Presentation Feedbacks
Through the theorists presentations, I learned some useful theories plus some practical warmups. Applying to the scene I am working on, I think the theories that are serving for the exaggeration will be more suitable.
I think because the play is mostly a memory, as Tom, I should exaggerate my body in the acting. In the scene, I might exaggerate my depression towards Amanda. However, when the timeline goes back to the present, I will stop exaggerating because it is the reality. I should be regret, or, according to the Method, I am regretful.
I do learn from the Peter Brook. He was a commercial theater director, his work must be influenced by this in term of the exaggeration. He emphasizes the use of space, which I think will be a new thing that I need to focus on in my acting. In the scene my group presents, both Amanda and Tom are the space user. Amanda is the character that takes most of the space in the house, trying to control everything in the family. On the other hand, Tom's space is in else where, where is outside the family. His space in the house was pushed away by Amanda. Thus I think when I'm acting on stage as Tom, I should think more about being uncomfortable at home. My space is relatively small in the family, also being constantly crashing by Amanda's aggression.
Stanislavsky's Magic If also works for the memory part of the play. It constantly put an actor into the context of the play. It helps you to develop your ideas how would you do if you are the character? In the scene that I will present, Tom is thinking of leaving the family and had planed it for days. His heart is not in the family anymore, as if it is somewhere else like a bar where he hangs out with friends. Back into the monologue, Tom might find that he still have piece of heart left in the house, with Laura probably. It is not necessary to go back but not complete for sure. These if, these assumptions based on the truth will help me to generate the emotions faster and more realistic.
When I am focusing the blocking, the actions, I should not forget the relationship between Tom and Amanda, and the truth that this is a memory play. This is from Adler's one of the theories, focusing on the relationship. To achieve this, I will think and remind myself the Magic Ifs to keep the energy and the tension of the play.
There are meaningful and useful warmups that I learned, too. In the Lee Strasberg's warmup of practicing five senses and retrieving emotional memory, I learned how to connect to an emotion quicker. It will be useful in the rehearsals and the acting to achieve the goal of this scene.
I think because the play is mostly a memory, as Tom, I should exaggerate my body in the acting. In the scene, I might exaggerate my depression towards Amanda. However, when the timeline goes back to the present, I will stop exaggerating because it is the reality. I should be regret, or, according to the Method, I am regretful.
I do learn from the Peter Brook. He was a commercial theater director, his work must be influenced by this in term of the exaggeration. He emphasizes the use of space, which I think will be a new thing that I need to focus on in my acting. In the scene my group presents, both Amanda and Tom are the space user. Amanda is the character that takes most of the space in the house, trying to control everything in the family. On the other hand, Tom's space is in else where, where is outside the family. His space in the house was pushed away by Amanda. Thus I think when I'm acting on stage as Tom, I should think more about being uncomfortable at home. My space is relatively small in the family, also being constantly crashing by Amanda's aggression.
Stanislavsky's Magic If also works for the memory part of the play. It constantly put an actor into the context of the play. It helps you to develop your ideas how would you do if you are the character? In the scene that I will present, Tom is thinking of leaving the family and had planed it for days. His heart is not in the family anymore, as if it is somewhere else like a bar where he hangs out with friends. Back into the monologue, Tom might find that he still have piece of heart left in the house, with Laura probably. It is not necessary to go back but not complete for sure. These if, these assumptions based on the truth will help me to generate the emotions faster and more realistic.
When I am focusing the blocking, the actions, I should not forget the relationship between Tom and Amanda, and the truth that this is a memory play. This is from Adler's one of the theories, focusing on the relationship. To achieve this, I will think and remind myself the Magic Ifs to keep the energy and the tension of the play.
There are meaningful and useful warmups that I learned, too. In the Lee Strasberg's warmup of practicing five senses and retrieving emotional memory, I learned how to connect to an emotion quicker. It will be useful in the rehearsals and the acting to achieve the goal of this scene.
Comments
Post a Comment