ACTING CLASS WEEK3

A. Where have you been?
B. Out
A. Are you ok?
B. Yeah, fine.
A. Shouldn't we talk?
B. What About?
A. You know what about.
B. What do you want me to say?


I was B, Kate A.
Paired up with kate, we had to create the details of the piece, SUBTEXT. Subtext gives you meat on the bones of the words, without it, the words have no power to affect. 


This was my best performance so far, my best acting. It was OUR best acting. It's important to be relaxed and confident, to have no fear, the audience will feed of this. It was "Intense" said one. "Excellent, excellent, excellent" were the words to describe the scene. 


My character felt trapped by the baby in the relationship with my wife of three years. I don't know how to stop the way I'm feeling, I know it's wrong, but I can't stop it. Self destructive fool.


Kate just wanted to be loved and for me to say something to let her know this. To break free of my insecurities and to be part of the family. SUBTEXT.


We performed the piece again, this time, replacing the written words with the thoughts, the feelings of the script.


B. Leave me alone
B. Fuck, fuck, fuck
B. We've been through this, and for some reason I still can't apologise
B. I want out of here


I want to study these more side by side, the importance to have a story, truth behind the words can't be expressed.

IMPORTANT READING LIST

THE ARTIST'S BODY
THE THEATRE OF THE OPPRESSED

Resposibility

Responsibility must be taken for my work.

Before my performance, Last week for site.

I had not considered the feelings of the audience, if they bought into what I was saying, I told a lie betraying them. I BETRAYED THEIR FEELINGS. 

If on a grander emotional scale, different scenario I could really hurt someone, so Caution is paramount. I must consider the space, the people, the words.

Directed to the performer Augosto Boal, and from what I have gleamed from the internet, uses performance to fuel political debate, and to involve an audience, who can stop, continue, change a performance.Will be reading this later tonight.

TUTORIAL 

Will Pollard directed me to the book The Artist's Body, a book that accounts performance in it's various mediums. 

Tutorial cleared up what I should be doing at this stage, kicking of from last week and using it to fuel this project. I should be evaluating that performance or acting, and taking from that what was great and not so. The Artist's Body should help me figure out where I want to take this, such as theatre, film, live street.

Reading Trainspotting

WRITING

LOOKING FOR A SCRIPT WRITING WORKSHOP.


IT WILL WORK IN TANDEM WITH UNIVERSITY AND ACTING CLASSES.


IT'S COMING TOGETHER, MY PRACTICE AND WHAT DRIVES ME.


Interesting was the way writer Aaron Sorkin writes his scripts, I found this article and it has given me ideas o hoe to keep my working flowing and to keep organised.


http://www.hollywoodreporter.com/news/aaron-sorkins-writing-process-69586

CURRENT READING LIST

FILM ART: AN INTRODUCTION 

MOTION PICTURE AND VIDEO LIGHTING

THE MEDIA IS THE MASSAGE

FROM PINEWOOD TO HOLLYWOOD

THE CORNER

SITE PROJECT: PERFORMANCE

My second performance. 


Using the Site project


I was angry with this project.


Uninspired, and feeling restricted.


I went for this performance, deciding to go for it the night before.


I study acting.


In my studio space, my peers and tutors gathered around me on mass, i told them:


"I'm gonna be honest, I haven't done this project."
"I struggled, in fact I'm struggling with the course"


PAUSE.


"I getting pretty fucking sick of it to be honest"
"So I'm just gonna leave now"


I walked off through the crowd, unable to see the possibly stunned faces.


I returned seconds later, to a room that kind of swelled with relief, shaking off the awkwardness that was maybe making people feel sick.


The feedback was interesting, and a boost for my self worth, it has given me the drive, and force of will to be good at this. 


I was believable.


I will look at theatre work and an Argentinian pair of Luis Ospina and Carlos Mayolo.