Week 11

Truly lucky to have these experiences. I know that, in just a couple of weeks from now-I will read through these posts and weep. But I am trying to take heed of what Kathy told us in her latest workshop-and try not to think about Act 4 when I haven't even gotten through Act 2!

That is what I want to dedicate this post to-her workshop. 

my notes:

She focused on the seven questions by Stanislavski-and it’s crazy how I have looked at the sheet of paper that Aoife gave me-that explains all of it, but I couldn’t even really list it out. Jesus.

Acting-is doing something to the other person (from prior knowledge-that your scene partner(s) is/are the most important beings in the room.)

DON’T PLAY NEGATIVES-like impatient-what other characteristics contribute to your impatience? Play that instead? Instead of playing unreliable, think scattered-scattered makes you unreliable.

Always in relation to-how can I use this information as an actor? Is this information useful to what I need to do as an actor? Playable.

Who am I? adjectives (inner/outer characteristics very important)

When is it? 

(example-first scene of Antigone-this is right after the edict (you can’t bury the body) and RIGHT BEFORE the vultures peck out her brother’s eyes.-that is right, that is in the moment-and it is immediate. Don’t generalize it or think about Act 4 WHEN YOU HAVEN’T EVEN GOT THROUGH ACT 2. )

Where am I? (again-playable-the room that you perceive is different from what your scene partner perceives.)

What do I want? (ACTION) (think about TO MAKE OR GET-to make or get-I want to MAKE you think I am right….)

Why do I want it? (OBJECTIVE) (…IN ORDER TO, make you respect me)

How am I going to get it? (TACTICS) (ex: and I will achieve that by CHARMING you)

What stands in my way? (what are the obstacles-and how shall I overcome them?)

-Every scene needs that specificity-that care to detail and attention to it when performing. Otherwise it will seem hollow and flat and the audience will end up yawning and staring at their programs all night. 

I want to tattoo this lesson on my heart. Jab at me all you want for being cliche or sentimental-but I really do want that. 

Working on Ophelia in Shakespeare, Cleopatra for Stage Combat, Ethel from Noel Coward's This Happy Breed for Acting. Pleasure to discover these characters and apply the questions to my exploration. 

weekly treats:

looking over the River Avon in Stratford!

I love coming to this studio on the weekends and dancing. 

In front of Shakespeare's house. 

A couple of items I wish to stock from abroad: Tetly's tea, Rekorderligs, and that Steak & Ale pie. 

always reppin' ;) on High street!

cheers,
M.A.