It's really funny because, uh, yeah, it happens right now, yeah, you have to do it one more time. It's really funny because, uh, it happens right now, yeah, you have to do it one more time. Hey, how are you guys? Uh, Abby is just, um, you're all here. So, um, I've been in school for quite a while, and I've learned how to do this, but I've been teaching, so, uh, it can be a little bit brighter than mine, but, uh, yeah, I know how to do it for the last time. That's our thing now. Okay, so, um, are we on? Okay, so, uh, welcome to the New Place Symposium. Uh, it is, uh, forum versus content is your mama. And, uh, I'm very, very pleased to invite you. We are live streaming this on New Play TV, so I would like to, um, say hello to our hashtag universe. Um, if you Twitter or tweet, uh, you can log on, I mean, to the, uh, use the hashtag New Play TV and hashtag VAPF. And we're going to keep the house lights, uh, uh, I don't know if they went down, but if they did, uh, we can read them up a little bit. Um, uh, because, uh, there will be a conversation going on online as well as in this room. Uh, if there are questions, um, Kevin, are you going to field questions on New Play TV a year? Which one? Kevin. Yeah, yeah. Great, I'll throw them out. Um, so my name is Amy Neuler and I'm the artistic director of the Playwrights Foundation, and I feel a little funny standing in front of everybody, so I'm going to come over to here. Um, and, um, so, uh, we decided to do, uh, to do this topic, or because of a part and part because of the work that's on this year's Bay Area Playwrights Festival. And, um, by that I mean the work that each of the plays, we're doing six places this year, and it's not atypical of the diversity of work, certainly, but it's quite marked this year that each of the plays really follows a very specific, formal aesthetic. Um, each one has, the way, the ways in which the aesthetic, the form and the content speak to each other, inform each other, and deliver each other in theatrically speaking, um, is really keen and very specific. And so, thinking about what we'd like to talk about this year, it seems like a really, uh, great, uh, conversation to have. And I think that this conversation doesn't, it isn't had very often. And I think it's, as far as I'm concerned from, uh, the artistic director position of the Play Development Center, really is the topic, uh, for the 21st century, for a new generation of theatre makers. And so we're really, really interested in, um, the kinds of theatre that's being written, the form in which it takes, and the forms that are, the ways in which theatre is being articulated, and also the values that are being broken open, and the way we think about theatre, the way we think about the play, the way we think about, uh, the way in which we're delivering either a message, or a feeling, or a, kind of, a vocation of contemporary, or contemporary zeitgeist, for a lot of a better term, uh, that we're expanding about a lot during the course of the festival. Um, on a personal note, um, I come from, many, many people don't actually know this about me, but my early, uh, experience as a theatre person, theatre maker, performer, was in the dance. I danced for almost 20 years. Um, I was a modern dancer, and if you know much about choreography and some modern dance, it is a completely different kind of language, a completely different kind of vocabulary, um, that, uh, expresses theatrical ideas in, in very, very specific ways. And the form, the formal aspects of dance are completely, usually, completely overshadowed the content. And it may be not overshadowed by the right word, but deliver the content, and the delivery system is a completely different kind of vocabulary than language. And I've always been really interested in how, uh, language can, and, and choreography or language and theatrical form are, are wedded, and I have a very particular personal interest in that. And so when you come on in, I'm Tosha. It's nice to see you're informal here. Um, uh, so I, that's, uh, my own personal, particular interest in this, in the subject matter, and the panel that we put together today, um, I think it's going to unpack some of those, those specific ideas. Um, so, um, we have our, our facilitator, moderator, and fellow playwright, Lauren Gooderson. Uh, many, many of you know Lauren. She is, uh, playwright. Uh, she is a blogger. She is a Twitter, a Twitterer. She, um, she's been called ubiquitous. And her work is studying. And she's also, she's, she's a resident playwright at Clarritt's Foundation. She's an alumni of Clarritt's, has a lot of, uh, programs. And she also, um, she also is a teacher in the Play Institute. And when I thought about, uh, somebody to moderate this panel, she came to mind because she teaches a class called Play Mac. And, uh, she, I think she's been talking a little bit about what that means to her, uh, and carry forward from there. So we've got... Yeah, hi everybody. Thanks for being here, for being here, and for being somewhere in the world online watching this. Um, I was really excited when Amy asked me to do this. Um, hardly to hear what all of you are doing and talking. So I'm not going to not talk that much, um, so that we can really collide these versions and definitions that I think are very, um, distinct to each play, not, uh, uh, to mention each playwright and each project and each collaboration. Um, but what I, I, I love about this conversation is that form and content, obviously, you can't really separate them. You can talk distinctly about them, but I think as soon as you move content a certain way or move them a certain way, it tugs at the other. So in, in a play is, um, in and of itself, it's not just a story. By being on stage, it has adopted the form, um, of the medium that we're, we're involved in. So actors on stage is different than all the other forms of storytelling because of that. Um, so I think even the simplest, most realistic, if that's the simplest person on the play, um, has an inherent form that is reflected and, um, helps, uh, digest the content and, and then produce it as well. So I'm really delighted to, to kind of figure out how human content are wed if they are, how they are fighting if they are, how they, um, to co-build and co-birth the stories that we love. Being a little sciency and math-minded, as Amy mentioned, um, I'm fascinated partly because it seems, I just read an article this morning talking about neuroscience and storytelling. And there's been a lot of discussion about this in the last couple of decades as neuroscience has gotten better. But one of the things they talked about is that a story, um, the human brain developed in a certain way, um, that makes story what it is. Um, we didn't invent it out of, you know, the, the air. It's because of the way we think, we interpret, we learn, we speak, um, we communicate. That story exists at all. That we want a story to start somewhere about something and some or someone develop to a point where that person wants something, see if they get it and what happens when they do or don't. That's kind of what most story is. That's what a lot of journalism is about. That's what, um, how you say when you did it school today or what a recipe is. You know, all of these forms reflect kind of that simple, almost biological, very much biological, neurological pattern that we expect. And so how that affects this form and content discussion. Um, and, uh, as I was talking with Laura, um, who's a fabulous dramaturg and a professor, uh, about this, that structure isn't the same thing as form, or is it? Um, and, of course, that, and structure is that, is that more content than form. Um, so I think all of this is, is going to be really great. Uh, we'll, um, lately, as I said, I wasn't going to talk in here and talk to you, Timon. Um, so the introductions are going to be brief so that we can, we can get to talking. Um, we have, um, with us, Abby Bash, who's a fabulous playwright and a director and her company that are spread out. So I'll let you all introduce yourself. Do you want to add these, uh, add these down there? Um, JC Lee is a fabulous playwright who is from the Bay Area. Just graduated from Juilliard. His plays are marvelous, hysterical, um, really smart. He's also a political writer in his blogging world, too. So keep in touch with him, uh, and, you know, the real world. Which is always nice to check in with every now and then, Peter. Um, we have Laura, who's a dramaturg, I mentioned Professor Mark Jackson, who's a, I didn't even know, I mean, your director and playwright and just general creator because, uh, probably don't need to introduce him here. His reputation is, is, um, deep and wide and wonderful. Um, and more of the, uh, Abby's group here. Uh, so if, let's start with introducing our, uh, the ensemble so we know who we're all talking to. And then out with Dylan. Sorry, we've sort of overtaken this stage. It's great. It's great. Um, so, uh, I'm Abby Bash. I'm a Bay Area director. And also, we love it. It's, uh, being actress, uh, a Golden Tantra, and a director in her own right. She, uh, she has come in to get us directed, and directed with me on this production. So she's a missing artist for us here. We're very lucky to have her. Caroline is our production manager and, uh, thrown to her at large. Uh, Paula is our resume composer. And down there, we have Molly Sheikin, one of our actors, and Stephanie Heedler, another actor, and one of our actors, of course, and maybe it's missing, which is why there are not chairs for me. Yeah. And maybe we'll kind of be a, a panelist as well, because there's, there's an interesting worker. So what I'd love to, to throw out, and we're just going to be chatting. Um, so we'll try to, ironically, be not super-formed, you know, so we'll be formists. Um, but the question that I want to start with is, um, just to put it out there, do you think about form and content as you're creating? And if you do how, and if you don't, when do you, if, if you ever do? Right. Just basically are, as created, in the process of creation, do you think about these things? Do you think about what would be other? Do you think about which one first, et cetera? And I think because we have a great, diversity of panelists and directors and actors and parameters, that whatever, uh, I'm just going to, Jay, I'm going to leave Jay to start. Um, sure. I, I tend not to think about it. I'm just, I think that my relationship to, I mean form, when I hear the word form, I tend to think of narrative. And to me, narrative is the means by which we derive meaning from the world. I think that narrative is sort of the natural relationship and it's the way we structure everything that we digest from journalism to politics to science. I think we are always seeking out a narrative. And so, um, the narrative for me is always sort of inherent in the work. I'm always sort of figuring out, well, what is the story I'm telling? And then I think depending on the story, an aesthetic emerges. So certain stories demand, uh, one's, like certain stories might want a very realistic aesthetic. And then I think some stories want a more abstract aesthetic. Um, but to me, the narrative is the thing that, that provides meaning. I think without the narrative, you don't have meaning for, for, for a wide audience. Yeah. We have this wonderful picture of, uh, like from Abby's play, um, Arctic Hysteria, which is on the front page in the day. Would you talk a little bit? Sure. I'll sit over there and perform. Uh, sure. Um, I think when I started writing a play, uh, the first thing that comes to me are images. Um, very strong images that I don't understand and need to figure out. And from that, when I start figuring out what I want to question or what I can't figure out, then, um, I think about how the structure of a container is. What's in Lord Clark's hall of the container and the content and very offensive style essays. Um, then I start, you know, how do I want to express this? What do I want to, how do I want to tell this? So, for Arctic Hysteria, and also for my work with kindergarten, which because we're such a collaborative unit, I usually will create, um, a structure for a script, and then we explore it. I did last summer, I wrote a play actually in Denmark. Um, I watched the actors, they experimented stuff, and I read the room, just tons of it to space. There are almost no stage directions in my script because the actors are in the stage directions. Um, and the composer, um, and, um, so, so yeah. Um, so that, so my first step is thinking about the image and then I, um, about the structure. Because each of the structures, where I play, it's kind of just a bit different. So, um, yeah. Um, hey, yeah. Not sure what to jump in with. I mean, because in a way, it seems like we're talking about, uh, form and content. We're just talking about theater in general. I never thought of doing it separately. I mean, it's, the problem seems odd that we didn't have to ask a good question. You know, because, I don't know how. If you go to the theater and there's nothing there, there's no form to see, you're not going to be able to understand what content is. So, um, it is something I, I think about, to think intuitively, like you were saying, and, um, um, that it starts from, what is the subject matter of the piece and what's going to capture that best and sometimes that means it needs to be advanced. And because that's going to be the most articulate way to express it, and sometimes when people need to talk, but to each other, because that's going to be the most articulate way. Um, to be quite generally. Um, for me, I mean, I don't know what you've been talking to as a writer, but I come from a slightly different perspective because I work as a dramaturg and as a director.  And so you have to be thinking about the form between the content and also that other element of structure. Right? Because, um, for me, the form is, like, just kind of another code word for the style. You know, we do realism, we do hip-hop theater, we do this, that, and the other. Um, but then there's that other question of the structure of the play. And I think that that's something that I think is an important conversation to have whether you're working with a playwright as a dramaturg, or whether you are looking at a play with or without the playwright in the room as a director in terms of understanding the architecture of a play. Um, and I think that's incredibly important today in the 21st century as we're getting all of this media and the way that people take it, information is really different. And with your grounding in science, you talk a lot about, and you think a lot about the way the human brain takes in information. And what we're starting to find out is that all of this media that we have is changing the way that we take information in it. It's changing the way it's changing our brain history. It's changing the way our brains are wired. And so this question of structure, I think, and form are really important. And so for me, when you're, since you mentioned you're on one of your Susan Lloyd parks, when you're looking at a Susan Lloyd park's play, you have to really look into what she calls her whole of history. And, and she, I think, is a good for emerging playwrights who have questions about how structure play, or what is the form of her play. She's a good person to look to, because you can look into her whole of history. And right there is where all of her form, content, and structure are mirrored. So you can look into her whole of history. And you can see sitting there, virtual, wrapped sometimes. And you can see Samuel Beckett sitting there. And you can see Amiri Baraka and Amin Sakashenge. And then you can also see, in terms of, of content, the big ideas, the big figures, inside of there. And I think being able to break it down and understand it on that level so that you can get to a successful production means dealing with all of that and figuring out how those elements talk to each other in production. That makes sense at all. I mean, understanding Susan Morey Parks's where she fits in, sort of, as an African-American artist and the homage that she plays to, to, West African call response to, but also to some of the experiments from Black Arts within the sixties and seventies that we can very draw up in and Sakashenge. And I think that's really important if you're going to do the play well to understand how she marries that with some very rectangle sort of alienation techniques. And I think when I see productions over the world that are successful, it's been because they have directors and dramaturgs getting in. And when I see productions that don't work so well, it seems like they haven't really understood how that all comes together. Because, yeah, I think that I agree with that and I think that it's true because form gives content meaning. I think without, without form, without a specificity of structure, content has no meaning. It's sort of like, you know, I think what, you know, and when you look back like the last century of work, you know, there was sort of a push to test the boundaries of narrative structure and say, what can we do? How can we break this structure down? And I think actually what it taught us was that you can break it down but to successfully tell a story there has to be an awareness of it and that the form is going to give the content meaning. If you content without form, it doesn't have any sort of expressive value for my money. It has to be within a structure, a narrative structure when we're in, we can sort of observe it and say, oh, this is the story being told and that is, that's the way in which I'm going to run. I do think at a certain point sometimes that it's the breaking of form that suddenly becomes content because when when the play happens to the hero, heroine, main character and there is a formalistic grip that they're doing or the architecture is making a lot of points whether it's dreamlike, whether it's musical, whether it's, I don't know if they have direct address ability, they can have access to the audience when they can. It's when those things change and break immediately that it suddenly becomes emotional for people watching and invested in that feature and I think that's one of those kind of fault lines that's really interesting and I've actually seen some of your thoughts about all of your work but especially now because I am finding out that there are these physicalized moments that felt even though they were doing something that had an intellectual it hit me intellectually it was when it was broken and the form was shared or the physicality was shared on stage that it became an emotional thing and it became suddenly that something because we do we're not only just telling stories but we're trying to hit that party it doesn't have that heart and emotion it can be gymnastics for theater you know it can be very lovely or shocking or very midi but it's when that form can inform the form can inform the content I need the reason you're telling it like what's happening to this person who is this person why do they want it so much that very you're doing some productions more too if you're doing others so I'm I'm kind of very interested in keeping us in order to figure out what is the intellectual exercise of it and the intellectual bravery of doing something formally and then where it lands and maybe some of the actors and performers can talk about that as it landing emotionally the actor of the place I was going to ask actually if anyone in the company actors yeah and ask me because we've worked together since 2005 so four productions together and each piece changes and the way we work changes of each piece and work on so I was curious to hear from you know the actors you know how that how you approach the form different each time because of the contentions or if you had that experience if that question makes sense I think in our relation like in this play we're doing right now it seems to me almost like our form there's a story there's a content there I mean there's a kind of sort of loose structure behind it but when you put our form which in this play we've laid over or laid over you know ice dancing game show sort of moments all kinds of forms that you may not recognize as a spectator and it fractures our content in such a way that you can build it back up for yourself as an audience and that is I think where emotional content comes from that's and I think that it really has been what you said about how we process information now in this age where it's so tailored to you everything you want is right there and you can like I said very very small verticals that's why our play especially this one for me seems very suggestible and exciting because you can make whatever you want out of it and there's still some content because it's made out of some of these small particles yeah because I think you have a theory and then you fracture it and use different forms and it's chronologically there's linkage that happens just because you're watching something and then you're watching this thing and if that kind of hyperlinks yeah in fact that's part of what that article I remember an article of right now it's what spindles off of it that the way the web works that's it it's a totally different kind of theory I think it also affects the way and we've been talking mostly about new plays right now but I also think it affects the way in which we increase the classics because I came to sort of theater a lot of people start out the classics and then go to new plays I sort of started out a new play development at the Magic Theater and at the end of and then moved on and started doing dramaturgy on the classics over at Hellshakes and you know I can honestly say as an audience member that when I go to quote unquote the well-made play from the 19th century nowadays there is nothing I want to see less then talk talk talk talk talk talk talk the stage goes black people in black screw around and change the set and the lights go back up and we just pretend that didn't happen because my brain has been rewired by all the media so that when that happens I want to go like this and change the channel or I want to go time check the email you know and so I think it affects even the way that we produce how can we produce these great works but they don't feel like museum pieces so they don't feel like this is the year that's good for you because you need to know the classics how can we do that thing that our Toe talked about about not making it a museum piece but really making it a piece of our living culture today to reflect the community that we live in because that's what makes that stuff great right I mean we did plays in Shakespeare's plays and I hate to inform this to most of the Oxfordians that it was a performance but if we did plays exactly the way Shakespeare did in his time it would be a very peculiar experience and I think a lot of people would just be you know it's this idea what yeah really but I think it would also be this very debilitating experience for an audience where I think a lot of people would just or if we could go back and do plays just as they were done by your companies I think I would frankly be at first five or ten minutes intrigued by the differentness and then a little war maybe and so how I was always bothered by this notion of authenticity can you find an authentic Shakespeare it's like they weren't that interested in that in Shakespeare's time so why should we be kind of strange about it now so I think that this this conversation about form and content and how to reach in a temporary audience is something that you need to have not only with me but with the classics as well I think that's that's a conversation about time in my opinion I think what the social media sort of explosion that everybody's like let's tweet in the theater now it's like I really think this is actually a conversation about time and it's our relationship to time right because I think we live in an age where we have so many options on how we we could theoretically spend our time I can spend an hour a night on Facebook I can spend an hour a night on Twitter I can spend an hour a night watching television I can go to the theater I can go watch a sports game I have so many options available to me and I think that when you retreat back in history people had less options like in London when Shakespeare was there he was telling me I guess we'll go to the theater because that's like the only thing we can afford to do and he had to be scared me yeah and get mixed in public executions public executions yeah public executions or animal the execution children and I think that the real question when I'm sitting down right on play now I instinctively feel like wow I don't want an intermission in this play because I know that for myself when I go to the theater intermission hits and I'm like alright I'm going to go on Facebook now and literally I disengage from the dramatic event immediately and I think that this question about form and content and our relationship to classics and how it's played out now is really a question about our attention spans and our time and that's not to say like oh it's awful nowadays we can do when I used to walk two miles in the snow and be able to walk and play I don't think we've done that I just think we have a different relationship now and so the question is just how do we negotiate that relationship and how does structure communicate with that and we do know from the scientific studies we've been done that people really particularly people can't purchase for that for people anymore I mean in Shakespeare's day people would go to church all day long whether they went to or not because it's a lot of you know and they would talk all day long and you used to listen to hours and hours of long rhetorical arguments and taking in that information and memorizing it we just don't do that anymore we don't learn that way and so kind of being aware of our audiences and how they take information and how they respond to it and it's so important that we're having this conversation about how plays are what would add to that I mean maybe an argument with a little bit is that I feel like we tell ourselves that a lot and we're told that a lot and kids especially are told you have too short a kitchen and that way they'll buy more shit from people but in actuality you know if you interest the kids they'll be interested for as many hours as you keep them interested I think it's an idea that is true perhaps because we buy into it a lot and we promote it and allow it to happen but I sat next or I sat next to a kid he was probably 14 and with his hamlets it was about three and a half hours and in the end he was so mad he booed the actor playing the hamlet and he didn't like it and I thought wow he didn't have any trouble sitting through that thing and he didn't even like it that apparently you know it's not in this country I don't imagine seeing a teenager like that around here but maybe because they're not getting an opportunity to do it or they're the attention span that we all have which is our lifespan is not encouraged you know the mere idea that's well I should if there's no intermission in it then if it's feeding the story then that's great but the idea too and you hear people talking these terms make sure it's 90 minutes and there's no intermission or people won't pay attention if we encourage them to think that way they'll do it but if we say here's that seven hour play and they'll change their the way they think about it but assuming it's good you know both the 90 minutes and the seven hour play there's actually an interesting quote that Jonathan Cowell wrote recently called Great Lengths I think and it's about theater experiences I forget that I think he said if it's up to three hours people get very upset once you pass four and a half hours they relax totally and they go into and they're like I'm gonna leave here for seven hours okay then they have no problem but they go well it's two and a half hours and there's an intermission they go you know just because they're conditioned that there's something about sighting for yourself you're going to commit to a certain amount of time that you you become miraculously patient regardless of what you will tell us well I agree with that state I mean I think I don't think what I meant to say was it's a question of ADHD and I think it's a question of autonomy right like we just I think it's just that we have so many more options that we that we could theoretically do that I think our relationship to time is just different right I think because I've sat through a four and a half hour of time there and it was probably the greatest day I've experienced in my life you know what I mean and I was in a room full of lots of different diverse people and they all felt the same way so it's it's simply a question of well how does that change the relationship to time that we have how does that affect the way in which we tell stories I think is is active just a large part not necessarily we can only tell stories in X number of minutes but how does it how does the fact that people have other options affect the way in which we tell stories I think that might go back to that content question like the content is so rich so beautiful or so true or so in you know raffle or something intensive but I think people will have a reaction to it whether it's seven hours or nine minutes that you can hold it in your heart you can it's that thing that you're gonna be thinking about months from now you know so I think that keeps the it's not just let's keep breaking form and break it it's we well you can break it but as long as that emotional truth or as long as that depth intellectual depth or the figure and the start and exciting you know I think content is an easy thing to kind of to twist whereas you know form is an interesting thing to twist and an easier one to kind of break off and attach here the legs up here you know whatever and kind of go okay let's see but they're still so awesome whereas content is I think that rich thing that we kind of know it and you go oh this is a play it's funny but I didn't really like the characters or something like that you know I didn't feel real to me or I didn't feel like a matter a love story you know all of those things seem to be more content more like do we care about these people are you fighting for something big or is it so funny that you're fighting for something so ridiculous you know that you love it and it's a more nebulous kind of non-scientific space of do you like it do you believe it I do think that people can help with this problem that I was talking about where a lot of it is I mean we do know that our brains are being rewired by some of the stuff but a lot of it is culture and I think one thing that theater companies and educators can do is to help particularly younger generation with some of these skills when I teach in the classroom one of the things that I make them do and they hate it that knowledge you have to write and express yourself in something other than a sound write or a tweet but I also and then when you have done that I ask the class okay so what was that about and what's really interesting is that it is true there is an inability to sort of listen and think through things and just on that basic level you know it's a skill that it is a skill that it has to be worked on about you know buying me something to do for a prior ten minutes and then say okay what just happened what's really surprising is to find out and that's interesting for me to think about as a theater artist what we're talking about very important content about what other things can help support that storytelling besides what you were saying just in the mirror and in which ways we can get that out there oh yeah I wanted to sort of jump on this whole bandwagon of a sort of media internet-raining wire and think about the factor the factor is the liveness looking after is that and I actually when you're saying content is essentially what we connect to our form teaches us I believe how to perceive that content and that form and using that form to break the concept that people perceive on every day that they you know just have ways of their fingertips finding ways to have silence in performance finding ways to have engagement between humans that is live tangible not only my problem we have a wide human interaction being in the center of what we do otherwise we don't really know you know so I think that to that liveness and finding ways to surprise people with form for me personally as an artist that is why I am interested here I'm interested in breaking people recognize this classic form so that plays off and start with the conventional moving around like the way we're doing now something unexpected and ask the audience to really enjoy it and laugh like you guys are heroes when I am too and I am with you and I feel live this play right now we're jangers in Australia it's all about temporary badges and it came from reading about Eskimo's going insane at the most dark and desperate times for 24 hours we can tie down to a slide and remember nothing and I felt like I wanted to do that too I think everyone in our company who has done this play is that we go insane during the play we have art of hysteria which is a period of an hour and 15 minutes and the audience goes with us and the audience gets angry and so there's a release in that and so the construct the form of it and how it's told invites people to experience something anyway but but I wanted to sort of talk about the liveness the liveness of the essence of this and what we do is just about the culture but it's about challenging people to break that and connect to each other I'm curious but I was wondering if we could have some of the period of people who collaborate to the play about how that sort of affects their process how do you guys perceive and not only here but how do you perceive when you're working with colleagues in theater and performance how do you perceive forms as forming because you're not working with writing things you know you're receiving your script I think it's a really interesting opportunity and it's important because I think we do have a physical figure but even not what is the idea of a physical physical figure or a traditional script we want to call it form provides a perfect opportunity to provide whatever is going on in the script to provide a perfect audience I think through the performer because giving form to what is written allows whatever is going on for me as a performer doesn't have to necessarily match what's going on for the audience but it provides the form provides a meeting place for that to happen and those two kind of consciousness areas can collide and perhaps create a meeting hopefully and it gives the audience a chance to create a script Could you give a concrete example a concrete example a specific you I have so any so for example I don't have a script and there is any kind of amount of text and there's written in any form based on the playwright and what I've seen in the script and what I've created is an actor where my impulse is created in any form to that whatever that is with my voice and my body and gestures and anything that I I can create and shape to find I can direct the presentation and so what I'm experiencing on stage with my performers isn't necessarily what you as an audience member are experiencing by seeing me on stage and I think this provides a really unique opportunity for the liveness of the form I'm creating a form out of something that's on a page technically for you to see be seeing this and have an experience with me having an experience together but the experience I'm having maybe would be very different of course but it provides an opportunity to have this shared experience and hopefully we'll have some community kind of I get it does that make sense oh yeah it makes sense before you say but what I'm asking for is a show that is really now a hit and to isolate a moment this is here for me I write conventional scripts so I'm really looking at and I'm having a particular process I'm just wondering if you can isolate a particular moment where you are creating this and and maybe very different from what I could see but yeah that's the question well it's it's personal quite honestly I think I think because our impulses are our personal our personal feelings but I when I'm when I'm reading a script and whatever my personal impulses grade this thing that is shaped ultimately by the director it comes from personal personal experiences or personal my personal response does not be emotional necessarily it could be physical or whatever so I can think of many opportunities in the script that happens constantly but I I choose to keep those to myself but I'd be very interested to see you know I know it's always interesting to talk to audience members sometimes all this time when you were doing this thing and I I was thinking of this and it's really interesting to see what connections people make so what I think I think what in some ways if I can reinterpret what you're saying slightly from perspective aside from the personal connection about the life I see you talking about specifically I mean that both of them I haven't seen the play but I know Abby's working so I'll talk to the audience actually which may perhaps the idea is that the play the play that she's written in particular has both been oh she has a clip alright so you guys see it you're so excited to be here and you're saying you're not well I'm sorry and you can share the very least of what you're gonna say okay um uh the idea that that the play presents in a particular form the content of the play is delivered by its form is what I was going to say and that and that the form I don't know what the word conventional means anymore because I think I don't believe in it. But what I do know is that it is a form that Abby has invented that allows for the content to be delivered to you and received by the audience. And that I'm really interested to see what that is and perhaps even define it. I think what I do as a director with the work that I do, and I do have an example, which the story itself is one thing and it can be delivered a lot of different ways. But as a director, I'm going to say this is the form. This is the formal, I don't know, structure is the right word. The structure means something different when you're talking about a play. But the structure of the performance can say that way. This is how I'm going to tell this story. And it could be defined, maybe it's defined as dance theater. Maybe it's defined as theater with music. Maybe it's defined as poetic, imagistic. Maybe that's how you define that form. Maybe the form of this play is imagistic. But within that, how does that inform how the story is told and what you get from it? Does that help? Yeah, can you see some of it? Yeah, sure. And I'll just say, I mean, the building on what you're saying, actually the structure of this play is written in a series of New Yorker stories. So every little scene is a little story. And then it comes together with this master story. I think because I'm very interested in the idea of story, you know, what is a story in a live performance? It's, you know, one once in a movie, another once in a novel or a book. There's a little video that's cut together. It's not a continuous, but maybe a different kind of moment that you can talk about. I don't know if it's too loud or not, so I'll just do a quote here. Fine, so let's share about the headphone output when we're back. What? We've tried on Mars, but it was fine. So I think I'm under a headphone output or a computer. Headphone output? Output. Output. You get the volume because of the time volume. The headphone output works. I just think it's a good question. While this is happening, Andy, this is a dress-up-your-question about express ethnicity. In terms of what an actor is doing versus what an audience member is perceiving and responding to. In working with one actor on a piece, there were two interpretations of what he could do. He had a relationship with another character, and it could have been, it was a gay relationship, and it could also have been that he was mad that his guy friend had this girl after him. And the circumstances of the show, we thought it would be interesting if it could be both at the same time. So I just asked him to choose one or the other to play it, and then if I could ever tell definitely what it was, like going up that chain something. So I never knew what he chose to play, but he was doing something specific, and that gave him something specific to do, but then also allowed for the audience to have multiple possibilities. Yeah, and I think, you know, I just read, I can't remember what I was reading, but I just read something. Oh, it was Patti Smith's book, and she was talking about how she couldn't be an actor because she felt like actors in some ways were martyrs to their cause. They sort of sacrificed their whole selves to the dramatic event. And what I think is interesting about that and also this conversation is the sort of contextual ambiguity that we get at the moment, you know? What's going on for an actor personally doesn't necessarily have to be the perception of what's going on for an actor in the audience. And I think that that gets to the core of this conversation but also a larger conversation about the nature of what art is. I think art is about negotiating loneliness in a lot of ways.  Words are very inadequate and I think that art is a great attempt to connect and these sort of moments, this whole conversation about form and content is really about that and it's about this moment that we were just discussing when an actor sort of has that collision of humanity moment on stage with the audience or with someone else on stage. I think that's when we start to get at that sort of, that beautiful comment that Lauren was talking about earlier. Can you just go film and cover kinds of media? Can you say that for a while? How do you feel that film and other kinds of media changes what you're saying? Well, some people just stick a film on stage and show that and that's one obvious way to do it. If there are other ways to ask questions and I hope I did this a lot and talk about this a lot. How do you do it plus a film stage or how do you do it plus a cast? Figuring out what is, you know, some way, the stage of film life without visually trying to do something that literally creates that effect was the theater version of it. But I'm saying incorporate on the stage. On the stage. Yeah, I'm talking about, you know, sort of going to, I'm thinking because I'm looking at this image, I'm thinking a little bit more about performance art and the influence of, you know, I sort of a warrior on performance art and theater and it seems to me that one way to really break the form is that you actually incorporate some kind of a two-dimensional media and I just wanted to give you guys a group dealt with that. It's interesting. I mean, I remember I saw the Wooster Roots Hamlet a few years ago which was a really interesting sort of, they had Richard Burton's Hamlet film which was pre-edited in various ways which I put on the back wall of the set and then the actors were sort of trying to match what was happening in the film as the film was playing. I mean, that's a simplification. But I really just think it was a conversation. I mean, they were trying to have a conversation about our relationship to the two-dimension versus the three-dimension. I don't know that there's any sort of definitive verdict. I would not want to think people would say, oh, it never works or it's guarded. I think it's interesting. It just depends on the relationship and the conversation that's trying to be had. And again, to go back to bringing this back to what we've been talking about it's a conversation about form. What's the context of the film and what is the conversation and what is the dramatic event that's trying to sort of be communicated through the use of the media? That have used film in part of life theater and I don't know if it's both a drama tour and a director and this is purely my own opinion. I think they work best with what you're doing is using the film clip to make a comment on the lack of blindness. I think it works best with what you're doing is using it to show kind of the special thing we have going on in theater that is the blindness. I think specifically about community morals when she had jokes and push-and-pop babes by Yusuf Elgendi which takes place in an agent's office and in the middle of the play is a guy doing a screen test when she's asked to sort of do this ethnic drag of a terrorist and he decides to open to the stereotype and try to prove a point and I talked to Yusuf and I said hey how would you feel about us actually having a guy who's auditioning for film in live and have the audience watch it online as the actor's doing it so they can see the difference and then we can focus on what it is that the camera is focusing on versus what we're seeing live and it made Yusuf like to love that idea and it made that scene so much funnier because we had the director doing things like this the actress thought she was doing a bit of a statement with the law law and Yusuf did it and yet the director is kind of putting in on parts of her body and showing the fragmentation of the female body in the media and so it was this sort of negotiation that was making a comment on that before that seemed to work it works best when you have the two forms in conversation with each other in that way that's just my perspective I'm sorry, I'm sorry, I didn't want to sound I have a will-send to you, you know that's not everything I've got these discussions and also relationship folks in a symphony in a way but like if you set it up in a way that the director would be yes it's very exciting but like part of the mind is that I like about doing it like this is that we're so used to auto-tune we're so used to these interventions and ways that are different than what we are where it's like having something that's just about a presence that's kind of embracing some of the symphonicness of the tools that are available to us in a symphonic way but at the same time looking at the ways that close our body on stage in which getting behind that is really taking in some of this form of actually enacting something in form of a very spiritual form so musician what is part of the concept?


The following is a presentation of TFNN the Tiger Technician Hour with your host Basil Chapman call now toll-free at 1-877-927-6648 Good morning everyone Basil Chapman here this is the Wednesday the eighth of November edition of the Tiger Technicians Hour and we're looking at I'm just showing crude oil here look at this it's done more than I want to the downside got under the 200 period exponential moving average pd in the weekly chart this is telling me that in terms of the geopolitical side crude oil is not a factor at this particular time and that just takes me to a question I had but I look at the XLE and the XLE is down 49 cents at 83-33 this is the select energy spider fund if you look at the monthly chart it's still holding pretty well above the 14 period exponential moving average which is below the 9 period moving average which is still very strong but not the weekly today for the first time you're looking at the S that's mean the 9 period moving average and the XLE has slipped negative that's the first time it's done that since it crossed positive back on the week of the 28th of July when it went above 84 so yeah we are back in 84 reaction 83 39 we'll see what happens so just a couple of quick things here I'd mentioned this in the in the up and the 10 o'clock tiger financial news network update you see this chart here this was the one-minute chart gave a nice signal with the two doji candles at this peak and 951 was at 954 954 this morning at 4407 75 made a little double top as it got to the double top the tech news was started to week so grabbing a grabbing a short position and 4406 it was a 4405 that's one thing because I really wanted this to be a two-click session I've been working very hard at trying to decipher the credentials the kind of acuity the kind of parameters that you would look at for a potential two-click session either early in the morning when you can go to a buy signal and just wait and wait and wait and maybe later in the day or maybe sometimes even after the close you get out of that position you've just had the one because you've done nothing all day we've got the one position long side on the on whatever position these are taking this case I use I have to use the e-mini S&P and then you get out now I thought to myself this is a perfect two-click session because the top that was made the move that we had yesterday and today was like I don't believe it we've had such a spectacular move we're not even having a bit of a pull but we haven't even made a peak a in the Dow or the QQQ we have made a peak a in the S&P now it's gone to a leg beat surely especially with Powell speaking to know that I don't think he's doing anything much wouldn't this be just perfect for a two-click session however as it got to the 200-period moving average right here in the one-minute chart and I'm just getting busy with my getting prepared for my show etc. I just said to myself you know what out let's just get out yeah it could be a two-click session my mind is just not set to be able to follow that and I didn't look at all the all the different parameters a lot of it was met but the fact that the green nine-period moving average is almost like the dollar weekly chart the fact that the green nine-period exponential moving average was still so strong and even with that slide I couldn't see it turning pink I said was that just for safety sake just get out of it that's not that's one of the parameters that you need is that very quickly the one-minute goes to the five-minute just like now I'm going to go to the dollar just like you want to see the xy you want to see the dot oh don't do that in a one-minute chart I'm looking at it there we go okay the dollar up today but it did go below the channel that I drew and it went below the channel inside track propellant zone it went below it it should be a repellant zone well the fact is we're above it that's not the issue the issue is right right here the weekly chart you see this green you just say I don't really want to go to a chart because I've already messed up my some of the other charts that I was using so I think you can see it okay I'm looking at Tiger YouTube you see this green maybe just for now I'm gonna make it a little thicker so let me do that I can change without any problems I'll make it quite thick just for the moment I'll go take it back again then yeah you see that green see the way they green light green moving averages above the four I've had webinars on this if you go to if you're a subscriber you know that I've got these webinars and you can check them out I discuss this I I've had one in great detail with us I intend to I do something because I had a number of questions I I'm hoping to do an all-day one at some point in the next number of weeks where I'm gonna just demonstrate some of these techniques live and what we would look at is look in the daily chart of the dollar the pink nine period moving averages look quite strong the MACD is very weak castings way down at 23% but price is the arbitrage of a trend and the price is holding very nicely in the daily but it's making lower lows and lower highs no question about it and you've done a more than a one-to-one to the downside however to get this green nine period moving average to really tank in the weekly chart you'd have to see 103.65 or a really sudden move that is just day off the day where it goes down to the 10410 area because that's what it would take to get that green to go pink and then you've got a sell single upgrade to a sell mode in the weekly chart for the very first time now long time since the July rally so I just wanted to show you how these things work and that's not to say that the deterioration and the E-mini couldn't start and continue after all if you're in over here you could just put your stop at a break even and just let it ride that wasn't the issue I didn't want to be distracted from the show today so with that said let me just go to the questions that I have here yeah so I want to just go through this again within the context of get out of that of the indices let me do this here's the Dow INDU the Dow is extend had spectacular from 32 327 to today's eye of 34 250 units almost 2000 points that is absolutely fantastic in a single leg a I would have to venture certainly in the weekly chart I can see it right here it's the first time in a long long time that you've had you did have from 2866 in the weekly chart you did have a beautiful straight-up move but this is this is a one session and I went to the channel we've falling acts repellent line and it's just a tad above it right now so within that context this is a fantastic move the 200 period moving average is a 33802 and the other moving averages are below that but most importantly it's that 200 period moving average that was a repellent now it's going to be appropriate it's going to be it's a magnet line at some point I suspect we will be testing it how soon just hard to say all right that's the Dow single leg a S&P this is leg B to the upside there it is leg B and the high today is 4391 or 4103 to 4391 absolutely fantastic move 390 points this is 200 290 points right on the chat wave pulling S inside track repellent zone in the weekly chart I'll be back in a moment down to 58 S&P's at 4.50 holding quite well I'll be back if you're looking for potential trading setups in the stock market then rocket equities and options report is a newsletter you should try Tommy O'Brien delivers options and equity trades when the markets present them using a combination of fundamentals and technicals sign up for rocket equities and options report today with a 30 day money back guarantee so you have nothing to risk for all the details and to start your subscription today visit the front page of TFNN.com TFNN educating investors everything in the universe is governed by the Fibonacci sequence this mathematical principle is responsible for everything from the most aesthetically pleasing artwork to patterns in the stock market to stay on top of stock patterns you can take advantage of sign up for the Fibonacci 24 7 newsletter at TFNN.com when you subscribe you'll get a weekly report from veteran day trader Larry Pezzavento on stocks you need to pay attention to and you could trust Larry's analysis after all he's got 45 years experience as a day trader Larry will also provide daily charts videos and data on the key markets that he's tracking expect notifications from Larry on market movement you need to act on at any time first time subscribers also get a 30 day money back guarantee if you're not satisfied let us know and you'll get a full refund within 30 days of signing up subscribe to the Fibonacci 24 7 newsletter today TFNN.com educating investors the gold report as a precious metal gold is still king it continues to hold the most effective safe haven and hedging properties across the global major trading hubs of the london otc market the us futures market and the Shanghai gold exchange the gold report Tom O'Brien publishes his weekly gold report every Monday morning for subscribers consisting of coverage of the XAU HUI GDX the dollar bonds the South African rand as well as 25 different mining equities with specific buy sell recommendations the gold report new subscribers get a 30 day money back guarantee so you have nothing to risk have nothing to risk subscribe to Tom O'Brien's gold report newsletter now at TFNN.com of traders sign up today and become a part of this educational community of traders just visit the front page of TFNN.com toll free at 1-877-927-6648 internationally at<PHONE_NUMBER> hi folks i just wanted to show you something here we're back and look at the power of this 200 period exponential moving average here we are look how it's hugging that line it just keeps coming back to us like a side wave it goes under it and over it and then under it and now it's kind of over but at a certain point the longer it hangs out there the greater the chances are at some point it becomes a repellent zone so that line is hugging but we'll see because the further while you start to go basically you're 43.96 if you start to trade under 43.98 right now if you start to trade under 43.96 with a dreaded age pattern that says good now you can have your second leg to the downside and we'll see what happens there okay as i said i'm a little upset that i didn't have the patience just to hold that position and just say you know so what it's just a day we'll see what happens but in the meantime there's a lot going on so let me show you what i'm looking at here in the Dow sorry i was at gold we haven't done silver so gold has pulled back and remember we discussed this over and over and over ever since the mid east configuration and i said it's a geopolitical thing i don't see the gdx the gold miners moving up like they should something's wrong with this picture in the sense that you would expect that if gold is trading so much higher from if gold can go from what was it gc from the just the mid 1800s or the low 1800s 1820 if we can go from the 1820s to 2000 over 2010 and yet the gold miners are not purchased so i love when the gold miners move first and then gold comes along to confirm it remember what i was talking about in the update at 10 o'clock i said based on this chapter we roman candle this is a particular candle that i discuss i've had webinars on that as well if you sign up for my newsletter you get not just a newsletter but you get just a plethora of webinars on each one of these techniques and what i've seen is gold and ivory moving average is still above the 14 that's a good sign but if if it starts to trade for another 30 minutes below 1960 i think it's the 69 there's a real good chance we will go to the low of the of this candle of yesterday on the continuous contract but possibly even hit the 200-period moving average of 1961 so we're at 1963 right now so that says to me uh my my contention that this was a geopolitical aspect and money international money countries flow to gold when they are nervous about everything or if the financials xlf was really tanking if it was instead of being a 3361 on the 200-period moving average if it plunged to the 29th i think then you would see gold moving so this is to me more an aberration than anything else uh it's not to say gold if gold actually holds very well it gets back to the high 1900 i think that the gold stocks will follow kind of reluctantly but they will fall meantime 22.71 of 12 cents in the silver uh making low lows and low highs but not really fading it's just not acting great i want to just quickly do a high-grade copper high-grade copper with the peak a peak b peak c and now it's pulling back a little bit i just want to quickly check to see did the e-mini break that level uh i think it's going to oh wrong one uh e-mini oh yeah it's at 35 and 43.95 this is going to be very important where is it now yes there it is so there's your dreaded h that's the pattern we always talk about the dreaded h where it takes out the left side low then you've got two or maybe three bars in which to close above the left side hello this goes 43.95.25 and if it can do that it says hey maybe it just readies a little bit back to one of the moving averages it's going to be hard to get back to the 200 period moving average but so far now you've got the kick in of the five minute 200 period exponential moving average isn't that fascinating look at this it was fantastic support support then move breaks out to the upside goes all the way to the 40 uh 40 407 area and now it's trading at 43.94 right on the 200 period exponential moving average i to me i'd said at the 10 o'clock news maybe this is going to be the top for the day we don't know i am anticipating some digestive phase but it's not going to be easy because biases keep wanting to come in to push the market higher push the market higher so with that said i want to get out of this and just say that the going on with those look at the euro well first of all let's go back to the dollar has a pull back now uh yes it's pulled back a little bit it's up only 11 ticks at 105.62 that as i say the weekly chart is the one i'm focusing on look at the euro it's gone very quickly to peak d it's still right at the 200 period moving average but it has hit it twice now that's going to be a magnet the 1.073 level is going to be the magnet how does it break above or does it keep getting repelled there leg b in the weekly chart but the daily chart for the first time i said a peak a peak peak c and a peak d wow we haven't seen that in the euro since that big peak d that was made in the chapter week methodology remember the fourth highest peak is peak d uh that's where other things can happen on the 18th of july at 1.1275 it cascaded down to the 1.04 um 1.044 area i don't like to type the numbers in here because um it gets smoothed out with all the notation changes it's not automated i do every single chart you ever see with notation is hand hand chart and many of them i've had to do 10 15 20 30 times over again because if my instead of saving everything as i'm doing it i wish there was a way to do that um except if a close shuts down i lose data and then it comes back but in a different final different place i can never find it so it's not lost it's just somewhere so in the meantime let's go to the usd jpy spending a little too much time on this because i want to actually get to some other things some of the stocks look we made a peak d in the chapter week methodology that's where other things can happen d o e and we've gone to a leg east little leg he got away for friday's close in the weekly chart it accomplished everything that we were talking about in this particular pattern there's a rally that makes high highs and high lows and if it continues that way it can go to just under right on or just above the previous high usually at a peak d and then you've got to be careful this is in a leg e and the previous high in the continuous contract was 151.94 the week of the 21st of october of 2022 this is a year later and we've already been down to the 126 level walking the 9p moving average isn't that beautiful what a lovely technique that is um now i want to go back to this just to show you something very interesting so those are the currencies if you look at the usd cad this is the cad this is the us dollar canadian dollar it's just breaking the resistance of this long term trend line down trend line second month that has gone above it the it's gone to a leg d in the weekly chart it's gone to a peak e it almost looks like the yen we remember the yen we were looking at just now um isn't this fascinating and if you look at the british pound uh i'm just going to the continuous contract or the british power british pound made a peak d over the 200 period moving average in the weekly chart uh monthly chart is arching over it's under it's still pink in the ninth period moving average and you've got a peak a peak b and a peak c right at the 200 period moving average while when you put the techniques that if you see a here at tia for them with all the different hosts you and uh it's a great workshop last night so you know a lot of things going on down down 20 up 40 60 currencies commodities and bond markets are as important as ever right now with how they're driving the volatility in equity markets across the globe which is why it's a great time to try out teddy keg stats tiger forex report teddy keg stat breaks down the forex markets every monday using his 30 plus years of experience as a trading veteran of futures forex stocks and options teddy releases his weekly tiger forex report every monday morning with coverage of all the major currency pairs including the dollar index the euro dollar pound dollar dollar swiss dollar yen as well as many more and he also has weekly coverage of the crude 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up for steve's market newsletter mastering probability and you'll receive access to seven of steve's educational webinars absolutely free at tfnn all our newsletters come with a 30-day money back guarantee so you have absolutely nothing to worry about visit tfnn.com and try mastering probability 30 days risk-free today tfnn educating investors don't forget you can listen to tfnn live on your mobile device 24 hours per day go to tfnn.com then hit watch tiger tv that's tfnn.com then hit watch tiger tv hello just had a question you know about the pizza look at hrv i added december puts on the clothes yesterday trying to recapture principle row and down then you see sub 36 coming uh so let me just do this what i was saying is i sometimes i i lose my notations i've done hr block hr block for uh for decades so i don't have the chart took me just there were two minutes during the break i did the monthly chart going back to 2020 i did the the weekly chart i did the daily chart so i made a peak e and look at the number of peak d's it made it made look at this from the logo it was made under 28 back in um probably may of 20 whatever that was 2020 2020 oh 2022 it's gone peak abcde pulls back peak a hits the 200 period moving average stores breaks out goes to d holes above the 200 period moving average goes to abcd again that's the third one uh and then another one peak abcd but the nine period moving average this is what i'm talking about did not cross negative so this became an e right here just under 45 and now it's trading it hit a low this morning well congratulations there 30 39.20 was the low today it's trading at 40.31 so the question is can we go to 36 so this is hr block finance uh taxes whoo whoo whoo all i can say is um i'm watching the weekly chart the nine is still way above the 14 the monthly chart is making an h pattern it's still looking pretty good so this daily chart has the look that it can go one to one to the downside which says 38 50 to 37 75 would be my immediate visual but okay so the question is when can it do it and if it's going to do it where where and when so my answer is this is the day is young we're an hour into the session so this candle would normally be a perfect chapter wave roman candle so it's trading at 40.31 if it closes above let me give you the exact half above 40 if it closed above 30 to 40 32 it's trading at 40 29 right now um then it'll be a chapter wave roman candle and if that's the case if in the next two days no i'm not going to say two days it's really one day in the next the next session if at any point during the day it's holding below 40 below 40 no but no 39 75 of course today can close at 30 38 it doesn't matter i'm just saying as it stands right now if this was the close this is what i would do i would say at any point on Wednesday on thursday if it's closing if it's holding below 39.70 for 60 to 90 minutes it's just a really good chance that today's low of 39 20 will be tested if instead by the end of the day it starts to close at the 40.60 or higher level the same principle applies but i have to raise the level of wherever the halfway is of this wick from the the body of the candle low that is the body of the candle to the wick low if that's the way it is then use the same measurement if it closes it's like 60 to 90 minutes below that halfway marker there's a good chance it's going to very quickly go down to the bottom but if it starts to so today's young 40.39 does down up 25 recipes unchanged um and as i said i believe that everything i was looking at suggested that we should be seeing some kind of a pullback today that kind of pullback has already in most cases made new intraday highs so we've extended many of the charts in leg a or b so it's just saying to you that buying is is to change the buying to determine selling you'd have to see the dow down 180 points the s&p probably down about 32 points and a rally that looks like oh yeah we've got to buy every and then that ready fails and by the end of the day we close at the lows and you need to have bad news we haven't had the bad news remember markets go up as long as there's no real bad news that's the focus markets tend to go up soon as there's bad news you get the dark news cloud cover and the markets get impacted negatively as long as there isn't that you could have something in background background means nothing it has to be full ground so as it stands right now the bias of the market is to be buying but on short-term basis just as on a on a purely speculative over bought condition and my relatives sorry my unbalanced volume was suggesting that was the case we can see some kind of a pullback okay so i hope that helps you so the question is if you've got puts it's all very well talking about all the stuff on the next one or two days the question already is open the chart up you always have to open the chart up and see what the big picture is the big picture is from this marker right here you start to see negative action in the technicals and it's confirmed by the highlight was made with the diversions between the rally and the failure of the technicals but you have to wait for the nine-period moving average that's confirmed as negative so i would say to you that if this low is taken out today's low anytime in the next going into tuesday of next week then the 200 period close to the 200 period moving average would say 3810 to maybe 3775 the closer we get the greater this becomes just a magnet it'll grab it and drag it to the 3761 level so 36 i don't know about 36 i'm getting one step at a time the low of the 6th of september was 3870 that has to be broken on a closing basis hope that helps you oh the upside i always like to look at the other picture is if there is a close two closes above today's high of 41 36 that's a really good sign it says that the 14 and 7 period exponential moving averages are going to narrow and they'll become magnets like i always have to look at both sides all right we're back to looking at the other questions that came in where was it xpev xpev put xpev is the i don't know how to pronounce it xpng inc designs to chinese companies design develops manufacture smart evs there's just a hint that some of the ev action is just there's a little bit of favoritism right now but it's going to be tough abc in the daily chart it's pulled back it's down 98 cents at 16 point 15 the weekly chart out of fabulous move up and now it's given it back in three days and the nine period moving average is still positive so you know the put position normally i just say absolutely yes but i'm not going to say that right now i'm going to say the nine is still over the 14 the math is still good statistics over 80 percent at 85 percent i'd be a little careful that's all you want to see the general market the our market us markets close sharply lower today to have this chinese look at the fxi fxi that's the china large caps it's almost the same pattern but it's holding really nicely the weekly chart is not that great but it's holding quite well so i'm just going to say down 13 cents at 26 18 my my eye says that over a period of three four days we'll probably go to peak a peak b yeah we'll probably go over 26.64 it's at 26 18 um i i think the trend on the very short term is up the weekly trend is struggling so let's put the two things together next question came in as oh wait that's nice that's like can you look at uh bank of america and arm yes i want to look at both of those actually i think the bank of america that arm fits the picture about bank of america trading down today uh 16 cents i'll be right back dollars gold report as a precious metal gold is still king it continues to hold the most effective safe haven and hedging properties across the global major trading hubs of the london otc market the us futures market and the shanghai gold exchange the gold report tom obrien publishes his weekly gold report every monday morning for 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ready to join the ranks of successful traders head over to tfnn.com and subscribe to market insights today don't miss out on this opportunity to supercharge your trading results market insights comes with a 30 day money back guarantee for all new subscribers so you have nothing to risk don't miss out on this opportunity to revolutionize your trading game head over to tfnn.com right now to join the thousands of traders who have already experienced the power of tom obrien's award-winning newsletter market insights firsthand tfnn educating investors biotech is booming but for how long whether you think the biotech bull has room to run or has run its course trade labu or labd directions daily s and p biotech three times bull and bear etfs visit directioninvestments.com slash biotech today an investor should consider the investment objectives risks charges and expenses of the direction shares carefully before investing the prospectus and summary prospectus contain this and other information about direction shares to obtain a prospectus or summary prospectus please contact direction shares at<PHONE_NUMBER> the prospectus or summary prospectus should be read carefully before investing an investment in the funds is subject to risk including the possible loss of principal the funds are designed to be utilized only by sophisticated investors such as traders and active investors distributor four side fund services LLC this program is brought to you by vista gold traded on the nyse american and tsx under the symbol vgz i vote you back so bank of america trading at 28.04 down 12 cents because of this gap and the fact that the day after the gap went under to close the bubble next day it went under and just barely closed right on the on that and then today it's a little bit weak says to me it's attempting to form a base now the question i think from the den is i'm guessing what the question is is this a time to if i don't know if you're in it but it would you go into bank of america because the tlt i think it's made i don't know if it's significant but i think it's a low i don't think it's the low it's attempting some kind of the weekly charts and take a long time to really break to the upside i like the action i'm going to say that i would not cheat as a long-term position but i would definitely be looking at having some of the one of the bank stocks and bank america be fine it acted so poorly but now it's starting to hold very well after that big move up from last week you could start a position and i'd much prefer to say start a position 20803 just because i think it will get back to 28 even if there's a sudden dip i'm going to say make a fairly large stop just initially because the gap up high this is the gap up of the second of november which was 27 80s 27 66 so it's not a big deal i'd have about a point and a half just to stop and even then i'd have a more mental stop than a physical stop i think it's ready and what i would do is i'd say slowly it's going to work its way towards 2930 the closer it gets to 2940 the closer it gets to the 200-period moving average of 2967 that'll change obviously by then it's the first time i mean since it broke down back in february of this year up in the 35 area it ran down to the 26th and then ran up to the 32 or 33 area back in late july early august that 200-period moving average hasn't even become a magnet it's not even close so i would do it i would not think of it as an intermediate term by yet but if it starts to hold in the 29s at some point in november that'll be a really important thing but with your monthly chart need a lot of work so that's number one number two is let me just write them i wrote them down so i'll just quickly touch arm i'll do more on that tomorrow arm is a little different this is coming off arm is arm holding plc so it's in the financial it's got that i would not do arm right now i just i'm gonna wait this i'll do a little bit more work tomorrow tomorrow next question is sap i used to know someone who's a wife we used to work for them uh in a very senior position she now works for square overseas so i always remember sap only because of that i don't know nothing much more about them than she worked for them yeah so i used to have this no tell you i don't have a no tell you the monthly charts improving the weekly charts making beautiful return back to the left side high of 145 it said 142 um i like this very much now i didn't ask i didn't see whether or not you you were in it and you were let me find if you give me a second i need to go back to the question i think you just said you put it in there as something to look at yeah so um all right i don't want to take too much time yeah it doesn't really matter i'm looking at it absolutely fresh and saying what would i do and i'm just saying to you if you're a long sap is obviously with these gaps with the foreign i think it's foreign held it has these gaps not the point the point is it's acting extremely 142 i like it very much would i add to it now no absolutely not at 142 i'd wait for under 139-ish area to assess for just a real quick trade up towards the high of 145 but at this particular point it's acting well there's nothing negative about this other than the price visually looks a little extended but i like it very much and absolutely could pull back a little it isn't a leg f but this could actually be an alternate count f slash c my guess is gonna that's what it'll turn out to be and the weekly chart is is very strong so yes i like it very much next question was uh ung so ung this is the uh ung is the united states natural gas fund uh in the den for months now people have called it the widow maker it's probably the widow were maker as well why because it's just been stuck in a range and now it's making a little bit lower low than it had for the last couple of weeks hasn't taken out the low of back in um august or september but it's not acting well at all and the 9p moving averages flap to flip to negative in the weekly chart but the week is young so what my contention has been is i wouldn't get carried away if you have a position this goes all the way back to when it was trading at about six i think was 682 if i remember correctly i said if you're prepared to hold this as a long term don't get carried away and i would not have the the double or triple i would this is the only one i would look at i think that when it gets to um end of october beginning of november where the season the winter season really starts that's going to be the test because up until now the united states natural gas fund has had an absolute there's something wrong with the chart in the sense that there must be such a um a plethora of of natural gas viability out there being able to get it anywhere you want anywhere you want that it's just not showing any straightness i'm not seeing i'm not seeing the kind of scarcity that pushes prices up instead i'm seeing an abundance that pushes prices down but it should still have a decent rally at some point so all i'm going to say is i wouldn't get carried away if you've got a position it's so hard because it has such big falls and it's got this almost like an eye for towels almost like an inverted head and shoulders pattern to the downside but i do think it's going to hold down if it was me and i was holding a position um because it's had a gap two gaps down and today's making a lower low than yesterday if you've got just a small loss or a small gain i i make sure that's all i have and i would put it i would at this point i'd say now and now i'm waiting to to look at it as to say rather buy higher highs and higher lows because it's it should not have taken out this support level this line that at the horizontal line the midpoint line of the channel and it's just done that the midpoint line is at 6.82 and it says 6.46 this is the the week is young if we can close above that level by friday phew that's a good sign but if it goes slightly lower it says there's a good chance it's going to go down to the under six down to the 587 low april so this is i even drew in the arch formation that i thought was a possibility it didn't do that for subscribers i'm just avoiding it because it is just too dangerous only because it's not the usual function of looking at it in a cyclical way saying which is coming it's going to have been in it's going to be in demand this is something completely different so as as a result i'm saying i would have stopped sin i would not be messing around so if you've been in all this time you have a lot of patience and you do believe you'll be able to get 6.46 where it is right now again i do believe you should see 646 you might have to wait that's one thing but if you're just doing trading please be careful because the magdi is very sharply lower the stochastics at 27 percent it could still go under 10 percent it still has to go to the teams under 20 percent and then and the nine three so just be real careful with it i don't be stuck in this trade in other words because if it starts to break down yeah when we're getting into middle of november well beginning of november um i don't know what it's going to really have this big rally so urg be a little careful you want to see you want to see back in the uh seven ten area within a week i'll be back the reality is that navigating financial markets can be risky markets can be chaotic and difficult to understand having the latest market advice can help you turn this chaos into a key for creating winning trades at tfnn we understand that it can be hard to find reliable market news that's why each of our market experts offers their very own market newsletter a must have tool for every trader out there striving to find an edge in today's markets tfnn newsletters cover every aspect of the markets so you can analyze the market before you trade try any of our great newsletters risk free with our 30 day money back guarantee just visit the newsletters tab on the front page of tfnn.com tfnn educating investors you might think that if you want to be successful at trading in the stock market you're going to need a crystal ball after all it's impossible to predict the future right like any endeavor in life before you decide it's impossible get some advice from the experts you might find that it's not so impossible after all for daily market overviews that give you direction on the key indices selective stocks and commodities subscribe to the opening call newsletter at tfnn.com the opening call newsletter is written by basil Chapman creator of the trading methodology known as the Chapman wave the Chapman wave up down sequence gives you an edge in identifying price turns finding the peaks and valleys and stock prices get the opening call newsletter by basil Chapman and your inbox every day first time subscribers also get a 30 day money back guarantee if you're not satisfied let us know and you'll get a full 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investors don't forget you can listen to tfnn live on your mobile device 24 hours per day go to tfnn.com then hit watch tiger tv that's tfnn.com then hit watch tiger tv of course as i said that i'll go if i have a time just before we wrap up i'll try to go back at 44 or 5 short that i should have held for a two-click trade i just as i said there was too much going on i had to just cover it but you never know i mean i think we're over over sold for sure i think we're going to be pulling back so anyway so rivian's down 71 cents a 16.71 you know i i see the rivian um it's it's a very nice looking car um but until they start to see the cost of each car only cost them maybe 25 200 or less and they're selling more cars and we have to increase the sales might say about 15 percent at that point i think rivian already started to kick to the upside at this point i think it's costing them too much and then the other one the polar whatever it is i see them i i searched the other day i'm looking for the name if you don't put the name of the car on you what are you trying to show off nobody even knows who you are put the name on the car somewhere i mean really all right well meantime rivian i don't like rivian i think it's going to lower i'd just be real careful next question i had is um the t u a now i don't t u a i don't actually oh let me do this quickly this is the two-year i really i keep forgetting what the two-year is in trade station t u a t u a oh there it is so if i'm correct the two year is the simplify short term something other um all right so just on a chart pattern it's just stuck it's a 22.02 until it's trading at about 2235 i think it's just kind of stuck here and i'd say 2180 is this board i'll do a little bit more work i'll try to figure out what's going on but this is the two-year uh two years zt now i don't use each trade i use um i use trade station for this particular one so that's that oh so let me just say that by the end of the day let me just go to the dow by the end of the day if the dowel which is down just a little bit now it's off the high it's up a 34162 actually is down after two o'clock what i say to my subscribers if there's a rally that's failed and then the rally runs actually start a failure starts to run and then fail if the dowel is down 20 or more after uh 2 p.m


The People's Democratic Party, Ward 5 in Ikuru Town, Andoni Local Government Area of River State, has suspended the embattled national chairman of the party, Uche Sikandas. The ward chairman of the party, Ijaj Christopher, announced these at the party's extraordinary meeting at the party secretariat at Ikuru Town, Andoni Local Government Area. The chairman said 11 executive members out of the 17 endorsed Sikandas' suspension from the party. Christopher said the national chairman had not attracted development to the area, despite his high political profile and inability to manage the party's attempts to reach Sikandas' approved abortive.