Taking Space

CLASSES
Audition:
Group B (the other group) did their third monologues, and then we worked a couple transitions. I was a little surprised at how quick they are. No preciousness, just a quick shift and off on the next monologue. The challenge will be changing worlds/characters on a dime, and of course that is one of the things auditors want to see. Next week we will work on prepared readings.


Movement:
We did the Stone and Slap etudes to warm up initially. Some more active warm ups, then an exploration of the third element we're working with, fire. Then half the class worked monologues using their earth character.

For the fire journey we started as a candle flame in still room, then slight air movements, and gusts, then a bigger candle, which tipped and caught the carpet on fire, the bedspread, the furniture, the curtains, and the ceiling, leaping out the window to the roof, engulfing the whole house, then an adjacent tree. Growing then fading, back until only embers, and a lone jet of flame out the end of a piece of wood. Feeling the pulsing of the embers, and finally rain falling on us.


Speech:
We started working on RP/High British/Standard British accent as an aid for the prepared reading piece in audition. Concentrating on the 'oh' sound, and the 'a' sound (as in cat). The 'a' sound becomes augh (as in caught) for some words, and we got the 'ask list' which lists all the words where that replacement happens, and 'cat' is not one of them. There is more, and I'll be reviewing it, as I think I already have the cd he used in class for examples, and he handed out Dudley Knight's guidance for RP as well.


Acting/Verse/Text (John/Amy):
Much like Friday. We worked the soliloquy first, and the section which was unclear to me, was cleared up a lot.
...
And pity, like a naked new-born babe,
Striding the blast, or heaven's cherubim, hors'd
Upon the sightless couriers of the air,
Shall blow the horrid deed in every eye,
That tears shall drown the wind.
This is going to be an interesting and challenging piece. I know I am generally served best with (an active) stillness on stage, yet this scene demands physical action. Weaving the two together will be a great exercise. I hope it works for the audience.

After the soliloquy Lori and I worked the first few beats again. She is a great scene partner, and I believe she will be a great Lady M, and I look forward to our argument.

Don was sick, so I read his part with David. It is the tent scene from Julius Caesar. I did this five years ago in Rachel's class, and again I was Cassius. It was a pleasure to read it with more experience under my belt, and with partner who was connected to the scene too. My inner ear which is much more critical than it was then was much happier with this reading. It makes a difference to be exposed to the language. I understood it better than I did five years ago, as I remembered the words I'd looked up, and it is easier for me to understand.


OBSERVATIONS/CLICKS
The Shakespeare intimidation factor is ebbing. Slightly and slowly. Just enough to where I'm getting to feel joy in the doing of it. I mention "vaulting ambition" in Mac's soliloquy, and I understood the equestrian reference, but it also resonated with me in reference to the 'vault of heaven.' An association of my own, which helps with the feeling of getting ahead of myself as Mac, or overreaching my station. John and Amy hadn't heard that comparison before, and they liked it too. I've had associations like this before, but was too timid to verbalize them. Or, even though I knew what a word meant, I didn't say. This is a step forward for me, which will help in working with directors. Communicating where I'm coming from will either bring the director with me, or let them decide that isn't the approach they want. Either way, it deepens the communication and with a trusted director I'd absolutely go with their vision as the primary.