Destination
2-3 minutes exercise should be 1-2 hour rehearsal
Telephone conversation
Test how your attention goes out to the 4th side. 4th side - what the actors are looking at. Markers piked out, it's freeing to look at something. The audience can disappear.
Changes of self
People are capable of behaving in very different ways. When am I arrogant, stupid, funny, angry, smitten, irritable? You don't pretend to be someone else, you find the character persona within you.
Immediacy - Looking for lost item
1. The hunting, the expectation of possibly finding it somewhere.
2. Dealing with the problems of anticipation while searching for something lost or mislaid.
Imagine inner item w/a subconscious activity
ie. you button your jacket while thinking about groceries and in your mind your thinking about/visualizing the grocery store - the shelves.
Conditioning Forces - Endowment
Recreating physical sensations. An endowed reality (ie. Hot iron w/steam, dangerous, distracint. Use fake steam, A dull knife, hot water/pot)
1. Endow a physical sensation. Body is wet or clothes are all wet.
2. Sensation of having to pee
3. Drunkenness - Key is to isolate a part of the body that is out of control and you struggle against that w/your arms or your head. You don't stumble out of control your body parts struggle to stay in control because things give out. Your knees give yout, your head flops over. You struggle to over come it. When sitting, it's the head, elbow and hands that struggle. The eyes try and focus on an object, the head and hands struggle to go there w/too much weight. It's an attempt at normalcy.
4. Conditions - wet, looking, crawling, night-time or very low light, hard to walk, walk in sand, injury.
Waiting
The ultimate test. Fidgets, looking around, meandering, inner objects, lack of activity to fiddle w/objects.
Three Entrances
Preparation and its influence on the entrance.
The 4th Wall
The guarantee of privacy while using, not ignoring, the visual area of the audience.
Talking to yourself
• When we talk to ourselves we usually are unaware of it and we are also usually preoccupied w/an activity
• For every monologue ask yourself, what wouldI do here if I wasn't talking? What behavior?
• Try acting a scene out without the dialog.
• Don't stick to a mask. What's going on underneath? People never say what they mean. Don't play the part (mask) too well. Show what's underneath the surface.
• We talk to ourselves to regain control.
• Don't demand immediate horror, let discovery happen
• We laugh when we recognize ourselves
• When the actor tries to be funny or thinks they're funny, then they stop being funny
• Don't discuss a scene too much
Talking to an audience - Inner Monologue
• Eyes locked to targets above audience
• Find your place, grounding
• Interaction between 2 people who are smitten, they steal glances.
• Actor who is so pent up that it's hard for them to be grounded is a born actor and needs to be on stage all the time.
Simple task in historical costume and setting
1. The costume can pull out a character. A hat, shirt
2. Actions will be because of reasons. (ie. Victorians wore corsets and thus sat up straight)
3. Fashion and social morals are the only things that have changed in humans
4. Does the actor love the character
5. Staggar conditions exercise
Notes:
1. Do you really understand the scene?
2. When you send the action how does one receive? Don't overpractice the receiving.
3. See what you see and react to it. Hear what you hear and react to it.
Outdoors
1. Your relationship to space and nature
2. Finding forward-moving occupation without the help of furniture and props.
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