Oh dear, think I really should of written in this before today but I really don’t like sharing my feelings sometimes (wow that sounded so negative) , especially as these are the ‘personal’ pages. Just feels kinda funny to me at the moment. Yeah, what to say, had auditions yesterday, really had my heart set on Cora and didn’t get it!! Oh well, whats that saying about killing your babies or whatever…Kinda feel I’ve been typecast in a role…the ‘Mum’! although deep down I know theres a lot of stuff going on with Martha. I don’t know, but I got this image of her with a secret stash of alcohol in a hip flask or something. Oh and I reckon she’s a jealous woman too. And where is her hubby? Am really looking forward to working with Jenna too as Wilma. Wonder how long we’ve been friends for? I’m really keen to get into the analysis of Martha over the break and am extra interested in the idea of Archetypes that we were talking about in class the other day. Hey Kate, question, as an exercise, is it sometimes good to play with your character in the complete opposite of what you think their archetype might be, just to see what happens. I love that sort of stuff, oh and animals as well. Oh Martha, what animal are yooouuu? A chook, no too obvious, a mouse or maybe something more imposing, like a cat. She sure is into everything and definately curious!
Oh and I was reading the other day about what Eldritch actually means: weird, uncanny, unearthly; suggesting a presence of supernatural forces. Interesting…
Well, have been getting into the dialect work today and have found out alot of possible insights into Martha and her aspirations just by answering the questions in the handbook, which is great. I’m a gossip, self rightous, nosy, judgemental but I also love my daughter very much and would never hurt an animal. I’m trying to ‘fit in’, it’s the safest way to live in Eldritch and I’ve been that way so long I wouldn’t know how to change and nor do I want to. This could all change of course, and probably will but for the moment…I”d hate to be too interpretive at this early stage anyway… To be different is dangerous. People who are different are a huge threat in this town. I”m also interested in the influence the women’s liberation movement has had on Eldritch and it’s women…more details later… In terms of Laban I’m thinking a Dab to start of with and see where that goes. Then again, I’ve so many questions to ask myself about her yet maybe I’m getting ahead of myself, but it’s a way in right so i’m giving it a bash. It’s interesting, people don’t really say that much about Martha Truit, but Martha Truit certainly says alot about other people. It seems that the outcasts of the town are some form of entertainment..well, Eldritch no longer has Driver waving his ribbons down the main street anymore so something had to replace it. It’s like people in 16th century England going to public hangings and such, that was a form of entertainment. Sometimes when I read the play I get such a feeling of a woman just trying to do what she thinks is right and is nessecary to keep her and her daughter happy and on a straight path, and then suddenly it’ll just switch to this feeling of pure evil and bitterness, part of the stuff that is tearing the town apart. Or maybe it’s so much simpler than that; i’m a bitter, near middle aged woman who’s had a rough life and makes herself feel better by bagging anyone a bit different. Sticking to a certain path makes her feel safe. Maybe thats a bit melodramatic but this is just stream of consiousness now….first impressions so to speak…
oh heavens to betsy, is that the time, must dash…
Well, up on the floor this week. Such a short week, trying not to think about the fact that we only have 3 weeks of inclass rehearsal…aaahhhh..
Was good to begin making the shape of the play in terms of staging but it’s a tricky one. I think it’ll look great though once it’s up and running. Just sorting out Martha’s timeline of events had me stumped for a while but became clearer once we were up on the floor. Have also been doing some mime practice, picking up a lemonade jug, a glass….where is the most weight, how light or heavy is it when i pick it up and how does that change my fingers if i then pour liguid in it. Oh and powdering my nose and putting my little hat on to go to church. I think these things are going to be really important in terms of believability for the audience and I’ve never done this stuff before but the sense memory exercises are certainly helping. I’ve got a Morris book that has a whole section on just picking up a coffee cup so thats been handy as a start.
Have got a few different options regarding my objectives, actions and tactics for the scenes i’m in but there a few scenes that I’m really not sure if my interpretation is along the right path so am looking forward to working them this week and asking some q’s.
Seeya
Ok, on the floor again. Started with a session with Bernadette exploring the scenes. She gave us some great stuff to play with, like what is underlying for Wilma and Martha in each scene…any ‘baggage’ that may be affecting us and how that informs our objectives in the scenes. We also played with eye contact and non eye contact…not looking at each other brings out alot of impulses that, if I was looking straight at Wilma, I might have missed.
Jenna and I have been working with animal personas…we tried chooks, toads and then Jenna came up with ducks…which really seemed to suit M & W. We also played with improvising the ‘moment before’ which is so vital for our scenes as we are on and then off again so quick and change time so much that we need to be able to make it clear that it’s a separate conversation. We also worked on heightening some of the underlying feelings in the scenes..eg..outrage etc. I’d like to do more on this. Did some imaging work on Thursday but the floor was bloody cold and I really couldn’t concentrate so worked some Laban instead and went through blocking stuff. I find imaging done best in a WARM comfortable space with some music in the background.
Bye
The Week Off
Watched footage of bible belt sermons, Evangelical types etc on Youtube. Got me thinking how I (Martha) must get such a rush from singing those hymns in church. I also felt I get a bit of a rush from saying things like ‘we must accept the blame upon ourselves’ & ‘it’s easy to see the devils work’. I sense memoried the church I go to. There used to be this creepy abandoned church in Glastonbury near Gympie and my parents and sister and I used to go there to visit some family friends when we were little. My sister and I always used to play in the church..it was tiny, dusty and there was a statue of Mary that was broken on the floor. I can’t believe I’d forgotton this, but going back in time to it I could just feel the wooden pews, the musty smell. The dried grass just outside the old wooden steps.
Also, really got a clear image of my porch, the view Wilma and I have to look at.
Went through the scenes and drew up an ‘emotional cocktail’, then heightened each of the emotions in the scene. I always find this a really helpful exercise. Especially when I got the the Blackie scene. Martha is really fond of Blackie. I don’t think I get much conversation from my husband, so when Wilma isn’t around it’s nice to have someone to talk to. My hate for Skelly really starts in earnest when Blackie dies. Also worked on exploring Martha from different animal perspectives..the biting quickly attitude of a hyena etc. Also tried some circle of concentration exercises. I only ever used this ex with Shakespeare before but found it really helpful. I find it really interesting what comes out when it’s as though I’m solely talking to myself. Found my soul song too although that may change. Keep going back to my objectives and am still wanting to work that Cora/Martha store scene as I’m still not totally sure what I’m trying to do to her there. Really feel I want to be running the play as a whole now to get some flow going.
bye bye
Friday April 18
Run
Good to go through whole play. Found the main thing I don’t know is where I’m meant to be moving, which was a bit of a shock. Feels like Martha is wandering around the stage willy nilly at the moment. Not overly worried about it as thought I was gonna feel like that on first run and I’m now aware of what needs more work. Focused on finding the detail in each scene now that the script is out of the way. Still feel I’m flailing in the dark sometimes but even so I felt more involved in the story now that I’m reacting to others in the space. Was also focusing on the lines…know I got a few of the exact words wrong but am aware which ones they are so should be ok next time. Little unsure of where some of my lines go…especially those little seemingly ‘out of nowhere’ snippets. This I’m sure will be fine with repitition.
Wore Martha’s shoes for the first time today. Really helped, got a real feel of where Martha leads from, and combined with the animal work I’ve been playing with, I felt like an upright God fearing woman.
Worked on the Cora/Martha store scene with Adele after run. Ran through a few different imagination exercises and had a great time. Was a really fun rehearsal, which I think is really important sometimes…to just have some fun. We found a lot of stuff too. For my character: sincerity in the scene and how Cora reacts to that are really interesting. Even though Martha isn’t a great fan of Cora, I still think I’m trying to be genuinely interested and sincere when I see her…even if it’s only to get the latest gossip. Adele is lovely to work with too, really responsive and truthful reactions.
Got a few things I’m gonna focus on next run, but will wait till after to write about it coz I might change my mind before then.
toodles
Hi Jane
thanks for your note … your updates haven’t been showing in the latest posts listing on the right sidebar … probably why I haven’t visited you for a bit. I watch to see when a new one goes up and go in then.
Anyhow, looks as though you are having a fun time process-wise. I was interested to read how the memory of the church at Glastonbury from your childhood came back with all the sensory awareness of the time. That’s something Stanislavski really understood in terms of jogging the imagination for actors. Glad the animal work and the shoes are helping.
Yes it is all about running now and telling the story via the character’s journey across the play. Runs are vital.
Look forward to seeing you on Monday afternoon for a run.
Ok, this is a wrap up of the whole week. On Monday worked with Bernadette on the Cora/Martha store scene, which is one I’ve been wanting to do for ages as I had several different approaches to it I wanted to try. It’s such a fine line playing a bitch, because of course, I don’t think I’m a bitch, I have my reasons for being this way. I also don’t want Martha to come accross as a caricuture during her scenes. We experimented with this during the rehearsal of the store scene and pretty much whenever I (Martha) think I may be going to far and I’m not going to get my objective, I pull back and try another tactic. So much more light and shade came out in that scene which is great. I love that scene, it has the potential to be so different each time. We went with a suggestion underlying that it’s a fight to win situation, sometimes I might win it, sometimes Cora. So much conflict going on…juicy stuff.
We then worked on Blackie death scene. For this scene I’ve found sense memory work particularly helpful. Also, in all of my scenes, not just this one, what is it I’m suppressing or hiding. It felt really different working the scene with first Fi as Lena, then Bel…completley different energies which is great as it changes the scene slightly as my reactions to Lena’s way of coping with Blackie’s death are different. As for exercises which I’m a bit of a stickler for to be honest, I interviewed Martha the other day. Not easy on your own but hey, I got alot out of it, what I think of various people etc. Also went walking to the Rocklea markets for fruit and veg and found myself rambling on deciding what items to get for Lena’s lunch. I find these exercsises valuble but to be honest I’m not sure knowing what my favorite food is is really going to help me in a scene so I constantly keep going back to my objectives, how I’m getting it. Tried the scenes in gibberish, I always find this helpful. Ashlee and I did this ex while rehearsing the Cora/Martha store scene and I found it really makes me focus on my scene partner, gaging what they’re trying to tell me. On a technical level it also helps for line learning.
Had a run through Thursday of the 1st Act. I have to say, I felt really lost and uncomfortable. I have never, at this stage in a rehearsal process felt as not ready and uncomfortable about performing. And I’ve been working on this stuff..what the hell is going on! The last time we did a run I was off book and didn’t miss too many lines, this time I felt all over the place. I can’t believe it. I’ve dedicated this weekend to going over all my cues again and again as I feel this is something thats not working at the moment. I really feel the most valuable thing for me now is running it again and again. I was really dissapointed to hear we didn’t have a run on Sunday actually as I think it was needed. Oh then there was Friday, got a migraine, vomited profusely pretty much all day, which was great fun and not really that productive.
just a quick update. I share your concern re not having a run tomorrow. However, given the number of people who had indicated they were not going to be available for the call, I decided to hold till Monday.
Weekly wrap up 05/05/08
After hearing that the play was being put back a few days I have to say I was relieved as I didn’t feel anywhere near ready which has never happened to me at such a late stage in a rehearsal process. I think the process has taken a pretty big leap over just a span of three or four days.
Mainly this week I’ve been working to incorporate all the notes I’m given after a run. Also did some voweling on Sunday which I found brought out some emotions that had previously just been underlying. I found it helpful doing voweling later in my process, and I don’t mean voweling and rolling around on the ground for two hours per line…I mix the two, mainly working on image words or action words, people etc. It helps the words drop in for me too.
The other main thing I’ve worked on this week is just going over cues again and again…I’ve struggled with this during this play, moreso than ever before on a show. I don’t feel Martha has dropped in for me just yet, but I am beginning to find more playful actions in the scenes with Wilma which is good. I feel this week I”ve focused on mainly technical issues that I know I have trouble with. Hard glottal attack, doing the pidgeon head wobble when I’m speaking which I know I’m doing during some scenes.
Went over scenes exaggerating my attitude to people…Cora…Skelly etc as one of my notes was how I feel about these characters wasn’t clear enough.
I started off with a focus to find the naturalism in Martha as sometimes I feel as if I am playing her like a cariciture. My goal now is to trust myself, relax and listen.
Bye
Weekly wrap up 05/05/08
After hearing that the play was being put back a few days I have to say I was relieved as I didn’t feel anywhere near ready which has never happened to me at such a late stage in a rehearsal process. I think the process has taken a pretty big leap over just a span of three or four days.
Mainly this week I’ve been working to incorporate all the notes I’m given after a run. Also did some voweling on Sunday which I found brought out some emotions that had previously just been underlying. I found it helpful doing voweling later in my process, and I don’t mean voweling and rolling around on the ground for two hours per line…I mix the two, mainly working on image words or action words, people etc. It helps the words drop in for me too.
The other main thing I’ve worked on this week is just going over cues again and again…I’ve struggled with this during this play, moreso than ever before on a show. I don’t feel Martha has dropped in for me just yet, but I am beginning to find more playful actions in the scenes with Wilma which is good. I feel this week I”ve focused on mainly technical issues that I know I have trouble with. Hard glottal attack, doing the pidgeon head wobble when I’m speaking which I know I’m doing during some scenes.
Went over scenes exaggerating my attitude to people…Cora…Skelly etc as one of my notes was how I feel about these characters wasn’t clear enough.
I started off with a focus to find the naturalism in Martha as sometimes I feel as if I am playing her like a cariciture. My goal now is to trust myself, relax and listen.
Bye
Hi Jane
not sure what’s happened here but you’ve posted twice … once as Jane and another as ‘Anonymous.’ Did you log in after you’d done the first one? Anyhow, doesn’t matter. It’s all here.
I wouldn’t worry too much about the caricature aspect of Martha. As a matter of fact, playing archetypes (here she is the Gossip) can make you feel as though the larger than life character traits are leading you down the caricature trail. We are often frightened about this thinking that it is somehow ‘wrong’ and that naturalism is god. It isn’t necessarily; the style of the show and the way a director wants to delineate can mean that this is the way to go. She like Wilma is a Chorus figure i.e., what she says is more important than who she is. Keep focussing on her role in the story and play it strongly.
Thanks Kate,
As per what we talked about before the run tonight, I did pull Martha back a little bit. Not a huge amount I don’t think, but enough that I felt alot more of the larger stuff is now bubbling under the surface, still there but not bashing at everyone with a stick. I also think finding stillness in the scenes really did help. But I’m actually glad I’ve gone quite big with Martha as it’s alot easier to take it back down a notch rather than boost it up from nothing.
Mmmm absolutely. I thought you got her plumb right last night. She’s still got the strength of her (nasty) convictions and they are coming through loud and clear.
Performance 1
Well, after Wednesdays dress rehearsal, which I felt awful in as I had a panic attack just as I went on stage. Haven’t had any for a year and I really wasn’t expecting it. They’re awful, it feels like I’m in a tunnell and can’t see my way out. I honestly don’t know how I managed to get through my scenes and I really can’t remember it, I only now I went on automatic and at least the work I’ve done helped me through. Anyway, went to the councillor on Thursday as I was freaking out it would happen again as I haven’t had to deal with them for a year. So I got me some advice, and got prepared for opening night…which felt GREAT! I know some cues were missed but it was dealt with. Energy felt high but focused, unlike the previous night. I was focusing on relaxing and listening, which I’ll try for again tonight. I got a real sense of the ensemble too, how we each fit in to tell this story about this crazy little town, and it felt good to be a part of that.
Oh and thanks for the little vid Kate, it’s lovely. Is there any way to save it to my computer? This blog gets shut down after this doesn’t it?
Oh dear, think I really should of written in this before today but I really don’t like sharing my feelings sometimes (wow that sounded so negative) , especially as these are the ‘personal’ pages. Just feels kinda funny to me at the moment. Yeah, what to say, had auditions yesterday, really had my heart set on Cora and didn’t get it!! Oh well, whats that saying about killing your babies or whatever…Kinda feel I’ve been typecast in a role…the ‘Mum’! although deep down I know theres a lot of stuff going on with Martha. I don’t know, but I got this image of her with a secret stash of alcohol in a hip flask or something. Oh and I reckon she’s a jealous woman too. And where is her hubby? Am really looking forward to working with Jenna too as Wilma. Wonder how long we’ve been friends for? I’m really keen to get into the analysis of Martha over the break and am extra interested in the idea of Archetypes that we were talking about in class the other day. Hey Kate, question, as an exercise, is it sometimes good to play with your character in the complete opposite of what you think their archetype might be, just to see what happens. I love that sort of stuff, oh and animals as well. Oh Martha, what animal are yooouuu? A chook, no too obvious, a mouse or maybe something more imposing, like a cat. She sure is into everything and definately curious!
Oh and I was reading the other day about what Eldritch actually means: weird, uncanny, unearthly; suggesting a presence of supernatural forces. Interesting…
Well, have been getting into the dialect work today and have found out alot of possible insights into Martha and her aspirations just by answering the questions in the handbook, which is great. I’m a gossip, self rightous, nosy, judgemental but I also love my daughter very much and would never hurt an animal. I’m trying to ‘fit in’, it’s the safest way to live in Eldritch and I’ve been that way so long I wouldn’t know how to change and nor do I want to. This could all change of course, and probably will but for the moment…I”d hate to be too interpretive at this early stage anyway… To be different is dangerous. People who are different are a huge threat in this town. I”m also interested in the influence the women’s liberation movement has had on Eldritch and it’s women…more details later… In terms of Laban I’m thinking a Dab to start of with and see where that goes. Then again, I’ve so many questions to ask myself about her yet maybe I’m getting ahead of myself, but it’s a way in right so i’m giving it a bash. It’s interesting, people don’t really say that much about Martha Truit, but Martha Truit certainly says alot about other people. It seems that the outcasts of the town are some form of entertainment..well, Eldritch no longer has Driver waving his ribbons down the main street anymore so something had to replace it. It’s like people in 16th century England going to public hangings and such, that was a form of entertainment. Sometimes when I read the play I get such a feeling of a woman just trying to do what she thinks is right and is nessecary to keep her and her daughter happy and on a straight path, and then suddenly it’ll just switch to this feeling of pure evil and bitterness, part of the stuff that is tearing the town apart. Or maybe it’s so much simpler than that; i’m a bitter, near middle aged woman who’s had a rough life and makes herself feel better by bagging anyone a bit different. Sticking to a certain path makes her feel safe. Maybe thats a bit melodramatic but this is just stream of consiousness now….first impressions so to speak…
oh heavens to betsy, is that the time, must dash…
Well, up on the floor this week. Such a short week, trying not to think about the fact that we only have 3 weeks of inclass rehearsal…aaahhhh..
Was good to begin making the shape of the play in terms of staging but it’s a tricky one. I think it’ll look great though once it’s up and running. Just sorting out Martha’s timeline of events had me stumped for a while but became clearer once we were up on the floor. Have also been doing some mime practice, picking up a lemonade jug, a glass….where is the most weight, how light or heavy is it when i pick it up and how does that change my fingers if i then pour liguid in it. Oh and powdering my nose and putting my little hat on to go to church. I think these things are going to be really important in terms of believability for the audience and I’ve never done this stuff before but the sense memory exercises are certainly helping. I’ve got a Morris book that has a whole section on just picking up a coffee cup so thats been handy as a start.
Have got a few different options regarding my objectives, actions and tactics for the scenes i’m in but there a few scenes that I’m really not sure if my interpretation is along the right path so am looking forward to working them this week and asking some q’s.
Seeya
Ok, on the floor again. Started with a session with Bernadette exploring the scenes. She gave us some great stuff to play with, like what is underlying for Wilma and Martha in each scene…any ‘baggage’ that may be affecting us and how that informs our objectives in the scenes. We also played with eye contact and non eye contact…not looking at each other brings out alot of impulses that, if I was looking straight at Wilma, I might have missed.
Jenna and I have been working with animal personas…we tried chooks, toads and then Jenna came up with ducks…which really seemed to suit M & W. We also played with improvising the ‘moment before’ which is so vital for our scenes as we are on and then off again so quick and change time so much that we need to be able to make it clear that it’s a separate conversation. We also worked on heightening some of the underlying feelings in the scenes..eg..outrage etc. I’d like to do more on this. Did some imaging work on Thursday but the floor was bloody cold and I really couldn’t concentrate so worked some Laban instead and went through blocking stuff. I find imaging done best in a WARM comfortable space with some music in the background.
Bye
The Week Off
Watched footage of bible belt sermons, Evangelical types etc on Youtube. Got me thinking how I (Martha) must get such a rush from singing those hymns in church. I also felt I get a bit of a rush from saying things like ‘we must accept the blame upon ourselves’ & ‘it’s easy to see the devils work’. I sense memoried the church I go to. There used to be this creepy abandoned church in Glastonbury near Gympie and my parents and sister and I used to go there to visit some family friends when we were little. My sister and I always used to play in the church..it was tiny, dusty and there was a statue of Mary that was broken on the floor. I can’t believe I’d forgotton this, but going back in time to it I could just feel the wooden pews, the musty smell. The dried grass just outside the old wooden steps.
Also, really got a clear image of my porch, the view Wilma and I have to look at.
Went through the scenes and drew up an ‘emotional cocktail’, then heightened each of the emotions in the scene. I always find this a really helpful exercise. Especially when I got the the Blackie scene. Martha is really fond of Blackie. I don’t think I get much conversation from my husband, so when Wilma isn’t around it’s nice to have someone to talk to. My hate for Skelly really starts in earnest when Blackie dies. Also worked on exploring Martha from different animal perspectives..the biting quickly attitude of a hyena etc. Also tried some circle of concentration exercises. I only ever used this ex with Shakespeare before but found it really helpful. I find it really interesting what comes out when it’s as though I’m solely talking to myself. Found my soul song too although that may change. Keep going back to my objectives and am still wanting to work that Cora/Martha store scene as I’m still not totally sure what I’m trying to do to her there. Really feel I want to be running the play as a whole now to get some flow going.
bye bye
Friday April 18
Run
Good to go through whole play. Found the main thing I don’t know is where I’m meant to be moving, which was a bit of a shock. Feels like Martha is wandering around the stage willy nilly at the moment. Not overly worried about it as thought I was gonna feel like that on first run and I’m now aware of what needs more work. Focused on finding the detail in each scene now that the script is out of the way. Still feel I’m flailing in the dark sometimes but even so I felt more involved in the story now that I’m reacting to others in the space. Was also focusing on the lines…know I got a few of the exact words wrong but am aware which ones they are so should be ok next time. Little unsure of where some of my lines go…especially those little seemingly ‘out of nowhere’ snippets. This I’m sure will be fine with repitition.
Wore Martha’s shoes for the first time today. Really helped, got a real feel of where Martha leads from, and combined with the animal work I’ve been playing with, I felt like an upright God fearing woman.
Worked on the Cora/Martha store scene with Adele after run. Ran through a few different imagination exercises and had a great time. Was a really fun rehearsal, which I think is really important sometimes…to just have some fun. We found a lot of stuff too. For my character: sincerity in the scene and how Cora reacts to that are really interesting. Even though Martha isn’t a great fan of Cora, I still think I’m trying to be genuinely interested and sincere when I see her…even if it’s only to get the latest gossip. Adele is lovely to work with too, really responsive and truthful reactions.
Got a few things I’m gonna focus on next run, but will wait till after to write about it coz I might change my mind before then.
toodles
Hi Jane
thanks for your note … your updates haven’t been showing in the latest posts listing on the right sidebar … probably why I haven’t visited you for a bit. I watch to see when a new one goes up and go in then.
Anyhow, looks as though you are having a fun time process-wise. I was interested to read how the memory of the church at Glastonbury from your childhood came back with all the sensory awareness of the time. That’s something Stanislavski really understood in terms of jogging the imagination for actors. Glad the animal work and the shoes are helping.
Yes it is all about running now and telling the story via the character’s journey across the play. Runs are vital.
Look forward to seeing you on Monday afternoon for a run.
Ok, this is a wrap up of the whole week. On Monday worked with Bernadette on the Cora/Martha store scene, which is one I’ve been wanting to do for ages as I had several different approaches to it I wanted to try. It’s such a fine line playing a bitch, because of course, I don’t think I’m a bitch, I have my reasons for being this way. I also don’t want Martha to come accross as a caricuture during her scenes. We experimented with this during the rehearsal of the store scene and pretty much whenever I (Martha) think I may be going to far and I’m not going to get my objective, I pull back and try another tactic. So much more light and shade came out in that scene which is great. I love that scene, it has the potential to be so different each time. We went with a suggestion underlying that it’s a fight to win situation, sometimes I might win it, sometimes Cora. So much conflict going on…juicy stuff.
We then worked on Blackie death scene. For this scene I’ve found sense memory work particularly helpful. Also, in all of my scenes, not just this one, what is it I’m suppressing or hiding. It felt really different working the scene with first Fi as Lena, then Bel…completley different energies which is great as it changes the scene slightly as my reactions to Lena’s way of coping with Blackie’s death are different. As for exercises which I’m a bit of a stickler for to be honest, I interviewed Martha the other day. Not easy on your own but hey, I got alot out of it, what I think of various people etc. Also went walking to the Rocklea markets for fruit and veg and found myself rambling on deciding what items to get for Lena’s lunch. I find these exercsises valuble but to be honest I’m not sure knowing what my favorite food is is really going to help me in a scene so I constantly keep going back to my objectives, how I’m getting it. Tried the scenes in gibberish, I always find this helpful. Ashlee and I did this ex while rehearsing the Cora/Martha store scene and I found it really makes me focus on my scene partner, gaging what they’re trying to tell me. On a technical level it also helps for line learning.
Had a run through Thursday of the 1st Act. I have to say, I felt really lost and uncomfortable. I have never, at this stage in a rehearsal process felt as not ready and uncomfortable about performing. And I’ve been working on this stuff..what the hell is going on! The last time we did a run I was off book and didn’t miss too many lines, this time I felt all over the place. I can’t believe it. I’ve dedicated this weekend to going over all my cues again and again as I feel this is something thats not working at the moment. I really feel the most valuable thing for me now is running it again and again. I was really dissapointed to hear we didn’t have a run on Sunday actually as I think it was needed. Oh then there was Friday, got a migraine, vomited profusely pretty much all day, which was great fun and not really that productive.
Hi Jane
just a quick update. I share your concern re not having a run tomorrow. However, given the number of people who had indicated they were not going to be available for the call, I decided to hold till Monday.
We do what we can!
Weekly wrap up 05/05/08
After hearing that the play was being put back a few days I have to say I was relieved as I didn’t feel anywhere near ready which has never happened to me at such a late stage in a rehearsal process. I think the process has taken a pretty big leap over just a span of three or four days.
Mainly this week I’ve been working to incorporate all the notes I’m given after a run. Also did some voweling on Sunday which I found brought out some emotions that had previously just been underlying. I found it helpful doing voweling later in my process, and I don’t mean voweling and rolling around on the ground for two hours per line…I mix the two, mainly working on image words or action words, people etc. It helps the words drop in for me too.
The other main thing I’ve worked on this week is just going over cues again and again…I’ve struggled with this during this play, moreso than ever before on a show. I don’t feel Martha has dropped in for me just yet, but I am beginning to find more playful actions in the scenes with Wilma which is good. I feel this week I”ve focused on mainly technical issues that I know I have trouble with. Hard glottal attack, doing the pidgeon head wobble when I’m speaking which I know I’m doing during some scenes.
Went over scenes exaggerating my attitude to people…Cora…Skelly etc as one of my notes was how I feel about these characters wasn’t clear enough.
I started off with a focus to find the naturalism in Martha as sometimes I feel as if I am playing her like a cariciture. My goal now is to trust myself, relax and listen.
Bye
Weekly wrap up 05/05/08
After hearing that the play was being put back a few days I have to say I was relieved as I didn’t feel anywhere near ready which has never happened to me at such a late stage in a rehearsal process. I think the process has taken a pretty big leap over just a span of three or four days.
Mainly this week I’ve been working to incorporate all the notes I’m given after a run. Also did some voweling on Sunday which I found brought out some emotions that had previously just been underlying. I found it helpful doing voweling later in my process, and I don’t mean voweling and rolling around on the ground for two hours per line…I mix the two, mainly working on image words or action words, people etc. It helps the words drop in for me too.
The other main thing I’ve worked on this week is just going over cues again and again…I’ve struggled with this during this play, moreso than ever before on a show. I don’t feel Martha has dropped in for me just yet, but I am beginning to find more playful actions in the scenes with Wilma which is good. I feel this week I”ve focused on mainly technical issues that I know I have trouble with. Hard glottal attack, doing the pidgeon head wobble when I’m speaking which I know I’m doing during some scenes.
Went over scenes exaggerating my attitude to people…Cora…Skelly etc as one of my notes was how I feel about these characters wasn’t clear enough.
I started off with a focus to find the naturalism in Martha as sometimes I feel as if I am playing her like a cariciture. My goal now is to trust myself, relax and listen.
Bye
Hi Jane
not sure what’s happened here but you’ve posted twice … once as Jane and another as ‘Anonymous.’ Did you log in after you’d done the first one? Anyhow, doesn’t matter. It’s all here.
I wouldn’t worry too much about the caricature aspect of Martha. As a matter of fact, playing archetypes (here she is the Gossip) can make you feel as though the larger than life character traits are leading you down the caricature trail. We are often frightened about this thinking that it is somehow ‘wrong’ and that naturalism is god. It isn’t necessarily; the style of the show and the way a director wants to delineate can mean that this is the way to go. She like Wilma is a Chorus figure i.e., what she says is more important than who she is. Keep focussing on her role in the story and play it strongly.
Thanks Kate,
As per what we talked about before the run tonight, I did pull Martha back a little bit. Not a huge amount I don’t think, but enough that I felt alot more of the larger stuff is now bubbling under the surface, still there but not bashing at everyone with a stick. I also think finding stillness in the scenes really did help. But I’m actually glad I’ve gone quite big with Martha as it’s alot easier to take it back down a notch rather than boost it up from nothing.
Mmmm absolutely. I thought you got her plumb right last night. She’s still got the strength of her (nasty) convictions and they are coming through loud and clear.
Performance 1
Well, after Wednesdays dress rehearsal, which I felt awful in as I had a panic attack just as I went on stage. Haven’t had any for a year and I really wasn’t expecting it. They’re awful, it feels like I’m in a tunnell and can’t see my way out. I honestly don’t know how I managed to get through my scenes and I really can’t remember it, I only now I went on automatic and at least the work I’ve done helped me through. Anyway, went to the councillor on Thursday as I was freaking out it would happen again as I haven’t had to deal with them for a year. So I got me some advice, and got prepared for opening night…which felt GREAT! I know some cues were missed but it was dealt with. Energy felt high but focused, unlike the previous night. I was focusing on relaxing and listening, which I’ll try for again tonight. I got a real sense of the ensemble too, how we each fit in to tell this story about this crazy little town, and it felt good to be a part of that.
Oh and thanks for the little vid Kate, it’s lovely. Is there any way to save it to my computer? This blog gets shut down after this doesn’t it?