Approaching the Scripts and Rehearsal Notes
Act 1 Scene 6:
In todays rehearsal I was able to Meisner my speech. My speech is performed almost as a lecture at a london university. For some reason when I entered the space I got really nervous. Nerves have always been something I struggled with but its odd to happen in a rehearsal.
Who am I?
Stephanie Crossley. Doctor of theology and atheist theorist. Single. 52. white British. high status.
What is the present situation?
Giving a lecture . Its the morning and Im speaking about God. Im teaching. People are listening and want to hear what I have to say.
Where am I?
London University. Potentially UCL. SOAS.
Where was I before this began?
On the tube. coming from Notting Hilll Tube station. I live in Notting Hill.
Feedback:
- Listen to everthing thats going on inside and outside the room. This will allow you to be in the moment.
- Use the people, If people aren't listening get there attention. Make eye contact with people. This will allow you to be instinctual.
- Carry the information in the consonants and the emotion in the vowels. You are delivering information. You are teaching.
What did I learn:
From this rehearsal I learn that using the audience is vital. for me to be in the moment I have to listen to peoples reaction of what Im saying because its the only reaction I have. I can be so much better if I learn my lines inside out. i always know my lines for a rehearsal but I need to know them so well that I could do them in my sleep. Furthermore I need to work on my articulation to carry information within my speech. I mist say I don't feel as though I have my character at all. I feel like once I establish this I will feel more comfortable with the speech.
Blocks:
I dont know how to use my physicality when speaking.
How will I get through this block?
By experimenting with physical opportunities and experimenting with character physically.
Omniscience: having complete or unlimited knowledge, awareness, orunderstanding; perceiving all things.
Omnipotence: Having unlimited or universal power, authority, or force; all-powerful.
Act 1 Scene 17:
Who am I?
Stephanie Crossley
What is the present situation?
Having a drink with an old friend. Ruth, the current prime minister of britain. Friends since university.
Where am I?
At number 10 downing street. London. In Ruth’s office.
Where was I before this?
Before this I was in a cab, on my journey from UCL. Where I had been lecturing.
Feedback:
- This scene needs to show a change in gear from both Ruth and Steph.
- Close the gaps. Its really important for the conversation to grow.
- Work on Steph Ruth’s Relationship. Its not clear at the moment.
- Meisner the scene. Listen to one another.
What have I learnt/ what do I feel?
This scene needs to be playful. phoebe and I need to make more offers to another. Seeing as this is the first time we have looked at the scene we were both focussing on our lines and phoebe was using a script which really restricted physically. However we are going to Meisner the scene in our own time and hopefully begin to establish a relationship.
Revisiting the scene:
Phoebe and I have had a session where we worked independently meisnering the scene. We both need to speak into one another more and its really hard not to find conflict within the repetition exercise because its so easy to find conflict. Using imagination to create our back story in this scene is interesting. We looked at the lines ‘you danced so hard you nearly knocked the rectors teeth out.’ ‘He got in my way.’ we played with the context of line being that Ruth had always denied this story and Steph just winding her up. It was a nice moment because We both felt a slight connection.
I feel like Im comfortable enough in this scene to really play now So next time we run Im definitely going to try and find deeper connections and simply rely on my instincts, listen and see what comes out of it. if its rubbish then its rubbish.
Vox Popull vox dei: The voice of the people is the voice of god.
Act 2 Scene 17:
Who am I?
Stephanie Crossley
What is the present situation?
I have seen John for the first time. I don’t like John. I mock john because I think he’s a joke. I once tought him at university. We have contrasting ideologies in terms of religion and Im angry because he left my good friend with no explenation of her sons death. I am on my way home.
Where am I?
In a london park. Near Notting Hill
Where was I before this?
At a meeting in central london.
Feedback:
- Dont close the space off, play three sides and listen to everything thats going on.
- Enter from D and exit on C.
- React to the rain. Play the Given Circumstance.
- Talk into each other.
Blocks:
1.
I dont know how to react to Holly and Johns conversation.
How will get through this block?
I feel like I need to really look at the lines they are saying and have an opinion. I need to establish a relationship with John.
2.
I dont know where to put myself when speaking. It doesn't feel real.
How will i get through this block?
Breath into the stomach. Become present. Listen, react and use the head and chest opposition technique to play three sides.
What did I learn?/ What do I feel?
This scene is really hard for me. Im not feeling a connection and it needs to be much faster. I feel like Pip and Leah need to interrupt more quickly and bring a bit more energy into it. Also I feel really awkward when Im in the space. This is something that is really annoying me because I don't feel like Im physically present as Stephanie. This is something I need to work on by I feel like mine and Gavin's character's need to Figure out a more interesting dynamic.
Revisiting the Scene (1):
So in our run through of the first half This scene seemed slightly better. However the energy still wasn't quite there, pip and Liyah need to be even faster on there ques because those pauses are where the energy dipped. I feel like Im more able to become frustrated with Gavin's messiah like characterisation, because his reactions were vague. Despite this I still felt slightly unsure, perhaps this is my insecurity mixed with a lack of characterisation.
Revisiting the scene (2):
In our most recent run of the play as a whole I found I was least energetic about this scene. Above is a picture of scene (Im on the other side of Gavin) I realise that in this scene I feel almost like Im speaking to know one. This is because the piece is directed on three sides meaning and the group of park goers (the girls and the brolly) are giving the right bank something to watch and I am doing the same for the left. I need to stop feeling lost and play the space. What else really helped was that I actually remembered to bring in my satchel. I never thought it would make much different but the props (bag, notepad, pen) gave me loads more objectives on stage and I felt like I had more purpose.
Above is one page of the chart I made. It establishes every scene I am in, why Im in it and my purpose, Objectives and Props. Will told us to do this because it shows clearly where we need to be when. I feel like this will be really beneficial to all of us because it leaves no room for confusion and in a play which is so incredibly fast and building in tension theres not even any room for confusion.
So we are halfway! I feel ;like the play is in a positive place and things will really start to come together once we have the BOX. When running the piece my main note would be that transitions cant kill the pressure building in the play!
This is my second monologue of the play. With my first I actually struggled quite a bit to connect with one I was saying because I felt there wasn’t much substance. However over time the speech developed and become more honest. I hope the same happens with this one.
What I need to do to make it effective?
CARRY EMOTION IN THE VOWELS
I am delivering an explanation for why Britain should invade Iran. Other than that of a Nuclear crisis.I am clearly informing the audience of the oppressive nature of the regime. Its so important that I convey this clearly because it raises the steaks and adds perspective to the piece.
Feedback:
Revisiting the scene:
IM JUST REPEATING THE SCENE. I did this scene in todays run and Im just repeating, Will pointed this out to me and I new it myself already. This is something I already new. I then did the speech again with everyone listening. This made all the difference as everyone was listening I was able to speak into people, change my emphasis and just play. People giving me there attention was great because Ive felt like my scenes are often talked through as they don't seem to be as 'interesting' as other peoples.
Act 4 scene 8:
This is my final scene. its really line heavy and I must say Im quite nervous about it. I don't know how to play my illness and be clear about whats going on at the same time.
What is the present situation?
Ruth has asked me to come in and participate with the talks she is going to have with john. Ruth is about an hour away from making her decision on Iran. John is trying to hold her back and Steph (I) is trying to encourage her.
Where am I?
Number 10 Downing street. Ruth's office.
Where was I before this?
At home in NottingHill
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Above is a diagram of what our blocking tends to look like. I feel like its a bit stiff and don't really agree with exact blocking. However all three of us do need to be seen by the audience. its an important scene which builds and could be exciting. We have made some really big cuts to the scene because its incredibly long and wordy and in my opinion a bit rigid and dull.
Feedback:
- 'it hurts to be so passionate.' use that passion when speaking, bring it out from the character.
- What are you trying to do to the other character? You must always being think about your Objective.
- Listen to each other. This will help you realise the steaks.
How I feel?
I feel as though Im talking to Ruth and john but nothing is going in. I need to listen to what Im saying and establish what I want to do to change the other two characters emotional landscapes. This will be achieved through finding strong objectives. Furthermore I don't know how to carry the illness through this scene and still being clear. What I am doing in this scene is giving another perspective so its important I am able to be understood but at the same time I have to become incredibly ill. Lastly I feel as though this scene must be 'meisnered'. We need to find ways of listening through long sections of dialogue.
'Meisnering' the scene:
Today Phoebe, Gav and I had an independent rehearsal in the hut. It was really nice to work with just us in the room because we could focus purely on this tricky scene. We meisnered the scene about 5 or 6 times and I think It made a difference as we made a lot of discoveries through playing.
Discoveries:
- Steph mocks John. 'But by all acounts the muslim brotherhood are pretty tech savy John!' This line is one of many examples that I found myself delivery with a mocking tone.
- Steph can over power Ruth. Ruth is tired of this.
- John breaks. This calm exterior is in some ways a facade. Hes passionate like Steph but in a more aggressive way.
-Both John and Steph want Ruth to agree with them. Its a battle.
Revisiting the Scene:
In todays run of act two this scene was far better than any time we have done it before. I think this could be down to the fact we all new our lines perfectly whereas before Gavin and Phoebe weren't 100% because of they had so much to do. However I also think that we realised the energy needed to rocket instead of plummet and we were all putting everything into the scene. I feel like Im starting to find my illness a bit more and im using my core to feel passion and frustration (as strange as that sounds).
Revisiting the scene (2):
In todays dress rehearsal I watched as Ruth found her Gumption. 'I know.' The line came out of ruth and Hit John. Phoebe was commanding the action between herself and john in the second half of the scene and it was so engaging to watch because even though I have seen this play out twenty times, the dynamic was different, fresh and worked.
Revisiting the Scene (1):
So in our run through of the first half This scene seemed slightly better. However the energy still wasn't quite there, pip and Liyah need to be even faster on there ques because those pauses are where the energy dipped. I feel like Im more able to become frustrated with Gavin's messiah like characterisation, because his reactions were vague. Despite this I still felt slightly unsure, perhaps this is my insecurity mixed with a lack of characterisation.
Revisiting the scene (2):
Getting Organised and creating a clear journey with objectives in the world we have created
Above is one page of the chart I made. It establishes every scene I am in, why Im in it and my purpose, Objectives and Props. Will told us to do this because it shows clearly where we need to be when. I feel like this will be really beneficial to all of us because it leaves no room for confusion and in a play which is so incredibly fast and building in tension theres not even any room for confusion.
Half Way mini Evaluation
So we are halfway! I feel ;like the play is in a positive place and things will really start to come together once we have the BOX. When running the piece my main note would be that transitions cant kill the pressure building in the play!
Talk about Iran aka Act 3 Scene 5
CARRY INFORMATION IN THE CONSONANTS
+
CARRY EMOTION IN THE VOWELS
- Be passionate. Speak with purpose and realize the steaks more.
- Be more decisive in the movement, at the moment Im moving unnecessarily.
- speak to people listen to the room and play off of that.
Revisiting the scene:
IM JUST REPEATING THE SCENE. I did this scene in todays run and Im just repeating, Will pointed this out to me and I new it myself already. This is something I already new. I then did the speech again with everyone listening. This made all the difference as everyone was listening I was able to speak into people, change my emphasis and just play. People giving me there attention was great because Ive felt like my scenes are often talked through as they don't seem to be as 'interesting' as other peoples.
Act 4 scene 8:
This is my final scene. its really line heavy and I must say Im quite nervous about it. I don't know how to play my illness and be clear about whats going on at the same time.
What is the present situation?
Ruth has asked me to come in and participate with the talks she is going to have with john. Ruth is about an hour away from making her decision on Iran. John is trying to hold her back and Steph (I) is trying to encourage her.
Where am I?
Number 10 Downing street. Ruth's office.
Where was I before this?
At home in NottingHill
Above is a diagram of what our blocking tends to look like. I feel like its a bit stiff and don't really agree with exact blocking. However all three of us do need to be seen by the audience. its an important scene which builds and could be exciting. We have made some really big cuts to the scene because its incredibly long and wordy and in my opinion a bit rigid and dull.
Feedback:
- 'it hurts to be so passionate.' use that passion when speaking, bring it out from the character.
- What are you trying to do to the other character? You must always being think about your Objective.
- Listen to each other. This will help you realise the steaks.
How I feel?
I feel as though Im talking to Ruth and john but nothing is going in. I need to listen to what Im saying and establish what I want to do to change the other two characters emotional landscapes. This will be achieved through finding strong objectives. Furthermore I don't know how to carry the illness through this scene and still being clear. What I am doing in this scene is giving another perspective so its important I am able to be understood but at the same time I have to become incredibly ill. Lastly I feel as though this scene must be 'meisnered'. We need to find ways of listening through long sections of dialogue.
'Meisnering' the scene:
Today Phoebe, Gav and I had an independent rehearsal in the hut. It was really nice to work with just us in the room because we could focus purely on this tricky scene. We meisnered the scene about 5 or 6 times and I think It made a difference as we made a lot of discoveries through playing.
Discoveries:
- Steph mocks John. 'But by all acounts the muslim brotherhood are pretty tech savy John!' This line is one of many examples that I found myself delivery with a mocking tone.
- Steph can over power Ruth. Ruth is tired of this.
- John breaks. This calm exterior is in some ways a facade. Hes passionate like Steph but in a more aggressive way.
-Both John and Steph want Ruth to agree with them. Its a battle.
Revisiting the Scene:
In todays run of act two this scene was far better than any time we have done it before. I think this could be down to the fact we all new our lines perfectly whereas before Gavin and Phoebe weren't 100% because of they had so much to do. However I also think that we realised the energy needed to rocket instead of plummet and we were all putting everything into the scene. I feel like Im starting to find my illness a bit more and im using my core to feel passion and frustration (as strange as that sounds).
Revisiting the scene (2):
In todays dress rehearsal I watched as Ruth found her Gumption. 'I know.' The line came out of ruth and Hit John. Phoebe was commanding the action between herself and john in the second half of the scene and it was so engaging to watch because even though I have seen this play out twenty times, the dynamic was different, fresh and worked.
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