’40 a fost asezonat cu scene homoerotice, la care, asistând, se prea poate să te simți stingherit că nu faci parte dintr-o lume de minoritari, care pătrund și dictează din ce în ce mai apăsat, la toate nivelurile societății.

”Butoiul cu pulbere” după Dejan Dukovski în regia lui Marcel Țop a venit de la Teatrul Municipal din Baia-Mare. Precum în ”Casa de pe graniță” de Sławomir Mrożek și aici regizorul deplasează povestea autorului macedonean în lumea oamenilor aprigi ai Maramureșului. Comicul din spectacolul lui Marcel Țop are gust de sânge. Limbajul neaoș, vorbirea în dialect, înjurătura ridicată la rang de artă și vorbirea vulgară, le-am remarcat atât aici, cât și în spectacolul amintit și nu cred să facă un serviciu celor două spectacole. Dimpotrivă.

Prima seară s-a încheiat în Piața Ovidiu, cu un spectacol-concert absolut special, ”Pân’ la Rai”, susținut de Adrian Naidin și invitații săi, dintre care s-a remarcat cu deosebire percuționistul constănțean Ionuț Micu.

A doua zi de festival a fost destinată teatrului-gazdă. Am putut vedea ”Dionysos” după ”Bacantele” de Euripide, în regia lui Daniele Salvo. Bacantele, transformate de zeul Dionysos în ”instrument al delirului, al senzualității, al dezorientării, al morții, al dulceții infinite, al ambiguității demonice”, după cum spunea regizorul în excelentul caiet-program, mânate de zeu (Marius Bodochi), ocupă spațiul scenic pe toată durata spectacolului. Trupurile învârtejite și cuvintele azvârlite gutural induc o teribilă stare de emoție. Grupul bacantelor acționează ca un mare tot. Fiecare dintre ele funcționează ca un fin diapazon, reverberând și transmițând corpurilor unduirea de menadă dezlănțuită, în scene de o formidabilă violență a sacrului. Este un spectacol de o emoționalitate aparte și o stranie frumusețe.

Reprezentația de seară s-a păstrat tot în zona tragediei antice: ”Antigona” după ”Oedip rege” și ”Antigona” de Sofocle, în regia lui Mc Ranin, de la Teatrul „Alexandru Davila” din Pitești. Cadrul natural splendid ales – reprezentația s-a desfășurat la Termele Romane – a propulsat povestea Antigonei cea pedepsită de Creon pentru îndrăzneala de a-i fi călcat porunca și a-și fi îngropat cum se cuvine fratele, direct în mit. E-adevărat că la acest lucru a contribuit din plin scenografia Mariei Miu, cu acele ferestre-mansarde prin care personajele apar și dispar, precum și coregrafia lui Hugo Wolff și muzica originală a lui Cătălin Crețu.

Ziua de vineri a fost dedicată unor spectacole studențești: ”Hamlet” de Shakespeare, de la Colegiul Național de Arte ”Regina Maria” din Constanța și ”Cântăreața cheală” de E. Ionesco, de la UNATC București.

Seara, Teatrul ”Regina Maria” din Oradea a încâîntat publicul cu un spectacol ce se joacă de șapte ani cu casa închisă: ”Scripcarul pe acoperiș” după povestirile lui Sholem Aleichem, în regia lui Korcsmáros György. Întâmplările din viața unui om simplu – lăptarul Tevye, interpretat cu foarte mult șarm, naturalețe și talent de Richard Balint –, sunt povestite exemplar, într-un spectacol extrem de colorat, cu multe scene de un comic spumos, dar și cu unele de un profund dramatism. Actorii cântă acompaniați live de instrumentiști aparținând comunității evreilor din Oradea și o fac foarte bine, demonstrând o disponibilitate ieșită din comun pentru musical, un gen destul de dificil, care aici funcționează de minune. În satul Anatevka, neamul ales nu vrea cu nici un chip să renunțe la tradiție, doar că modernitatea dă buzna și încurcă planurile bine așezate ale comunității. Și poate că nu e tocmai un lucru rău să rămâînem în memorie cu imaginea îngrijorată a lui Tevye, care, cu ochii ridicați spre înalt, vorbește cu El: ”Da, știu, suntem poporul ales, dar mi-aș dori, Doamne, ca din când în când, să-i mai alegi și pe alții”.

Spectacolul de seară târzie a adus pe scena din Piața Ovidiu Compania ”Premier Acte” din Lyon cu ”Omul care l-a omorât pe Don Quijote” după Cervantes, adaptarea și regia: Sarkis Tcheumlekdjian, muzica originală: Gilbert Gandil. Unică interpretă a celor trei personaje – Cervantes, Don Quijote și Sancho Panza –, actrița Deborah Lamy, prin vocea gravă și costumul sofisticat, ne-a prilejuit o călătorie imaginară, enigmatică, cu trimiteri spre teatrul ritualic oriental.

În dimineața de sâmbătă, la Muzeul de Istorie Națională și Arheologie, regizorul Alexander Hausvater ne-a condus într-un Pelerinaj prin teatru și viață pe trei continente. A fost și un prilej de lansare în limba română și germană a cărții autobiografice ”Ce dacă”. Născut în București și plecat din țară la vârsta de șapte ani, Alexander Hausvater este regizor-călător pe mai multe continente. Pentru el, teatrul adevărat este ”un templu, un loc spiritual” în care intri într-un fel și ieși transformat, tratându-l într-un cu totul alt mod pe semenul tău. ”Teatrul e peste tot, e parte din viață: facem zilnic teatru – cu mama vorbim într-un fel, la locul de muncă în alt fel”, iar spectatorul ideal de teatru ar fi acela lipsit de ”referințe culturale, care descoperă totul atunci”. Pe un astfel de spectator ”e esențial să-l introduci în teritorii necunoscute”. Regizorul și-a exprimat nedumerirea pentru faptul că în România nu se (mai) practică un teatru de amatori, dar nici nu există ”laboratoare de cercetare teatrală”. ”Azi teatrul e muribund, înafara României, moare” întrucât, spunea el ”e imposibil să faci spectacole mari, când timpul de repetiții este redus la două săptămîni, spectacolul se joacă pe un timp limitat, după care decorul se arde”. ”Viitorul în cultură – a conchis regizorul – nu este posibil fără asocierea acesteia cu întreprinzătorii”.

Seara am putut urmări un spectacol în regia și coregrafia lui Răzvan Mazilu, de astă dată realizat la Teatrul „Excelsior” din București: ”Fecioarele noastre grabnic ajutătoare” de Lee Hall, după romanul ”The Sopranos” de Alan Warner. Povestea celor șase fecioare-cântărețe, scăpate dintr-o școală catolică și intrate de-a dreptul în viața dură/tentantă este spusă-cântată-dansată într-un ritm alert, susținut, vioi. Cred că, în cazul acestei reprezentații, este legitimă o întrebare: oare de ce nu se înțelegea ce spuneau fecioarele pe scenă?

Seara târziu, în Piața Ovidiu a venit de la Teatrul Yiddishpiel din Tel Aviv, ”Cei doi Kuni Lemel” de Avram Goldfaden, părintele teatrului idiș. Adaptarea, dramatizarea și regia de Alexander Hausvater. Musical-ul din Tel Aviv a reunit teatrul clasic cu cel modern în care personajele aflate în căutarea sinelui și a dragostei pornesc într-o călătorie fantastică, asezonată cu situații comice rezultate din schimbarea identităților. Proiecțiile video și decorul ingenios au întregit mirajul creat de actorii-cântăreți, perfect antrenați.

Ziua de duminică a început cu lansarea volumelor ”Teatru” de Cătălina Florescu și ”Teatru… și nu numai” de Valentin Sgarcea, precum și a revistei ”Infinitezimal”.

După-amiaza, la Teatrul pentru Copii și Tineret a venit de la Unteatru din București ”The Sunset Limited” de Cormac McCarthy, în regia lui Andrei și Andreea Grosu. Un spectacol în două personaje, simplu, extrem de puternic, extraordinar interpretat de Richard Bovnoczki și Șerban Pavlu. Rostirea impecabilă, finețea trecerilor de la o stare la alta, problematica extrem-contemporană pot fi descrise, dar cred că e mult mai bine ca spectacolul să fie văzut și trăit cu cei doi protagoniști.

Aproape în același timp, la Catedrala Arhiepiscopală Sfinții Petru și Pavel a avut loc recitalul de poezie religioasă ”Metanie Ție, Părinte!”, susținut de Constantin Chiriac.

Spectacolul de seară, ”Balcanicele” după Jules Tasca, adaptarea, dramatizarea și regia lui Alexander Hausvater, a venit de la Teatrul ”Tony Bulandra” din Târgoviște. Dramatica poveste a femeilor musulmane din Bosnia în timpul conflictului cu Serbia se petrece într-un decor carceral cu sârmă ghimpată, grilaje din fier și proiecții video în fundal, care temperează ori amplifică tragismul istoriei de pe scenă. Este un spectacol dens, despre dictatori și alți demoni.

Pe scările din fața Cazinoului, seara târziu a fost prezentată opera-rock ”Repetiția. Alcmena, Amfitrion, Jupiter și farsele lor” după ”Amfitrion” de Plaut, al Teatrului Astragali din Lecce, Italia, adaptarea, dramatizarea și regia: Fabio Roberto Tolledi și muzica originală a lui Mauro Tre. ”Amfitrion”-ul lui Plaut este pretextul de la care pleacă această repetiție, punctată cu momente muzicale și teatrale comice, antrenante și un melanj lingvistic menit să țină trează atenția și interesul spectatorilor înfrigurați de vântul deloc prietenos al serii marine.

Luni am avut parte de un regal actoricesc: Marcel Iureș și George Mihăiță în ”Păi… despre ce vorbim noi aici, domnule?” după ”Moromeții” de Marin Preda, în regia lui Alexandru Dabija, de la Teatrul Act din București. Ilie Moromete și Cocoșilă vorbesc cu tristețe și ironie despre politică, despre familie, despre viață. Și cu o știință desăvârșită a rostirii fiecărui cuvânt și a însoțirii lui de gestul cel mai expresiv. Este fascinant modul în care cei doi protagoniști reușesc să captiveze spectatorul, să-l convingă, să-l poarte în lumea dramatică a amintirilor. La toate astea se mai adaugă o fascinantă ”ploaie de stele”, care-i transportă din real în oniric. Rezultatul este un spectacol captivant, profund, exemplar.

Trupa Teatrului Național din Cluj a fost invitată cu spectacolul-concert al Adei Milea, ”Švejk în concert” după ”Peripețiile bravului soldat Švejk” de Jaroslav Hašek. Actorii clujeni s-au bucurat de o foarte bună primire din partea publicului, prezent în număr mare în Piața Ovidiu.

Marți dimineața s-a lansat revista de teatru ”Scena.ro”. După-amiază am văzut o monodramă a Companiei de Teatru Aradi Kamaraszinhaz și Baza Teatrală Zsámbék pe un text al Alinei Nelega: ”Decalogul după Hess”, în regia lui Tapasztó Ernö și în interpretarea extraordinară a lui Harsányi Attila. Timp de o oră am putut intra în mintea lui Rudolf Hess – o rotiță importantă din angrenajul mașinăriei infernale hitleriste – ghid în călătoria fantastică fiind un actor cu o privire de vultur rău, de hienă însetată nu doar de sângele altora, ci și de acela propriu, certat cu Dumnezeu și înfrățit cu Satana. În mod normal, la aplauze, actorul iese din personaj, dar aici interpretul – semn al teribilei măcinări interioare – și-a dus mai departe haina de împrumut.

Teatrul ”Fani Tardini” din Galați a fost invitat cu spectacolul ”Uluitoarele numere de singurătate ale lui Edward Gant” de Anthony Neilson, în regia lui Dragoș Alexandru Mușoiu. Enigmaticul creator de iluzii Edward Gant își conduce trupa de actori printr-un labirintic pasaj spre o lume imaginară din care nu lipsesc episoade de umor negru, chiar de ezoterism, ca în cele din urmă să plonjeze într-un dramatism real.

Ultima zi de festival a debutat la Muzeul de Istorie cu colocviul ”100 de ani de teatru în România mare”, condus de teatrologul și eseistul Doina Modola. După o introducere în subiect făcută de Doru Mareș, Doina Modola a făcut o incursiune în trecutul teatrului din România, plecând de la momentul 1848 și chiar dinainte, amintind despre crearea Teatrelor Naționale din Iași, Craiova și București, iar mai apoi, după Primul Război Mondial, a Teatrului Național din Cluj și până în contemporaneitate. Completări la cele expuse a adus Emil Boroghină, iar subiectul incitant al discuției s-a dovedit a fi întrebarea doamnei Doina Modola: de unde lipsa spectacolelor-eveniment din ultima vreme? Intervențiile tinerilor regizori Erwin Simsensohn, Vlad Cristache, Horia Suru, Alex Mîzgăreanu și Sorin Militaru au animat discuțiile lansându-le pe un făgaș polemic.

Seara, Teatrul ”Radu Stanca” din Sibiu a prezentat ”Oidip” după ”Oedip la Colonos” și ”Oedip rege” de Sofocle, în regia lui Silviu Purcărete. Iscusit conducător de mari mase de oameni, cu un gust pictural absolut – în acest sens fiind secondat de scenograful său constant, Dragoș Buhagiar – Silviu Purcărete a creat un spectacol cu imagini care îți taie respirația. Decorul permite personajelor să străbată nu doar spații ci și timpi diferiți. Asistăm astfel la o reîntoarcere la cauza primordială a vinii tragice a eroului. Trupa de actori funcționează ca o echipă. Iar ”Oidipul” de acum m-a dus cu gândul la constănțeanul Ică Cojocaru, extraordinar interpret al vinovatului fără vină, din acel ”Oedip” petrecut pe malul laculului din Mamaia, în anii ’80…

Festivalul s-a încheiat cu ”Magic Național” al Teatrului Național din București, în regia lui Ion Caramitru. Izbutit spectacol-concert, în care s-a remarcat cu precădere recitatorul fabulos Ion Caramitru. În interpretarea lui cuvintele lui Nichita Stănescu primesc noi înțelesuri. Pe toată durata manifestării au avut loc spectacole stradale ale Companiei Famous Art.

Festivalul s-a dovedit a fi un izbutit puzzle rezultat din măiastra îmbinare dintre miturile antice și rememorările lor moderne. Interesul pentru teatru, arătat de publicul prezent în număr foarte mare seară de seară, a demonstrat faptul că acest festival e necesar, potrivit și așteptat cu nerăbdare de constănțeni.

Arhiva rubricii Cronica de teatru

”Microjurnal de festival” de Eugenia Sarvari Între 20 – 27 iunie 2018 s-a desfășurat la Constanța Festivalul Internațional de Teatru ”Miturile cetății”