Well, just one performance left, the dreaded closing matinee. But first, to update on how the first two shows of this weekend went.
In sum, they went well. Friday night was a bigger and somewhat more involved crowd that tonight (Saturday) was, but tonight was galaxies better than last Saturday.
Truth be told I have more to say about tonight, than last night. That because that for certain moments of the play tonight to me represented my best acting of the run so far.
Not that I can fully explain how. A person in the audience who saw all of the performances so far may not have perceived much of a difference in tonight's performance I turned in. But for every actor, (I'd assume) there is a certain inner awareness of what they are and are not accomplishing any given play, any given night. It has a lot to do with how much of your theory for the character, built in your head and your heart over the process, is projected outward in the same way you see it inwardly. (In some cases, surpassing it.) So far i have no major complaints about my work in this show. I have been so far mostly satisfied with what I've done. But there haven't been as many moments of "inner" and "outer" matching up during this run as their have been with many of my shows.
Until tonight.
Part of this difficult-to-articulate experience relates also to proper ratio for me between automatic acting, and deliberate acting. I think I've said before here on the blog that a few times during this show I've been on stage for a few moments, and felt automatic; I felt that I was in the character, but responding in the exact moment to a few too many things, without having the grounded awareness that I am a performer in a role. As I said before it sounds great on some level, and it is a powerful tool. But the key word is tool. This vanishing into a moment cannot be a proper tool for me, if Ty vanishes too much under the surface, even if the acting is something to be proud of.
No, I strongly prefer to be just a tick or two ahead of the game, aware that I am a performer bringing a part to life. Controlling the magic, in other words, instead of the magic controlling me. A few times during the run the magic, if you will, ran ahead of me for a while.
The polar opposite problem of course is feeling nothing-being myself in a costume walking around a stage regurgitating something I've memorized. Aping more than acting. This also does little for me.
However, when just the right amount of "vanishing" mixes with just the right amount of conscious control over my performance, and ideal situation is achieved.
If you followed all of that, (don't be upset if you didn't) than what I'm saying is that I achieved this golden ratio more often, for longer periods tonight than I have in previous days of the run. So, by my own somewhat clumsy definition, I did, overall, my best work, had my best experience as an actor, tonight out of the five performances to date.
Not that this was happening every single minute. In fact, one usually must be satisfied with a ratio a few ticks below this golden. An entire evening within the golden is rare. But barring any major problems otherwise, an evening with at least an individual scene in the golden constitutes a successful night for me as an actor. Tonight was such a night, I'd say.
Now, what specifically about tonight made reaching the golden ratio possible more often than the other nights?
Hopefully you don't think I can answer my own question! For surely, it is one of the great mysteries of theatre, and indeed many of the arts. We don't always know why one crowd laughs and another doesn't, how a brilliant actor can pull off one role and not the next, or how and when we find the golden ratio I've talked about here. I can only say, if my experience matters at all, that being prepared as early as possible, and taking the work seriously increases the likelihood. And I have felt more prepared for this show than I have for my last few.
Tomorrow of course is that odd creature, closing performance. Matinee. I will naturally try to fight the fatigue and the expectations based on tonight, and everything else that has to be done after the show, and labor just as hard to give a good performance. I don't screw around in a show just because it's the final performance. But my honest instinct at this time is that tomorrow is not likely to be a better experience than tonight.
Check back in though, and find out.
Showing posts with label saturday. Show all posts
Showing posts with label saturday. Show all posts
Sunday, August 27, 2017
Sunday, October 02, 2016
Saturday's All Right for Fighting...and Macbeth
Good show tonight. In fact, our best to date, if you count full rehearsals and such.
To start with, the energy from a crowd of about 30 (our of 55 total seats) set the tone. As did the relief of it not being opening night anymore.
Energy was good. Pacing. All the components were in place for a show that was satisfying to perform, and exciting, (as far as one could tell) for the audience to watch.
I still got tongue tied once. I'd like to have that not happen anymore, but I corrected within the line, and it didn't ruin anything, so far as I could tell. It's just a matter of personal pride to throw a "no hitter" as it were. Yet i don't want to put undue pressure on myself, or the opposite of what I want is likely to happen. So, one performance at a time, one scene at a time one line at a time. That's the way it needs to be done, even if it is tempting to thinking too far ahead sometimes.
I do that a lot with Act IV scene 3. My longest and most intense scene as Malcolm. Though I don't let it distract me from the job at hand, that scene is never far from my mind once the show starts, even though I have much to do before getting there. (Not to mention there is intermission.) I won't call it an obsession, as that makes it sound unhealthy, but 4.3 is no doubt a focal point for me in this production. I go over it a few times in my head before the show starts, and then again between intermission and the scene itself. It's almost as if I haven't officially started my performance until that scene comes up, even though I've already done quite a bit of acting by then.
That scene was also probably the best it's been so far. At least my rubber tongue didn't show up in that scene this time.
My final speech, that closes out the whole show also went well. Better than on opening night. Plus unlike the previous night, the lights went to black out right after I finished my line. I may not have the largest presence in this particular show, but I admit I kind of dig having the final moment of it.
Sadly, next is the matinee for the first weekend. My mother will get to see the show, which is a plus, but it's still a matinee, and still a bit of a bane.
Still, it's Shakespeare, and I have a job to do. My powers are ready and my lack is nothing but my leave, as Malcolm himself might say.
To start with, the energy from a crowd of about 30 (our of 55 total seats) set the tone. As did the relief of it not being opening night anymore.
Energy was good. Pacing. All the components were in place for a show that was satisfying to perform, and exciting, (as far as one could tell) for the audience to watch.
I still got tongue tied once. I'd like to have that not happen anymore, but I corrected within the line, and it didn't ruin anything, so far as I could tell. It's just a matter of personal pride to throw a "no hitter" as it were. Yet i don't want to put undue pressure on myself, or the opposite of what I want is likely to happen. So, one performance at a time, one scene at a time one line at a time. That's the way it needs to be done, even if it is tempting to thinking too far ahead sometimes.
I do that a lot with Act IV scene 3. My longest and most intense scene as Malcolm. Though I don't let it distract me from the job at hand, that scene is never far from my mind once the show starts, even though I have much to do before getting there. (Not to mention there is intermission.) I won't call it an obsession, as that makes it sound unhealthy, but 4.3 is no doubt a focal point for me in this production. I go over it a few times in my head before the show starts, and then again between intermission and the scene itself. It's almost as if I haven't officially started my performance until that scene comes up, even though I've already done quite a bit of acting by then.
That scene was also probably the best it's been so far. At least my rubber tongue didn't show up in that scene this time.
My final speech, that closes out the whole show also went well. Better than on opening night. Plus unlike the previous night, the lights went to black out right after I finished my line. I may not have the largest presence in this particular show, but I admit I kind of dig having the final moment of it.
Sadly, next is the matinee for the first weekend. My mother will get to see the show, which is a plus, but it's still a matinee, and still a bit of a bane.
Still, it's Shakespeare, and I have a job to do. My powers are ready and my lack is nothing but my leave, as Malcolm himself might say.
Saturday, July 16, 2011
Rosencrantz and Guildenstern are Back
The start of the second and final weekend of this show was notable for a few things, not the least of which was a more subdued atmosphere. It may just have been me of course, but everyone just seemed more laid back last night. No doubt three days rest, and know we had a full weekend under our belt was to thank for this in large part.
It was quieter in the green room most of the time. Less tension. I think the fact that it was a cool night helped a great deal. It was actually cooler outside than inside for a change.
The performance itself also seemed tempered a bit, which I suppose could be see as either good or bad depending on one's point of view. Yet in this case it could not be avoided. "Guildenstern" was suffering from a sore throat and weakened voice. Despite it giving out somewhat near the end of the play, his voice was intelligible the entire time. But the actor's usual intense, high energy voice variations and volume were not possible. Hence the play took on a more intimate approach if you will.
Our audience was again small. 14 by my quick headcount through the curtain. Someone out there was laughing quite a bit though, which I am sure helps things a long. I still hope for a bigger crowd at least tonight, however.
My own experience was also relaxed going in. I have not been unsatisfied with any of my three previous performances, but something always seemed a bit missing. I always seemed to be looking for it. Tonight, heading into the play with such ease I think helped me smooth some of the rougher edges. I am willing to say that last night was my best performance of the run so far. Hamlet just came to me, and I proceeded to present him with even more confidence than usual. It is a small part, but I could not have asked for much more in terms of how I felt on stage. There was no moment of transcendence to another world or any such thing, but then again that is rarely my goal when I perform. No, I just felt that my movements, diction, cadence, motivation, and enunciation all blended into the best mix thus far last night. If the remaining two shows go as well as last night, the entire thing will be quite the success.
I also added a bit to something I started doing on Sunday. I tap at, "clean", and listen to the wall near me during my first entrance with Polonious, wherein Hamlet is pretending to be mad. I thought it added something to Hamlet's "antic disposition". I don't think most people have understood why I do it, but it give the scene more depth for me. When Polonious leaves the stage, I stop, as I believe Hamlet would do. After all, in the real play, just as Polonious leaves Hamlet utters, "These tedious old fools."
Even "To be or not to be..." was timed, in silence, to near perfection to coincide with what else was happening on stage. I began my entrance mouthing "for who would bear the whips and scorns of time...". That seemed to be good timing. At least last night. We will see if it will be again.
I still get nervous in Act Three when I have to move that huge umbrella and deck chair in the dark, but it went fine tonight. I did what I tried on Sunday, and I think at long last I have, knock on wood, found the rhythm to make that work.
One of only two goofs to which I was privy were discovering someone's cigarette lighter on the stage during one of my scenes. It was fortunate that I end that scenes with a low bow before exiting. I merely grabbed it on the bow and stood up as normal to exit. I could have left it there, but I thought given the nature of its round shape someone might slip on it.
The other goof was me having to exchange the letter in Act Three in the dark. Not a major problem there. Just had to move slowly and make the glow tape my friend.
Coming back to a show to start the second weekend of a two weekend run is always an interesting experience. Depending on how things have gone up to that point, the few days off between weekend can either seem like two weeks, or a mere few hours. But regardless there often seems to be a different feel to a show on the second weekend, and the second Friday in particular. A cast can either use this or be thrown by it. In this case, I think most of the cast used it to their advantage.
History indicates that in about 85% of the cases, the second Saturday is the best performance for such runs. What will this second Saturday bring?
It was quieter in the green room most of the time. Less tension. I think the fact that it was a cool night helped a great deal. It was actually cooler outside than inside for a change.
The performance itself also seemed tempered a bit, which I suppose could be see as either good or bad depending on one's point of view. Yet in this case it could not be avoided. "Guildenstern" was suffering from a sore throat and weakened voice. Despite it giving out somewhat near the end of the play, his voice was intelligible the entire time. But the actor's usual intense, high energy voice variations and volume were not possible. Hence the play took on a more intimate approach if you will.
Our audience was again small. 14 by my quick headcount through the curtain. Someone out there was laughing quite a bit though, which I am sure helps things a long. I still hope for a bigger crowd at least tonight, however.
My own experience was also relaxed going in. I have not been unsatisfied with any of my three previous performances, but something always seemed a bit missing. I always seemed to be looking for it. Tonight, heading into the play with such ease I think helped me smooth some of the rougher edges. I am willing to say that last night was my best performance of the run so far. Hamlet just came to me, and I proceeded to present him with even more confidence than usual. It is a small part, but I could not have asked for much more in terms of how I felt on stage. There was no moment of transcendence to another world or any such thing, but then again that is rarely my goal when I perform. No, I just felt that my movements, diction, cadence, motivation, and enunciation all blended into the best mix thus far last night. If the remaining two shows go as well as last night, the entire thing will be quite the success.
I also added a bit to something I started doing on Sunday. I tap at, "clean", and listen to the wall near me during my first entrance with Polonious, wherein Hamlet is pretending to be mad. I thought it added something to Hamlet's "antic disposition". I don't think most people have understood why I do it, but it give the scene more depth for me. When Polonious leaves the stage, I stop, as I believe Hamlet would do. After all, in the real play, just as Polonious leaves Hamlet utters, "These tedious old fools."
Even "To be or not to be..." was timed, in silence, to near perfection to coincide with what else was happening on stage. I began my entrance mouthing "for who would bear the whips and scorns of time...". That seemed to be good timing. At least last night. We will see if it will be again.
I still get nervous in Act Three when I have to move that huge umbrella and deck chair in the dark, but it went fine tonight. I did what I tried on Sunday, and I think at long last I have, knock on wood, found the rhythm to make that work.
One of only two goofs to which I was privy were discovering someone's cigarette lighter on the stage during one of my scenes. It was fortunate that I end that scenes with a low bow before exiting. I merely grabbed it on the bow and stood up as normal to exit. I could have left it there, but I thought given the nature of its round shape someone might slip on it.
The other goof was me having to exchange the letter in Act Three in the dark. Not a major problem there. Just had to move slowly and make the glow tape my friend.
Coming back to a show to start the second weekend of a two weekend run is always an interesting experience. Depending on how things have gone up to that point, the few days off between weekend can either seem like two weeks, or a mere few hours. But regardless there often seems to be a different feel to a show on the second weekend, and the second Friday in particular. A cast can either use this or be thrown by it. In this case, I think most of the cast used it to their advantage.
History indicates that in about 85% of the cases, the second Saturday is the best performance for such runs. What will this second Saturday bring?
Sunday, July 10, 2011
Saturday Night's Alright
In a reversal of the norm, tonight's audience was actually even smaller than last night's. And I feel pretty certain that several of them left at intermission. There were about ten people there by the end. This is frustrating.
However, several people, including two friends of mine, were tuned into the jokes of the play, and hence this tiny crowd was more responsive than the bigger one from last night. That made things a bit easier to swallow.
The best news of the night for me is that I got to do all of my scenes! Nothing was cut off. Further, I got into no more scrapes with certain individuals.
Somehow the cast was high energy for most of the affair. Perhaps we were buoyed by the several laughs, or maybe we just reached the right point tonight, but either way the show seemed a bit tighter, at least from my view.
I really felt I began to connect with Hamlet on that "extra" level that I have been talking about. I won't say it was transcendent just yet, but I felt as though each of my scenes had a depth which previously had only shown up in places. I truly felt for those few moments on stage that I was out there performing Hamlet itself. Which was one of my goals for this show. With four more shows, I like to believe I will have at least one night where I feel at the top of the game. If history is any indication, that will be a week from tonight, mark me. For now it was nice to feel the lines come forth trippingly from my tongue, to paraphrase Hamlet from the source material. Not only is the character showing up more, but the language is becoming more natural as time goes on. I am catching a lot of the rhythm.
A friend of mine, and one of the founders of the theatre told me she loved the way I was presenting the Prince. This was very encouraging, as I have a great deal of respect for her theatrical viewpoints.
I totally botched my mini-set change in Act Three, though. I can't really see anything up there on the pod in the dark, and moving a lamp, lawn chair, letter, magazine and giant beach umbrella in such a small space has been a bit of a challenge this time, though it had worked out previously. This time when the lights came up, the umbrella was sideways, and the lawn chair was on top of the magazine. I tried to yank it out, but couldn't. So I had Hamlet sleep instead until my cue came up. Awkward and annoying, but really the only trying part of the performance for me tonight.
Tomorrow is a matinee and to be honest I don't expect much in the way of attendance or energy. I could be proven wrong, and I hope to be, but Sundays in general, and in this venue in particular rarely seem to break the mode of being poorly attended and somewhat flatly performed. Plus our director won't be there. Still, I think I will be able to take some of the internal lessons I learnen tonight about playing this version of Hamlet and apply it to tomorrow's show. It may not be a stellar day for the show, but I now feel I have a reference point for how I want things to feel for me. I have honed in on a few things now.
However, several people, including two friends of mine, were tuned into the jokes of the play, and hence this tiny crowd was more responsive than the bigger one from last night. That made things a bit easier to swallow.
The best news of the night for me is that I got to do all of my scenes! Nothing was cut off. Further, I got into no more scrapes with certain individuals.
Somehow the cast was high energy for most of the affair. Perhaps we were buoyed by the several laughs, or maybe we just reached the right point tonight, but either way the show seemed a bit tighter, at least from my view.
I really felt I began to connect with Hamlet on that "extra" level that I have been talking about. I won't say it was transcendent just yet, but I felt as though each of my scenes had a depth which previously had only shown up in places. I truly felt for those few moments on stage that I was out there performing Hamlet itself. Which was one of my goals for this show. With four more shows, I like to believe I will have at least one night where I feel at the top of the game. If history is any indication, that will be a week from tonight, mark me. For now it was nice to feel the lines come forth trippingly from my tongue, to paraphrase Hamlet from the source material. Not only is the character showing up more, but the language is becoming more natural as time goes on. I am catching a lot of the rhythm.
A friend of mine, and one of the founders of the theatre told me she loved the way I was presenting the Prince. This was very encouraging, as I have a great deal of respect for her theatrical viewpoints.
I totally botched my mini-set change in Act Three, though. I can't really see anything up there on the pod in the dark, and moving a lamp, lawn chair, letter, magazine and giant beach umbrella in such a small space has been a bit of a challenge this time, though it had worked out previously. This time when the lights came up, the umbrella was sideways, and the lawn chair was on top of the magazine. I tried to yank it out, but couldn't. So I had Hamlet sleep instead until my cue came up. Awkward and annoying, but really the only trying part of the performance for me tonight.
Tomorrow is a matinee and to be honest I don't expect much in the way of attendance or energy. I could be proven wrong, and I hope to be, but Sundays in general, and in this venue in particular rarely seem to break the mode of being poorly attended and somewhat flatly performed. Plus our director won't be there. Still, I think I will be able to take some of the internal lessons I learnen tonight about playing this version of Hamlet and apply it to tomorrow's show. It may not be a stellar day for the show, but I now feel I have a reference point for how I want things to feel for me. I have honed in on a few things now.
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