Personally I think it's really challenging to act efficiently and still move the blocks at the same time, Ive had a problem with moving the blocks and think that when Im on stage it'll be better, since I'll b running off adrenaline and my own character. However for now I'm worried about getting technique correct and placement also.
Holding the grid correctly was majorly important after I cut myself in the final dress rehersal and found myself wiping the blood on my face, but I just need to be a bit more aware about the placement of my fingers and the roughness of my caralling in one of the first scene changes.
So without loosing momentum and character development I spoke to my partner and we adjusted it so as not to cut myself! Luckily it didnt happen!It's interesting that you can develop a sense of spacial and physical awareness when youve spoken and worked on it for so long that it comes naturally, Ive learnt that you can be stuck in your head too much of the time and to just focus wholly on the task ahead collectively is such an important skill for ensemble work. Especially with large props.
PREPARATION FOR THE SHOW:
My character is a politician, he is an adviser and he is loyal. I wanted to watch some modern day speakers and politicians to kind of enable myself to get a whiff of what its like to see a professional talker and how they deliver speeches to attract the masses, to act stern and yet likeable. Two charctersistics that I sturggled to merge.
orator
ˈɒrətə/
noun
- a public speaker, especially one who is eloquent or skilled."a theatrically effective orator"
synonyms: speaker, public speaker, speech-maker, lecturer, declaimer, rhetorician - an official speaking for a university on ceremonial occasions.noun: public orator; plural noun: public orators
https://youtu.be/xw6FAf5tXSE
1:17 mark
Hitler was undeniably an incredible orator, although he uses his power for evil it is simething we explore constsantly throghout the play and is used to temper Coriolanus. The eye contact and passion that was leaking out of every fibre of his being is what made Hitler such an attractive authority figure and thus such an intense leader. I was thinking about if I wanted Coriolanus to speak well, I would have to address him well too, if i didnt noone would listen to him as he wouldnt listen to me. I needed to build upon what made people increasingly invested in what someone is saying, so much so that they change their political stance or loyalties. Hitler was able to address different poeple making different promises to each, and I think I can improve through seeming much more appealing to the "plebians" and others that abhor Coriolanus and the Romans.
I researched what made a good orator and here are somethings I am keeping in mind throughout.
1) Eye contact- sustained and assured, eyes are the windows into the soul and I need to believe in order for not only the other characters but the audience also.
2) Preparation- I have filmed myself multiple times and have used certain verbs to help me get accross what it is I my objective is and what I want from the others.
"Alack you are transported by calamity,
Thither wheremore attends you and you slander the helms of the state."
This could be recieved negatively by the rebels, but the way in which i believe it will be most effective is if I give them tough love, the scoulding as well as an answer to their problems.
Although this has already been filmed this part I believe really sets the tone for our characters as it exposes our ability to not only converse with the other sides but also persuade.
3) Speak off of breath- something I've realised throughout is that If I didnt prepare my body for a long sentence I would eventually ruin the sentence and its meaning, the breathing exercises that we did initially allowed me to flex my vocal chords and allow the expansion of lung capacity. I also spent lot of time pre show alone running lines, practising diction which really helped me to feel comfortable before going on. As well as bit of exercise to shake off the nerves, and get my heart rate and breathing to a nice primal natural flow allowing me to create raw emotions voally rather than clouding them with what I think "sounds nice".
Throughout the real performance I did feel like my character was a continous human, living and existing even outside of the stage, which helped for when I came on to feel natural and stopped myself from intellectualising it. The movements and fights worked well because even if I slipped up and moved into the wronfg position it felt justified as I breathed and lived through the moment. I have learnt so much from just one performance and found that allowing myself to trust in the research and character development I was able to attack this performance with ease, that previously felt shaky in the dress rehersal.
For example in the section wherein Coriolanus is betrayed and we are attacked, my long coat got in the way of the piece and came off, I was unable to put it back on again smoothly and found myself hidling it defensively not allowing anyone else any more of my dignity. This didnt feel jarring because of the development i was able to react truthfully and deal with a hiccup that i didnt initially expect.
NOTES FROM THE FINAL DRESS REHERSAL:
ill go to him fist raise=more conviction
"I'll go to him, and undertake..." This quote wherein i must raise my fist was told to do with more conviction vocally and physically.
don’t leave before someone pulls you back
I need to wait for Brutus' last line before I can leave, otherwise I take my leave to early.
Learning from others Zion is able to live so truthfully that she mesmerisies the audience, i find myself drawn to her because of her investment in the theatre that she creates as a world.
Overall I think that our performance was incredibly successful and that all the creases were ironed out as all the development really kicked in and we were able to create the piece that we aimed for at the beginnning of this monumentous challenge.
http://www.wikihow.com/Be-a-Better-Orator
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