Monday 23rd September:
RELAXATION:
This exercise was very useful in terms of releasing tension because i was able to locate every muscle/ bone in my body whilst being relaxed and laying down in supine. The exercise involved me closing my eyes and totally relaxing into the floor and surroundings I was then able to work through my body consciously because I tried as little as possible to think about each body part that needed to be located and so it just came naturally. I started by working from the bottom of my feet all the way to the crown of my head. After doing the exercise I had to sit upright and i felt a difference in my body because i felt more free and light as before i was felt quite tense. This was an important aspect to Stanislavsky because he believed that in order to act your body needed to be senseless in terms of having no feelings of tension and this also linked with you having to have a childlike state as a child has a freely moving body etc.
MAGIC IF, WHAT IF?:
The magic if
I noticed that this exercise was focusing on naturalism and naturalistic ways of acting. After doing various exercises i noticed that it was hard finding the balance because at times it was too dramatic and would show aspects of Melodrama and so this was interesting to be able to distinguish the two types of acting and then later develop the Naturalism more.
When doing these exercises
This exercise gave me the means to explore my character more because the changes in 'magic if's' were spontaneous and therefore it allowed me to get more into my characters in terms of their thought process and think about their reactions to certain things.
This Personal impacts in terms of what we do and how we do it need to be made aware so we are able to separate. get rid of our personal mannerisms which will then help to become that character
Rehearsal strategy
Deepen understanding of character as it allows us to asatane how you apply it to a specific character eg KRISTINE How they would respond to situations that are not in the text Ibsen has given specific directions etc so by using the magic if it allows us to experiment an explore Improve improvisation skills Realism an reality of responses Three dimensions
When doing these exercises
This exercise gave me the means to explore my character more because the changes in 'magic if's' were spontaneous and therefore it allowed me to get more into my characters in terms of their thought process and think about their reactions to certain things.
This Personal impacts in terms of what we do and how we do it need to be made aware so we are able to separate. get rid of our personal mannerisms which will then help to become that character
Rehearsal strategy
Deepen understanding of character as it allows us to asatane how you apply it to a specific character eg KRISTINE How they would respond to situations that are not in the text Ibsen has given specific directions etc so by using the magic if it allows us to experiment an explore Improve improvisation skills Realism an reality of responses Three dimensions
GIVEN CIRCUMSTANCES:
Understanding the play
'Come down for the party'
Kristine Determines most choices of the actor
Textually based
What's the given circumstances ?
Exercises with different students
6 questions Kristine
Label the scene with the given circumstances
'Come down for the party'
Kristine Determines most choices of the actor
Textually based
What's the given circumstances ?
Exercises with different students
6 questions Kristine
Label the scene with the given circumstances
IMAGINATION:
Allows you to have a stimulus / play in which you can build a piece
Allows your mind to be expressed
Think outside the box
Access emotions 'emotional memory'
Refine
Stanislavsky method: Highest degree of acting: Imagination needs to be childlike
Develop imagination you can create a character due to interpretation
Believe in moments
Element of creation/ imagination and connecting to a text
Rehearsal and performance
Have to imagine that you are Kristine
Allows your mind to be expressed
Think outside the box
Access emotions 'emotional memory'
Refine
Stanislavsky method: Highest degree of acting: Imagination needs to be childlike
Develop imagination you can create a character due to interpretation
Believe in moments
Element of creation/ imagination and connecting to a text
Rehearsal and performance
Have to imagine that you are Kristine
ATTENTION:
Large circles of attention and small circles of attention
TRUTH & BELIEF:
Finding the truth of the moment and believing in it
Truth: They have allot of history between them and have not seen each other in years. Also alloy has not been said between them and they have so much to tell each other and explain to one another.
Moment: The kiss which later lead into Kristine becoming a wife to Krogstad
Truth: They have allot of history between them and have not seen each other in years. Also alloy has not been said between them and they have so much to tell each other and explain to one another.
Moment: The kiss which later lead into Kristine becoming a wife to Krogstad
UNITS/ EVENTS/OBJECTIVES:
BEFORE SCENE:
1)
I read the scene before my own in order to make sure that I understood the development of my character in terms of interacting with other characters
1)
I read the scene before my own in order to make sure that I understood the development of my character in terms of interacting with other characters
2)
This was the first event in the scene which was very important
3)
This was the second
EMOTIONAL MEMORY:
COMMUNICATION:
EXTRA AIDS:
Costume: Long traditional skirt, white blouse
Props: Letters/ letter
Set: Fundamental in order to create his version of theatre
Props: Letters/ letter
Set: Fundamental in order to create his version of theatre
PRODUCTION PROJECT:
Today's lesson was very hands on as we started to think about the staging aspects of the piece as a whole; this brought about the use of two stage blocks and it also left a space in the middle
The rehearsal process was very interesting and it developed allot throughout
The rehearsal process was very interesting and it developed allot throughout
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| Two boxes; one situated at the left and one situated on the right. |
Directors feedback:
The was one of our first run throughs and we all developed
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