Day Thirty FourCelebrate

CLASSES:
Movement: After warmup we finished our lazzi. Ben and I were the second of the remaining groups, and I thought it went pretty well. I journaled about it in my other blog, which I pasted at the end of this entry. Then we watched a video about Meyerhold. Amazing stuff, and George was really excited to share it with us. An audience he doesn't often have. More in Observations/clicks.

Combat: Reviewed sword work, doing some sequences.

Speech: n/a - Jack had to travel for the holidays, and all we had left on the syllabus was further drills, so we agreed to skip class. For the first time I was able to go out with my fellow students for a while after class, since we got out at 8:30.

OBSERVATIONS/CLICKS:
The important stuff first. We are done with all the classes but Stage Combat this term. The rest of the term will be the same schedule, but rehearsing (and performing) for the recital piece, The Venetian Twins. I expect getting to attempt a fusion of the various disciplines and subjects we've been working on will be invaluable. I'm still wondering if staying with the academics for the whole quarter wouldn't have been more effective, though it does feel like we reached more than arbitrary points in the syllabus, but real milestones. I've not yet been disappointed with ETI (or Freehold for that matter), so I'm not going to fuss.

George talked with us after the Meyerhold film. It was pretty moving, and he was quite choked up. On an observational level it is interesting the intensity of experience is not limited to the students. Someone said he had a Robin moment, which irritated me at first. The only time most of us had this kind of ensemble experience before was in Meisner, when Robin taught it. So I figure it was just a comment on the ensemble atmosphere. That perspective made it more meaningful. And like that previous experience, emotions were in everybody's throats, not just the instructors or students. This program is meaningful in a deep way to the instructors as it is to us. Also, letting us see that is a leap of trust which makes them a part of the ensemble. I'd guess both of these are things which we all appreciate and cherish.

He was telling us he didn't like having to do the critiques he gave us as part of the class. What he really wanted to do was celebrate. (About this time everyone's eyes were leaking.) It isn't often, he went on, that he gets to work with people who are so dedicated, willing, and able to give it their best. He loves the advanced training, loves watching our journey, and wants us to celebrate. It is amazing what I see my classmates do, and much of that is thanks to George. I mentioned in one of my earliest entries here it seemed people's work took a large leap simply by committing to ETI, which is a huge financial, artistic, and social obligation. That realized willingness instantly transformed most if not all of us, removing many of our internal walls. It created promises too, of more walls to be smashed, and where we could go. It sure as Hell feels like those promises are being faithfully and joyfully (usually) kept by student and instructor alike.

Here is what I wrote about our lazzo in my other blog:

I had a bit of a personal triumph last night. My Lazzi scene partner and I did our presentation. Like most of the presentation exercises it was only three or four hours of development and rehearsal. We chose the 'lint' scenario. I see a piece of lint floating in the air, which lands on my foot. I pick it up and blow it away, it lands on Ben's ankle, he picks it up and blows it away and it lands just above my ankle. Then we move the landing point up the body as the lint delivery gets more energy and focus, from blowing softly to flicking to blowing hard then touching, getting it stuck in my ear, to a self-administered Heimlich Maneuver delivery, to a 1960's karate chop delivery, then delivery by belly punch, then by a big roundhouse slap, and finally a groin kick after which I ran away.

We got a satisfying and surprising number of great laughs. George said he'd never seen anyone go into stage combat with the lint game -- I think he got a kick out of it. We got feedback on how we could improve and build upon it, like moving the floating lint faster, making our focus and the picking up of the lint more specific in some of the switches (which we were working on), exaggerating our size difference, etc. From several other recent exercises I kept finding I need to narrow the scope of the action. Not lessen the action, but keep it more focused and on track. I was thinking about that, and in working with Ben it was easy. We both make and take suggestions well -- he was my Pinter partner and I enjoyed working with him which is why I sought him out as a partner for this exercise. The fact he works extremely close to my office is an added convenience.

The technical and training achievement was in a improved keeping of the focus and extending and building the specific circumstance and action. I felt good about it, and there was no feedback about needing to follow a thought or promise to conclusion. The more personal joy or achievement was the laughter we got.

I loved some of the suggestions from the class for a reversal at the end, after I've delivered the groin kick and run away. One idea was mine, to come back out and steal his wallet. Another was to mourn over my victim, then stomp or kick him and leave again. Don suggested going back out and picking up the lint and leaving with it. I'd love to combine two, go steal his wallet, do a take or two as I prepare to leave, then turn and pick up the lint put it carefully in the wallet and go.

When we are doing the work in class there are two types of laughter. Ensemble laughter is one sort. It is genuine, and comes from your relationship with and knowledge of the performer(s). The other is audience laughter, things any audience would laugh at. Most the laughter Ben and I got felt like the latter type, or so I'm claiming. Often it had that startled start when something surprises and strikes you as funny before you even process it. On top of that some classmates commented on how well our stage combat bits worked. I should have remembered from Neutral Mask last year that physical work and comedy works well for me. The physical work continues to surprise me in how it serves me in both performance and preparation. Though I'm at last learning to accept I can be physically funny or engaging, it still surprises me. The surprise is most tasty when it is not simply 'big guy' gags.

I had dinner with Rachel on Wednesday -- the day after this class. She suggested I give a copy of my blogs to George and Robin as a gift after ETI. I don't really know if they'd enjoy it, but I do know the idea makes me very, very apprehensive. Maybe that is a good enough reason in and of itself to do it. I won't decide or think about it anymore until the year is about done, so I don't edit my thoughts.

Happy Thanksgiving!