Rehearsal Notes

Warm Up:

• The counting exercise: With a partner count to 10 taking it in turns to say a number, vary the volume, tone and way you say it, see how you can make it different. Then we replaced the numbers with 'Tell me' and 'No', discovering all the different ways to express things, dependent on circumstance and character.
• We thought about working the space, and adjusting performances dependent on the rehearsal space.
• We looked at coming up with objectives for 'fillers' when we're not speaking, coming up with back stories.

Rehearsal: 

• The rehearsal was good, we got stuff done.
• We blocked through up to scene 10.
• We looked at using people in settings such as the airport, to create a natural environment.
• Worked out some objectives.
• We realise the importance of knowing our lines, because working with scripts in hands is awkward and difficult
• Before we can really work, individual research and thought is needed.
• We are 'acting by numbers' at the moment
• Every time we are onstage, speaking or non-speaking we need to have clear characterisation (status, voice, physicality, energy, levels, objectives.)
• The protest scene needs higher stakes, something at risk.
• Reactions are very important, and we can explore different ways of playing them.
• We need to find the rhythm of the text as one, so we can work well as an ensemble.
• And more than anything ENERGY is essential!

Meisner Lesson

Meisner

Acting Vs Role-playing

Acting: Creating a conscious character

Role Playing: Unconscious character

Acting: Commitment/sensitivity/honesty, releasing ideas to become unconscious, living in the moment.

Repetition

The technique involves two or more people, one person makes an observation about the other, and they must continuously repeat until another observation is made. 

It goes in stages, starting with something simple i.e. 'you have blonde hair' 'I have blonde hair'

and then deeper examinations are made, for example 'you wear make up because you like to feel attractive' and then 'you like to feel attractive because you can be insecure'.

The Meisner technique establishes deep connections of characters, you must always accept what is given.

The repetition involves no hiding, you must say what you see. It requires physical and emotional availability. 

It won't work unless you live on your instincts. Trust, honesty and intelligence is necessary.

Meisner said

'Acting is the ability to live truthfully in imaginary circumstances' - This is important, because it acknowledges that the given circumstances of the play isn't  real, but we look on experience, and feelings and research to find truth in them.

He also said 

'Silence is an absence of words but is never an absence of meaning'. - This is important for me especially, because there are a lot of times when I am on stage but not speaking, and therefore I must realise what my character is living in that time.

Reflection

Personally, I really enjoyed this exercise, because it forces you to be honest about yourself. It is difficult not to start acting because you are aware of it becoming boring, but it won't be as long as you're fully engaged. The difficulties with it is that it could lead to overworking a scene, and letting it run dry. However it prevents you from throwing away or wasting a line, because you explore all ways as to how and why you say them.