Dress Rehearsal


I felt very positive about this rehearsal. There were some big errors concerning props, so that is something it will be important to check and practice with. However, I felt that the run through was smooth and there was only a few line slips which we were able to deal with without coming out of role. I was particularly pleased with my reactions and intonation. I believe that the time away from drama helped because it allowed me to get out of the rut of saying the lines exactly the same way each time and to experiment with something new. This made it more watchable for the audience.

Here are some notes from the rehearsal:

·         Moving my feet around while sat down. I think this was a result of working in costume for the first time. My shoes were easy to slip on and off and my focus was dipping which made me fidget. I need to make sure that my focus is at 100% throughout the play.

·         Share the Applemen story with the audience. Because the audience don’t know the story, it is important that I be defined with my actions and present them out to the audience. If I can try and imagine that I am really seeing these things it will be easier to understand but the story will also be more immersive.

·         Practice with the holster. I had some trouble getting the gun in the holster. I’ll need to practice with this.

·         I was aiming too far away from Megan’s head with the gun. With the blanks it is safe to point it closer.

·         Play about with twisting the gun into Megan’s head. This will make me appear more threatening

·         Emphasis on six people. At the start of the third act we learn that Katurian is confessing to the murder of six people. These other three are her brother, and her parents. This emphasis is in part mockery- she has killed her brother while being in a holding cell, adding another death to the accusations against her- and part threat, as Tupolski still doesn’t know who the other two people are.

Comments

Post a Comment

Popular posts from this blog

The Three Gibbet Crossroads

The Three Gibbet Crossroads is a riddle. It makes the reader guess the man’s crime, which is supposedly worse than the two others- worse than a “Murder” or a “Rapist. Katurian believes that the riddle is unsolvable, and even says that “ There is nothing worse”. However in Tupolski’s view the man’s crime is that of murdering children, and is therefore another link into the mounting case building against Katurian. The story is a long section of text, and could be confusing for the audience, so it was important to mark out spaces that could be used to suggest certain characters or places. Therefore we had a specific area on stage to show the other two iron gibbets and also the entrance of the nuns. Furthermore, in our version of the play, Katurian should be representative of the man with the unknown crime.   This is Tupolski’s way of emphasising his belief that killing children is the worst of crimes and that Katurian is guilty of exactly that. This explains the italics on “...
Read more

Berkoff Style

Image
This Unit we are exploring physical theatre, acting and the style of practitioner Steven Berkoff. In five mins with Steven Berkoff, he describes how he sees himself first and foremost as an actor, as it allows him to play and experiment with theatre. This is seen in the different influences for his work- Plays such as East and West take inspiration from the poetic style of Shakespeare and plays such as Metamorphosis are adaptions of other writer’s works.   He also takes inspiration from other actors and practitioners. Edmund Kean (1787-1833) performed Shakespeare and had a flair for melodrama. This may have had an impact on the exaggerative style of Berkoff. Jaques Le Coq and his pupil Claude Chagrin studied alongside Berkoff. Le Coq’s use of mime, movement, masks and ensemble are all characteristics that can be seen in Berkoff’s work. Berkoffs style almost works to strip down a work and centre it on movement and experimentation of voice. He places these two things above th...
Read more

Emily Positive and Work Positive

Emily Positive We decided that we would flow straight from the club scene into the montage of Jack and Emily’s relationship, helping to separate them through the use of a music and lighting shift into to create a distinction between the two. We thought that a montage would be the best way to show the development of their relationship and build a connection and understanding of their relationship with the audience. By doing this we thought we could make the audience more invested in the relationship so that in the final scene, the argument and ending of the relationship would have more of an effect on the audience. In this way they would be able to empathise more with Jack. We picked out key moments that we could use to make repeating motives, such as the meal and Christmas memories where they both shared a drink together as well as the engagement and the final scene where Emily would give back the ring. Work Positive We wanted to develop Nasifa’s character and also change th...
Read more