Read Through
Having found out our role the company came together today for our first read through. This was really exciting as we got to see the plays story unravel for the first time. We looked at what makes a good ready through and all came to the conclusion that using as much energy as possible would be vital in order to keep the energy up and sustain focus. Despite us identifying this it was hard towards the end to stay completely focused. Furthermore the idea of not tripping over words and trying ready as fluently as possible was a challenge for me as I'm not great at sight reading.
Initial character response
My character is Stephanie Crossley. She was originally written as a male part but it has been altered and I think that this adds something to the character. However this is a huge challenge for me as the character is an atheist academic challenging society's opinions on religion and most prominently the West involvement in Iran and the Nuclear crisis which occurs within the play. I want to do this rolejustice and portray a strong intelligent woman with everything to loose.
Actors Process
Below is a picture of my process and the order in which I approach my involvement in creating work as an actor. I'm pleased Will asked us to do this because it can be tweaked and improved but its the first time I have actually fully recognised my method and I now feel more confident about building such a challenging character.
Here is my revisited actors process:
It is now February and I have looked back over my process added and refined things. This is really important to me because its what I am now going to use in every piece of work I do. Of course it will develop over time and change as I learn new things.
1.
Learn lines. List you given circumstances these are split into facts and opinions from 'what you say about yourself' and 'what others say about you'. Opinions allow you to make assumptions about your character.
2.
Research:
-Books.
-Internet.
-Videos.
-Speeches.
-Articles.
-Interview real people.
3.
Working out your objectives- FIRST ASSUMPTIONS- your objectives will change throughout the rehearsal process as some will not be able to respond to what another actor is offering you or what you have offered them. So these are just some preliminary objectives. The text rides on the action so you must play physical objectives.
4.
Tactics- how you character achieves their objectives.
5.
Metaphor- something that resonates with you and your character, almost like a super-objective.
6.
Approaching the script- actioning. Every thought change is an objective change. Who are you? Where are you? Where have you been? what is the current situation?
7.
Live in the world of the play.
8.
Text de-familiarisation exercises:
- Laban efforts.
- Changing direction with changing thought.
- Speed runs
- Connecting and disconnecting (line proxemics)
- Meisner repetition- this helps find the backbone to a scene.
- Saying the characters thought in a scene.
9.
Preparing for rehearsal:
- Pre-look at script and think of ideas for a new scene- MAKE OFFERS.
- Put your energy into the other person- actors make offers.
- Act like you have something to lose- we are always in a state of flux, CARE.
10.
Rigourous warm up:
- Voice.
- Breathing.
- Body - Intense physical
- Emotions.
11.
Emmerse yourself in the character. DON'T look at other versions of the character.
12.
Have an opinion of the people in your scene or the object you come across.
13.
Play with every way of doing something.
