I’m going to start by saying how impressed I am with the blog posts that precede mine. Reading about what everyone took away from this process outlines one of the most rewarding aspects for me, which was the sharing of experiences, and learning from one another. For this and many other reasons, I found Kali’s three-week workshop to be hugely gratifying, and I am extremely thankful that we were able to have her here. I think her presence has impacted our production for the better, and I am excited to see exactly where her influence is manifested in the performances.
It is hard for me to put my finger on what exactly I learned from this whole experience, given that I am still in the process of putting it all together in a way that is meaningful and effective for my role as Marina. I definitely think the emphasis on pure physicality was one of the most valuable lessons for me. The stripping away of the “brain” (i.e. the part of us that wants to analyze every word of the script and turn it into an action or a feeling or a state of mind) in favor of the more instinctive, lizard-brain, physical part of ourselves helped me a lot with understanding how to approach a role and embody a character. In order to present a character in a believable way, we need to find some middle ground with it, some overlap we have that allows us to enter into their world and respond to situations and stimuli the way they would, without losing that part of ourselves that makes it “real”. We need to understand them on some level, and I think the physical level is the first place to start. It is the foundation. Once we have that, we can build on it, add complexity, give it shape and depth. I feel like what I’m saying sounds really abstract. But trust me it makes total sense in my head. I just don’t know if my Kali train of thought is agreeing with my Duke student train of thought. Hopefully you all get what I mean, in some sense.
I think every exercise Kali had us do was beneficial, and I learned something new every time. From acting out scenes with our fingers, to gradually using every part of our body, to all breathing in unison, to holding something in our right hand that we’re afraid of and something in our left that we’re excited by, to giving titles to certain actions… Everything was valuable and impactful, and I think we are a stronger cast as a result of it all. I am confident that we are starting our blocking, etc. rehearsals in a great place. Now, as a result of writing this blog post, I am convinced that my brain has turned into jello and is now dribbling out of my ears, which will actually make it pretty hard for me to focus on something like financial accounting, which is what I need to be studying right now…unfortunately… So that’s it for now. See you all on Wednesday!
Maddy,
Great post. I feel certain that Kalis work will all come together for all of us. The most important aspect for you will be working with your entire body to find your groove with Marinas age. The knitting will be important as well. Make sure you are investigating getting that started. It might be helpful to talk to derrick and to put yourself in a position to start practicing. From your audition last spring, I have been certain you have something really special to offer. Don’t be afraid to ask questions and focus my attention on what you need from me. Remember she is the glue. Of all the characters her feet are most firmly planted IN the ground.
She is the history of the story and she is the future. When the story ends, she endures: offering comfort, sustenance, inspiration and affection. You ARE the actress to make that happen. This role will be yours. Dive into exploring and MAKING CHOICES. Even though my focus may be elsewhere, you have to keep your focus on owning Marina.
http://www.bing.com/videos/search?q=How+To+knit&FORM=VIRE2#view=detail&mid=2B5FCE9394923EE9D5FD2B5FCE9394923EE9D5FD
Thanks for your entry, Jeffery
Maddie —
How did that financial accounting studying go? : )
I’m struck by your comment about the “middle ground” for actors between the analytical approach and the “lizard brain” instinctual approach. There’s so much about acting that’s a balancing act btw awareness that you have as an actor — remembering your blocking, listening for your cues, adjusting body and voice to be seen and heard — and the awareness that you have as a character — being inside the moment, feeling and acting upon your feelings and actions.
If we can build from the beginning, like I think we’ve done with Kali, the kind of fully-present physicality that can support both sides of this work (actor awareness & character awareness) I think you all can see how those sides reinforce each other as you move into the staging portion of the work. I know that Jeff’s been super-impressed with how much unification between text and body you all have been bringing to the table in just two days of blocking. I think they key is going to be how to keep finding and re-igniting connections as rehearsals go on. Certainly things like putting away the scripts, adding props and costume pieces, and getting onto the set will offer new items to invigorate the process, so keeping connections back to the body, seeing it anew will also be critical.
–Jules