Wednesday, 22 October 2008
Monday, 20 October 2008
WEEK EIGHT: REHEARSAL NOTES
Notes from the devising process...
DIRECTION
Doorkeeper collects the money on the door, Performers start in the performance space, chatting casually. Whistle blows. Each performer assembles in their chosen place. Their characters introduce themselves. As they come to life they ‘dress themselves’ with a prop or with a piece of costume. Neutral speech. Just facts. Status, relationships, name. Repeat. Repeat quieter. Shylock.
Beat.
Jew.
QUESTION
Do I just say my name, or do I say ‘I am . . .’ to introduce my character? How much colour do you give your character?
TEXT
ANTONIO. Wealthy Merchant. Friend to Bassanio. Christian.
Poor. Suitor to Portia. Antonio’s friend. I am BASSANIO. Christian
Heiress. Fate sealed in a casket. PORTIA. Christian.
My name is LORENZO. In love with Jessica. Antonio’s friend. Christian.
In love with Lorenzo. Shylock’s daughter. I play JESSICA. Jewess.
Businesman. Associate of Shylock. TUBAL. Jew.
Jessica’s father. Businessman. (Shakes money tin) SHYLOCK.
Beat.
Jew.
WEEK SIX: DAVID EDWARDS' COMMENTARY
EXPLORING THE PSYCHOLOGICAL USING STANISLAVSKI
In this session we carried on the work on 'interpretation' but started looking at how the 'inner thoughts' of the characters could be unlocked. We looked at speeches from Act IV, scene i - primarily Shylock and Portia.
The first half of the session involved various improvisational exercises including - body language, 'love you/hate you' and emotional recall. The second half used the previous major/minor stress work and used the speeches in an experimental manner using music/sounds. Some of the work was particularly moving/disturbing.
In this session we carried on the work on 'interpretation' but started looking at how the 'inner thoughts' of the characters could be unlocked. We looked at speeches from Act IV, scene i - primarily Shylock and Portia.
The first half of the session involved various improvisational exercises including - body language, 'love you/hate you' and emotional recall. The second half used the previous major/minor stress work and used the speeches in an experimental manner using music/sounds. Some of the work was particularly moving/disturbing.
WEEK SIX: DIRECTOR'S COMMENTARY
A RESPONSE TO THE RSC’S 'THE MERCHANT OF VENICE'
How to start? Where to begin? This evening’s production of ‘The Merchant of Venice’ confused me, irritated me, drained the very soul from me and, eventually (after 1 hour 35 mins!) drove me from my seat into the relative sanctuary of the foyer bar! (Where I must admit, I remained for the rest of the evening.)
It is always difficult for me, when I’m working so closely on a given text, to fully engage with alternative interpretations of the same work. It’s rather like that moment when you’ve just read a fantastic book and then go and see the film . . . it’s a very rare thing to be dazzled by both!
I don’t consider myself to be an ungracious person but, for some reason, the production we saw failed to excite or inspire me. I was confused by any number of things:
- Why were the house lights left on?
- What was the set supposed to be or suggest?
- Why did the actors mangle the verse?
- Did Jessica have a neck problem (she seemed to stare fixedly at the gods throughout?
- Why did Portia’s caskets seem to contain bottles of Bacardi Breezers?
- What period were the military costumes supposed to be from?
- Why did I not care about anyone?
- And lastly, most regretfully of all, why did Shylock throw away so many great lines??!!
I found no answers, but great solace, in the extra glass of wine I had after you’d all returned for the second half!
Gordon Duffy-McGhie
Subscribe to:
Posts (Atom)
