This week I finished the blocking for both scenes, and went to see a show! I saw Legally Blonde at the JPJ a few nights ago, and loved it. One of my favorite parts were how smooth the scene changes were. Elle would be on stage at the end of one scene, and the set would change around her without a blackout, and then she would just keep going. It was all very artfully done. My favorite scene change was when her boyfriend came to pick her up at her sorority house, and as they kissed, the scene changed into the restaurant that they were going to. While it seems that to pull off a beautiful change like that, you would need wither a lot of crew, or you would need to train the actors to do it well, and it seems like it could be difficult to orchestrate, depending on how loud the furniture is, and how much backstage space one has, I would love to try something like that. It was impressive.
Another thing I noticed was the large number of times someone changed clothes on stage. Elle changed dresses a couple of times, and one of the boys changed into a different suit as well. I think it must take a lot of specific planning and choreographing just of the change to make it so that the changes are seamless, don’t take too long, and don’t malfunction, causing the actor to flash the audience.
I also noticed throughout the show that there were a few bumps where things did not quite go as planned. The actress playing Elle was supposed to tie one of the men’s ties, but she got the sides confused, and eventually just let him do it. However, the way she covered made it a lot less noticeable. Also, the biggest blip in the show was when the power flickered out and all the lights and sound cut midway through a song. The actress just stopped singing, and she and her partner stood frozen, like a dear in the headlights for a moment or two until they received some sort of signal, probably from backstage, and then they ran off in semi-darkness. Moments later, an announcer came on and told the audience that the show would return in a few minutes. They had to heat back up their lights, cue up their sound track, and check the all of the speakers for potential damage. The process ran smoothly and relatively quickly, and when the actors returned to the stage, they seemed to have had their confidence restored. I think that the situation probably fell directly to the director, and the actors probably sought him or her out as soon as they got offstage to try to figure out what was going on. The director had to figure out what to do with the actors, where to start the show up again, get someone to test and warm up all of the electronics, and communicate everything to everyone. I have absolutely no idea how I would deal with such an issue if presented with it, but their solution seemed to be pretty professional. To have the actress continue to sing without her music, lights, or microphone would be absurd in such a large space, though it might make sense on our stage, if everything was acoustic, and if there was enough light to see the actors.
Besides the blips in the show, small and large, It was well done, the colors and costumes were coordinated perfectly, the lights complimented everything beautifully, the actors never seemed to move without meaning, nor did they ever do anything that seemed out of place or out of character. The dogs were trained well and were used sparingly enough that they did not distract the audience from the play. The sets were simple yet beautiful and convincing. They all shared the same backdrop, lighted differently for different times of day, and had only a few pieces of furniture each, sometimes only a door, but the way the actors lived in the space convinced the audience of its reality. The songs were very funny and catchy, and the dances were great as well. Overall, it was a great play, and I think the director as well as the actors did a very nice job.
Thursday, October 28, 2010
Friday, October 22, 2010
Directing Journal Entry 6: Death of a Salesman
This week, I read Death of a Salesman, blocked some more of the Little Women scene, and blocked the Anne Frank scene. I discovered a deep, unprofessed love for all stage managers on Thursday while I tried to block and take notes on the blocking at the same time.
I loved reading Death of a Salesman, though I had a little trouble keeping track of what was real, and what was his imagination. It was a great play that I would love to see performed, but I don’t think I would ever attempt to direct it. The set seems like it would require a big stage and a lot of construction, and though I tried to map it out, the playwright kept adding places until it became too confusing. It would also take a lot of coordination with the sound booth to make it work—kind of like Someone’s Knocking, and a lot of lighting. However, past the complicated set and effects, the play has a great core. It is a very moving piece that would be great to work with actors through.
One thing I noticed about the play was that though I could easily define Willy as the crazy protagonist, Biff as the boy he relied on to be successful, and Linda as his terrified and worried wife, pretending everything is ok, I could not define Happy as easily. It is clear that he wants his father to love him, and yearns after the attention Willy lavishes on Biff, but beyond that, his relationship with his father is unclear. Willy almost ignores Happy, who follows his brother around like a puppy, and is happy if anyone pays a speck of attention to him.
Another funny thing I notices about the play was how the boys, especially Biff address their parents. They always call them “pal” or ‘kid,” indicating to me that they see them as inferior or child-like. As Willy gets even crazier, or it begins to show more, other people much younger than him begin to call him “kid” and treat him as if he was a child.
The dynamics between the characters really intrigued me, and it would be great to see how a director would deal with those things. Would he have Willy react negatively to the pet names, or are they part of his world, something only the audience would notice? If so, he would have to make sure that the use of the pet names would be noticed by making them clear, while at the same time, not hitting the audience over the head with it.
I loved the way the play brings in scenes from the past and beautifully illustrates Willy’s train of thought, but while reading it and trying to figure out how I would stage it, I came to the conclusion that it might be easier to do as a movie, because the flashbacks could be performed in a clearer way that way. However, I do think it would make a beautiful play if it was taken on be a brave, competent, confident director who really knew how to make it work.
I loved reading Death of a Salesman, though I had a little trouble keeping track of what was real, and what was his imagination. It was a great play that I would love to see performed, but I don’t think I would ever attempt to direct it. The set seems like it would require a big stage and a lot of construction, and though I tried to map it out, the playwright kept adding places until it became too confusing. It would also take a lot of coordination with the sound booth to make it work—kind of like Someone’s Knocking, and a lot of lighting. However, past the complicated set and effects, the play has a great core. It is a very moving piece that would be great to work with actors through.
One thing I noticed about the play was that though I could easily define Willy as the crazy protagonist, Biff as the boy he relied on to be successful, and Linda as his terrified and worried wife, pretending everything is ok, I could not define Happy as easily. It is clear that he wants his father to love him, and yearns after the attention Willy lavishes on Biff, but beyond that, his relationship with his father is unclear. Willy almost ignores Happy, who follows his brother around like a puppy, and is happy if anyone pays a speck of attention to him.
Another funny thing I notices about the play was how the boys, especially Biff address their parents. They always call them “pal” or ‘kid,” indicating to me that they see them as inferior or child-like. As Willy gets even crazier, or it begins to show more, other people much younger than him begin to call him “kid” and treat him as if he was a child.
The dynamics between the characters really intrigued me, and it would be great to see how a director would deal with those things. Would he have Willy react negatively to the pet names, or are they part of his world, something only the audience would notice? If so, he would have to make sure that the use of the pet names would be noticed by making them clear, while at the same time, not hitting the audience over the head with it.
I loved the way the play brings in scenes from the past and beautifully illustrates Willy’s train of thought, but while reading it and trying to figure out how I would stage it, I came to the conclusion that it might be easier to do as a movie, because the flashbacks could be performed in a clearer way that way. However, I do think it would make a beautiful play if it was taken on be a brave, competent, confident director who really knew how to make it work.
Journal Entry 5
This week, in addition to reading a few more short plays and reading the first fifty or so pages of the book “Great Acting Teachers and Their Methods,” I began to block one of my two scenes. I have picked the two scenes—one from The Diary of Anne Frank, and the other from Little Women—and have casted all the characters. On Thursday, I met with Georgia, Helen, and Emily, who are in the Little Women scene, as well as Courtney who agreed to be a body on stage for me to use because Ari was unable to attend the meeting due to another meeting she was to be holding. This was the first challenge. I had to begin blocking a scene without the actor’s presence. The use of a stand-in, however, quickly combated this challenge, and I we were able to move on and get some work done.
I began to realize that while I do have to concentrate to some degree on the picture formed by the actors on the stage, I also have to give or help actors find a reason for all movement—otherwise it just looked like the actors were following orders, and not moving naturally.
Another thing I began to notice was how the actor’s instinct is an important thing to listen to, but not always the thing to go with. If an actor’s instinct to move at a certain time to a certain place can be justified by the character and the action, it is usually a good choice, as long as it does not upstage other actors, block other actors, or just look bad or distracting. If the blocking distracts the audience from the play, it’s not very well done. It all needs to seamlessly work together—a much harder task than I anticipated.
I was very excited to work in the new black box as well. It is going to be a great space for smaller performances, and gives me a chance to play with the way the audience will be seated. Because nothing is set, I could put the audience anywhere in the room, and it could become a chance to try new techniques.
The first rehearsal went very well. We managed to block the first three or four pages of the scene, and we spoke about all of the characters and some important lines (and the inflection, pronunciation, and emotion behind them all). It was really fun, and very enjoyable!
I began to realize that while I do have to concentrate to some degree on the picture formed by the actors on the stage, I also have to give or help actors find a reason for all movement—otherwise it just looked like the actors were following orders, and not moving naturally.
Another thing I began to notice was how the actor’s instinct is an important thing to listen to, but not always the thing to go with. If an actor’s instinct to move at a certain time to a certain place can be justified by the character and the action, it is usually a good choice, as long as it does not upstage other actors, block other actors, or just look bad or distracting. If the blocking distracts the audience from the play, it’s not very well done. It all needs to seamlessly work together—a much harder task than I anticipated.
I was very excited to work in the new black box as well. It is going to be a great space for smaller performances, and gives me a chance to play with the way the audience will be seated. Because nothing is set, I could put the audience anywhere in the room, and it could become a chance to try new techniques.
The first rehearsal went very well. We managed to block the first three or four pages of the scene, and we spoke about all of the characters and some important lines (and the inflection, pronunciation, and emotion behind them all). It was really fun, and very enjoyable!
Journal Entry 4
This week I read a book of scenes for young actors, and seven short plays (Enigma Variations, The Mystery at Twicknam Vicarage, Babel’s in Arms, Soap Opera, Lives of the Saints, Arabian Nights, and Captive Audience.) I chose two scenes to direct this trimester (one from Little Women, the other from The Diary of Anne Frank), and I have cast one. I am currently trying to decide the short play that I will direct at the end of the year.
I am really excited about the short play. I think it will be a great chance to practice casting from an audition and difficult blocking. The play I am currently leaning towards is Enigma Variations by David Ives, though I plan to read more plays before deciding. Enigma Variations is about two Bebes and two Doctors and their attempt to figure out what is going on in their world. One Bebe complains about never being alone, while the other complains of having done everything before.
I think it might be a good play to direct because it requires precision and accuracy in the blocking, but it could be really neat if it was well done. In one scene, one pair talks while remaining completely still while the other pair gestures and moves as if they were having the same conversation.
The other play I am thinking about doing is Captive Audience, by David Ives, because it is about a couple who can no longer resist their malevolent TV, and eventually become sucked into it. It appeals to me because in one scene, the husband is trying to pay attention to his wife, but the TV keeps pulling his mind away. It reminds me of when my family goes out to restaurants and the TV is in my sight line. Mo matter how hard I try to resist, I am inevitably distracted by the moving colors and lights, and have to move to where I cannot see the set so that I can complete a sentence.
Both plays would present a blocking challenge in that they would take a long time and a lot of dedication from the actors, but if it was done right, the plays could both be wonderful.
I am really excited about the short play. I think it will be a great chance to practice casting from an audition and difficult blocking. The play I am currently leaning towards is Enigma Variations by David Ives, though I plan to read more plays before deciding. Enigma Variations is about two Bebes and two Doctors and their attempt to figure out what is going on in their world. One Bebe complains about never being alone, while the other complains of having done everything before.
I think it might be a good play to direct because it requires precision and accuracy in the blocking, but it could be really neat if it was well done. In one scene, one pair talks while remaining completely still while the other pair gestures and moves as if they were having the same conversation.
The other play I am thinking about doing is Captive Audience, by David Ives, because it is about a couple who can no longer resist their malevolent TV, and eventually become sucked into it. It appeals to me because in one scene, the husband is trying to pay attention to his wife, but the TV keeps pulling his mind away. It reminds me of when my family goes out to restaurants and the TV is in my sight line. Mo matter how hard I try to resist, I am inevitably distracted by the moving colors and lights, and have to move to where I cannot see the set so that I can complete a sentence.
Both plays would present a blocking challenge in that they would take a long time and a lot of dedication from the actors, but if it was done right, the plays could both be wonderful.
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