Matters of Style

Rehearsing that scene for Acting for Directors and I have once again changed my mind about the director. She simply has no fucking idea what she’s doing. Since the scene is too short and so casually chosen the Professor wants more out of it. Now she’s direction my scene partner to exaggerate her words, stylistically smoke a cigarette…it’s just absurd…to pad this thing with bullshit is killing the scene. It’s so unnatural, and the director is exacting to a fault. Three seconds in, “STOP. You’re not…uh…try to…um…can you just…play it with more. More. I need more. Not in your upper register…but energy.” Okay, what the fuck does that mean? She wants more energy out of something she just slowed down to a snail’s crawl. Very frustrating. She demands I don’t play the ‘comedy’ but then she says, ‘play it gay’, and I gay it up and it becomes comic and she says, “YES! YES! THAT’S IT!” I can’t wait to work with the next director, but I’m trying to make the best of things. It’s not like an actor won’t face a crap-director in the real-world so in that regard, it’s educational.

Script Analysis continues to be fun. We’re getting our papers back tomorrow, and my suspicion is that I did well. We’re continuing with defining terms for the class including, POV (Point Of View), Rhythm, Tempo, Animation of Dialogue, etc. I’ll be reading chapters three and four tonight.

Here’s the Journals:




We continued with scenes today, three of them: Rocking the Cabin (Internet Scene), The Children’s Hour by Lillian Hellman, and Angels in America Pt. I, by Kushner. The primary critique from Dr. Young…yes, you guessed it… ‘…more crotch energy.’ I observe it’s pretty true…a lot of the reason scenes seem flat is because there is no sexual tension, or tension without sex (also boring). I’m going to spend the week getting into my crotch.





We did some interesting Stanislavski stuff today. We partnered up and quickly memorized the following script: What Did You Do Last Night


A: Hi!

B: Hello.

A: How’s everything?

B: Fine, I guess.

A: Do you know what time it is?

B: No. Not exactly.

A: Don’t you have a watch?

B: Not on me.
A: Well?

B: Well what?

A: What did you do last night?

B: What do you mean?

A: What did you do last night?

B: Nothing.

A: Nothing?

B: I said, nothing!

A: I’m sorry I asked.

B: That’s alright.


The A’s are given a character and a motivation. The B’s are given a different character and a different motivation. Then we switch partners and repeat the process. What one finds is the infinite variety of delivery of and intention behind these simple lines. I got a lot out of this one.


There was also an exercise were we simply look into our partner’s eyes for an extended period of time. AWKWARD!



9/14 – 15 – 16


Read both texts for Intro to Alexander. Continued with morning and evening Constructive Rest. Wrote the following monologue based upon the ‘I know’ exercise:


Monologue – Alexander Technique – 9/17/2013

Tom Miller[I know the sun is always shining.]                               1-Minute


I remember when I thought

The thing we were doing all year long

Was love.

And then, you just disappeared.

I found out later from friends

I was one of six or seven you disappeared on that same year.

I started thinking about how I could never again

Be sure of reality. (Pause).

I heard a story once

About a man walking down the street,

And he saw a snake, but as he got closer

He realized it was just a stick

The question is: Was it actually a snake

When he saw a snake? Believed it was snake?

Or was it just a stick? (Pause).

One thing I DO know: The sun is always shining,

Even when half the people on the Earth can’t see it.

And I want you to know this: At least I know that I was in love.

At least half of us knew the thing we were doing was love.

And I wanted you to know that the sun is always shining…

You fucking snake!


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