Children's Theatre My Journal - Week Thirteen

As I move into the final week of the semester, I would like to reflect on my journal, attitude and my participation. I feel the best way to do this is by looking back at the objectives. The act of reflecting upon my objectives allows me to see areas of weakness and improve. With so little time remaining any further improvement to my acting skills will only be achieved out of this unit, although I feel it will still be of use to address these aspects.

- A practical introduction to a variety of alternative approaches to the practice of acting. The workshops, combined with the information present in the prescribe text offered many ideas. It is useful to get a different perspective of acting methods to aide in creating my personal approach. One of my goals was to expand my research and knowledge in areas I found interesting or useful. In the last month I have met this goal, and increased my knowledge and motivation on the subject.

- A set of specific technical skills useful in the practice of acting, in the areas of voice, movement and characterization. Acting is difficult; Grotowski was centred on the belief that an actor needs ‘to commit to daily training and ongoing professional education’.[66] This unit has provided me with useful and practical methods to aid my acting. The area I should remain focused on is the need to appear relaxed on stage. Through the dialogue and my addition work in the ‘Scarecrow’ production, I am continually improving in this area.

My commitment to studying and developing my acting skills will continue well after the end of this semester. This unit has given me the tools and confidence to experiment and develop characters to meet any role. I know every character and play cannot be approached in the same way; yet having studied various acting methods will ensure I will always have different skills to use.

A great example of this is in the ‘Scarecrow’ production. I use many different approaches that may not be necessary in another play. I use a Brechtian approach when addressing the audience and the Chekhov method of atmosphere. A Meyerhold approach was used to create a believable stance and walk and various aspects of Stanislavski’s method were employed to focus, produce concentration and pay particular attention to the sub-text of the play. All this for a character made of straw!

Today Lauren and I were able to receive feedback from the tutor for our dialogue. David was quite happy with the pace of the scene, the development of characterisation and the way we worked together. There is no point in presenting a dialogue if the two actors don’t respond well to each other. There are, of course, some areas we still need to improve.

There is also a need to slow down some of our lines. The sarcastic tone and meaning of the scene needs to be communicated to the audience. By slowing down and ‘enjoying’ the lines, our character’s can successfully deliver the humour to the audience. There also is a need to ham it up more (I know, Andrew being told to ham it up, I couldn’t believe it either); it does however make sense. Enjoying the role and presenting the wit is crucial to this performance. How does this affect the scene?

The wit and sarcasm of the scene needs to be over compensated. Using the Brechtian approach, both Lauren and myself will need to communicate more directly to the audience. This should demonstrate to the audience how the message of the play is of more importance than the actors preforming it. The play’s message is the manipulation and misrepresentation of identity; more importantly how a person who can pretend to be of a high status can successfully become anybody they want. By hamming it up, the audience can understand the social status held by each character. This is important as the status shifts from one character to the other during this scene.

The amount of effort we have both put into the scene is obvious. The movement and status struggle dominates the scene. The dialogue is important to the performance, how each character responds to the other is crucial in our preparation. The sub text is extremely significant here as it allows both characters to interact with the each other appropriately.

Cecily is presented as a dreamer, attempting to find her knight-in-shining-armour. Algernon is a city playboy who doesn’t feel comfortable in the country, yet he is willing to stay to successfully gain another girls ‘companionship’. The shift in status occurs when Algernon realises Cecily is intelligent and has therefore become a worthy match. Algernon loses his credibility quickly when the importance of truth and loyalty become an issue and the name of Earnest is given its own position of status.

The name Earnest is the false identity used by both Jack and Algernon. The name is given a position of wealth, power and instant status. They are both still the same people, but by using this name create a ‘super hero’ stronger in status than any other person, therefore illustrating ‘The Importance of Being Earnest’. To become this fictitious character allows Algernon to be closer to Cecily, a person he would never have met if he continued to be himself.

Lauren and I have used this information to produce a scene that demonstrates the power of status in the play. The power begins with Algernon and ends in the hands of Cecily. This scene can be viewed as an important point for the character of Algernon’s development. He now sees how his name is the only thing that can get him what he wants. With the name Earnest, Algernon realises that he can be happy with Cecily. The change of status is crucial to the success and progression of this scene.

Most of the class presented their dialogues today. It was great to see everyone’s performance, as each couple’s choice of dialogue and presentation of was unique. Groups varied from comedic to serious roles and all were fantastically presented with visible improvement from last time. Each group was able to use their feedback and view other dialogues to improve their performances.

In the dialogues today, the use of pauses was extenuated by many properties. A lot more people used these pauses to change the beats in their dialogue; properties were also used to identify areas of importance in the speech. The use of Amy’s smoking, Janet and Mathew’s drinking and even Andrea’s clotheshorse changed the feel and delivery of their scene.

In our performance, we also incorporated a number of pausing devices. Lauren used a pen to add to her role’s characteristics and to allow her to pause and successfully deliver lines. I used the cuffs of my jacket to give me the opportunity to pause while staying in character. I also used them to extenuate the playboy image of Algernon, show his city arrogance and a lack of comfort in the country. We also included a number of different theories from this unit in our dialogue.

The main method we used was the Brechtian approach to acting. We presented our dialogue to the audience, speaking many of our lines directly to them. The witty and sarcastic aspects of the scene require a means to communicate the characters’ true feelings and thoughts. Through direct communication, the actors can inform the audience that the scene is not reality and this allows the audience to focus on the dialogue and meaning.

One performance summed up the Brechtian approach in one scene. In their presentation, Joseph and his group change into many characters in the one scene. The audience is left to accept these changes with only a brief bit of information like an actor’s altered voice or costume. This was not the only method used, in fact each performance comprised of a number of theories to create the scene.

Theories to acting are developed over time and appear original. Most of the approaches were originally created from Stanislavski’s vision and have mutated over the years. Brecht created his approach as an alternative to realistic acting and Meyerhold once believed Stanislavski’s approach was superior, yet developed his own ‘improved’ method. At the beginning of this unit I also favoured Stanislavski’s approach, however over the semester I have created a personalised method for my acting.

Through the success and failure of acting approaches I have encountered over the semester, I have attempted to find an easy method to create my role. An instantaneous character reading is essential for me as getting straight into character on the first reading creates useful first impressions. By addressing the role in an unenthusiastic first reading may cause me to loose the instant attraction to the role. The first impression of the role is important to the eventual shaping of the role.

My concept of acting initially uses a Stanislavski approach, finding a naturalistic character. I can then develop the character to fit with the other characters in the production. I really enjoyed the Chekhov approach to acting, especially the use of atmosphere to guide a scene as it ‘forges a connection between the actor and audience’.[67] An atmosphere can add to the performance as it incites a feeling in the actors and audience by creating a ‘dominant tone or mood’.[68] Using the Brechtian method I can research or inquire into the history of the play and the relationships of the characters. I need to know my place in a production as it allows me to understand my role however small or big it may be.

Each character in a play affects the production in some way. Every part is important to the play and the message being communicated. The way I approach my role will always vary as some methods may not be appropriate and time may also be a factor. My methods will always change and develop, as new information and experiences change and enhance my self-image. This unit has allowed me to feel more confident in my acting and myself. It has given me a useful base to create and develop my characterisation and presentation skills. The information gained from this unit will be built on in the years to come, allowing me to develop as an actor and an individual.

[1] Constantin Stanislavski (1968) Building a Character (Trans. Elizabeth Reynolds Hapgood), London: Methuen, p. 250.

[2] Alison Hodge (ed) (2000) Twentieth Century Actor Training, London: Routledge, p. 16.

[3] Alison Hodge (ed) (2000) Twentieth Century Actor Training, London: Routledge, p. 17.

[4] Alison Hodge (ed) (2000) Twentieth Century Actor Training, London: Routledge, p. 18.

[5] Alison Hodge (ed) (2000) Twentieth Century Actor Training, London: Routledge, p. 87.

[6] Bart Simpson from the episode Bart the Genius. Ray Richmond (ed) (1997) The Simpsons: A Complete Guide to our Favourite Family, New York: Harper Perennial, p. 18.

[7] Alison Hodge (ed) (2000) Twentieth Century Actor Training, London: Routledge, p. 18.

[8] Constantin Stanislavski (1968) Building a Character (Trans. Elizabeth Reynolds Hapgood), London: Methuen, p. 258.

[9] Dorothy in The Wizard of Oz (1939) Judy Garland. Director: Victor Fleming.

[10] Alison Hodge (ed) (2000) Twentieth Century Actor Training, London: Routledge, p. 18.

[11] Alison Hodge (ed) (2000) Twentieth Century Actor Training, London: Routledge, p. 20.

[12] A Lion Tamer talking about his performance in the documentary Fast, Cheap and out of Control (1997). Director: Errol Morris.

[13] Braun, E. (1987) The Director and the Stage: From Naturalism to Grotowski. London: Methuen. p. 59.

[14] Alison Hodge (ed) (2000) Twentieth Century Actor Training, London: Routledge, p. 18.

[15] Alison Hodge (ed) (2000) Twentieth Century Actor Training, London: Routledge, p. 21.

[16] Alison Hodge (ed) (2000) Twentieth Century Actor Training, London: Routledge, p. 130.

[17] Alison Hodge (ed) (2000) Twentieth Century Actor Training, London: Routledge, p. 136.

[18] Alison Hodge (ed) (2000) Twentieth Century Actor Training, London: Routledge, p. 131.

[19] Clive Barker (1987) Theatre Games, London: Methuen, p. 14.

[20] The Usual Suspect (1995) Kevin Spacey, Gabriel Byrne and Kevin Pollack. Director: Bryan Singer.

[21] Alison Hodge (ed) (2000) Twentieth Century Actor Training, London: Routledge, p. 41.

[23] Gary Carey (ed) (1981) Cliffs Notes on Shakespeare’s Antony and Cleopatra, Lincoln, Nebraska: Cliffs Notes, Inc. p. 57.

[24] Alison Hodge (ed) (2000) Twentieth Century Actor Training, London: Routledge, p. 43.

[25] Alison Hodge (ed) (2000) Twentieth Century Actor Training, London: Routledge, p. 52.

[27] Alexander the Great, when asked to whom he would leave his throne. Laura Ward (2004) Famous last words. New York: PRC Publishing Limited. p. 94.

[28] Gary Carey (ed) (1981) Cliffs Notes on Shakespeare’s Antony and Cleopatra, Lincoln, Nebraska: Cliffs Notes, Inc. p. 15.

[29] Gary Carey (ed) (1981) Cliffs Notes on Shakespeare’s Antony and Cleopatra, Lincoln, Nebraska: Cliffs Notes, Inc. p. 28.

[30] Gary Carey (ed) (1981) Cliffs Notes on Shakespeare’s Antony and Cleopatra, Lincoln, Nebraska: Cliffs Notes, Inc. p. 28.

[31] Gary Carey (ed) (1981) Cliffs Notes on Shakespeare’s Antony and Cleopatra, Lincoln, Nebraska: Cliffs Notes, Inc. p. 63.

[32] Robin Sowerby (1998) York notes advanced: Antony and Cleopatra, London: York Press. p. 47.

[33] Emrys Jones (ed) (1977) Antony and Cleopatra. London: Penguin Books. p. 159.

[34] Homer Simpson in the episode One Fish, Two Fish, Blowfish, Blue Fish. Ray Richmond (ed) (1997) The Simpsons: A Complete Guide to our Favourite Family, New York: Harper Perennial, p. 45.

[35] Stanislavski, C. (1963) An actor’s Handbook. P 118.

[36] Gary Carey (ed) (1981) Cliffs Notes on Shakespeare’s Antony and Cleopatra, Lincoln, Nebraska: Cliffs Notes, Inc. p. 46.

[37] Emrys Jones (ed) (1977) Antony and Cleopatra. London: Penguin Books. p. 32.

[38] Ashlelea, one of the housemates in Big Brother. Broadcasted on Channel Ten Wednesday 5^th of May 2004.

[39] Franc Chamberlain (2004) Michael Chekhov. London; New York: Routledge. p. 12.

[40] Franc Chamberlain (2004) Michael Chekhov. London; New York: Routledge. p. 42.

[41] Franc Chamberlain (2004) Michael Chekhov. London; New York: Routledge. p. 41.

[42] Franc Chamberlain (2004) Michael Chekhov. London; New York: Routledge. p. 15.

[43] Alison Hodge (ed) (2000) Twentieth Century Actor Training, London: Routledge, p. 106.

[44] Alison Hodge (ed) (2000) Twentieth Century Actor Training, London: Routledge, p. 110.

[45] Alison Hodge (ed) (2000) Twentieth Century Actor Training, London: Routledge, p. 106.

[46] Robin Sowerby (1998) York notes advanced: Antony and Cleopatra, London: York Press. p. 6.

[47] Malcolm in played by Frankie Muntz in the television show ‘Malcolm in the Middle’. Broadcasted on the Channel Nine Network.

[48] Sigmund Freud in (1998) Reader’s Digest Quotable Quotes. Canada: The Reader’s Digest Association. p. 218.

[49] Alison Hodge (ed) (2000) Twentieth Century Actor Training, London: Routledge, p. 110.

[50] Alison Hodge (ed) (2000) Twentieth Century Actor Training, London: Routledge, p. 98.

[51] Constantin Stanislavski (1963) An Actor’s Handbook. (Trans. Elizabeth Reynolds Hapgood). New York: Theatre Arts Books. p. 27

[52] Constantin Stanislavski (1963) An Actor’s Handbook. (Trans. Elizabeth Reynolds Hapgood). New York: Theatre Arts Books. p. 117.

[53] Robin Sowerby (1998) York notes advanced: Antony and Cleopatra, London: York Press. p. 5.

[54] Constantin Stanislavski (1963) An Actor’s Handbook. (Trans. Elizabeth Reynolds Hapgood). New York: Theatre Arts Books. p. 118.

[55] Constantin Stanislavski (1963) An Actor’s Handbook. (Trans. Elizabeth Reynolds Hapgood). New York: Theatre Arts Books. p. 136.

[56] Alison Hodge (ed) (2000) Twentieth Century Actor Training, London: Routledge, p. 206.

[57] Alison Hodge (ed) (2000) Twentieth Century Actor Training, London: Routledge, p. 203.

[58] Alison Hodge (ed) (2000) Twentieth Century Actor Training, London: Routledge, p. 210.

[59] John Steinbeck in (1998) Reader’s Digest Quotable Quotes. Canada: The Reader’s Digest Association. p. 5.

[60] The Importance of Being Earnest (2002) Rupert Everett, Reece Witherspoon and Judi Dench.

[61] The Importance of Being Earnest (1952) Michael Redgrave, Edith Evans, Margaret Rutherford and Joan Greenwood. Director – Anthony Asquith.

[62] Oscar Wilde. (1954) The Importance of Being Earnest and Other Plays. England: Penguin Plays. p 289.

[63] Oscar Wilde. (1954) The Importance of Being Earnest and Other Plays. England: Penguin Plays. p 288.

[64] Constantin Stanislavski (1968) Building a Character (Trans. Elizabeth Reynolds Hapgood), London: Methuen, p. 260

[65] Oscar Wilde, as he lay languishing in a drab Parisian hotel room. Laura Ward (2004) Famous last words. New York: PRC Publishing Limited. p. 27.

[66] Alison Hodge (ed) (2000) Twentieth Century Actor Training, London: Routledge, p. 198.

[67] Franc Chamberlain (2004) Michael Chekhov. London; New York: Routledge. p. 53.

[68] Franc Chamberlain (2004) Michael Chekhov. London; New York: Routledge. p. 55