Wringing the Sponge

CLASSES
Combat:
Reviewed our fight choreography and added the final bit, which includes me fighting with my left hand, getting B's sword, then killing B as they take my sword from my left hand. A (me) is faking the right arm is hurt more than it is, so when we create a situation where A thinks they're getting my sword I have my little surprise. My partner for the certification test will be Trina, and we'll be getting our choreography for the unarmed fight (which B will get to win) on Sunday or Tuesday.


Voice (Brennan):
We did a warm up using some general physical and voice warm up and a bit of the Linklater zones. Then people worked monologues. Today Robert, Lori, and Amber. I hesitated so I won't be in the next block either. A lot was an interview/discussion on the character and the world.

Acting/Verse/Text (Robin/Hal):
We started off discussing the different approaches to Shakespeare we are getting exposed to. Specifically how the audition class focuses on Bart's preference for breathing at the end of the line only. As long as we are aware there are many takes, and develop an ability to work with the different styles instead of picking some arbitrary approach of our own. (That is for the director.) For example, Bart feels he has the right approach, and two other people have commented that he got it from John Barton at the Royal Shakespeare Company, where that approach is used as a text analysis tool, and not a performance proscription. It has served him well, as the only time I've been disappointed with Shakespeare at the Intiman is when they don't have the Bard in the season line up.

It makes me wonder a bit. I'd guess the more organic directors, those who are more eclectic in their approach would be the more challenging to work for. Instead of leaning back into a narrow rule, you have to explore everything. That's a lot more work. Of course you can still do the work, but the temptation would be to overlook the bits a specific director doesn't give weight to. I'll bet they give weight to a performance that has more depth because of that work.

We worked our Petruccio scene first. I did my damnedest to go where John and Robin were suggesting, and did okay. I felt way over the top, clownish, with a little self-consciousness in there too. It was more fun than a barrel of monkeys.


OBSERVATIONS/CLICKS
I felt like I was in new territory with the scene work for The Taming of the Shrew. Being out there like Fonzie, with my legs very flexed, using a very low voice, and of course obvious physical innuendo. It's the sort of place I've been scared to go. I've no idea how good it was, but it was extremely fun and freeing.

I'm in a frustrating mode. The last couple days I've gotten extra sleep. Trying to balance class needs versus work and health. I have to get enough sleep. I also think I'm going to return to the more simple life style. I was forgoing all drinking, crosswords and comics on class or drill days, all caffeine, and most sugar. I've been moderate this quarter, and I've decided last quarter's regimen worked better. Especially with the more challenging class work. Well, I may try holding onto my caffeine for a bit longer. At least until my espresso runs out this week.

Well, I'm feeling some progress, and that is encouraging. When I get too tired discouragement becomes my biggest enemy. I'm sleeping better, working better, and absorbing more in class and homework.