This week I encountered a major inconvenient, even though my work with costumes was almost done, the budget came out being extremely expensive, and major cutbacks had to be made. This was obviously a concern because I knew that a lot of the fabrics with prints would probably have to be replaced with plain fabric, and in Kabuki prints are found everywhere. Eventually we were able to make some cutbacks but as I feared, involved replacing printed fabric with plain ones, and some by cutting back on sleeve lengths and little details. I don't think the outcome will be totally different from the last one I had pictured, but I do think it would've been much better as it previously was. Obviously resources are limited and since it is a school play we cant expect it to be the same as a real Kabuki play, and I guess that our approach isn't totally off-track. On our physical class on Friday with Pilar Nuñez, we kept exploring on how breathing leads to everything we do, and how the intake of air also means an intake of energy. Energy has to be like our breathing, we can have a lot of it but we have to learn to control it, not just let it out as fast as we can and not give it a purpose or definition. Starting an action is as important as finishing it, like breathing, we have to control it in order to give it a smooth ending, and not just run out of energy. In Kabuki there is a lot of contained energy that eventually reaches a climax and I think that it connects with what I previously mentioned about breathing and energy, because for it to be a climax in Kabuki there has to be contained energy that builds up, and to maintain this contained energy actors have to have control over their actions and performance. 

Is it necessary for there to be a build up of actions and energy to build a climax in a play? Or could the climax come first and then be the repercussion of it.