So I've had a couple of days to mull over what Saturday Night's performance was to me, and have let the jarring nature of it being our last performance of Twelfth Night settle in my body. These are my thoughts:
What a blast. We went up there, and we had ourselves a great time.
In Friday afternoon's performance I was more nervous than I've ever been, and it took a toll on my breathing/voice as well as my connection to the text/other actors on stage. Saturday Night's performance, however, I was relaxed, not really that nervous, but kind of riding a sort of calm wave. It struck me as odd that I wasn't nervous, and I started to get nervous about why I wasn't nervous, if you can believe that. When the audience started in, I told myself "these people love me, and I love them. I'm going to relish and endulge in that positive energy" and I think that made all the difference. Somehow telling myself that it was gonna go really well made it go really well. I think. Either way, my body and mind seemed to be on some sort of auto-pilot, in that I wasn't thinking about what I was doing, I was just doing it. My spirit, I suppose, knew what was going to happen, and how to make it work. It was a frightening and incredible experience at the same time, because I wasn!
't thinking to control what was going on, I was just, well, living. That is a very scary place for me to be because I have struggled with turning my brain off and just letting my instincts and work that I've done take me wherever they are going to take me. But it was in that span of "brain-dead" time that I was freed up to live, because I wasn't second guessing. The few times I was aware of what was going on, I fell out of it, and forgot my lines, or reverted back to old techniques. But it was by far the most comfortable and at ease I've ever felt on stage.
In short, it felt wonderful. I'm sad that I've had to let the play go, but the memories of the process of assembling Twelfth Night and working with you guys will stay with me forever. I learned more about myself and how I work in the last 6 weeks than most of the first 2 years of my training at CMU. I'm ever-grateful that I was privileged to enjoy such a rewarding, though at times challenging, experience.
What also felt really good was feeling like WE were doing something. WE were TELLING THE STORY. It wasn't about individual performances, it was about how WE could best come together to tell the best, most vivid, and most exciting story we could. And we succeeded. In a HUMONGOUS way.
I have tried, but still cannot drill the hole into my heart where the words live to express how I feel about these last few weeks so that I may share them with you.
All I can say is that we are all blessed.
Thanks, Thanks...and ever oft good terms.
-Nicolas Ducassi
Tuesday, September 30, 2008
Monday, September 29, 2008
Viola's last blog
I can't believe it's over!!! I feel like after working so hard we should get at least a couple more shows! Saturday was definitely a different show than Friday for me. I felt more in control on Saturday, but I felt I was acting more on my impulse on Friday. I thought it was so interesting how much the audience's reactions and laughs differed from one night to the other. How much fun to have a completely different dynamic to work off of! Well, if I were a poet (or even a little bit articulate) I would write something gushy and beautiful right now to thank you all for the unmatchable experience we have had. However, I can't think of anything clever or extraordinarily pretty, so
THANK YOU ALL SO MUCH!!!
-Katie, the man version
THANK YOU ALL SO MUCH!!!
-Katie, the man version
Final Blog entry (single tear)
So there it is... we did it. its over... but im still quoting it. I had a blast in thie rehearsal process its great to be around such driven and professional people. this summer was challenging because some of the people i worked with were so unprofessional and its nice to come back and work with people who put in the work and mean it. The final show was very interesting. it went faster but felt slower on the whole for me. maybe thats ecause i was really trying to stay in it in my breaks so they felt longer but it was recieved differently the second time around. not worse by any means but different. I felt much better about the second show and i think that i summited Twelfth Night/ Sebastian on Saturday evening.
There is no way to explain what i felt without telling this story. In the middle of my first scene i only had one moment when i was really aware that the audience was there and that was right before i say "se is drowned allready sir with salt water though i seem to drown her eremembrance again with more" and i took a pause right before. and i distinctly remember COMPLETE silence and thinking... oh my god i have them. It was the most amazing feeling knowing that i was just a step ahead of the audience and they were really listening. That was a really nice moment and i was able to sink right back into the scene, because i knew what i was able to give that particular audience.
I'd like to talk a little bit about the fickle nature of an audience. Something i really learned about in this show is how quickly an audience can all of a sudden change how they feel about a character. In the "ayre" monologue the second day i fell off the bench because i went to quickly onto it. that little change, of me being on the bench to off the bench made them lose their concentration entirely because some of the people knew that i was supposed to be on the bench and from thaat point o i could tell they weren't listening as intently as they had been. They were wondering what i was going to do what Ross was going to do and whether Ross would be castrated by Matt Gray later. I just think its interesting that an audience can be so ready to join you in a monologue but if you miss your light or fall out of your light or screw up your blocking its over. They start to think about other things and you lose them.
I felt really good about all the other scenes in the show for me personally and i think that we set a bar for what the JPP's should be from now on. I think freshman and sophmores will hope to bring such a solid piece in front o fthe school next year and the year after. I loved working with this group and i'm glad i have a week to get ready for the next show. I hope that everyone continues to work hard and that we as a group continue to set a bar for what Carnegie Mellon School of Drama is and should continue to be.
All the Best,
Ross "Sebastian" Francis
There is no way to explain what i felt without telling this story. In the middle of my first scene i only had one moment when i was really aware that the audience was there and that was right before i say "se is drowned allready sir with salt water though i seem to drown her eremembrance again with more" and i took a pause right before. and i distinctly remember COMPLETE silence and thinking... oh my god i have them. It was the most amazing feeling knowing that i was just a step ahead of the audience and they were really listening. That was a really nice moment and i was able to sink right back into the scene, because i knew what i was able to give that particular audience.
I'd like to talk a little bit about the fickle nature of an audience. Something i really learned about in this show is how quickly an audience can all of a sudden change how they feel about a character. In the "ayre" monologue the second day i fell off the bench because i went to quickly onto it. that little change, of me being on the bench to off the bench made them lose their concentration entirely because some of the people knew that i was supposed to be on the bench and from thaat point o i could tell they weren't listening as intently as they had been. They were wondering what i was going to do what Ross was going to do and whether Ross would be castrated by Matt Gray later. I just think its interesting that an audience can be so ready to join you in a monologue but if you miss your light or fall out of your light or screw up your blocking its over. They start to think about other things and you lose them.
I felt really good about all the other scenes in the show for me personally and i think that we set a bar for what the JPP's should be from now on. I think freshman and sophmores will hope to bring such a solid piece in front o fthe school next year and the year after. I loved working with this group and i'm glad i have a week to get ready for the next show. I hope that everyone continues to work hard and that we as a group continue to set a bar for what Carnegie Mellon School of Drama is and should continue to be.
All the Best,
Ross "Sebastian" Francis
Sunday, September 28, 2008
Closing Nights thoughts from Feste
Congratulations one and all!
I thought that Saturday’s performance definitely buzzed of a different energy than on Friday. On opening night I think we were all really jazzed with nerves, and the audience (lots of actors and theatre people) knew it was our opening and were really empathetic and encouraging. On our closing night I think our nerves had settled a bit and the audience was not quite as vocal as they were on the first evening. I thought that we needed to pick up the pace of the show. Our start was slow but by the end of the second act I think we had established a comfortable pace. I had a few prop malfunctions (rope with Antonio) and missed words (Sir Topas scene). I definitely learned something from the interaction I was supposed to have with the rope and Antonio. I ended up placing the rope next to Jon-Michael as I exited but I SHOULD have stopped and tied his hands in it. Ah. I was so mad at myself after I left the stage, but I can say that I learned from it. I felt a little better vocally,!
but I was noticing that because I was focusing on filling the space I sometimes lost my thoughts, which weakened the text.
But I think the closing run was one of the best!
I so enjoyed working with every single one of you. This experience has been amazing…thank you for sharing your creative energies and talent! Congratulations!
-Amanda
I thought that Saturday’s performance definitely buzzed of a different energy than on Friday. On opening night I think we were all really jazzed with nerves, and the audience (lots of actors and theatre people) knew it was our opening and were really empathetic and encouraging. On our closing night I think our nerves had settled a bit and the audience was not quite as vocal as they were on the first evening. I thought that we needed to pick up the pace of the show. Our start was slow but by the end of the second act I think we had established a comfortable pace. I had a few prop malfunctions (rope with Antonio) and missed words (Sir Topas scene). I definitely learned something from the interaction I was supposed to have with the rope and Antonio. I ended up placing the rope next to Jon-Michael as I exited but I SHOULD have stopped and tied his hands in it. Ah. I was so mad at myself after I left the stage, but I can say that I learned from it. I felt a little better vocally,!
but I was noticing that because I was focusing on filling the space I sometimes lost my thoughts, which weakened the text.
But I think the closing run was one of the best!
I so enjoyed working with every single one of you. This experience has been amazing…thank you for sharing your creative energies and talent! Congratulations!
-Amanda
Let's make them cry...
We did.
Holy shit. We made them cry.
Our second performance of the show was one of the most illuminating and rewarding theatrical experiences I've had to date. I say this because, it was the first time I've ever performed for a group of people, where I didn't have the supercharge from having them there. As the show began I was really quite alarmed at how low my energy was, and got really scared that something was wrong, and I was going to forget something, or fall victim to some other horrifying turn of events.
When I got off stage after my first scene, John and I looked at each other very quizzically. We didn't say anything. I don't think we wanted to jinx it. I knew something was different but I didn't think it was bad. Just different. I knew I was going to have to redouble my efforts in specificity and listening to compensate for the absence of the manic audience buzz.
It never came. What did come to me however, was a complete reliance on the people I was on stage with. Without the buzz, all we had was our technique, and all the tools we'd learned over the past two years. We had to pick up our cues, stay in front of the audience, and keep playing actively. It seemed like I wasn't the only one thinking it either, because, whereas the first night, I thought it seemed like we kind of were getting tired towards the end, last night, it seemed like we were gaining momentum the more the show went on.
Another really interesting thing about last night, was I noticed, in an attempt to connect to the audience and "let them in" I was actually disconnecting from the people I was acting with. Thankfully I caught myself and redoubled my efforts to stay in the moment, but that was a very curious inclination I had. I wonder if I felt compelled to reach out extra hard because my internal energy was down. I tried to tell myself though, it really doesn't matter what we feel as actors. All that matters is what we make the audience feel. That's where I think a lot of our focus went as a company last night, and I think we had another really successful run because of it.
So, on the final night of JPP's, I was reminded how valuable and essentially applicable our training is, and I feel reassured that it will always be there to help me as I continue to learn and work as an actor. I was also reminded how crucial it is to remain with your scene partners at all times, and how heavily we have to rely on each other as a company. Because, like I said before, no matter how the show's going, it's not going to stop for any of us. So we have to really trust the text, our training, each other, and ourselves, and know that everything will work out.
It's kind of a lesson in neutrality. Kind of surrendering to the work that's been done and to the text that now lives in you and letting the moments create themselves rathering than us hammering them into shape. We don't know how the show is going to go from moment to moment, but if we trust ourselves and stay easy, the audience can trust us, too, and then the piece is allowed to affect them. All great art is truely rooted in ease.
So many lessons. So much medicine. So. So. Grateful.
Holy shit. We made them cry.
Our second performance of the show was one of the most illuminating and rewarding theatrical experiences I've had to date. I say this because, it was the first time I've ever performed for a group of people, where I didn't have the supercharge from having them there. As the show began I was really quite alarmed at how low my energy was, and got really scared that something was wrong, and I was going to forget something, or fall victim to some other horrifying turn of events.
When I got off stage after my first scene, John and I looked at each other very quizzically. We didn't say anything. I don't think we wanted to jinx it. I knew something was different but I didn't think it was bad. Just different. I knew I was going to have to redouble my efforts in specificity and listening to compensate for the absence of the manic audience buzz.
It never came. What did come to me however, was a complete reliance on the people I was on stage with. Without the buzz, all we had was our technique, and all the tools we'd learned over the past two years. We had to pick up our cues, stay in front of the audience, and keep playing actively. It seemed like I wasn't the only one thinking it either, because, whereas the first night, I thought it seemed like we kind of were getting tired towards the end, last night, it seemed like we were gaining momentum the more the show went on.
Another really interesting thing about last night, was I noticed, in an attempt to connect to the audience and "let them in" I was actually disconnecting from the people I was acting with. Thankfully I caught myself and redoubled my efforts to stay in the moment, but that was a very curious inclination I had. I wonder if I felt compelled to reach out extra hard because my internal energy was down. I tried to tell myself though, it really doesn't matter what we feel as actors. All that matters is what we make the audience feel. That's where I think a lot of our focus went as a company last night, and I think we had another really successful run because of it.
So, on the final night of JPP's, I was reminded how valuable and essentially applicable our training is, and I feel reassured that it will always be there to help me as I continue to learn and work as an actor. I was also reminded how crucial it is to remain with your scene partners at all times, and how heavily we have to rely on each other as a company. Because, like I said before, no matter how the show's going, it's not going to stop for any of us. So we have to really trust the text, our training, each other, and ourselves, and know that everything will work out.
It's kind of a lesson in neutrality. Kind of surrendering to the work that's been done and to the text that now lives in you and letting the moments create themselves rathering than us hammering them into shape. We don't know how the show is going to go from moment to moment, but if we trust ourselves and stay easy, the audience can trust us, too, and then the piece is allowed to affect them. All great art is truely rooted in ease.
So many lessons. So much medicine. So. So. Grateful.
When the image of it leaves me, I must run mad!
Friday night I did Shakespeare for almost a hundred people at one of the best drama schools in the nation. I must begin with a feeble attempt at articulating how unintelligibly thankful I am for that, and to have worked with such an incredible team of artists.
Although, we have yet to have an official acting class this year, I feel like I have a semester's worth of knowledge under my belt, just from the past four weeks. I have been acquainted with the turbid ebb and flow of misery in the rehearsal process, seen the amount of effort and dexterity required to adequately research a play, and STARTED to understand what it means to work specifically, and how essential it is when communicating to an audience.
I could practically write a novella from all the lessons I've learned throughout the process, but for the sake of brevity, I'll confine them to what I learned during the actual runs.
First Night:
The first performance was such a wild ride. From the time the house opened I was grappling with all the manic energy coursing through my body and knew that it would be something I would have to fight and harness in order to maintain my technical proficiency. I tried to put my energy into the text and into listening to what my castmates were saying rather than becoming wildly gesticulative and floppy.
The most interesting thing about the first run,though, to me, was how we all reacted when things went wrong. There were jokes that didn't always land, all kinds of prop and wardrobe malfunctions, and I knew it was because we were all teeming with that wild energy. There were also times though, when the audience laughed uproariously when we would never have expected them to, and learning the pace at which you have to move in order to allow the audience to laugh and enjoy themselves but not lose the momentum of the show was very valuable.
I also learned quite a bit about your duty as a cast member when you're not on stage. Rather than disappearing into the crossover or sittin down and checking out, I saw all my castmates waiting hungrily offstage for their next entrance, listening diligently, and sending out the most supportive energy we could muster. I remember Ross had an exit at one point after he'd had some trouble with an umbrella, and you could tell he was frustrated. He passed John and me, and we knew in our next scene we had to crank up the tempo and sharpness and pick our brother up. And when I had my drunk scene, I walked off feeling a bit frustrated because I felt like I had made a choice that was a bit gratuitous and not completely honest, but as I passed, I think it was Chelsea, I knew she was going to have me in our next scene. There was a great sense of ensemble backstage, and we would all celebrate each others' wins and offer support when things didn't go ideally. This was one of the things I !
am most proud of.
I also finally understood what it's like to perform an entire play and the STAMINA it requires to do it. I literally felt myself running out of gas towards the end of the play, but finding how you have to dig deep and keep giving the audience and your castmates what they deserve was a very enlightening lesson.
At the end of the first show, I realized, as many times as I'd heard it, THE SHOW MUST GO ON. Regardless of how I was feeling about my performance at a given moment or any extraneous circumstances, the story keeps going, and you can't stop telling it. You have to make sure the audience is getting the information they need at all times. Overall, the first show was a lesson in discipline, focus, tenacity, and selflessness; and one that I'll not soon forget.
Toby
Although, we have yet to have an official acting class this year, I feel like I have a semester's worth of knowledge under my belt, just from the past four weeks. I have been acquainted with the turbid ebb and flow of misery in the rehearsal process, seen the amount of effort and dexterity required to adequately research a play, and STARTED to understand what it means to work specifically, and how essential it is when communicating to an audience.
I could practically write a novella from all the lessons I've learned throughout the process, but for the sake of brevity, I'll confine them to what I learned during the actual runs.
First Night:
The first performance was such a wild ride. From the time the house opened I was grappling with all the manic energy coursing through my body and knew that it would be something I would have to fight and harness in order to maintain my technical proficiency. I tried to put my energy into the text and into listening to what my castmates were saying rather than becoming wildly gesticulative and floppy.
The most interesting thing about the first run,though, to me, was how we all reacted when things went wrong. There were jokes that didn't always land, all kinds of prop and wardrobe malfunctions, and I knew it was because we were all teeming with that wild energy. There were also times though, when the audience laughed uproariously when we would never have expected them to, and learning the pace at which you have to move in order to allow the audience to laugh and enjoy themselves but not lose the momentum of the show was very valuable.
I also learned quite a bit about your duty as a cast member when you're not on stage. Rather than disappearing into the crossover or sittin down and checking out, I saw all my castmates waiting hungrily offstage for their next entrance, listening diligently, and sending out the most supportive energy we could muster. I remember Ross had an exit at one point after he'd had some trouble with an umbrella, and you could tell he was frustrated. He passed John and me, and we knew in our next scene we had to crank up the tempo and sharpness and pick our brother up. And when I had my drunk scene, I walked off feeling a bit frustrated because I felt like I had made a choice that was a bit gratuitous and not completely honest, but as I passed, I think it was Chelsea, I knew she was going to have me in our next scene. There was a great sense of ensemble backstage, and we would all celebrate each others' wins and offer support when things didn't go ideally. This was one of the things I !
am most proud of.
I also finally understood what it's like to perform an entire play and the STAMINA it requires to do it. I literally felt myself running out of gas towards the end of the play, but finding how you have to dig deep and keep giving the audience and your castmates what they deserve was a very enlightening lesson.
At the end of the first show, I realized, as many times as I'd heard it, THE SHOW MUST GO ON. Regardless of how I was feeling about my performance at a given moment or any extraneous circumstances, the story keeps going, and you can't stop telling it. You have to make sure the audience is getting the information they need at all times. Overall, the first show was a lesson in discipline, focus, tenacity, and selflessness; and one that I'll not soon forget.
Toby
Last Night...
Last night was incredible. Bitter sweet, but amazing. I learned so much, just from that one last show – mainly, the importance of control. Last night I felt much more in control of my performance, I didn’t feel less free (I actually felt freer) but by just making my focus last night be on hearing the text word by word and discovering it moment by moment, all I had to do was respond. I felt that my prep yesterday helped ground me much more as well, I did my make-up earlier and ran through my script recalling past notes and really tasting the words in my mouth. Thank you all for an amazing experience!
- Bekie
- Bekie
Saturday, September 27, 2008
But that's all one...
I hope you all celebrated tonight.
I am sorry if I didnt see you after the show - it all was pretty mad with the changeover, etc.
But I am so grateful to all of you for such a wonderful way to spend five weeks. You all ended up with a show you should be all very proud of.
cast party next week - let me know which day works best for you
I HATE ending things like this.... I feel like curling up in a corner rather than try and sum up our experience.
So have a great night, one and all
much love
matt
I am sorry if I didnt see you after the show - it all was pretty mad with the changeover, etc.
But I am so grateful to all of you for such a wonderful way to spend five weeks. You all ended up with a show you should be all very proud of.
cast party next week - let me know which day works best for you
I HATE ending things like this.... I feel like curling up in a corner rather than try and sum up our experience.
So have a great night, one and all
much love
matt
Feste's thoughts about Friday
First, congratulations company! I am so grateful to be working with you all. I think points of success for us were in the “hand offs” of our scenes. We passed the baton really well tonight. I think the story was very clear for the audience…it seemed like they were with us throughout the whole play. Having a full audience was quite an experience for us all I think. I noticed that sometimes I would speak more speedily than was necessary. I felt like I just needed to get on and get off really quickly to keep the play moving.
Tonight was very informative for me. After the show, Joe gave me a few notes about my voice (similar to what Matt was saying). He says that I sometimes speak like I sing and place the resonance in the nose, so that when my back is to the audience it is hard to hear the words. SO…that’s something I need to work on. It’s a matter, I think, of letting the support come from a deeper place. Breathing into my whole self and not just my chest. I’ve always had issues with taking up space.
For the closing show I will do a more thorough warm-up to prepare. Also, I have a few added secret thoughts that I want to incorporate…mwahaha.
Congratulations everyone.
Tonight was very informative for me. After the show, Joe gave me a few notes about my voice (similar to what Matt was saying). He says that I sometimes speak like I sing and place the resonance in the nose, so that when my back is to the audience it is hard to hear the words. SO…that’s something I need to work on. It’s a matter, I think, of letting the support come from a deeper place. Breathing into my whole self and not just my chest. I’ve always had issues with taking up space.
For the closing show I will do a more thorough warm-up to prepare. Also, I have a few added secret thoughts that I want to incorporate…mwahaha.
Congratulations everyone.
Feste's Thursday Blog
So it’s Friday! Before we go up today I want to say to you all that I am honored to be working with such a creative and supportive group of actors, lovely musicians, amazing lighting designers, and a compelling director. This experience has taught me an enormous amount about playing with my fellow actors, working with the space, letting the lights in, behaving and acting with professionalism, trusting simplicity, understanding the importance of intention, and enjoying the process of a play. Thank you all for sharing your selves and talents. Let’s do this thing.
"I regard the theatre as the greatest of all art forms, the most immediate way in which a human being can share with another the sense of what it is to be a human being." - Oscar Wilde
"I regard the theatre as the greatest of all art forms, the most immediate way in which a human being can share with another the sense of what it is to be a human being." - Oscar Wilde
Opening Day...
Well, having not been in a show that was rehearsed for longer than a week in three years, I was pretty pumped. I'm not quite sure if I was nervous, or excited, or terrified, or what, but I was a little apprehensive about having an audience - especially one that is so close to the playing space.
One of the things I have been working on in the latter part this process was not thinking ahead to where I'm supposed to be next and what my next line is. I was so afraid of messing up that I was sacrificing spontaneity and being in the moment to assure I didn't drop a line. I promised myself that the last couple of rehearsals I would force myself to not think ahead and see what happened. I was terrified, however, to bring this to our opening performance. I wasn't sure how an audience would effect me. To my surprise, the audience didn't throw me nearly as much as I thought it would. After giving "what think you saylors?" to them, they became a part of the show. I was able to let go and be in the moment with my fellow actors rather than delivering a line and then prodding myself for the next one. It's actually kind of terrifying for me to do this, but extremely rewarding.
I also noticed at yesterday's performance a habit that I have. I very often exhale all of my energy and sometimes throw away impulses with it. It came to my attention yesterday when every time I exited the stage I gave a great big sigh/huff. Don has been giving me this note for a while now, but I never really understood what he meant until now.
My goal for yesterday's performance was to stay in the moment. For today, it is to keep that and to not push (as Matt was saying yesterday), but to give as much energy and resonance that is needed. Break a Leg all!
-Katie
One of the things I have been working on in the latter part this process was not thinking ahead to where I'm supposed to be next and what my next line is. I was so afraid of messing up that I was sacrificing spontaneity and being in the moment to assure I didn't drop a line. I promised myself that the last couple of rehearsals I would force myself to not think ahead and see what happened. I was terrified, however, to bring this to our opening performance. I wasn't sure how an audience would effect me. To my surprise, the audience didn't throw me nearly as much as I thought it would. After giving "what think you saylors?" to them, they became a part of the show. I was able to let go and be in the moment with my fellow actors rather than delivering a line and then prodding myself for the next one. It's actually kind of terrifying for me to do this, but extremely rewarding.
I also noticed at yesterday's performance a habit that I have. I very often exhale all of my energy and sometimes throw away impulses with it. It came to my attention yesterday when every time I exited the stage I gave a great big sigh/huff. Don has been giving me this note for a while now, but I never really understood what he meant until now.
My goal for yesterday's performance was to stay in the moment. For today, it is to keep that and to not push (as Matt was saying yesterday), but to give as much energy and resonance that is needed. Break a Leg all!
-Katie
Dear Diary
Yesterday we had our first performance of the show. Boy Howdy was it a trip. When the top light came up on me and I sat up my heart was in my throat. I couldn't really see the audience (because of the light) but you can bet your ass I could sense them. It felt like acting in a high pressure or high gravity vacuum (like Goku would train in on Dragonball Z). I was tremendously nervous and felt that my energy and voice were being highly affected by it. Even my equilibrium was thrown off: when I stood up onto the bench to talk to Feste I lost balance and almost fell off. Luckily I managed to catch myself and played it off as actually blocking. Yet, at no point during that first scene did I admit defeat to myself or the audience, rather I trucked through it as best to my ability. Suffice it to say that has been the most nervous I have ever been acting in my entire life. But after that I pulled my shit together and had a great time in my remaining scenes. I think we were lucky!
to have such a responsive and supportive audience, it'll be interesting to experience the dynamic change tonight. Overall I am very happy with the run and CANNOT wait to get another chance to do it again tonight and do the things better that I know I can do better.
-Frank
to have such a responsive and supportive audience, it'll be interesting to experience the dynamic change tonight. Overall I am very happy with the run and CANNOT wait to get another chance to do it again tonight and do the things better that I know I can do better.
-Frank
Toy's Workout
Toby's workout is called Fran.
It is a beast.
http://media.crossfit.com/cf-video/CrossFit_AmundsonHeavyFran.mov
It is a beast.
http://media.crossfit.com/cf-video/CrossFit_AmundsonHeavyFran.mov
The Summit
Check out this picture of the Hillary Step
http://classic.mountainzone.com/everest/photos2/45.stm
Everest: The Way to The Summit
The Western Cwm
See Western Cwm QTVR
Often called the "Valley of Silence," the Western Cwm is a broad, flat, gently undulating glacial valley basin terminating at the foot of the Lhotse Face. The central section is cut by massive lateral crevasses which bar entrance into the upper Western Cwm. In this section, climbers must cross to the far right, over to the base of Nuptse to a narrow passageway known as the Nuptse corner. From here, climbers have a stupendous view of the upper 8,000 feet of Everest -- the first glimpse of Everest's upper slopes since arriving at Base Camp. The last 5,000 feet on Everest, including its distinct black pyramid summit, are not visible from Base Camp. Contrary to what most people believe, some of the most difficult days on Everest are in the Western Cwm, when on a windless day it is desperately hot. Says David Breashears, "You literally pray for a puff of wind or a cloud to cover the sun so you can keep moving up to Advance Base Camp."
The Lhotse Face
See Camp III QTVR
The expansive western flank of Lhotse is called the Lhotse Face and is an unavoidable part of the traditional southeast route up Everest. Camp III sits about halfway up this ascending wall of glacial blue ice. From its bergshrund (base) to the top, the Lhotse Face rises some 3,700 feet, at 40 and 50-degree pitches with some occasional 80-degree bulges. The entire route is fixed with ropes, and climbers must get into the rhythmic movement of pulling and stepping up. Kicking steps, while lodging one's front points into the hard blue ice, is the predominant movement required for this unrelenting ascent up towards the South Col.
The Yellow Band
The sedimentary sandstone rock of the Yellow Band is a distinctive feature of the Lhotse Face which requires about 100 meters of rope to traverse it. This is the first rock a climber touches on the route up Everest. It becomes very obvious when one has reached this point in the climb -- one's crampons hit hard rock. The top of the yellow band is at 25,000 feet.
The Geneva Spur
Named by a Swiss expedition in 1952, the Geneva Spur is an anvil-shaped black rib of rock fixed with ropes so climbers can scramble up its steep snow-covered surface. The spur starts at about 24,000 feet. It is the last major hurdle before reaching the last camp on Everest.
The South Col
The site of the high camp, also known as Camp IV, this rock-strewn wind-swept saddle between Everest and Lhotse lies at 26,000 feet. Col is a Welsh word for saddle or pass. This location was named by the British Reconnaissance Expedition of 1921 which viewed it from a vantage point some seven miles away. Currently used by all expeditions as the high camp, it is still a demanding 3000-foot climb from here to the summit. Discarded expedition equipment litters the football field-sized area used for camp. At this elevation, all expedition and Sherpa members sleep with a low flow of oxygen except those wishing to attempt the summit "gas free." Fierce jet stream winds can demolish an uninhabited tent here in minutes so the expeditions do not erect their tents until they arrive.
The Southeast Ridge
The climbers reach the Southeast Ridge at 27,700 feet at a place known as "The Balcony." At this platform the climbers rest and admire the dawn light illuminating the peaks to the east and south. From here, the snow ridge rises 1,000 feet to the South Summit and gently arcs to the north. 400 feet below the South Summit, a series of rock steps often forces climbers to the east and into waist deep snow. This can often be the most strenuous and dangerous section of the climb, because the wind-deposited snow can be avalanche prone.
The South Summit
The climbers' first small victory of the day, the South Summit is a ping pong table-size dome of snow and ice at 28,700 feet. From here the climbers can obtain the view of the final obstacles ahead of them: the Cornice Traverse, the Hillary Step, and the final slopes to the summit. It is traditional to change oxygen bottles here so that one has a fresh bottle for the final ascent and return to the South Summit. If it's late in the day or the weather is deteriorating, this is the place to make the all-important decision to turn around.
The Cornice Traverse
A 400-foot long horizontal section of rock and wind-carved snow, this is easily the most intimidating section of the climb. Climbers must carefully traverse a knife-edge ridge of snow plastered to intermittent rocks. This is the most exposed section of the entire climb, and a misstep to the right would send a climber tumbling down the 10,000-foot Kangshung Face. A misstep to the left would send one careening 8,000 feet down the Southwest Face, were it not for the fixed ropes.
The Hillary Step
The most famous physical feature on Everest, the Hillary Step, at 28,750 feet, is a 40-foot spur of snow and ice. First climbed in 1953 by Edmund Hillary and Tenzing Norgay, the Hillary Step is the last obstacle barring access to the gently angled summit slopes. Modern-day climbers use a fixed rope up here to ascend the Hillary Step. We marvel at Hillary and Tenzing's achievement in climbing this impressive mountaineering obstacle without fixed ropes and using what is now considered primitive ice climbing equipment.
The Summit
See QTVR View from the Summit
At 29,028 feet, the world's highest point is covered with an assortment of prayer flags, remnants of surveying equipment and other offerings from climbers (photographs of family members, prayer packets, and discarded oxygen bottles). Covering the area of a picnic table, the snow-covered summit slopes steeply away to the north, southwest, and east. Climbers take care to not venture too far to the east as the massive cornices overhang a 10,000-foot face. The 360-degree panorama takes in the Tibetan Plateau to the north, as well as the great Himalayan peaks of Kanchenjunga to the east, Makalu to the southeast, and Cho Oyu to the west. On a clear day, it seems as if one can see across half a continent. 150 feet below the summit, climbers heading down often collect small rocks as mementos of their climb.
Love, Toby
http://classic.mountainzone.com/everest/photos2/45.stm
Everest: The Way to The Summit
The Western Cwm
See Western Cwm QTVR
Often called the "Valley of Silence," the Western Cwm is a broad, flat, gently undulating glacial valley basin terminating at the foot of the Lhotse Face. The central section is cut by massive lateral crevasses which bar entrance into the upper Western Cwm. In this section, climbers must cross to the far right, over to the base of Nuptse to a narrow passageway known as the Nuptse corner. From here, climbers have a stupendous view of the upper 8,000 feet of Everest -- the first glimpse of Everest's upper slopes since arriving at Base Camp. The last 5,000 feet on Everest, including its distinct black pyramid summit, are not visible from Base Camp. Contrary to what most people believe, some of the most difficult days on Everest are in the Western Cwm, when on a windless day it is desperately hot. Says David Breashears, "You literally pray for a puff of wind or a cloud to cover the sun so you can keep moving up to Advance Base Camp."
The Lhotse Face
See Camp III QTVR
The expansive western flank of Lhotse is called the Lhotse Face and is an unavoidable part of the traditional southeast route up Everest. Camp III sits about halfway up this ascending wall of glacial blue ice. From its bergshrund (base) to the top, the Lhotse Face rises some 3,700 feet, at 40 and 50-degree pitches with some occasional 80-degree bulges. The entire route is fixed with ropes, and climbers must get into the rhythmic movement of pulling and stepping up. Kicking steps, while lodging one's front points into the hard blue ice, is the predominant movement required for this unrelenting ascent up towards the South Col.
The Yellow Band
The sedimentary sandstone rock of the Yellow Band is a distinctive feature of the Lhotse Face which requires about 100 meters of rope to traverse it. This is the first rock a climber touches on the route up Everest. It becomes very obvious when one has reached this point in the climb -- one's crampons hit hard rock. The top of the yellow band is at 25,000 feet.
The Geneva Spur
Named by a Swiss expedition in 1952, the Geneva Spur is an anvil-shaped black rib of rock fixed with ropes so climbers can scramble up its steep snow-covered surface. The spur starts at about 24,000 feet. It is the last major hurdle before reaching the last camp on Everest.
The South Col
The site of the high camp, also known as Camp IV, this rock-strewn wind-swept saddle between Everest and Lhotse lies at 26,000 feet. Col is a Welsh word for saddle or pass. This location was named by the British Reconnaissance Expedition of 1921 which viewed it from a vantage point some seven miles away. Currently used by all expeditions as the high camp, it is still a demanding 3000-foot climb from here to the summit. Discarded expedition equipment litters the football field-sized area used for camp. At this elevation, all expedition and Sherpa members sleep with a low flow of oxygen except those wishing to attempt the summit "gas free." Fierce jet stream winds can demolish an uninhabited tent here in minutes so the expeditions do not erect their tents until they arrive.
The Southeast Ridge
The climbers reach the Southeast Ridge at 27,700 feet at a place known as "The Balcony." At this platform the climbers rest and admire the dawn light illuminating the peaks to the east and south. From here, the snow ridge rises 1,000 feet to the South Summit and gently arcs to the north. 400 feet below the South Summit, a series of rock steps often forces climbers to the east and into waist deep snow. This can often be the most strenuous and dangerous section of the climb, because the wind-deposited snow can be avalanche prone.
The South Summit
The climbers' first small victory of the day, the South Summit is a ping pong table-size dome of snow and ice at 28,700 feet. From here the climbers can obtain the view of the final obstacles ahead of them: the Cornice Traverse, the Hillary Step, and the final slopes to the summit. It is traditional to change oxygen bottles here so that one has a fresh bottle for the final ascent and return to the South Summit. If it's late in the day or the weather is deteriorating, this is the place to make the all-important decision to turn around.
The Cornice Traverse
A 400-foot long horizontal section of rock and wind-carved snow, this is easily the most intimidating section of the climb. Climbers must carefully traverse a knife-edge ridge of snow plastered to intermittent rocks. This is the most exposed section of the entire climb, and a misstep to the right would send a climber tumbling down the 10,000-foot Kangshung Face. A misstep to the left would send one careening 8,000 feet down the Southwest Face, were it not for the fixed ropes.
The Hillary Step
The most famous physical feature on Everest, the Hillary Step, at 28,750 feet, is a 40-foot spur of snow and ice. First climbed in 1953 by Edmund Hillary and Tenzing Norgay, the Hillary Step is the last obstacle barring access to the gently angled summit slopes. Modern-day climbers use a fixed rope up here to ascend the Hillary Step. We marvel at Hillary and Tenzing's achievement in climbing this impressive mountaineering obstacle without fixed ropes and using what is now considered primitive ice climbing equipment.
The Summit
See QTVR View from the Summit
At 29,028 feet, the world's highest point is covered with an assortment of prayer flags, remnants of surveying equipment and other offerings from climbers (photographs of family members, prayer packets, and discarded oxygen bottles). Covering the area of a picnic table, the snow-covered summit slopes steeply away to the north, southwest, and east. Climbers take care to not venture too far to the east as the massive cornices overhang a 10,000-foot face. The 360-degree panorama takes in the Tibetan Plateau to the north, as well as the great Himalayan peaks of Kanchenjunga to the east, Makalu to the southeast, and Cho Oyu to the west. On a clear day, it seems as if one can see across half a continent. 150 feet below the summit, climbers heading down often collect small rocks as mementos of their climb.
Love, Toby
About yesterday afternoon
I was really proud of us (ALL of us, actors musicians lighting designers and you as our director as well) for pulling off a very worthwhile show today. The audience was having a blast watching us, but I believe we stayed true to our characters and ourselves and did not play to the audience for laughs. But rather that we allowed that beautiful positive energy to feed us and breathe into our bodies as performers and characters.
About my own personal performance: I found myself more nervous than I've ever been for a show, in my entire life. And it was what you had talked about before, in that this battle is a battle with our own fear. And for the better part of 2 acts I was allowing that fear to win the battle. THAT's why I think I went soft during part of the letter speech and during some other scenes. It wasn't until Act III scene iv did that I was really able to drop all that away and fully live in everything. I by no means closed myself off or gave up, I just mean to say that the fear was having a bigger effect on myself that I had anticipated, for far longer that I thought it would. It was definitly a learning experience for me, in that I noticed what worked and what didn't work for me. I expected that being on stage while the audience came in would help allay and assuage any fears I had. What I found interesting was that it actually made me MORE nervous, because I...well I don't know why yet. !
I guess I allowed myself to get rattled a little bit by it, and feeling SO naked for what felt like upwards of a half hour (though I know it was little more than 10 minutes, if that). I'm feeling confident for tomorrow, having lived and loved for those 2 hours today. I must say, however, that that feeling after we had finished and we were taking our bows and changing after the show was over was one of the most incredible, jubilant, experiences of my life. I mean, top 5 man. Seriously. I've never had such fun.
So, thank you once again. People keep talking to me about the beautiful direction that was employed, people who don't even know who you are Matt, so that was pretty fantastic to hear as well. Because you, as Don send and I reiterate, were a fabulous leader, and brought us the water, and we have decided to slurp it up like the camels we are. Okay, that's enough with the ridiculous metaphors.
See You Tomorrow Mateys (Matties? Mates?) Whatever.
Ahoy, Let's hoist sail tomorrow into the bliss of beauty and story telling.
Bon Voyage,
The Madly Blessed Nicolas Ducassi
About my own personal performance: I found myself more nervous than I've ever been for a show, in my entire life. And it was what you had talked about before, in that this battle is a battle with our own fear. And for the better part of 2 acts I was allowing that fear to win the battle. THAT's why I think I went soft during part of the letter speech and during some other scenes. It wasn't until Act III scene iv did that I was really able to drop all that away and fully live in everything. I by no means closed myself off or gave up, I just mean to say that the fear was having a bigger effect on myself that I had anticipated, for far longer that I thought it would. It was definitly a learning experience for me, in that I noticed what worked and what didn't work for me. I expected that being on stage while the audience came in would help allay and assuage any fears I had. What I found interesting was that it actually made me MORE nervous, because I...well I don't know why yet. !
I guess I allowed myself to get rattled a little bit by it, and feeling SO naked for what felt like upwards of a half hour (though I know it was little more than 10 minutes, if that). I'm feeling confident for tomorrow, having lived and loved for those 2 hours today. I must say, however, that that feeling after we had finished and we were taking our bows and changing after the show was over was one of the most incredible, jubilant, experiences of my life. I mean, top 5 man. Seriously. I've never had such fun.
So, thank you once again. People keep talking to me about the beautiful direction that was employed, people who don't even know who you are Matt, so that was pretty fantastic to hear as well. Because you, as Don send and I reiterate, were a fabulous leader, and brought us the water, and we have decided to slurp it up like the camels we are. Okay, that's enough with the ridiculous metaphors.
See You Tomorrow Mateys (Matties? Mates?) Whatever.
Ahoy, Let's hoist sail tomorrow into the bliss of beauty and story telling.
Bon Voyage,
The Madly Blessed Nicolas Ducassi
Our first go...
Wow. Our first show> what a thrilling experience, but also an interesting one. I was not surprised that the audience received it so well. I think part of why it was received so well was because we truly were presenting a story. The story is the key. That being said, I do agree with Matt, I feel I lost a certain level of control in my performance last night. Not that I lost specificity, but that I maybe didn’t trust the audience quite enough. We did all let them in, and I did not feel intimidated by them at all, but maybe because I was so excited to share, I let that pull me out of my center. My goals for this night’s performance are to stay more grounded, stay as free as last night, as playful, as generous, but most importantly to tell this story with you guys, not forget the honest story. Lets break another leg tonight guys!!!
- Olivia :)
- Olivia :)
opening night.... thoughts after digesting
Yesterday was an absolute trip. I was so proud of our ensemble and that includes Olivia, Tom, Nick, Skye, Jordan, Sarah and of-course Matt. I know that today is going to be another mountain to climb but as long as we realize they're different people and that we have to make everything fresh we can absolutely do it again.
But, Last Night... I never expected to feel so detached as i did. The breaks between my first 3 scenes are absolutely fatal and i wasn't doing my job until i started the "ayre" monologue. Tonight i will strive to bridge that gap between scenes and connect Sebastians arch. I betrayed myself yesterday by getting upset at the role of Sebastian after the show. While this is human nature i had to have known it was going to happen. So i apologize to all of you. We have all put so much work into this and its not fair for me to be upset. I am going to wipe it clean today and do the work and most importantly tell the story.
The first ones in the bag now its just a matter of telling this beautiful story all over again. I know you will all be great and i promise i'll be there with you.
Love,
Ross
But, Last Night... I never expected to feel so detached as i did. The breaks between my first 3 scenes are absolutely fatal and i wasn't doing my job until i started the "ayre" monologue. Tonight i will strive to bridge that gap between scenes and connect Sebastians arch. I betrayed myself yesterday by getting upset at the role of Sebastian after the show. While this is human nature i had to have known it was going to happen. So i apologize to all of you. We have all put so much work into this and its not fair for me to be upset. I am going to wipe it clean today and do the work and most importantly tell the story.
The first ones in the bag now its just a matter of telling this beautiful story all over again. I know you will all be great and i promise i'll be there with you.
Love,
Ross
Thursday, September 25, 2008
To the Cast...
It is Thursday night, the night before we open. Today we did both a run thru with Matt and the band, followed in the evening by a company speed thru, with out Matt. The speed thru was somewhat successful – as a company we allowed ourselves the freedom to make bold, crazy silly choices that we might not otherwise make in order to play and stay free. This was good at the beginning, but as the run went on some company members lost focus. I think this is because it is really uncomfortable to find a place in which serious and silly, structure and abandon may coexist. However, it is exactly that which I think we, as actors must strive for.
I left tonight feeling incredibly grateful to be working with such a supportive, intuitive and brilliant cast of actors. I have rarely felt so excited and proud to tell a story as I am for tomorrow! I remember Matt sitting us down at the first rehearsal and telling us that the center of our process should be how fucking incredible this play is, and I think we have maintained that focus. I have fallen in love – and only wish we had a longer run to share our interpretation and discoveries of this tale. While there may be much better production’s of this show, more rehearsed, with greater budgets, and actual crews; what we have is so unique because it is a product of us – a combination of our minds, emotions, experiences – blood, sweat and definitely some tears. No matter how many times one or all of us goes on to do this production again (and we probably all will) it will never be the same! And it is this uniqueness that I know we will all honor and celebrate and share in our !
performances tomorrow afternoon and Saturday. Thank you guys for all ☺
- Olivia (BEKIE)
I left tonight feeling incredibly grateful to be working with such a supportive, intuitive and brilliant cast of actors. I have rarely felt so excited and proud to tell a story as I am for tomorrow! I remember Matt sitting us down at the first rehearsal and telling us that the center of our process should be how fucking incredible this play is, and I think we have maintained that focus. I have fallen in love – and only wish we had a longer run to share our interpretation and discoveries of this tale. While there may be much better production’s of this show, more rehearsed, with greater budgets, and actual crews; what we have is so unique because it is a product of us – a combination of our minds, emotions, experiences – blood, sweat and definitely some tears. No matter how many times one or all of us goes on to do this production again (and we probably all will) it will never be the same! And it is this uniqueness that I know we will all honor and celebrate and share in our !
performances tomorrow afternoon and Saturday. Thank you guys for all ☺
- Olivia (BEKIE)
In Honor of Our Last Night of Rehearsal
List of Things That Have Been Proven by Google to be Brutally Efficient:
1) Free Trial for Self-Defense Techniques in Jackson Heights
2) The Shadowmage Infiltrator in Magic the Gathering
3) The Flametongue Kavu in Magic the Gathering
4) The Trek Madone 6.9 Pro DA Bicycle
5) The Pittsburgh Steelers
6) The Swedish Death Metal Band "Scar Symmetry"
7) The Art of Corporate Soulcraft
8) The Chinese (According to some guy's blog)
9) The Official JPP Production of Twelfth Night (Not to be confused with October's Twelfth Night in the Park which did not make this coveted list)
10) The San Antonio Spurs
We are competing to be on a list of greats, ya'll. I had a wonderful time rehearsing with everybody today, and I cannot wait to share this show with whomever comes tomorrow and Saturday. Thank you all so much for such a wonderful, safe, supportive process, and rest well.
- John
1) Free Trial for Self-Defense Techniques in Jackson Heights
2) The Shadowmage Infiltrator in Magic the Gathering
3) The Flametongue Kavu in Magic the Gathering
4) The Trek Madone 6.9 Pro DA Bicycle
5) The Pittsburgh Steelers
6) The Swedish Death Metal Band "Scar Symmetry"
7) The Art of Corporate Soulcraft
8) The Chinese (According to some guy's blog)
9) The Official JPP Production of Twelfth Night (Not to be confused with October's Twelfth Night in the Park which did not make this coveted list)
10) The San Antonio Spurs
We are competing to be on a list of greats, ya'll. I had a wonderful time rehearsing with everybody today, and I cannot wait to share this show with whomever comes tomorrow and Saturday. Thank you all so much for such a wonderful, safe, supportive process, and rest well.
- John
To the cast and designers
I cannot really articulate how important and memorable this process has been for me to be a part of.
So
Instead, I'll let you all know that your work is in a really great place to share with the rest of the school. What I hope you have all got from this is the importance of keeping yourself on top of your game, no matter what the parameters of the project. High Budget, Low Budget or no Budget - you all must always be working at the crest of your training, instinct and intelligence.
Actors - I also hope you will continue to develop and foster relationships with lighting designers. They can be like OZ behind your character's curtain - pulling the levers that you dont need to, adding depth and layers to your work.
So tomorrow, demand the best from yourselves. And share that with the rest of the school. Try not to inflict yourselves on them. Hide the obstacles that you think are plaguing you (sickness, self doubt, proving yourself to a student/teacher, etc). No action has direction or life when sacrificed to an overbearing obstacle. Instead, remember why you like the play, like working with this company, like this school (tough sometimes, maybe) and like acting. Share that.
Above all, serve the story, speak with the audience and support your company members.
Because Im pretentious, Im now going to quote Shakespeare :
Just as Hamlet finally understands how simple, and yet deadly his mission is, Hamlet turns to Horatio and says:
"We defy augury; there's a special providence in the fall of a sparrow. If it be now, 'tis not to come; if it be not to come, it will be now; if it be not now, yet it will come: the readiness is all."
Be ready
matt
So
Instead, I'll let you all know that your work is in a really great place to share with the rest of the school. What I hope you have all got from this is the importance of keeping yourself on top of your game, no matter what the parameters of the project. High Budget, Low Budget or no Budget - you all must always be working at the crest of your training, instinct and intelligence.
Actors - I also hope you will continue to develop and foster relationships with lighting designers. They can be like OZ behind your character's curtain - pulling the levers that you dont need to, adding depth and layers to your work.
So tomorrow, demand the best from yourselves. And share that with the rest of the school. Try not to inflict yourselves on them. Hide the obstacles that you think are plaguing you (sickness, self doubt, proving yourself to a student/teacher, etc). No action has direction or life when sacrificed to an overbearing obstacle. Instead, remember why you like the play, like working with this company, like this school (tough sometimes, maybe) and like acting. Share that.
Above all, serve the story, speak with the audience and support your company members.
Because Im pretentious, Im now going to quote Shakespeare :
Just as Hamlet finally understands how simple, and yet deadly his mission is, Hamlet turns to Horatio and says:
"We defy augury; there's a special providence in the fall of a sparrow. If it be now, 'tis not to come; if it be not to come, it will be now; if it be not now, yet it will come: the readiness is all."
Be ready
matt
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