Sunday, September 25, 2011
Saturday, September 17, 2011
Afterword
The actor's spirit, above all, needs something to work on- something tonight, something tomorrow, something the day after that. Our intuition and our instincts are always functioning, but our conscious mind needs grist, a plan, a target for our arrows.
What is it you intend to be working on in tomorrow rehearsal? Now, however you answered that question, you need to relate it to specific pieces of text. Everything we imagine brings us back to the text, and it is to the test we bring our insights, and it is there we find our challenges.
When you have an idea, point to the specific part of the text that will allow you to get the idea on stage. You want to make the character "more dependent?" Where is the text that allows that to play? You want to show that she gets progressively "more alienated"; which lines show that progression or *allow the subtext that will? You wish to find the seeds of distrust that lead him to leave her? Point to the lines. Too much of our works as actors is free-floating, general, without being found specifically in the works and/or the circumstances.
Eventually, all our ideas are given flesh on or around the lines. All the tips you've been reading are meant to lead you back to the script. Have the idea, then find the words to play it with. This, I think might be the tips of tips.
Tips- Ideas for Actors, by Jon Jory
I now understand why actors sit in the dressing room looking at their script well after the show has stopped rehearsing and has opened. Until reading this, I shunned going back to the script fearing it would put me back in my head; preferring the recollections of my minds eye of the play as the source of queries, and re-tunings. Having turned a fear to a strength I'm much joyed by this "afterword".
*****Showing subtext- that is a color I'd like to use more. Does anyone know of an author, or play where it's used a lot? Pinter?
What is it you intend to be working on in tomorrow rehearsal? Now, however you answered that question, you need to relate it to specific pieces of text. Everything we imagine brings us back to the text, and it is to the test we bring our insights, and it is there we find our challenges.
When you have an idea, point to the specific part of the text that will allow you to get the idea on stage. You want to make the character "more dependent?" Where is the text that allows that to play? You want to show that she gets progressively "more alienated"; which lines show that progression or *allow the subtext that will? You wish to find the seeds of distrust that lead him to leave her? Point to the lines. Too much of our works as actors is free-floating, general, without being found specifically in the works and/or the circumstances.
Eventually, all our ideas are given flesh on or around the lines. All the tips you've been reading are meant to lead you back to the script. Have the idea, then find the words to play it with. This, I think might be the tips of tips.
Tips- Ideas for Actors, by Jon Jory
I now understand why actors sit in the dressing room looking at their script well after the show has stopped rehearsing and has opened. Until reading this, I shunned going back to the script fearing it would put me back in my head; preferring the recollections of my minds eye of the play as the source of queries, and re-tunings. Having turned a fear to a strength I'm much joyed by this "afterword".
*****Showing subtext- that is a color I'd like to use more. Does anyone know of an author, or play where it's used a lot? Pinter?
Friday, September 16, 2011
Thursday, September 15, 2011
Recent discoveries
Volume kills melody.
This may sound obvious, but ask yourself, do you have it learned as a Mind Concept or a Body Knowledge? Personally, I finally made the move to the latter. Having it there, I've been playing with calibration. Here is the play by play.
As an actor I belong to the school of being heard all the way to the back of the house. Having finally trusted I was doing that, I relaxed about it for the first time in my life. Relaxing made me realize I was louder than I needed to be. So courageously, I took the volume down. I then realized, my pace was a bit too fast for the new volume level, so I trepidatious-ly slowed it down. Going just that hair slower afforded me extra time on the line. With the extra time on my hands, I became curious to find out if I could travel up and down my range a bit more. So, I floated the high notes a little higher and the low's a little lower, thus making what I was saying more expressive. Well, because I was being more expressive with one part of my body ( my voice ), it transferred to the rest my body, filling me with a surge of …of…something I can't explain, but it took my acting to another level. All with 1/8 less effort.
Strangely, because I was more relaxed, and breathing more (you know, all the stuff they teach you in school or class but never learned until found for oneself) I was aware of the entire process listed previously while in the middle of a run. Strange out-of-body feeling.
I've continued this way of working over the last few days with amazing results. The other day in performance I said the line "Lucy?" with a spin I'd never given it before, and it came out about an octave lower! Yes, can you believe it? It was a really wonderful low, dark note that I'd only ever heard while warming up, or doing silly character voices.
What's even more exciting, and even startling: the choice made itself!!! I had no sensation of anything new in my instrument prior to saying the line. It... just… came... out.
This may sound obvious, but ask yourself, do you have it learned as a Mind Concept or a Body Knowledge? Personally, I finally made the move to the latter. Having it there, I've been playing with calibration. Here is the play by play.
As an actor I belong to the school of being heard all the way to the back of the house. Having finally trusted I was doing that, I relaxed about it for the first time in my life. Relaxing made me realize I was louder than I needed to be. So courageously, I took the volume down. I then realized, my pace was a bit too fast for the new volume level, so I trepidatious-ly slowed it down. Going just that hair slower afforded me extra time on the line. With the extra time on my hands, I became curious to find out if I could travel up and down my range a bit more. So, I floated the high notes a little higher and the low's a little lower, thus making what I was saying more expressive. Well, because I was being more expressive with one part of my body ( my voice ), it transferred to the rest my body, filling me with a surge of …of…something I can't explain, but it took my acting to another level. All with 1/8 less effort.
Strangely, because I was more relaxed, and breathing more (you know, all the stuff they teach you in school or class but never learned until found for oneself) I was aware of the entire process listed previously while in the middle of a run. Strange out-of-body feeling.
I've continued this way of working over the last few days with amazing results. The other day in performance I said the line "Lucy?" with a spin I'd never given it before, and it came out about an octave lower! Yes, can you believe it? It was a really wonderful low, dark note that I'd only ever heard while warming up, or doing silly character voices.
What's even more exciting, and even startling: the choice made itself!!! I had no sensation of anything new in my instrument prior to saying the line. It... just… came... out.
Sunday, September 11, 2011
Saturday, September 10, 2011
Wednesday, September 7, 2011
Tips from Jon Jory. A legend in the theater, and here at ATL
Rhythm, Tempo, Tone, and Meaning
These four things inform every line we speak (particularly lines of three sentences and more). Rhythm is the beat, which is demonstrated for you in any jazz composition, and it constantly changes. Tempo informs rhythm and with slow and fast. Tone informs both rhythm and tempo with high and low. And, all three of the above are delivery systems for meaning. We want all four things working at the same time. Listen to the acting of others. Is it rhythmically complex? Is it tonally various? Does it contain both fast and slow, or is it flattened out by staying too long in one tempo? And is the actor acting and reacting? Finally, is all of this servicing the line, the scene and the play's meaning? For those of us who love the profession, it is this damnable complexity that keeps us going through thick and thin. Concentrate on one of the four today, but the meaning stays at the center.
****Volume destroys all of the above****
-Tips
Ideas for Actors
By
JON JORY
These four things inform every line we speak (particularly lines of three sentences and more). Rhythm is the beat, which is demonstrated for you in any jazz composition, and it constantly changes. Tempo informs rhythm and with slow and fast. Tone informs both rhythm and tempo with high and low. And, all three of the above are delivery systems for meaning. We want all four things working at the same time. Listen to the acting of others. Is it rhythmically complex? Is it tonally various? Does it contain both fast and slow, or is it flattened out by staying too long in one tempo? And is the actor acting and reacting? Finally, is all of this servicing the line, the scene and the play's meaning? For those of us who love the profession, it is this damnable complexity that keeps us going through thick and thin. Concentrate on one of the four today, but the meaning stays at the center.
****Volume destroys all of the above****
-Tips
Ideas for Actors
By
JON JORY
Saturday, September 3, 2011
DRACULA inside and out of rehearsal
My face being torn apart. For many who know me, your not surprised. For those who don't, allow me to explain. Let's start for the beginning.
Is that Italian leather?
OMG, Joe I think it is!
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| Here we see Alex Morf (Reinfield) in deep self-satisfaction after being given high praise for his performance in an early run thru. WHEN..... |
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| he overheard, "If we weren't cursed with such boyish good looks, and dainty high voices, we'd Mr. Morf a run for his money...Sean be a doll and pass me my Cosmo" |
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| Needless to say Mr. Morf was more then willing to assist to girls in.. WAIT! WAIT!!! |
OMG, Joe I think it is!
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