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Archive for the month “February, 2012”

MIDTERM EXAMINATION

In pairs (or group of three), develop a scene based on a phone conversation between two (or three) people in different places. Adhere to all the following:

  • Complete object exercises for both characters.
  • Beats for both characters.
  • Complete scored script.
  • Use of props and space.
  • Fourth wall (s)
  • listening: find the reaction beat(s).

Base the scene on your own shared experiences and characters based on your own observations. The situation and the characters should be vivid and clear.

During the two-person exchange, there must be a hanging up and a calling back.

Energy and projection will count. Make sure you are vocally and physically filling the performance space.

Make sure the scene is thoroughly rehearsed.

Time: 1 1/2 – 2 1/2 minutes (3 minutes for 3 some) strictly enforced.

Grade: all get same grade.

Dates: 3/7 and 3/9

ASSIGNMENT FOUR: PHONE CONVERSATION X 3

Create and perform a set of telephone conversations where you talk to three different people in the same scene. For each person on the other end, perform a different persona. Depending on your objective and who the listener is, change your tone, your body language, and even your language (Malaysians take on different identities with different languages and accents). In a sense, you will be performing three different characters — but all part of yourself.

1 1/2 – 2  minutes

The requirements for this are the same as Assignment Three:

  • Beat sheet
  • Object Ex
  • Script (scored)
  • Journal work.
  • Use of props and fourth wall.

ASSIGNMENT THREE: PHONE CONVERSATION: USING THE FOURTH WALL

Create and perform a telephone conversation based on your own experience. Consider and perform the following:

  • “Spotting:” the fourth wall above the audience. Using it as a place to focus and project.
  • Listening to the other voice: using visualization.
  • Using your words and pauses to further your objective and overcome obsticles
  • Using props other than the phone.

 

 

 

IN YOUR JOURNAL:

  • Script with scoring of beats
  • Object exercise sheet
  • Account of rehearsal process

ACTING WITH BEATS: ONE

OVERALL OBJECTIVE: INTENTION What is your overall objective in the scene? It must be SINGULAR, IMMEDIATE, AND PERSONAL. If you make an entrance, it brings you into the space.

  • SINGULAR: You must be focused on one thing.
  • IMMEDIATE: It must be something you can get now.
  • PERSONAL:  It must be important to you.

OBSTICLE: WHAT IS IN MY WAY? You must be able to play the obstacle. It cannot be abstract.

  • EXTERNAL OBSTICLE: Focused on an object or person outside you: a corkscrew, a sound, the way a character looks at you.
  • INTERNAL OBSTICLE: Focused on something inside you: a fear, a memory, a desire. It must be specific. It can be an image in your mind. It can lead to expression in your body: sweaty armpits.

ACTION (TACTIC): What you do to get to your objective.

  • Advance toward the objective
  • Overcome an obstacle
  • Deal with current circumstance
  • Be expressed with an active verb
  • Connect with the other actor
  • Be conditioned by the relationship (which changes in the scene from minute or second to minute or second).
  • Change all the time.

YOUR OBJECTIVES MUST BE SPECIFIC AND PLAYABLE IN THE SCENE

  • Bad objective: to make her happy; to make her love me
  • Good objective: To  make her laugh at my funny face!

YOUR ACTIONS MUST BE VERBS – AND THEY MUST BE DOABLE IN THE SCENE! THE VERB MUST LEAD TO A RESULT YOU CAN CATCH IN THE SCENE. Here is an extensive list of playable verbs by Paul Kuritz. You can add your own. The more specifc your verb, the more specific your action

  • VERB: To amuse.
  • ACTION: I stick out my tongue and cross my eyes

THIS ACTION WILL LEAD TO A RESULT YOU WANT, OR NOT. IF IT DOESN’T, THEN WHAT? CHANGE ACTION? REPEAT ACTION?

BEATS: Every scene/moment must be broken down into beats!

  •  I’VE GOT TO_____________ (>)
  • HOW ­­­______________ (<)
  • SO I _____________(=)

Example 1: External

>Open this jar<How stuck it is!=I use my upper body and squeeze my hands as hard as I can<my hands hurt!>rest my hands=I stop twisting and shake out my hands

Example 2: Internal

>Get the boss behind that door to give me a raise<I don’t know what mood he’s in>I will get him to say “come in”>I knock softly on the door.

LINE: BOSS: Come in! What do you want? (shouts angrily)

< How angry he sounds! > My body stiffens> I won’t ask him now > I open the door gently> How he’s glaring at me!> I will sooth him>I smile and gently open the door:

LINE: (smiling) Just wanted to know if there’s anything you need, Mr. Tan.

IMAGES:

Images can motivate a moment from inside the actor: for example:

  • I knock softly on the door (Image: touching a hot stove)
  • How angry he sounds! (Image: Memory: my father shouting at me)

 


OBJECT EXERCISES

OBJECT EXERCISES

Who am I?

Where am I?

What time is it?

What surrounds me?

What are my relationships?

What are the given circumstances?

WHAT DO I WANT (objective)?

WHAT IS IN MY WAY (obstacle)?

WHAT DO I DO TO GET WHAT I WANT (ACTION)?

ASSIGNMENT TWO

 

UTA

Rehearse and perform a 1 1/2 to 2 minute presentation based on Uta Hagen’s Object exercises.

  • Use three or more props.
  • A specific indoor space which you fully imagine — draw a map of it in your journal. Try to make the space interesting and try to use it.
  • In this scene, your super-objective must change between your entrance and your exit. The change should be on a specific beat and involve one or more of the props.
  • You must have a sheet of paper where you score specific beats (units of action). Remember that, in a play, every “something happening,” every event, is both the second half of the action it completes and the first half of the action it begins. (That is the sense in which action is like the sound of one hand clapping. It is also the reason plays keep going until the end.) When you define the limits (beginning and end) of a beat of action, you are not exactly identifying the end of one action and then the beginning of the next; you are rather identifying the pivot po int, the place at which the action turns or transform. (Chas Homes)
  • You may enter and exit, or be “discovered” on stage at the beginning (call “curtain”) or enter and remain on stage at the end call “curtain”.
  • Make your exit and entrance clear: Where have I come from? What have I just done? What do I want in the space?

ASSIGNMENT ONE

Rehearse and Perform a one-minute presentation based on the object exercises. You may use only one prop. You must enter into a specific space and exit for an organic reason. Please record your rehearsal process in your journal.

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