I gotta’ get these scripts in my brain…the monologue and the scene. Tomorrow is show-time and I’m just nowhere near where I want to be. Very frustrating. Add in, I had to plan my Monday variety show (we had a big Puppet Slam which was very well attended and successful), the money’s run out (that’s acting!), and we’ve been assigned a rather intricate project in Script Analysis where we draw a Freytag graph of The Tempest with pretty much everything that happens in the play. And we don’t get the weekend to do this one, this is due Friday. I haven’t even given it a thought yet. I’m too wound up about doing well on the performances tomorrow. Today, I have Alexander and one more monologue rehearsal with my Director. We got together yesterday and she came up with the genius idea of having me at one end of an end table talking to Robespierre seated at the other. It’s a monologue, so of course he’s not really seated there. But get this! The table is aimed out at the audience. As if they are in the place of Robespierre, and I run the monologue from the other end and around the table. I’ve never seen that kind of setup in a monologue before. I think it’s innovative and will be well received…so long as I say the damn words.
Here are the journals:
ACTING FOR DIRECTORS:
Got a great mark on my play analysis of Tracers today. We began the monologues. I go on Wednesday. I still don’t have the thing memorized, but I did have a chance to get with my Director at the Law Library and actually, she was quite helpful, cordial, and we’ll be working again today at 4pm. If I can just get the words under my belt, I think this will be a good one. Watching the folks go before me was nerve-wracking. A few were calling for lines, I could sense their nervousness and I guess picturing myself up there in their place made me tense. I took a great “Alexander Technique” breath and allowed my shoulders to soften. I got this!
Praise the Christ-child, our professor has given us one more day to get our stuff memorized, which is great because I GOT NOTHING! Instead, we continued the Uta Hagen exercise and talked a bit about that and what we got out of it. I found it engaging, learning how to invest props with something more than their functional use. ie. Water Bottle: What’s in it? Is it cheap or expensive? Hot or cold to the touch? Metal or plastic or wood? How do you pick it up? Delicately? Angrily? With a big confident hand? With just a few fingers? Where has it been, where is it going? Does it have a history? Is it clean or dirty? All these things fold in to a richer performance. Very cool.
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