Friday, September 12, 2008

Feste next episode




Today in Voice class with Joe, we did a really stimulating exercise that made me think of how to use the Rauh space with a sense of confidence.
We stood opposite a wall, just far enough away so that we could not touch it. We closed our eyes and Joe guided us through a series of events: sand under the toes, looking out on the horizon of the sea, preparing a canvas for painting, painting what we see, using the breath every time we would stroke, incorporating the entire body in the painting process, becoming the paint, noticing a storm in the distance, experiencing the storm, letting the storm die down, putting finishing touches on the painting while always including breath, and then rolling up our canvases and coming into the space, and opening our eyes,
I learned so much about personalization and specificity. By the time I finished my painting, I was so familiar with my image that I probably could have recreated it on an actual canvas. People were saying that they felt uninhibited…they were being active and seeing instead of being ‘the seen.’
I think that keeping this in mind will help me to find that ease that Matt talks about. The ability to simply stand in front of that audience as the character without actor tension.

Status

After rehearsing Act I, scene ii last night with the status difference between Viola and the Captain, I felt a giant difference in the way Viola sees things. I began to reevaluate my feelings and opinions of a lot of what happens in the play.

For some reason, I was looking at the other characters in Twelfth Night through a rainbow and sunshine filter through which my opinion of everyone had been pretty positive. Now, really implimenting Viola's status, much has changed. She certainly dislikes Malvolio and Valentine for how rude they are to her throughout the play, but it is more than that. They are servants and even though she is playing one herself, she is not used to being treated like that. The last person who was anything but sweet to her, she probably fired and never heard of them again. I think this will really help me change up and strengthen some of my tactics.

My biggest discovery was Antonio. Up until now, I had been playing that she pretty much stuck with her "Oh gosh, thanks for saving me!" opinion of him throughout the rest of the show with a few "hey, silly, stop lyings" thrown in. Now, however, it is clear to me that as soon as Orsino expresses his feelings of dislike towards Antonio, she is fully against him. Her opinion of him worsens throughout the play up until Sebastian is revealed, at which point I don't even think she remembers that Antonio is even still there. . . does anybody remember he is there? Sorry Jon-Michael.

love

Katie

Wednesday, September 10, 2008

Schedule

Wednesday :
(In the WELLS)

6.30pm – 9.00pm – Act 1
9.00pm – 10.30pm – Act 2


Thursday :
(In Studio C)

1.30pm – 2.45pm – Act 2 cont
2.45 pm– 4.20pm – Act 3

(In the BROWN / MOIRE)

6.30pm – 7.30pm – Act 3 cont
7.30pm – 9.30pm – Run 1, 2 & 3 with notes from Don
9.30pm – 10.30pm – Act 4


Friday :
(In the WELLS)

6.30pm – 8.00pm – Combat with Catherine Moore
8.00pm – 9.00pm – Act 4 cont
9.00pm – 10.30pm –Act 5


Saturday :
(In the RAUH)

12.00pm – 4pm – TECH…. WEEEEEEEEE!!!!!!!!!!!!

Malvolio's Dirty Dreams

http://www.youtube.com/watch?v=L9as3GwRpFk

A Blow o' the' Lippes

Something Matt asked of us a while back, that I, at first considered only generally and idealistically, was "When considering swords, what kind of weapon would your character use?"

I have now investigated a bit more thoroughly, and I think I can definitively say Toby's weapon of choice would be the Sabre.

There are three weapons in modern competitive fencing: the foil, the sabre, and the epee. The foil is a very light thrusting weapon that you score only with the tip/point of the blade, with the target area confined to the torso. The epee is a heavy thrusting weapon, with the entire body comprising the target area. It is sometimes known as the barbarians' weapon because the target area is so broad, and it does not adhere to the rules of right of way, the way foil and sabre do. The epee blade itself and its rules are most similar to an actual duel.

While the whole heavy thrusting and barbarian thing sound good for me, I maintain my psyche and technique is most like the sabre. Sabre is kind of a hybrid between the other two blades. It combines the ferocity of the epee with the structure of the foil, because the target area is again confined to the torso. The technique tends to be much more aggressive and attack based. It is the only weapon where cutting is a valid way to score a hit, and so the strokes tend to be more broad and ferocious, as opposed to the more acute thrusts and lunges of the other two weapons. Sabre fencers appear to kind of barrel at each other, and the mentality is kind of "the best defence is a good offence."

These kinds of attacks are apparent in the way I interact with the other characters, especially Malvolio and Andrew. The kind of bullying I'm constantly subjecting Andrew to is reminiscent to the furious advances and slashes of the sabre. My interactions with Malvolio are a bit different but still truthful to the style, because Malvolio actually parries some of my attacks, but rather than preparing to parry his riposte (counter-attack), I follow up with yet another attack (known as a remise). The only person who ever really puts me on the defensive is Maria, because I am completely disarmed by her stillness and rigidity. She changes my inherent tempo, and therefore can get me to do whatever she wants.

The restriction of the target zone represents my history with structure and rules, and I continue to demonstrate adherence to the training I've been subjected to throughout my youth.

So there's the kind of brutish attack, attack, attack mentality, with respect for "the modest limits of order." So you can bet, when I draw my sword, even though it looks like an umbrella, it's a sabre.

Monday, September 8, 2008

rehearsal tonight

Tonight we are in the WELLS, so please help move things down there quickly at the top of the call

6.30pm – 6.40pm warm up

6.40pm – 7.45pm work III, i
(Amanda released at 7.10pm)

7.55pm – 8.30pm work III, iv
(up to Anthonio’s entrance)

8.30pm – 10.30pm run III, iv to end of play



PS - Rest of the week's schedule is TBA, pending the run this evening

Maria at the movies

So over the past 24 hours, I have watched "Jesuscamp", "Twelfth Night" (the Helena Bonham-Carter version), a few snips of "Remains of the Day", and parts of the recent "Pride and Prejudice", all in a quest to understand more of where Maria comes from, both physically and mentally.

"Jesuscamp" is chilling; it is terrifying that 25% of our country's population is a part of such a radical philosophy of indoctrination. Anyways. Check out this picture of a little girl from the film (this shot is while the leader of the camp is telling the children what an awful place the world is and how they must beg God to save the world and to rescue them from their evil ways):


This gives me a visual image of what Maria wants to reduce Malvolio to. Although sick and to me, very wrong, the sheer terror and helplessness of this little girl's eyes as she looked up to the roof above her head and just searched for some kind of help were so awful, so wretched. This is the point Maria wants to get Malvolio to. She wants to break him and brainwash him. Matt, your note about me needing to use wounding tactics on other actors is SO true; this is the perfect opportunity.

Other thoughts from the movie:
*there was an interesting quote at the beginning of the film, regarding fundamentalist, Evangelical Christians, which said there's "nothing gentle, nothing compassionate - nothing Christian about what they're doing." This helps with figuring out Maria. She may be a righteous Catholic, but you would never guess it by the way she treats Malvolio. She wants him to burn; there's a reason she got the nickname "Bloody Mary". Another quote to drive Maria - "There are two kinds of people in the world. People who love Jesus, and people who don't." Malvolio is the latter, because he loves himself.
*When Becky (the leader of the camp) is trying to get the children to "crack" and repent, she does not take her gaze off them. May start trying to incorporate this visual "cornering".
*Some home-schooled kids had to say a pledge of allegiance.. to a bible. I think maybe Maria brings a bible into the scene where she and Toby confront Malvolio about his madness. Does anyone have an older-looking book or bible I could use for this? (Also still looking for a nightgown, a robe, slippers; Goodwill didn't have anything that wasn't ex-sexy).


On to "Twelfth Night" (cue sigh of relief from disbelief). These were some things I noticed:
*Across the board, the stakes for all of the characters are soooo much higher, yet there are moments of such lightness to contrast this. I am hungry to incorporate this.
*Perhaps Maria works through the lips as articulators? At least when angry?
*Maria should not be afraid to point, or to call out. She does not have time for all this "let's be friends and use euphemisms" crap. She has too much other stuff to do, so let's get down to business, people!
*Does Maria want to object when Olivia asks her and Malvolio to "give us the place alone"? Wouldn't it be unusual for Olivia to ask to spend time alone with a man, especially while in such a drastic state of mourning?
*Something unrelated to the film, but which I happened to think of during the middle of it - I have to be on top of those consonants. If vowels represent emotion, and consonants represent willpower, Maria definitely exudes willpower and treats it as the superior of the pair.
*Does Maria have moments where she *doesn't* actually know everything that is going on, or why? For example, with the Welkin dance, maybe there is that moment where Maria is just so appalled at the sight before her that she cannot gather her wits to speak. Sure, she is quick-witted. But she is also a human being at the end of the day.
*Can Malvolio's approach before Olivia also be comical? The staging works perfectly for a blend, since I stand behind Olivia. Can I not try to keep a straight face, but find it increasingly difficult?
*Random, but interesting - Feste gives Viola her necklace back at the end of the play (which she had discarded when she took on her brother's appearance). I just found this so telling of how much Feste really knows is going on. Very interesting concept.
*Matt, you told me this when we talked this summer, but it only really sunk in after watching the film; this really is a play about growing up. These people go from being self-indulgent and trifling people who find out so much about their character and their needs by the end of the play. The way the characters deal with the Malvolio situation (his being helped after being "notoriously wronged") was very telling of how much they had grown up, Toby's ending the games which Olivia despises, etc.

On "Remains of the Day" (Emma Thompson character):
*For physicality, can work with more dainty, ladylike hands. Also, play with lifting the chin, as in ballet (I had already been doing a bit of this, but more from a haughty standpoint. How is Maria graceful? She is educated in the ways of being an Elizabethan lady, so this is definitely an element of her).
*Can I tilt the chin slightly to the side as I analyze others? (i.e., Sir Andrew)
*Emma Thompson seemed like "all business" at parts to me. This is useful in reinforcing how seriously Maria takes her position. Emotions are secondary (perhaps because they are difficult for Maria to express).

On Lady Catherine (Judy Dench) in "Pride and Prejudice":
*I can look over the entire body of whomever I disapprove of; it's like Maria is trying to find one stitch out of place so she can jump their ass about being a phony. She is ruthless if you are an idiot.
*Try literally "looking down your nose" at everyone.
*A GREAAAT way to shoot down a remark by someone else which they think will be funny is to not laugh or respond at all. I can still let the comment land, but I can make the choice to ignore it because of its sheer stupidity.