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It is very interesting to begin exploring the play on a purely physical level. And on a level of play and exploration without the actor having the need to "perform". Last night we experimented with various states of being as a way to begin exploring character emotion from, again, a physical place. I think it is sometimes too easy and not very useful to for an actor to grapple with the psychological emotional aspects of a play completely separate from the physical. I think the physical explorations we are doing in rehearsal will inform the actors throughtout the process. Already last night there were fascinating moments that came out of the physical playing. I can't wait to get our set design in place so we can begin thinking about the physical exploration of the space!
Meow.
Comments
The LeCoq work is really challenging. My brain keeps getting in the way. But it shows you how the breath is so important. It's hard to be stuck in your head when you aren't breathing. I've done other breath-related acting exercises and the body is such an amazing machine. When you breathe a certain rhythm, your emotions follow suit so easily. I use these techniques for film work (i.e. my face!!!) but now to translate them into my entire body is both exciting and exhausting.
I had a great teacher, Anthony Naylor, in NYC who used to tell us that when we were confused or frustrated, it was a great artistic gift. We were on the verge of discovery and no matter how uncomfortable confusion felt, we should strive to live there artistically.
Viva la confusion!
Meow!
Laura | May 13
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