VOICEWe've been going through our Portia monologue, one person at a time, one sentence at a time. My biggest note from Sentence 1 last week was to not have a downward inflection on the word "better" (which can be tricky, since it's trochaic and at the end of a clause).
Today, in Sentence 2, my notes were:
- Don't put too much weight on the word "me".
- Don't put too much weight on the word "learn" (especially tricky since, in one instance, I'm expanding the word to two syllables)
- Put more weight on the word "commits" (since, right now at least, I have it marked as operative)
- Make sure to take all marked breaths (especially the last breaths before enjambment when I CAN'T breathe) to avoid rib squeeze
A lot of people seemed to be having difficulty saying the word "dull" correctly (so that the "uh" vowel is really present). Voice Professor said that they're going to have to drill it.
In the last chunk of text, there are several lists in the same sentence. Voice Professor says to release the build of each list when it ends, and certainly before starting the next list, so that the sentence doesn't become ridiculous.
MOVEMENTBallet, ballet.
We learned a new step called "pas de cheval", which means "step of the horse" (but Movement Professor told us it's more the step of a "tiny pony"). It's comprised of other steps we'd already learned (coupé, developpé, and tendu).
Movement Professor helped me a bit before class, and said that my second position tendu turn-out is getting a lot better.
ACTINGOh my goodness, I have SO MANY NOTES from this class today. I might fall asleep while typing them all... But I'll try to get as much down as I can before passing out.
We started with Killer's "Great Actors Series" presentation, which was on William Macready and Edwin Forrest, who had a rivalry that led to the Astor Place Macbeth Riot. Acting Professoressa said it was the best presentation she had ever seen on those men. Yay Killer!
One great note I wrote down today, I unfortunately didn't write down the context of... but it's great wording, so I'll share anyway.
Be so adept that you can adapt.Acting Professoressa told us to remember the word "embellishment" or "embroidering" in reference to over-playing things, and to avoid it. Don't feel that you have to demonstrate the language (for example, by illustrating with hand gestures). Just DO things to people.
We are supposed to bring in possibilities for Shakespearean monologues to work on next week, and our discussion about the monologues also went into how to have a successful audition. So here are my lists of notes...
On our monologue assignment:
- Either choose something that you want for your audition repertoire, or choose something that you probably wouldn't be cast as but really want to discover in yourself.
- If you plan to put it in your audition portfolio, make sure that it's actually good casting for you.
- Choose something in verse
- Aim for 60-90 seconds long (it can be longer for this class if you really want it to be)
- It must be active and not narrative
- Don't choose anything that requires an answer from an invisible partner
- Go for the star of the show. It doesn't have to be a famous speech, but it does have to be important.
- Bring in 3-5 pieces
Things that you should have in your "back pocket" audition portfolio:
- A classical dramatic monologue
- A classical comedic monologue
- A classic contemporary dramatic monologue (think O'Neill, Miller, Williams, etc.)
- A modern comedic monologue
(Those are the big four. The rest are also good ideas...)
- one joke (short and sweet)
- one poem
- one "hot right now" monologue (from a play that is brand new, or currently being done on Broadway, etc.)
- one "off the wall" piece
- one British dialect piece
- one other dialect piece
- one monologue from a movie
Advice on Auditioning...
- Come in, announce your pieces, and do your pieces. Structure it like a short 1-Act (or 2-Act, maybe) play
- Even if someone has already announced your name, it doesn't hurt to repeat it
- Walk to one spot where you can introduce your pieces and talk to the director & posse (if they feel like talking). Walk to a new spot before beginning your first piece. Walk to another spot before beginning second piece.
- If you get direction, especially if it's direction you don't fully understand (like, "Do it again, but this time, do it like a pregnant donkey. And more purple."), walk to a new place before starting. It helped them psychologically to see a difference, even if you're not changing much.
- Props should only be things that can fit in your pocket (like a letter)
- Don't ever correct the stage manager (like if they say your name wrong... the people have your résumé and can see what your name is. Don't worry about it.)
- Don't use a dialect piece unless they have asked for one.
- Make sure that you can really plug into your "need"
- In soliloquies, you may use the audience as your scene partner. Just not the director. Try to use the costume designer or an assistant or someone if you must.
- Knowing the focus of your pieces is important. There is inner-directed focus, other-directed focus, and outer-directed focus. Other-directed is usually the one to aim for when choosing audition pieces.
- Don't go nuts adjusting furniture before your scene so that it's perfectly under the light.
- That said, do try to stay in good lighting. But don't go nuts over it.
- Don't pick pieces where you're running around like a maniac, especially if the action doesn't make sense out of the context of the play (like, if the character is being chased or something)
- Don't make the shock value too high. They will be paying more attention to the fact that you're swearing and talking about violence at 9am than they'll be paying to you.
- Don't make elaborate costume changes between pieces
- Don't come in wearing a cleavage-bearing cocktail dress. You don't want them to think of you as an exhibitionist
- Don't come in wearing any sort of joke costume for attention (such as a clown nose)
- Don't put your "other" on a chair or on the floor. Keep your eyes UP.
- Whenever you go to the theatre, take notice of potentially useful monologues for the future, and look them up when you get home.
- If you don't have the sides for an audition, go SUPER EARLY
- Actually, go early anyway. Try to see the space you're auditioning in
- With auditioning, practice makes perfect. Audition a lot.
- Know that you are the potential solution to the director's problems. You are valuable.
Advice about acting as a career
- In general, never go anywhere without a headshot/résumé in your purse/backpack/briefcase. You never know whom you'll meet on a train, at the dentist office, or in the gym.
- Have "monomania" about your career. This is a business. You are the product.
- You will get more work from directors you have worked with than from auditions you go on. Every director that you get to work with is a huge connection that you should foster. Don't be a pest, but write thank you notes.
- Start a file system about auditions. After every audition, write down what you auditioned for, the date, the character description, who you met (casting directors and the like), and what you wore (so that, if you get a callback, you can wear it again, or at least something of a similar style vein).
- Remember that the theatre world is a very small universe full of erudite people.
- You will not get points for memorizing incorrectly. Do not paraphrase.
- Project an image of professionalism.
- Be the kind of actor who is good to have "in the room" and whom directors want to be around
- Don't bad-mouth ANYONE. This guy might be that guy's cousin. You don't know. Also, you want to be thought of as discreet, not as a gossip.
- Find a way to relax before auditioning/rehearsing/performing. Acting Professoressa suggests being hypnotized (as actors, we're probably very suggestible)
- Aim for a state of alert relaxation
- Assume that they people like you.
THE MYSTERY PLAYSThe show is going well. Week 2, baby! A couple of my scenes were particularly on-target tonight, which felt great. I hope it continues to go well.
