history of everything proposal

7/23/2019 History of Everything Proposal

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A history of everything Jonathan adamCommencement slot

Production WorkshopApplication for the Downstairs Space

NAME: Jonathan AdamCLASS YEAR: 20!"#$NE N%M&ER: '0(20)(*!+

,f -o. cannot /e reached /- phone immediatel- after the meetin1 wo.ld -o. preferwe:



CALL &AC

3,3LE $4 "R$JEC3: A #istor- of E5er-thinA%3#$R 6if applica/le7: 6$riinall- concei5ed /- $ntroerend 8oed7

"R$"$SAL &$ARD &%DDY: Andrew 8anem9 Shadow: &en Sil5er

SL$3 "RE4ERENCE:6note: -o. are onl- proposin for one of the /elow seasons7Sprin:

2nd slot is o5er Commencement

,S 3#ERE A SL$3 Y$% ARE N$3 A&LE 3$ ACCE"3;

April Slot

RE<%,RED S3A44 6incl.de name and -ear7: Set Desiner: Ma= Mc,nnis 6R,SD7 >+ Lihtin Desiner: L.?e Denton @+

So.nd Desiner: &rendan &oni @!

Cost.me Desiner: Soa adie5a @!

ADD,3,$NAL S3A44:&aile- Life >B: Stae Manaer63entati5e7: Sa/ina ariat 6R,SD7 >+: "rops

"LEASE N$3E &- s./mittin this application it is .nderstood that -o.ha5e ac.ired rihts /- contactin a /oard mem/er: , contacted Josh.a Cape

"R$"$SAL: "lease attach proposal and another appendices

Introduction

3heater is a place for in5estiation Fe can in5estiate the whole

am.t of h.man emotions: lo5e1 fear1 solit.de1 aner1 em/arrassment1or sadness Fe can in5estiate the nat.re of mo5ement1 of so.nd1 orof speech Fe can in5estiate social pro/lems that we e=periencewithin the world aro.nd .s1 s.ch as racism1 en5ironmental iss.es1 or5iolence 3he /lac? /o= of the theater has the power and potential toact as a lens to manif- an- iss.e or aspect of o.r world that we wish

3he theatrical process , wo.ld li?e to .nderta?e in5estiateshistor-1 and time in eneral #ow has o.r past shaped the world

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aro.nd .s; #ow do we remem/er o.r past; Fh- are certain e5ents orpeople remem/ered and cele/rated and others mere footnotes in o.rcollecti5e conscience; #ow sinicant ha5e , /een within m- lifetimeso far; #ow sinicant has all of h.manit- /een within the lifetime ofthe .ni5erse; #ow can we approach comprehendin histor-1 the world1

the .ni5erse1 when we are G.st s.ch small spec?s in the 5astness thatis the passae of time;$.r in5estiation into histor- will c.lminate in .s ha5in written

a histor- of e5er-thin ,n a/o.t one h.ndred min.tes1 we will /laHe atrail from o.r present da- /ac? to the /einnin of time itself , hope to/rin to "F an attempt to come to rips with o.r world1 its past1 ando.r own personal place in it: how we are /oth instr.mental to1 and -etsim.ltaneo.sl- completel- insinicant within1 the reater scheme ofhistor-

Description of the Performance

3he stae is incredi/l- sparse1 /.t for a iant world map laid o.t o5erthe Ioor and a proGection on the /ac? wall of toda->s date Se5enperformers enter1 and start anno.ncin 5ario.s e5ents of the da-:o/it.aries1 marriaes1 news headlines1 and ossip As the proGecteddate mo5es /ac?wards in time1 the performers mo5e across the lo/e1chaoticall- e=plainin1 .otin or re(enactin 5ario.s historical e5entsFe e=perience the moon landin1 the two world wards1 the release ofCasablanca1 the coloniHation of Africa1 all in re5erse order As the/ac?wards timer accelerates1 the performance rows more and morea/stract and imae(/ased Fe see Renaissance paintins restaed9

witches /.rnt at the sta?es9 pla.es9 Cr.sades Fe reress thro.hancient ci5iliHations and nd o.rsel5es at the root of ci5iliHation itself 3hen1 we nd o.rsel5es oin /ac?wards thro.h the e5ol.tion of man 3he stae /ecomes serene as we proress in retrorade thro.h therst forms of life on earth Fe Hoom1 awa- from the earth to see o.rentire solar s-stem when it rst formed Fe ?eep oin1 faster andfaster thro.h time1 rewindin thro.h the /irth of ala=ies1 .ntilnall- we arri5e at that time and space /efore time and space weree5en real entities 3he show ends in an attempt to con5e- how the.ni5erse /ean: in a Iash of /lindinl- /riht liht

Overview of the Process

Casting



Fhere most theatrical prod.ctions hone in on the li5es of a fewmain characters1 this show operates on a macroscopic1 lo/al scaleand therefore re.ires a diKerent attit.de from the actors M- idealperformer is a c.rio.s1 enaed scholar in rehearsal and a child

pla-in dress(.p on stae1 and in the a.dition process , will aim to loo?o.t for /oth these .alities , will present people with 5ario.s stories6historical or ctional7 and will as? them to con5e- them to me in5ario.s wa-s1 as the- miht occ.r in History : anno.ncin the e5entsli?e a p./lic spea?er9 ta?in salient .otes and imitatin the spea?ers9/od- lan.ae9 interactin with some /asic props , will also as?people a/o.t their academic and life interests: what topics and iss.esdo the- consider important1 and wo.ld the- /rin into o.r writin ofhistor-; ,t is cr.cial that there is a wide spread in ideas1 in the hopethat at e5er- step on the wa- thro.h histor- we can hope to ha5esomeone near/- who has at least some ?nowlede on where we are

Call/ac?s wo.ld contin.e in a similar 5ein /.t wo.ld also shiftfoc.s into ensem/le wor? A sinicant feat.re of History wo.ld /e.sin li5e ta/lea.= to esta/lish certain landmar?s in photoraph- andart histor-1 so in assem/lin a cast , wo.ld challene performers interms of /od- and spatial awareness and m.t.al colla/oration

Rehearsal Process

Research will /e the dri5in notion /ehind the creation period ofHistory DiKerent aspects of the show will re.ire diKerent s?ills orideas to /e e=plored1 /.t at e5er- step of the wa- we will /e mindf.l to

del5e deep into the matters at hand and /e rioro.s in e=aminin5ario.s options and ma?in informed choices a/o.t how to presentmaterial on stae $ne strand of acti5it- thro.ho.t the process will /ethe mass amalamation of historical facts and anecdotes to load intoo.r show E5er-one will ha5e to contri/.te at some point and thisresearch will not stop for the d.ration of the r.n of o.r show $.r scriptwill /e a fore5er rowin entit- of historical facts

Another strand of research consists of performance research1with 5ario.s specic foci 4or e5er- historical fact we considerpertinent1 we will ha5e to .re o.t how to con5e- it within theperformance "artic.lar moments will o thro.h 5ario.s iterations

/efore p./lic showins: we ma- /ein with presentin an e5ent /- amere anno.ncement1 /.t we ma- chane o.r mind and decide there isa stron 5is.al element that we can /rin forth and shift to that Fema- then nd that the e5ent /ecomes too sinicant or is ta?in .ptoo m.ch time and therefore o/str.ctin the pacin of that partic.larhistorical period1 and ma- consider switchin it /ac? to ananno.ncement or /- presentin it thro.h a .ote from a maGorhistorical pla-er As soon as o.r wor? ta?es to stain1 the team m.st

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/ecome incredi/l- mindf.l a/o.t how each piece f.nctions within thecollae of the whole1 and we will constantl- /e as?in o.rsel5es todel5e into the pieces and .re o.t whether the- present the materialin the most eKecti5e wa- possi/le

A partic.larl- salient part of this performance research will /e

.rin o.t how the later sections wor? theatricall- 3hese sectionsdeal with nat.ral histor-: e5ol.tion and e5ent.all- the creation of the.ni5erse 3he- pro5ide .ni.e challenes in terms of stain: historicaltime is presented at a faster speed than at an- point pre5io.sl- in theshow1 -et the pace of the show /ecomes intentionall- lacial 3heperformance shifts awa- from words into a realm of mo5ement anda/straction in an attempt to con5e- those aspects of histor- that wecan onl- rasp at $ther parts of the show will alread- re.ire .s toconsider the ph-sics and choreoraph- of o.r mo5ements in space 6tocreate ta/lea.=1 to e5o?e historical .res1 to s-m/oliHe 5ario.shistorical trends7 /.t these sections specicall- , imaine reall- ha5in

to de5ote sinicant time to of p.re mo5ement research 3his ma- /e G.st o.tside of the .s.al comfort Hone of man- theatrical performersnot acc.stomed to dance1 and it will /e interestin to neotiate not G.st the choreoraph- /.t also how to transition oranicall- from thehea5- te=t(/ased material in the /einnin to this more distilledph-sical lan.ae Aain1 this will /e an iterati5e1 researched process1which ma- ha5e .s settlin for one thin one da- onl- to ha5e .sre5isit it a little later1 once we more f.ll- see how it operates within theshow E5er- moment in the show will /e deli/erate and ha5e a specic1researched f.nction

Use of the Text

3he te=t that $ntroerend 8oed has p./lished is a snapshot ofone partic.lar performance that the- carried o.t of the History the-wrote Earl- on1 the compan- s.ests that an-one recreatin theperformance sho.ld assem/le their own collection of facts1 and not G.st/lindl- follow the script , /elie5e the power and importance of thisshow rests in that it forces a ro.p of performers to confront what the-consider important and memora/le1 and how the- themsel5es occ.p-a role within the timeline of histor- , f.ll- intend to sit down with m-team and enerate o.r own timeline of histor- thro.ho.t the process1

startin from a /lan? pae and adaptin the script as we o alonE5er- performance as well will force .s to chane at the 5er- least therst few min.tes of the show1 which literall- deal with the da-s of andimmediatel- precedin the performance , do not anticipate doin a f.llread(thro.h of the script that is pro5ided to .s1 as , feel it wo.ld /eco.nterprod.cti5e: the script is not written in easil- performa/le formand .ltimatel-1 , en5ision o.r role not as parrots /.t as restaers

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#owe5er the te=t will /e .sed e=tensi5el- for 5ario.s aspects Fewill adhere to the section headins presented /- the compan-1 whichsplit .p time into 5ario.s discrete components1 each with a diKerentperformati5e foc.s Section 1 for e=ample1 is primaril- facts(laden1whereas section 2 relies more hea5il- on presentin historical trends

5is.all-1 a pattern which /ecomes more and more prono.nced thro.hsection * , do anticipate i5in performers access to the script in orderto et a sense of how the show wor?s 6in the hands of $ntroerend8oed7 and to start people thin?in a/o.t how e=actl- to respond to theprompt that each section /rins .p

, also imaine retainin still some aspects of the te=t almostliterall- &etween the sections are a series of monolo.es which ro.ndthe ideoloical .nderpinnins of the show and e=plicitl- to.ch .pon thethemes of History , personall- am .ite ta?en /- these te=ts andimaine to ?eep them 5er/atim howe5er1 , remain open to the ideathat d.rin the research process o.r team comes to a diKerent

concl.sion , ha5e a similar feelin a/o.t man- of the technicaldirections in the script "artic.larl- so.nd is .ite prescri/ed1 with sontitles and pla-in times e=plicitl- listed in the script , wo.ld tentati5el-consider r.nnin alon with these .nless an alternati5e is fo.nd d.rinperformance 63he matter of the sons is act.all- a little less tri5ialthan initiall- seems ,n the nal sections there is an apparentdisconnect /etween how lon the pieces are and how sparse the te=t/ecomes 3his discrepanc- i5es .s an indication of how the pacin ofthe show slows down1 and in5ites .s to thin? a/o.t how to depict theslowness of e5ol.tion and the ph-sical oriins of the .ni5erse7

Schedule

, imaine this will /e a * or !(wee? research process1 which will /e.ite intense and hands(on D.e to the colla/orati5e nat.re of theshow1 people wo.ld /e e=pected to come in on .ite a re.lar /asis&eca.se , mentioned this is a research dri5en process1 ,>m a littlehesitant to pin down e=actl- how time will /e spent Fhat , do ?now isthat the show will come to life la-er /- la-er: we will .ite earl- onha5e an initial ro.ndwor? idea of the show1 and rehearsals from thenon will either /ecome stop(and(start r.n(thro.hswor?(thro.hs of theshow1 or hone in on partic.lar sections that re.ire more anal-sis

Fee? of April *th: 4irst Rehearsals 4oc.s on: h.e /rainstorminsessions tr-in to map o.t entire histor-9 mo5ement e=ercises andta/lea.= creation on the /asis of historical imaesFee? of April 20th: 4oc.s on the e5ents in Section 2 and Re.lar r.n(thro.hs of the rst section as well More mo5ement e=ercisesFee? of April 2Bth Mo5e to the space 4oc.s on Sections ' and * and a/i p.sh on eneral /loc?in

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Ma- Desin R.n Fee? of Ma- 'th: Solidication of the script and the e5ents1 and theincorporation of ta/lea.=Ma- + Desin R.n 2Fee? of Ma- +th: Show r.n(thro.hs and tro./leshootin Fhat

sections still feel incomplete; Fhat mo5ement se.ences areaw?ward;Ma- * 4inal Desin R.n O "aper 3echMa- ! Fet 3echMa- B () 3ech Fee?Ma- 20(2 "erformances

Design Philosophy

3his pla- frames theater as a place of research and in5estiation1and the desin of the show will /e more restricted than .s.al in thatwe>ll ha5e to wor? closel- toether to esta/lish a loo? and feel thatesta/lish that idea 3he show>s desin sho.ld seem minimalist and/asic in order to hihliht the actions of the performers as the reatdri5in force of the show: the- are not mere pawns in this show1 the-are the dri5in force of histor- As s.ch1 desin choices will ha5e to /e

5er- deli/erateSet1 for e=ample1 is responsi/le for creatin a world map o.t of

some sort of d.ra/le fa/ric that can stand a little manhandlin All thea.dience will see in terms of set is this white world map on the "FIoor1 and a /lac? /ar at the /ac? of the stae hidin the props ta/lesNo eKort sho.ld /e made to pretend this is not the "F downspace:after all1 we want to remem/er that this is a wor? of theater that weare .sin to nd o.t a/o.t the world

Lihts /eins in a warm1 ne.tral pose 3he whole stae sho.ld /ewashed in a plain1 /riht liht As histor- mo5es on1 tho.h1 lihts etsmore leewa- and can e=periment a little more1 /.t to stain line with

the o5erall feel of the show , want to ?eep the color palette incredi/l-minimal 3here is a proressi5e trend towards dar?ness 6representino.r wea?er and wea?er rasp of historical acc.rac-7 .ntil the nalsection1 where almost all stae lihtin is replaced /- some sort ofhandheld lihts manip.lated /- the performers representin theplanets

So.nd1 as mentioned /efore1 starts oK with e=actl- none 3hestae directions i5e specic instr.ctions to sons pla-ed at certain

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times1 and , intend tentati5el- to follow these1 as these s.estionsframe certain sections as more choreoraphed or theatrical thanothers

Cost.mes for the entire cast will /e an all(/lac? .niform9$ntroerend 8oed s.ests .sin hoodies with lots of poc?ets for props

Cost.mes and props will ha5e to wor? closel- toether /eca.se we willneed a h.e n.m/er of accessories: wis to denote historical .res1little slee5es1 collars or other accessories to portra- diKerent elementsof histor-

"rops is the onl- place where the desiners ma- o craH-1 /.te5en then1 desin choices m.st /e deli/erate An idea worthconsiderin from $ntroerend 8oed is the .se of some hihl- specicprops in a consistent wa- 4or all assassinations the- .se the same to-.n9 all wars on earth are la/eled with the same t-pe of little Ia9 an-re5ol.tionar- mo5ement .ses the same /anner

An important note a/o.t desin is that the sched.le will pro/a/l-

/e a little more front(loaded than .s.al D.e to the simple nat.re ofthe set 6continents made o.t of fa/ric71 , hope to ha5e one .ite soonwhen we enter the space as it is an important component in the laterparts of the show Lihts and So.nd will operate enerall- on their.s.al sched.le1 tho.h lihts ma- /e called in to help wor? on theplanets scene as a cons.ltant or technical assistant "rops1 tho.h1will ha5e to follow closel- alon with what we plan to present in theshow Fe>ll ha5e to remain on top of the props demands in order toade.atel- rehearse the loistics of ha5in that man- items to wor?with

Budget Breakdown

3he specic demands of this show demand a lihtl- diKerent/.det /rea?down Dependin on how e=pensi5e fa/ric for the sett.rns o.t to /e we miht ha5e to shift thins aro.nd "rops has a/ier /.det than .s.al1 /eca.se it is a more sinicant desinelement than in other pla-s

Set: '00 PCost.mes: 200 P"rops: +0P

Lihts: 20P"rintin: *0P

3his ma- still not /e eno.h for props /.t it will denitel- et .sstarted and force .s to thin? creati5el- , hope that props canappropriate some of cost.me>s /.det and potentiall- /es.pplemented with rants

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he Director

About Myself

Most people at "F ?now me /est as a so.nd person1 /.t in m-

wea?er moments , imaine , am also .alied to do other thins At&rown1 , ha5e mostl- st.c? to the technical aspect of shows: so.nds1sometimes lihts1 and e5en a /rief stint as a stae manaer 3his/ac?ro.nd role is denitel- not a res.lt of m- lac? of interest inperformin: /efore comin to the %S , was hea5il- in5ol5ed as adancer in a dance theater compan-1 and e5en now when , o /ac? to&eli.m in the holida-s , tr- to enae in some shape or form withperformance proGects recr.itin 5ol.nteers as performers 3he reason ,ha5e sta-ed awa- from performin at &rown is simpl- /eca.se , ha5elittle e=perience with theater repertoire1 and , simpl- felt , had more tooKer1 and more to learn1 .sin m- time here to ain technical s?ill M-

fascination with theater rew o.t of pieces de5ised /- partic.larcompanies1 or loose reinterpretations of e=istin theater1 or pieces thatstra-ed awa- from the theatrical norm in an- n.m/er of wa-s , ma-/e a sh o.t of the water when it comes to scripts and line deli5er-1/.t when it comes to sittin down and creatin a show from the ro.nd.p1 , feel .p for the challene

, directed for &rown $pera "rod.ctions last sprin1 a "hilip 8lassopera named Hydrogen Jukebox 3he show was an incredi/l-challenin e=perience: the m.sic was to.h for actors to learn andthere was no plot to spea? of Fe had to .re o.t a lan.ae tocon5e- a/stract ideas on stae which was hea5il- est.ral and

e=pressionist 3he e=perience denitel- showed me that , am a/le tota?e diQc.lt theatrical premises and enae with them in a meaninf.lwa- 3his s?ill will /e .sef.l in History 1 where , imaine a similarprocess will ha5e to occ.r to translate real(world e5ents of h.e scaleto imaes and te=t that can /e con5e-ed on top of a to- map /- si=performers "artic.larl- the latter sections1 where the show tac?lese5ol.tion and ph-sics1 are riht .p the Hydrogen Jukebox alle- when itcomes to a/straction and inscri/in meanin into mathematicalchoreoraph-

Hydrogen Jukebox was also an enormo.s loistical challene Fehad iss.es with actors droppin o.t en masse in G.st the rst wee? of

performance1 Al.mnae #all pro5ed to /e a nihtmare to wor? in1 and#ealth and Safet- all /.t sh.t .s down d.rin tech wee? Yet somehowwe still manaed to p.t on a show 3he e=perience ta.ht me not G.sta lot a/o.t directin /.t also showed me that , can /e incredi/l-pramatic a/o.t pro/lem sol5in , cannot anticipate all that wo.ld owron with History 6as alwa-s seems to happen1 these thins t.rn o.ta lot larer than oriinall- imained7 /.t , do thin? that , can ?eep m-cool1 and deal with o/stacles in a responsi/le wa- , hope that , can

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create an en5ironment ( /oth in rehearsal and for the prod.ction team where people feel the- can do their Go/ and /e respected when the-r.n into pro/lems

My Role

&eca.se of this show>s diKerent tone1 as a director1 , ha5e topro5ide diKerent .idance , am not there to facilitate people>scharacter e=plorations or ps-choloical conIict ,nstead1 , ha5e toinspire people to research f.rther , am faced with an interestin/alancin act /eca.se on the one hand , will ha5e to ens.re people?eep loo?in into the histor- /.t on the other hand , need people tocome o.t more and more on stae , hope to initiate the rehearsalprocess with an intensi5e loo? into fact.al histor- and then hope to?eep that moment.m oin d.rin the month(lon process

Another ne line , ha5e to tread is /etween a decisi5e and an

open(ended director %ltimatel- it will /e mostl- in the cast>s hand todetermine what the content of the show will /e9 there is no point indoin this show if , impose what people sho.ld consider historicall-memora/le #owe5er1 , do consider that , sho.ld enco.rae people toloo? /e-ond what the- alread- ?now or ass.me1 to point o.t thinsthe- miht ha5e missed 3his /ecomes rele5ant especiall- when weare researchin stain: as the o.tside e-e , miht notice patterns orthins that ma- wor? /etter if str.ct.red in a diKerent wa-1 or if certainelements are more rec.rrent %ltimatel-1 , do not aspire to /e the mostcharismatic person in the rehearsal space and hope that performerswill et into a ro.tine of initiati5e of stoppin the show themsel5es

d.rin rehearsals1 and enae in con5ersations with each otherinstead of me a/o.t certain aspects &.t , do hope to /e an in5al.a/letool to the prod.ction: , want to /e /oth the /iest moti5ator and themost helpf.l editor in the room

Fhen it comes to desiners1 , feel m- e=perience as a so.nddesiner will help me sinicantl- in con5e-in the necessities for theprod.ction team #a5in sat thro.h man- a prod.ction meetin andtech wee?end1 , ha5e some idea of what partic.lar desiners need to?now of the director1 what sort of 5oca/.lar- to .se1 what sort ofiss.es to anticipate and how to con5e- appreciation and criti.e wor?done /- 5ario.s mem/ers of the desin team Especiall- in this show1

where desin is more specic than in other shows1 , feel it is importantto comm.nicate clearl-1 acc.ratel- and specicall- with desiners1 andma?e them feel comforta/le and respected

A History of Everything at PW! at Commencement

, feel that History is a show that will resonate with &rown%ni5ersit-1 and , feel that "F is the place where it sho.ld /e shown

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4rom a how /i is this show; perspecti5e alone History sho.ldclaim the Downspace E5en tho.h the technical re.irements areminimal1 the narrati5e scope of this show has literall- ne5er /een done/efore at &rown Fal?in into this /lac? /o= is a ps-choloicaltransition that will pro5e in5al.a/le for a.dience mem/ers to tr.l-

enae with the e5ents on the stae as a 5iew on the world o.tside ofthis space ,t is important that the space that this is performed in feelsli?e a theater1 and the Downspace pro5ides this feelin

3his show /elons at "F /- 5irt.e of its e=perimental1 research(/ased approach 3here are man- o.tlets for st.dent theater at &rown1ranin from Sha?espeare to m.sical theater ,f some/od- wants tota?e a script and stae an e=istin te=t1 there are man- o.tlets to doso 3his show ta?es a diKerent premise1 essentiall- startin from G.st atemplate and llin that template in as we o alon As a st.dent(r.ntheater1 "F needs to acti5el- enco.rae e=perimentation andtheatrical di5ersit- Fe need a space on camp.s to in5est in new ideas

and approaches to theater 3he theater pop.lation at &rown needs to/e challened contin.o.sl-1 not G.st /- stain classics or m.ch(lo5edtheater1 /.t also /- /ein accommodatin to shows o.t of themainstream1 performances that dare o o.t on a lim/ in p.rs.it of anidea "F is one of the few places that we ha5e access to where itsho.ld /e possi/le to ta?e ris?s1 and , thin? it is a cr.cial role of theoraniHation to foster this atmosphere History is a ris?- proGect1 and isin a wa- set .p to fail: of co.rse we won>t /e a/le to portra- a histor-of e5er-thin &.t it is e=actl- this fail.re1 and the .est towards it1that ma?e it a pla- worth watchin

History ts at &rown /eca.se .ltimatel-1 it is what /inds .s all at

this school Fe are all intellect.all- dri5en to nd o.t more a/o.t theworld aro.nd .s Fhile we all ta?e diKerent intellect.al a5en.es andlenses to e=amine this world1 we &rown st.dents ha5e a commonsense of c.riosit- 3his show e=ploits that c.riosit- to create a showfrom the ro.nd .p1 and allows performers and a.dience ali?e toproGect their own 5isions of the world onto this show "erformers willha5e to ma?e certain choices a/o.t histor-1 and a.dience mem/erswill wonder wh- the- aree or protest certain choices More than ashow a/o.t partic.lar people in a partic.lar time and place1 History allows man- people to enae with the material as it is pertinent to allof .s in some wa-1 and opens .p con5ersations a/o.t wh- certain

ro.ps or people are represented in one wa- or another, will onl- e5er propose this show for commencement slot 3his

show as?s .estions a/o.t what we remem/er1 and wh- we remem/erit9 what we consider important1 and what we foret a/o.t in the larescheme of thins9 who we aspire to /e9 and who we were9 howsinicant we are1 and how insinicant we alwa-s will /eCommencement has a.dience mem/ers in the riht mindset to enaein the show Some ma- /e rapplin with what to do with the



?nowlede the->5e collected in the world at lare $thers ma- /ewonderin how to ma?e their life meaninf.l $thers ma- wonder whatthe- learned in the past fo.r -ears or more $thers still miht /ewonderin how the- will /e loo?in /ac? at this moment ,t is a raremoment that an a.dience can come in in e=actl- the riht state of

mind to hear the messae of this show1 and hopef.ll- this show canrespond to their mindset in a sinicant wa- ,t is m- hope to showpeople /oth how meaninf.l their time on earth is1 and sim.ltaneo.sl-how insinicant1 and how /ea.tif.l that parado= is

Closing thoughts

A History of Eerything does not set o.t to re5ol.tioniHe how wepercei5e histor- Fhile , hope that /- assem/lin a ood team wemiht /rin forward some .nderrepresented aspects of the stor- of the.ni5erse to the present da-1 .ltimatel-1 the show hines on people

reconiHin the e5ents on stae1 remem/erin them1 remem/erinreadin a/o.t them1 and onl- G.st i5in them eno.h time to thin?a/o.t them /efore mo5in proressi5el- faster /ac?wards thro.htime ,t>s a cr.el ame that we pla- on the stae1 /.t it>s the samecr.el ame that we are forced to deal with in the real world1 in realhistor- Fe dra alon more and more /aae fore5er tr.dinforward1 and it>s hard to ta?e a moment1 to stop1 thin?1 meas.re o.twhat we ha5e and sa-:

Fe>5e come this far

2

history of everything proposal

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