Try lying on the floor and letting your belly be empty of air. We'll call this your "natural empty." Get rid of all your tension and stay engaged with the outside world - visualizing something on the ceiling helps. Now let the air flow into you, think of it traveling down your spine and into your extremities. If it helps, put one hand on your upper chest and one just below your waistline; this will tell you where the air is going. (You shouldn't feel it in your upper chest or shoulders)
Think of the sound "hah" living somewhere in your toes. Let it rise up and come out of you as a vocalization. The minute that "hah" loses intensity, volume, energy, whatever - stop. Don't let it fade out and DON'T let your breath run out and gasp for that last bit of air.
This what we worked on in "Voice, Speech, and Text" today, and I learned that while I'm blessed with a good deal of air to work with if I learn to control where the air comes and goes there's even more. (Good to know) Also, my tongue gets in the way of my throat being open. That's another way sound gets limited and I've got to work on keeping my tongue lower in my mouth - hard to do.....
Tuesday, July 10, 2007
Not out of the fire yet....
So I was all prepared to do my monologue today, and Sam started picking people instead of taking volunteers. There's still that bit of edginess about getting up in front of the group for the first time. Yesterday I talked about Sam's unassuming style and how it impressed me. Today I felt a positive energy in the whole group. We had a guy get up (another one of the Adler vets) to do his piece. Since he wasn't here yesterday I'll call him Late Guy. It was a Konstantin piece from The Seagull, where's the would-be writer is talking about how he doesn't feel his mother appreciates him. The first go-round was dry and a bit busy, filled with business like the piece I wrote about yesterday. I don't even think he got all the way through it before Sam stopped him. (I could tell Late Guy had had a good bit of training, it was obvious)
First Sam put another class member in a chair to give Late Guy something to focus on. That helped a little. Then he talked about Konstantin's circumstances in the play (character, circumstance, and action are of course our trinity) and asked Late Guy if he had any regrets or doubts about his career. Another attempt. Better. Then Sam asked some personal questions of Late Guy and got some personal revelations which gave the actor something to use as a substitution for his piece. The last attempt was of course the best, and Sam deservedly commended Late Guy on his bravery. We've been applauding each other after our pieces; the environment feels very encouraging and positive. Even though I'd hoped to have my monologue over by now I'm not as nervous as I was a couple of days ago.
First Sam put another class member in a chair to give Late Guy something to focus on. That helped a little. Then he talked about Konstantin's circumstances in the play (character, circumstance, and action are of course our trinity) and asked Late Guy if he had any regrets or doubts about his career. Another attempt. Better. Then Sam asked some personal questions of Late Guy and got some personal revelations which gave the actor something to use as a substitution for his piece. The last attempt was of course the best, and Sam deservedly commended Late Guy on his bravery. We've been applauding each other after our pieces; the environment feels very encouraging and positive. Even though I'd hoped to have my monologue over by now I'm not as nervous as I was a couple of days ago.
Monday, July 9, 2007
The first day
Whew.
I don't know what good blogging etiquette is in this situation, so I'm not going use the names of any other students in my Chekhov classes. The teachers are being paid, so I think they can take the hit; but the names of the other students are immaterial. But I have to talk about them somehow, so that means pseudonyms!
The highlight of the day, and indeed the centerpiece of the whole shebang is the afternoon scene study class with Sam Schacht. We've been hearing about what a great teacher he is and told not to "blow it," so even the most experienced students are a little on their guard. (There are 2 or 3 Stella Adler vets in the group) I'm immediately impressed by his unassuming style. He's for real, but doesn't seem to think he has all the answers. Indeed, the notion of there not necessarily being one "right" technique is a central theme in our work today. Sam talks for quite awhile about Adler and Stanislavski, and the rift between Adler and Strasberg. It's unusual that he's teaching here because apparently he has a background in Strasberg but sees a way to use elements of both techniques; try thinking of a Communist party official under Breznhev thinking there are some interesting ideas about democracy and you'll have an idea of how unusual this is.
Only a couple of people got to do their first monologues today, because Sam does a good bit of analysis and explication after each one. (I plan to jump up 1st or 2nd tomorrow) I want to mention one monologue that was performed by a classmate; since she's one of the vets I'll call her Conservatory Girl. (I know I should say "woman" instead, but that has more letters and makes her sound like a superhero...no sexism intended).
Conservatory Girl did Nina's final monologue from The Seagull, in which she declares her intention to overcome losing both a child and the man she loved. The first go-round of the piece was filled with a good deal of carefully worked out business about taking off and putting on gloves and other staging. Sam told her that on one level the piece was good, but lacked feeling. On the second go-round he had her walk around and gaze at the imaginary surroundings (Nina is coming back to a place she hasn't been in two years). He told her when to start talking and then gave little bits of direction ("fix your hair," etc.) as she gave the lines. At a certain point he told her to think of a old boyfriend. It was much better, and noteworthy because it mixed Adlerian (imagination) and Strasbergian (the old boyfriend) methods. Her emotions were quite obviously welling up, and so he had her do it AGAIN and this time got an even better performance - the sense of a woman really struggling to hold on came through. The difference was remarkable.
Sam also did something that's unusual in my acting class experience. He repeatedly said it was OK to disagree and stressed "heart not head" and finding what works over dogma. He's pratical, serious, and about teaching more than ego and I like it.
Oh, we also had two other classes - I'll talk more about those when I have a clearer sense of where they're going. "Composition," with Steve Cook seems to be about ensemble building and movement. Our teacher for "Voice, Language, and Text" was away and I've forgotten our stand-ins name. We did a lie-on-the-floor-and-release-tension exercise not dissimilar to things I've done before, but the mandate to keep one's eyes and throat open really kept me engaged and left me feeling tension-free and focused.
I can't promise a post this long every day, but tomorrow I should be reporting on my monologue....stay tuned....
I don't know what good blogging etiquette is in this situation, so I'm not going use the names of any other students in my Chekhov classes. The teachers are being paid, so I think they can take the hit; but the names of the other students are immaterial. But I have to talk about them somehow, so that means pseudonyms!
The highlight of the day, and indeed the centerpiece of the whole shebang is the afternoon scene study class with Sam Schacht. We've been hearing about what a great teacher he is and told not to "blow it," so even the most experienced students are a little on their guard. (There are 2 or 3 Stella Adler vets in the group) I'm immediately impressed by his unassuming style. He's for real, but doesn't seem to think he has all the answers. Indeed, the notion of there not necessarily being one "right" technique is a central theme in our work today. Sam talks for quite awhile about Adler and Stanislavski, and the rift between Adler and Strasberg. It's unusual that he's teaching here because apparently he has a background in Strasberg but sees a way to use elements of both techniques; try thinking of a Communist party official under Breznhev thinking there are some interesting ideas about democracy and you'll have an idea of how unusual this is.
Only a couple of people got to do their first monologues today, because Sam does a good bit of analysis and explication after each one. (I plan to jump up 1st or 2nd tomorrow) I want to mention one monologue that was performed by a classmate; since she's one of the vets I'll call her Conservatory Girl. (I know I should say "woman" instead, but that has more letters and makes her sound like a superhero...no sexism intended).
Conservatory Girl did Nina's final monologue from The Seagull, in which she declares her intention to overcome losing both a child and the man she loved. The first go-round of the piece was filled with a good deal of carefully worked out business about taking off and putting on gloves and other staging. Sam told her that on one level the piece was good, but lacked feeling. On the second go-round he had her walk around and gaze at the imaginary surroundings (Nina is coming back to a place she hasn't been in two years). He told her when to start talking and then gave little bits of direction ("fix your hair," etc.) as she gave the lines. At a certain point he told her to think of a old boyfriend. It was much better, and noteworthy because it mixed Adlerian (imagination) and Strasbergian (the old boyfriend) methods. Her emotions were quite obviously welling up, and so he had her do it AGAIN and this time got an even better performance - the sense of a woman really struggling to hold on came through. The difference was remarkable.
Sam also did something that's unusual in my acting class experience. He repeatedly said it was OK to disagree and stressed "heart not head" and finding what works over dogma. He's pratical, serious, and about teaching more than ego and I like it.
Oh, we also had two other classes - I'll talk more about those when I have a clearer sense of where they're going. "Composition," with Steve Cook seems to be about ensemble building and movement. Our teacher for "Voice, Language, and Text" was away and I've forgotten our stand-ins name. We did a lie-on-the-floor-and-release-tension exercise not dissimilar to things I've done before, but the mandate to keep one's eyes and throat open really kept me engaged and left me feeling tension-free and focused.
I can't promise a post this long every day, but tomorrow I should be reporting on my monologue....stay tuned....
Sunday, July 8, 2007
I'm excited...
...about the beginning of class tomorrow. I've decided to try to let go of any preconceptions or expectations I have about the class and about my own abilities and just experience it. My inside source (thanks Brianne!) tells me to expect a tough but generous group of teachers who will be very honest. So as I told my Dad when he was driving me to the airport Friday, this will either be a great experience or a very expensive reality check. Probably a bit of both.....
Saturday, July 7, 2007
I'm here
The trip went pretty smoothly and I'm now settled into a CCNY dorm suite with three other guys, only one of whom I've met. I had a bad moment when I thought I might not be able to connect to the Internet with my antiquated equipment, but the purchase of a cable and the discovery of a port I didn't know existed on my computer set me straight.
I've said before that I think everyone in Manhattan looks like a great character actor, and when I was walking around yesterday I had the same impression. It's no wonder that Law & Order has been on so long, because the entire city looks like the supporting cast.
Just to set the scene - I'm on W. 135th St. As I say it's in a CCNY residence hall that abuts campus. The neighborhood is lots of apartment buildings, a couple of playgrounds, some basketball courts. There seem to be a great many families; there are kids all over the place as I walk the couple of blocks to the subway. Not a well-off neighborhood by any stretch, but I got the feeling of a strong community as I walked home last night. The trip to the Stella Adler Studio is one direct but long subway ride on the 1 train to 28th Street and then a short walk.
I'm still memorizing that monologue for Monday, it's coming. I'm going to carry it with me as I walk around today. Thank goodness for my fast memorization skills! More to come....
I've said before that I think everyone in Manhattan looks like a great character actor, and when I was walking around yesterday I had the same impression. It's no wonder that Law & Order has been on so long, because the entire city looks like the supporting cast.
Just to set the scene - I'm on W. 135th St. As I say it's in a CCNY residence hall that abuts campus. The neighborhood is lots of apartment buildings, a couple of playgrounds, some basketball courts. There seem to be a great many families; there are kids all over the place as I walk the couple of blocks to the subway. Not a well-off neighborhood by any stretch, but I got the feeling of a strong community as I walked home last night. The trip to the Stella Adler Studio is one direct but long subway ride on the 1 train to 28th Street and then a short walk.
I'm still memorizing that monologue for Monday, it's coming. I'm going to carry it with me as I walk around today. Thank goodness for my fast memorization skills! More to come....
Friday, July 6, 2007
I'm flying....
On my way to NYC! Will I measure up? Will people think my accent is funny? Can I figure out the subways? (yes).....Stay tuned!
Tuesday, July 3, 2007
Opening salvo
I fly to New York on Friday! For the first day of class (Monday the 9th) we're to prepare a Chekhov monologue for our scene study teacher Sam Schacht. I'll be doing a Astrov piece from Act 1 of Uncle Vanya, since that's the Chekhov play I know the best (and like the best, thanks to Louis Malle's film). If all goes well posting should pick up considerably here, though I plan to focus heavily on what goes on in the classes.
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