Venezuelan Girl and I are definitely doing the Proposal scene in the final presentation on the 9th. It should be different from what everyone else is doing and I think that with a bit more work could be as good as it was in class yesterday. I'd love to have another crack at the Trofimov-Anya scene, which didn't get worked enough due to my partner having to leave class for awhile due to some personal stuff. Or, I wouldn't mind squeezing in a 3rd scene - maybe the Vanya scene I had wanted to do with Glasses Girl - but I don't know if there's time.
We're at the stage in the program where people are thinking about it being over, and the cameras are coming out. I'm working my way through my second one of those film-already-inside cameras, and today I got a few shots of what the Studio looks like inside. I need to remember to get a shot of the big photo of Stella Adler and Harold Clurman hanging right inside the door.
At lunch today our Egyptian classmate (who has been making movies for 10 years in Egypt and has her own IMDB page) was telling us about the fact that in her country she is too well known to go out in public and has to stay at home with her husband and child. I asked her if she felt it was refreshing to be not only in America but to just be able to work on craft without any pressure. She said it was, and it got me thinking about how despite all I've learned in these classes how there isn't really any way to "solve" acting (even for people who've attained recognition and success), to get to the end of all that can be gained from study and from practical experience. It's a daunting thought, but also an inspiring one. I've been in kind of a unique fishbowl the past 3 1/2 weeks, and it's been helpful to be able to record my thoughts here. As all the teachers have been saying though, we've got to take what we learn in class and bring it to productions and auditions no matter where or how big. Just think, I'll always be working at this and maybe, just maybe, if I'm lucky I'll feel like I got it absolutely right once or twice. Some people might not like those odds - but what else am I going to do right?
Tuesday, July 31, 2007
Monday, July 30, 2007
Things I Learned Today
I am not the worst dancer in our class.
But more on that later. The highlight of the day was doing the second run-through of The Proposal scene with Venezuelan Girl. For those who don't know, The Proposal is a short Chekhov play - he called it a "vaudeville" - the bulk of which concerns a man (Lomov) and his desire to propose marriage to his neighbor's daughter Natasha. Lomov arrives at Natasha's house to propose but inadvertently begins an argument about the ownership of some land which makes things go awry and sets off Lomov's hypochondria in the bargain. Just think of wanting to tell someone something but accidentally saying something stupid and not being able to get out of it and you'll have it.
As I mentioned we rehearsed over the weekend so we felt comfortable and prepared going in. The first run through was good, although I stumbled over a speech that I hadn't had any trouble with in our run throughs. If you know anything about the shows I've done in the past and the types of characters I've often played, you'll understand when I say that it felt great to get some laughs. Sam liked the scene and especially praised Venezuelan Girl for being louder; that had been a problem in another scene she'd done.
Then things got interesting. As we prepared to do the scene again, Sam noticed that I went back to the same place onstage to start the scene. He pointed out that I actually had full use of the space and encouraged me not to be so rigid in my thinking. It happened pretty quickly, and I wish I could give you the exact exchange of words but the next thing that happened was I was doing an improv of Lomov's marriage proposal - "the moment before" the scene that Sam often talks about. That got me going because it kick started the character's (and my) natural awkwardness. So, as we began the scene proper I was "exploring the space." I drank water, pondered smoking a cigarette, etc. Natasha entered just as I was in mid sit-down, legitimately surprising me and starting the scene at the exact place I needed to be. You know where I'm going: this run fed off what Sam had put me through and was even better (although I still screwed up the same f-ing speech!). Sam was pleased with the progress both of us had made in overcoming our respective trouble spots and told me we should consider doing the scene for the last day of class presentation on the 9th of August, which she and I had already talked about doing.
Now the dancing: in our Composition class today Steve declared his desire to do "something stupid" and so spent the whole class teaching us an old fashioned dance, the kind you'd do in a WW2-set movie. Given that I've felt I haven't shown that much in the acting department and how clumsy I feel dancing most of the time, I was surprised that the steps came easier and more confidently to me than two or three of the others. But I definitely know how they feel. Half the class "led" while the other half rotated among the different leaders, so in practice that means that guys got to dance with almost every one of the girls. This had the added effect of giving me a chance to get comfortable with a couple of classmates I really hadn't talked to that much yet. And all the dancing we've been doing has played into the Adlerian goal of making me more relaxed and comfortable physically as an actor, which was definitely a spot where I needed work. I'll probably regret writing this, but I definitely don't feel shy about dancing anymore.
So all in all a fun and positive day....I knew the time here would go fast, but it's hard to believe we only have 7 class days left.
But more on that later. The highlight of the day was doing the second run-through of The Proposal scene with Venezuelan Girl. For those who don't know, The Proposal is a short Chekhov play - he called it a "vaudeville" - the bulk of which concerns a man (Lomov) and his desire to propose marriage to his neighbor's daughter Natasha. Lomov arrives at Natasha's house to propose but inadvertently begins an argument about the ownership of some land which makes things go awry and sets off Lomov's hypochondria in the bargain. Just think of wanting to tell someone something but accidentally saying something stupid and not being able to get out of it and you'll have it.
As I mentioned we rehearsed over the weekend so we felt comfortable and prepared going in. The first run through was good, although I stumbled over a speech that I hadn't had any trouble with in our run throughs. If you know anything about the shows I've done in the past and the types of characters I've often played, you'll understand when I say that it felt great to get some laughs. Sam liked the scene and especially praised Venezuelan Girl for being louder; that had been a problem in another scene she'd done.
Then things got interesting. As we prepared to do the scene again, Sam noticed that I went back to the same place onstage to start the scene. He pointed out that I actually had full use of the space and encouraged me not to be so rigid in my thinking. It happened pretty quickly, and I wish I could give you the exact exchange of words but the next thing that happened was I was doing an improv of Lomov's marriage proposal - "the moment before" the scene that Sam often talks about. That got me going because it kick started the character's (and my) natural awkwardness. So, as we began the scene proper I was "exploring the space." I drank water, pondered smoking a cigarette, etc. Natasha entered just as I was in mid sit-down, legitimately surprising me and starting the scene at the exact place I needed to be. You know where I'm going: this run fed off what Sam had put me through and was even better (although I still screwed up the same f-ing speech!). Sam was pleased with the progress both of us had made in overcoming our respective trouble spots and told me we should consider doing the scene for the last day of class presentation on the 9th of August, which she and I had already talked about doing.
Now the dancing: in our Composition class today Steve declared his desire to do "something stupid" and so spent the whole class teaching us an old fashioned dance, the kind you'd do in a WW2-set movie. Given that I've felt I haven't shown that much in the acting department and how clumsy I feel dancing most of the time, I was surprised that the steps came easier and more confidently to me than two or three of the others. But I definitely know how they feel. Half the class "led" while the other half rotated among the different leaders, so in practice that means that guys got to dance with almost every one of the girls. This had the added effect of giving me a chance to get comfortable with a couple of classmates I really hadn't talked to that much yet. And all the dancing we've been doing has played into the Adlerian goal of making me more relaxed and comfortable physically as an actor, which was definitely a spot where I needed work. I'll probably regret writing this, but I definitely don't feel shy about dancing anymore.
So all in all a fun and positive day....I knew the time here would go fast, but it's hard to believe we only have 7 class days left.
Saturday, July 28, 2007
The studio...
....is open on Saturdays and Sundays for people to come in and rehearse in the various small rooms (reservation required), so Venezuelan Girl and I met both yesterday and today to work on our piece from The Proposal. Everyone works in different ways, and for me I just look to get as comfortable as I can with my lines and other onstage business so that its all second nature to me and I can just act. In a way I think I often instinctively try to do what Sam has been telling me I should for the past few weeks - let the lines and the external stuff come last - but I don't think I've always done it here. I didn't have much rehearsal time on my first scene, so the two days here feel like a luxury.
Anyway, we work well together and I'm feeling good about the scene. She's concerned with sounding credible on the more modern expressions that she doesn't know. This translation has Natasha saying things like "Well I Never," which are new to her; I'm giving her coaching on how to sound appropriate (she's actually doing fine). We're going to do the scene in class on Monday, so cross your fingers....
Anyway, we work well together and I'm feeling good about the scene. She's concerned with sounding credible on the more modern expressions that she doesn't know. This translation has Natasha saying things like "Well I Never," which are new to her; I'm giving her coaching on how to sound appropriate (she's actually doing fine). We're going to do the scene in class on Monday, so cross your fingers....
Wednesday, July 25, 2007
Maybe it was the elevator
Anyone who's an actor aspires to be as "free" in their work as possible at any given moment. That is to say, to play one's actions as purely as possible without being hindered by any mental or physical encumbrance. We all have our "good" and "bad" days, but I'd say any thoughtful actor would tell you that a feeling of pure freedom might be (at best) a once-in-a-lifetime event.
Today in Joanne's movement class we had a moment that really crystallized what the Adler program is all about (in my humble blah blah...). I've written before about my apprehensions about this class, my awareness of my own shortcomings in the areas of flexibility and physical fluidity. Well today the class just clicked, not just for me but the whole group. Focus was strong, the mood was positive and there was just a great relaxed feeling in the class. Joanne asked us to sit back to back with our scene partners and, while "feeling our text," enact our scene through abstract movement. This turned into a dance (picture a man who has wandered onto the stage of a very good modern dance company and you'll know what I felt like dancing with Venezuelan Girl), and eventually into a dance that each couple performed before the group.
I think our piece got the essence of The Proposal (a steadily escalating comic confrontation) even if it may not have been the prettiest, but everyone in the class really committed to what they were doing and the results were great. Because of an odd number in the class there was even a three-way dance which combined two scenes. THEN Joanne raised the stakes by repeating the exercise except substituting song for dance. So, that's what we did; everyone performed a (thankfully short) version of their scene in song, sometimes saying the words and sometimes paraphrasing. Again here, the group was very into the spirit of the work.
I describe this exercise in such detail because of the challenge Joanne threw to us at the end. We should make all our scenes, monologues, whatever as free as the dance and singing we had just done. We should integrate the physical into our work and stay out of our heads. It should always feel this good. And of course, that's a lofty goal but 100% right. It's usually difficult to have time to do a dance before an audition or rehearsal, but in a way we should - metaphorically if not literally.
Notes from Sam's class: Venezuelan Girl and I did the first rough run-through of our scene from The Proposal today, and Sam had us do it shouting in order to "loosen us up" and get us in the spirit of the the thing. I think I said yesterday that this scene has possibilities to me, we're working on it this weekend.
The Bravery Award for the day is shared by Class Secretary and Glasses Girl. Class Secretary was missing a scene partner so Sam had her do an in-character improv (Yelena from Vanya) imagining "the moment before" her scene with Vanya. She wasn't expecting it when she came to class today but pulled it off with authority. Glasses Girl is doing a gender switch version of the Anya-Trofimov scene I tried earlier with one of the guys in class. Today was the first work-through and I'm interested to see where it goes.
(Explanation for post title: As I was walking down W. 27th towards the studio this morning, I met Joanne and a couple of classmates coming the other way. The stairs were closed due to construction in the building - the elevators are off limits to Adler students - and so we had to go down the block to a freight elevator that took us to a different entrance to the studio. I'm not superstitious but the change in routine set a good tone for the day.)
Today in Joanne's movement class we had a moment that really crystallized what the Adler program is all about (in my humble blah blah...). I've written before about my apprehensions about this class, my awareness of my own shortcomings in the areas of flexibility and physical fluidity. Well today the class just clicked, not just for me but the whole group. Focus was strong, the mood was positive and there was just a great relaxed feeling in the class. Joanne asked us to sit back to back with our scene partners and, while "feeling our text," enact our scene through abstract movement. This turned into a dance (picture a man who has wandered onto the stage of a very good modern dance company and you'll know what I felt like dancing with Venezuelan Girl), and eventually into a dance that each couple performed before the group.
I think our piece got the essence of The Proposal (a steadily escalating comic confrontation) even if it may not have been the prettiest, but everyone in the class really committed to what they were doing and the results were great. Because of an odd number in the class there was even a three-way dance which combined two scenes. THEN Joanne raised the stakes by repeating the exercise except substituting song for dance. So, that's what we did; everyone performed a (thankfully short) version of their scene in song, sometimes saying the words and sometimes paraphrasing. Again here, the group was very into the spirit of the work.
I describe this exercise in such detail because of the challenge Joanne threw to us at the end. We should make all our scenes, monologues, whatever as free as the dance and singing we had just done. We should integrate the physical into our work and stay out of our heads. It should always feel this good. And of course, that's a lofty goal but 100% right. It's usually difficult to have time to do a dance before an audition or rehearsal, but in a way we should - metaphorically if not literally.
Notes from Sam's class: Venezuelan Girl and I did the first rough run-through of our scene from The Proposal today, and Sam had us do it shouting in order to "loosen us up" and get us in the spirit of the the thing. I think I said yesterday that this scene has possibilities to me, we're working on it this weekend.
The Bravery Award for the day is shared by Class Secretary and Glasses Girl. Class Secretary was missing a scene partner so Sam had her do an in-character improv (Yelena from Vanya) imagining "the moment before" her scene with Vanya. She wasn't expecting it when she came to class today but pulled it off with authority. Glasses Girl is doing a gender switch version of the Anya-Trofimov scene I tried earlier with one of the guys in class. Today was the first work-through and I'm interested to see where it goes.
(Explanation for post title: As I was walking down W. 27th towards the studio this morning, I met Joanne and a couple of classmates coming the other way. The stairs were closed due to construction in the building - the elevators are off limits to Adler students - and so we had to go down the block to a freight elevator that took us to a different entrance to the studio. I'm not superstitious but the change in routine set a good tone for the day.)
Tuesday, July 24, 2007
Today was...
...a bit ragged, as we are transitioning between scenes in Sam's class. So some people don't have their scene ready and some just have the bare bones. Contrary to what I wrote earlier, I'm going to be working with the Venezuelan Girl on something. The reasons for the change are too boring to explain, but I'm happy to say that we are going to be looking at Chekhov's one-act THE PROPOSAL, which I worked on in college in a student-directed production. There's the potential for some fun here, and the character of the hypochondriac who proposes marriage to his neighbor and ends up arguing about a dog is right up my alley. (I know I said I wanted to be challenged, but everybody wants to feel good about themselves, right?)
Tuesday is our "light" day, we get out at 4 instead of 6.30. So I sat in the park and worked on memorization and then went to HARRY POTTER. Tomorrow's post should be more substantial....
Tuesday is our "light" day, we get out at 4 instead of 6.30. So I sat in the park and worked on memorization and then went to HARRY POTTER. Tomorrow's post should be more substantial....
Monday, July 23, 2007
"Stuck in Words"
Week 3 begins....More rain but this time I have an umbrella so the damage is limited, my jeans are actually dry by the time it's time to go home. The big event of the day is the second run through of the Trofimov-Anya scene. I honestly feel there was an improvement from the other day, as I reigned in my instincts to play to the audience and tried to make a connection with my scene partner. But apparently I didn't make that connection strongly enough, because Sam felt that I was still too much about lines and not enough about action. He worked with us for a good while, and even gave us a ball to play catch with as we played the scene - to emphasize the idea of connection. The important thing is to take what Sam gives us and build the scene with it, and I think we can do that. Sam actually said he wanted to see the scene again before the end of the workshop, so we will have another chance to get it right.
I'd love to do a scene or a monologue in class that wows everybody, but if I don't I want to get as much as I can out of the mistakes so that whatever I do in acting in the future will be stronger. When we were talking in class today, Sam asked me if the technique of playing actions he talks about was new to me (it isn't) and if I understood the philosophy he was trying to get across (I do). He seemed to want to get some emotional reaction out of me (not just my character) and the one thing I wish I'd asked him (and I still might) is what good that would have done. I could have yelled or thrown a chair, but our time together is limited and that really would have accomplished very little and been pretty out of character for me besides. Yes, I need to discern the difference between an "idea and a feeling" (Sam's words) as an actor, but me getting mad at him would just have been self-indulgence.
The most enjoyable part of the day was doing a group dance to a song in Steve's Composition class. I think Steve said the song was Algerian; it went on for about six minutes and we were all just following our impulses and having a good time. If you're reading this and you know me you know I'm not a dancer, but in that class and among the group I'm totally comfortable dancing or doing any of the other exercises. You'd think I'd be more comfortable doing a scene since that's where my experience lies, but no.
I'd love to do a scene or a monologue in class that wows everybody, but if I don't I want to get as much as I can out of the mistakes so that whatever I do in acting in the future will be stronger. When we were talking in class today, Sam asked me if the technique of playing actions he talks about was new to me (it isn't) and if I understood the philosophy he was trying to get across (I do). He seemed to want to get some emotional reaction out of me (not just my character) and the one thing I wish I'd asked him (and I still might) is what good that would have done. I could have yelled or thrown a chair, but our time together is limited and that really would have accomplished very little and been pretty out of character for me besides. Yes, I need to discern the difference between an "idea and a feeling" (Sam's words) as an actor, but me getting mad at him would just have been self-indulgence.
The most enjoyable part of the day was doing a group dance to a song in Steve's Composition class. I think Steve said the song was Algerian; it went on for about six minutes and we were all just following our impulses and having a good time. If you're reading this and you know me you know I'm not a dancer, but in that class and among the group I'm totally comfortable dancing or doing any of the other exercises. You'd think I'd be more comfortable doing a scene since that's where my experience lies, but no.
Friday, July 20, 2007
A New York Moment
(not from the class, but something to get you through the weekend - sorry about the language):
Man 1 (black, late 20s, holding 2 hot dogs): Fuck yeah!
Man 2 (white, about 50, he doesn't know Man 1): That's right!
Man 1: Fuck yeah!
Man 2: That's right!
Man 1: You can't just say it regular, you've got to say fuck yeah!
Man 2: Especially when you've got a good hot dog.
Man 1: Fuck yeah!
--overhead on the corner of W. 72nd and Amsterdam Ave. 7/20/07
Man 1 (black, late 20s, holding 2 hot dogs): Fuck yeah!
Man 2 (white, about 50, he doesn't know Man 1): That's right!
Man 1: Fuck yeah!
Man 2: That's right!
Man 1: You can't just say it regular, you've got to say fuck yeah!
Man 2: Especially when you've got a good hot dog.
Man 1: Fuck yeah!
--overhead on the corner of W. 72nd and Amsterdam Ave. 7/20/07
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