Thursday, March 18, 2010
Lily's Purple Plastic Purse
Last week I found out that I got the part of Grammy, Lily's grandmother in the Playhouse Theatre's: The Playhouse Playground Series production of Lily's Purple Plastic Purse. This will be my first show "acting" with Playhouse. I am very excited. Right now I am eagerly awaiting the rehearsal schedule. The show will happen a week or two after we finish The Veiwpoints Project, so I am going to be really busy and loving every minute of it. YAY!!!! More to come as I learn more.
The Viewpoints Project:: Intro
Viewpoints is a physical acting technique created by Ann Bogart. There are nine viewpoints:
1. Time (How fast you move on a scale of one to ten. One being standing still, ten being top speed.)
2. Duration (How long you do something)
3. Spatial Relationship (How close or how far away you can get to/from someone within your acting space.)
4. Shape (What shapes can you make in the space)
5. Architecture (What is in the space with you.)
6. Kinesthetic Response: Reacting to stimuli in the space (this could be music, someone clapping loud in your ear, etc.)
7. Gesture (making gestures)
8. Topography
9. Repetition (doing what someone else is doing)
The first time I experienced a Viewpoints session, I fell in love with it. It was during a rehearsal for ORU Theatre's Hamlet production. It was so much fun. Ever since then I have been wanting to do more. This year, I got the opportunity to be a part of a show we are doing called The Viewpoints project. The show is also a class, so I have been in class with all my fellow cast members, the stage manager and asm, and the director since January. It has been amazing. I feel like I am growing physically as an actor. I seriously felt myself being more comfortable on stage during my Musical Theatre recital, and I think that is partially because of this class. Also probably because I am taking Meisner again this semester. Anyway, we are starting to put together the show now, and I am hoping to get here more often to post some of the things I am learning and discovering during this process. :D
1. Time (How fast you move on a scale of one to ten. One being standing still, ten being top speed.)
2. Duration (How long you do something)
3. Spatial Relationship (How close or how far away you can get to/from someone within your acting space.)
4. Shape (What shapes can you make in the space)
5. Architecture (What is in the space with you.)
6. Kinesthetic Response: Reacting to stimuli in the space (this could be music, someone clapping loud in your ear, etc.)
7. Gesture (making gestures)
8. Topography
9. Repetition (doing what someone else is doing)
The first time I experienced a Viewpoints session, I fell in love with it. It was during a rehearsal for ORU Theatre's Hamlet production. It was so much fun. Ever since then I have been wanting to do more. This year, I got the opportunity to be a part of a show we are doing called The Viewpoints project. The show is also a class, so I have been in class with all my fellow cast members, the stage manager and asm, and the director since January. It has been amazing. I feel like I am growing physically as an actor. I seriously felt myself being more comfortable on stage during my Musical Theatre recital, and I think that is partially because of this class. Also probably because I am taking Meisner again this semester. Anyway, we are starting to put together the show now, and I am hoping to get here more often to post some of the things I am learning and discovering during this process. :D
Friday, January 29, 2010
Image work for MidSummer Night's Dream
In our seminar class this semester, we are focusing on auditioning. For my classic piece I have chosen a monologue from A Midsummer Night's Dream. The monologue goes as follows:
What, can you do me greater harm than hate?
Hate me? Wherefore? O Me!
What news, My Love?
Am I not Hermia?
Are you not Lysander?
I am as fair now as I was erewhile.
Since night you loved me, yet since night you left me.
Why then - you left me - Oh the gods forbid!
In earnest, shall I say?
I am not halfway as connected as I need to be before my audition next Thursday. So I am doing a few things to get ready. I have already cast my Lysander.
I am starting by doing some image work for the aforementioned night:
The grass in the meadow is about ankle high, lush, and green. I can feel it on my toes as I walk easily though the blades. Lysander is right behind me, his strong hands gently on my waist. He smells good. I can smell him over all the other smells around me. I smell him over the grass, the flowers, the crisp night air. I feel complete, secure. "Let's stop here," he says to me as he tightens his grip on my waist like a masterful rider, pulling the reins of his prize mare. I immediately respond, stopping in my tracks and turning to look into his beautiful green eyes. "Right here, my love?" I whisper.
He nods, as he kisses my forehead and begins to set up camp. When we are settled, I sit down in the grass and he sits right next to me. We look at each other. His tunic leaves his shoulders exposed. His biceps intrigue me. I kiss them, trace them with my finger, and then lay my head on his shoulder.
"This is true bliss," I tell him. He shifts a little, gently pulls my chin up, and places his lips over mine. As if tasting his favorite ripened fruit, he begins to sample me. I don't ever want him to stop. I am slipping deeper into a flood of desire for more of everything that is him.
"Lysander, wait!" I say suddenly. He looks a little confused. I kiss him sweetly but swiftly before I explain. "We are very close to ruining my virtue, my love. I think we need some distance."
He looks at me with sincere eyes and says, "Hermia, your very presence satisfies me completely, and I do want more of you. But I will not destroy your virtue. We will be married tomorrow, and I will have my way with you then. Sleep well my love and dream of me. I will love you forever."
What, can you do me greater harm than hate?
Hate me? Wherefore? O Me!
What news, My Love?
Am I not Hermia?
Are you not Lysander?
I am as fair now as I was erewhile.
Since night you loved me, yet since night you left me.
Why then - you left me - Oh the gods forbid!
In earnest, shall I say?
I am not halfway as connected as I need to be before my audition next Thursday. So I am doing a few things to get ready. I have already cast my Lysander.
I am starting by doing some image work for the aforementioned night:
The grass in the meadow is about ankle high, lush, and green. I can feel it on my toes as I walk easily though the blades. Lysander is right behind me, his strong hands gently on my waist. He smells good. I can smell him over all the other smells around me. I smell him over the grass, the flowers, the crisp night air. I feel complete, secure. "Let's stop here," he says to me as he tightens his grip on my waist like a masterful rider, pulling the reins of his prize mare. I immediately respond, stopping in my tracks and turning to look into his beautiful green eyes. "Right here, my love?" I whisper.
He nods, as he kisses my forehead and begins to set up camp. When we are settled, I sit down in the grass and he sits right next to me. We look at each other. His tunic leaves his shoulders exposed. His biceps intrigue me. I kiss them, trace them with my finger, and then lay my head on his shoulder.
"This is true bliss," I tell him. He shifts a little, gently pulls my chin up, and places his lips over mine. As if tasting his favorite ripened fruit, he begins to sample me. I don't ever want him to stop. I am slipping deeper into a flood of desire for more of everything that is him.
"Lysander, wait!" I say suddenly. He looks a little confused. I kiss him sweetly but swiftly before I explain. "We are very close to ruining my virtue, my love. I think we need some distance."
He looks at me with sincere eyes and says, "Hermia, your very presence satisfies me completely, and I do want more of you. But I will not destroy your virtue. We will be married tomorrow, and I will have my way with you then. Sleep well my love and dream of me. I will love you forever."
Monday, October 5, 2009
The Glass Menagerie: Laura Wingfield
My mother, Amanda, makes me nervous. I can't stand it when she is upset. Even if she is not upset with me. Even if she is fighting with Tom. I don't like it when they fight. Tom is already clearly unhappy here. If they keep fighting, if he keeps upsetting mother, and she keeps nagging him in return, he is going to leave. And there will be no one here but me and mother. My objective is to make Tom feel sorry for fighting with Mom. I want to say his name sternly.
Tom! It's nearly 7.
Tom! It's nearly 7.
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