Sylvia

Matt mentioned during dress that he wasn't sure about my "Measure for Measure" ending but now that the performance high is gone and I have had a few days to digest the show...I still stand by my unhappy ending. Sylvia had a lot of enjambed lines and spoke with great conviction and eloquence. I don't think her silence is an accident. I think there are volumes spoken in the silence. Also...with the way we staged the final moment with Proteus, Valentine, and Sylvia...when Valentine hands Sylvia to her attempted rapist...I don't think a character as smart as Sylvia would in 5mins decide everything was better. Just a final thought! It'll be interesting to see how the ASC stages the ending in the Summer 2012 season!

Show Time!

Good Morning Show Day.

On behalf of the 1st years I would like to let you know we are coming to kick some butt and chew bubble gum.... (what's that? we're all out of gum?) Well I guess just leaves us with one option.

Great Show everyone! Break legs!

Love,

B-Thurio

Flyers

Okay, after all the suggested revisions have been looked at, the flyers will be in Rose Terrace by 1:00p.m. today. Please go pick them up and distribute as you see fit, and businesses allow. Let's get an audience for this party!

Rehearsal

Hey Guys,

I know that Cast B is rehearsing a few times this week. I wanted to ask if we could add to the schedule working Launce's first monologue "Nay, 'twill be this very hour 'ere I have done weeping...". I still feel slightly awkward while doing it and would love if a could shanghai a few people into watching me do it and then giving me some suggestions. Let me know if this is something you'd be willing to do.

Thanks,
Steph

Production Photos

This is for cast A and B. Do people want production photos of Two Gents? If its okay with the playhouse, with Matt and Colleen, and with everyone...I am willing to offer my time, camera, and self to take production photos of Cast B during your dress rehearsal on Monday morning.

Father and Son--then a bit on frogs

Matt Davis had a great idea for the Antonio/Proteus scene in terms of building relationship. Since my wig is similar to Michael's hair in terms of length he thought maybe we can both have the same hair swish moment. I was thinking after I say, "for what i will i will and there an end" and then the both of us do our hair flourishes. Might be comic. I'll work on the frogs and make them prepped for stage. Sorry about that guys. I just followed a picture I pulled online. I'll also send my availability. This week is hard. I'm best after Thursday's class and this weekend.

Cast A -- offer

Hello all. The largest part of my work is now done for all my classes and this performance and other Finals week events are now all I have to prepare for. I am extending, therefore, an offer of my time. If you are free after 1pm on Wednesday, 5pm on Thursday or 2pm on Friday, let me know. Even if we aren't in a scene together but you just want someone to run lines with. I am available.

Cast B - Final Push

Hey guys, as we head "once more unto the breach dear friends" in our final week of possible rehearsal, I was curious and hopeful to see what we could do about orchestrating a rehearsal for this Friday sometime, since many of us have completed our time pressing finals. I would suggest Saturday, but due to bad scheduling I will be out of town for the majority of the day. No matter what happens Monday, I think it would be beneficial for us all as well as help me out a ton. What do you say?

Cast B Costumes (again)

I don't know what everyone's plans are for Monday, but for our upstairs rehearsal, let's try and do the show with all of the costumes, changes included, and props we have as of right now. So we will know exactly where our problems are and what still needs to be procured or produced before next weeks dress rehearsal and performance. I am going to also post this on facebook to try and catch everyone before tomorrow.

Thanks,

Brian

Cast A Costumes

Hey All,

As tomorrow is one of our last rehearsals before our show (YAY!)...I was thinking it would be wise for all of us to wear our costumes tomorrow! That way if we're still missing little bits we have a week to grab them! :)

~Rachel

Outside rehearsals & program

I was very, very impressed by how well we managed our rehearsal today. Thumbs up to all. I mentioned this to the few people who were left after rehearsal, but I think a good use of our time tomorrow would be to do a line speed-through since it may be difficult to get scenes on their feet in the PEG dorm. I also noticed while following along today that paraphrasing crops up in places where we're still fuzzy on lines, so I think that a line-thru tomorrow will be just the ticket for a smashing run on Monday.

Also, I will stop by Masonic before class to pick up one of the chime bells if someone (Jamie?) would like to work it in to one those places you mentioned. What lines are they again?

Um. What else. I'll volunteer to put together a simple program with the cast lists since the performances are now open to the public!

Cast B Outlaw Scene

I have a small logistical issue in reference to the ending of the Outlaw scene and the beginning of the next scene. As it stands now I have 19 lines of text to get from backstage, through the basement up to the lobby entrance on stage left. Also, I need to change costumes during that time. I was wondering if anyone had a solution they could suggest. I'm not the fastest runner in the world (shocker I'm sure) and I'm afraid with the change I am going to miss my cue. Any thoughts?

Thanks!

Time

Hey,

I was wondering if anyone else had a lot of lines pertaining to time. From the sample of my own, I noticed a surprisingly common theme: "Now is the hour that Madam Silvia", "And in good time!" "And now is the very hour that Madam Silvia"...

Is there an entire theme here that I've missed? It seems like someone is always waiting for someone, whether it's a boat, or simply for them to meet them onstage. What do ya'll have about time?

Jessi

Interlude Music

I am so excited about our interlude music so I just wanted to say a big "THANK YOU" to Liz for coming up with the mash-up and to Liz and Michael for going through...tweeking things...and for making an awesome song! It sounds amazing and I can't wait to share it with everyone during our performance.

Aside from music...I just want to say "I LOVE YOU" and "THANK YOU" to everyone in Cast A. I am so proud of the work that we are doing and how far we have come! I am excited for thursday and continuing to make our show even better!

Cast B...I can't wait to see your show on the 18th!! :)

Posters

Adverts for the show will be forthcoming. Anyone willing to hang some up around town?

Facebook & BBQ!

As you likely have noticed, or will notice, I took a bit of initiative and started a facebook event page for the performances. I made everybody Admins, so feel free to edit and move around and invite as needs be. I just wanted to get it up there so we can start gettin' the word out.

Additionally! I propose (and have suggested to some) a BBQ get-together on the weekend following finals so we can all hang out, enjoy the spring (hopefully Virginia will have made up its mind on what season it is by then) and talk a little shop about the wonders of Double Two Gents. Would that interest anyone? I would volunteer to either make carnitas or bratwurst and burgers (I also grill a mean portabello for our vegetarian-inclined friends). I think having it at either Gypsy Hill or Montgomery Hall Park would be a fun time.

Valentine in 5.4: restraint to impetuousness

I noticed something in rehearsal that amused me and struck me as significant, and I thought I'd share.

Most of the time, Valentine is ridiculously impetuously fickle. He changes his whole perspective at the lightest provocation, and his behavior in "offering" Silvia to Proteus in the last scene is a great example of this.

Despite that, however, I thought I'd observe the amusing fact that one of the only times he actually shows restraint and forethought is, ironically, also in 5.4. When Proteus and Silvia enter, he says, "How like a dream is this I see and hear; Love, lend me patience to forbear awhile."

Given the way Valentine behaves up until this point, I think it's genuinely surprising he doesn't leap up and greet them the instant he sees them - especially since he really loves them both and didn't think he'd be seeing them again any time soon. How hilarious and ironic that he prefaces his most fickle moment in the play with his only moment of real patience and forethought.

Outside Rehearsals

Hey Guys,
I just wanted to say that I love the way that the outside rehearsals are going so far. I feel like they're making the show so much stronger. I feel like what I need to work on especially is remembering to stand at an angle with my scene partner, because I always end up standing flat with them without even realizing. I think that's something we could all watch for during rehearsals. I love how these rehearsals have been going and I really feel like I'm getting a hang of the show now.

EVERYBODY!!!!

What needs do we still have at this point, Cast A or B? Let's put these shows on their feet. If you need a prop or a costume, some to run lines with please let someone know. We have two weeks before we show this school and this town how this year's first years kick butt! I know we all have papers and other scenes and shows to work on, but hey at least we won't have a tech Sunday with shifting set piece and missed lighting cues. That's something right? I guess this turned into a "Go Us" kinda thing, as it should. But seriously communicate what you need to someone.

Wuzzup Wonder Weasels?!

SO, I was thinking that since I was the one to suggest the masks in the Song/Wooing scene, that I would be the one to head up their creation. I don't want to overload anyone, and Brian is doing a great job with costumes. If it doesn't put a bee in anyone's bonnet, I'm gonna start making the masks this week so we have them for next rehearsal.

Love, with hugs and kisses (especially to Silvia, *wink wink*)

Proteus

Publicity

Hello,

I've been concerned that we won't be able to bring a very large crowd to either performance. I'd like to see if we can bring in some more people. While I'm insanely busy until the 7th, I'd like to throw this out there, and hopefully some folks can get the ball rolling till I have time again. First of all, do we want posters/fliers? This might be a good chance for people in both casts to work together. I'm sure we have some artists and/or graphic designers milling in our midst. Do we want to take publicity photos, and/or send out press releases? Programs also might be a nice touch. Do we want seperate programs for each show? Notes from the Directors? Thanks to any specific people that have helped us on our way?

I'd like for both casts to show off their hard work. We need to let people know. :-)

I'd suggest that anyone who wants to be involved comment here, and e-mail each other from there to set up meetings.

Jessi

5.4

With the prospect of rehearsing the second half of the show today, I am reminded of the fact that the end of 5.4 still feels awkward for me. Fortunately the wonder weasels will be devoting an hour to it in our out of class rehearsal tomorrow. However, I do not want to miss the opportunity to note my concerns before we go in with Colleen.

I like A.J.s idea that Proteus is still lying at the end- not because I want to make him the bad guy, but because I find it very difficult to turn on a dime as Sylvia in order to immediately reconcile with him. I think Valentine is trying to force the reconciliation the same way he is trying to reconcile two parts of his psyche that are at war with each other. Sylvia knows that Proteus is a knave (pronounced ka-nAv), and has been hissing at him since he arrived in Milan. She probably has her own insecurities and suspicions about his emotional hold over Valentine, but she does have proof of his treacherous nature from Sebastian's accounts of Julia, and the fact that Proteus tries to woo her once Valentine is out of Milan. Valentine, meanwhile, is not aware of the fact that Proteus reported his elopement to the Duke, and only has the example of an attempted rape to Sylvia to show that Proteus is a jerk - apparently attempted rape isn't going to ruin a solid friendship here. Maybe Valentine is the one going through post traumatic shock and trying to pretend that everything is ok. Regardless of which, I still need to reconcile the turn from shock to happy ending.

I don't believe that Sylvia will voluntarily offer her hand to Proteus at the end. I think it makes more sense that Valentine is trying to guide her hand and give it to Proteus trying to tie it to the previous scene. I think that Sylvia may be ready to accept the happy ending, simply because her whole experience in the woods has been f#@%ed up, and she's trying to find some normalcy. But I don't think that she is particularly happy or ready to communicate with the rest of the group onstage because she doesn't say anything for the remainder of the play. If she did it might echo Kevin Smith's Chasing Amy where Alyssa responds to Holden's proposal of a menage a trois with "I love you Holden, but I'm not your whore," and then she'd leave the stage, find the delinquent Eglamour, beat him up, steal his clothes, abscond to Firenze, and throw her lot in with the Medici.

Cast A Outside Rehearsals and Schedule Elongation

I'm almost inexpressibly relieved and happy with Matt Davies' and Colleen Kelly's plan to extend rehearsal on April 4 and April 11! I think we can really use the extra time, so I'm so glad we're doing this.

I personally also intend to get on board with rehearsing a bit outside the regular class time: principally for the scene in Act 2 with me and Silvia, and possibly a few others with Proteus. And I'll see how today goes for the second half. I know you already said this sounds like a good idea, Rachel, so I'll be in touch!

I'm getting excited about this!

CAST B Housekeeping Concerns

Hey there Cast B, I tried to cut and paste my email to you guys onto this blog but for some reason it wouldn't paste. If you are in Cast B and are like "What email?", go check your email because I'm sure it is there. Basically, I would like to have an after rehearsal meeting of Cast B to coordinate efforts a little more effectively than on the blog because it seems like people post without exactly reading and commenting on their fellow student's concerned postings. The fact of the matter is that we have 3 weeks to get up and running and there is still much to do and much to coordinate. I know everyone is busy, but it is imperative that we are on the same page. I hope you all feel of my concern.

First year musical group

I'm not sure if this is the best forum for this question, but I will post it here anyway. Soon, I'll send out an email because that seems to be the best way to get everyone on the same page.

Anyway, I (and I know Liz is with me on this) was really hoping that we could (as two casts) could get together and maybe put together some music. We haven't really figured out if we will be doing music other than the two versions of who is Silvia, but we should be working on that as well. I think working on the songs as a full group of whoever is interested regardless of cast could only be beneficial. However, working on other songs as well, especially if you have specific ideas (which I know some people do), could be not only fun, but beneficial. I think the more we start working together not only on our acting skills but our musical ones, the better. We have a lot of musical talent in both casts, and I think it would be wonderful to showcase it, if not for this show, sometime in the future, and getting together a first year "band" would be amazing!

So, in short, anyone interested in being involved in a first year musical group in which our first project would be to work on our Silvia songs and possible songs for interlude music, please contact me ASAP. (For the purposes of time and effort my email is rentfroe9012@mbc.edu).

Thanks!

Visiting UK actors on April 1.

Hi casts,

I would strongly urge all of you to carve out the time to attend this workshop next Friday between 10 and noon in Masonic by two colleagues from the UK. In such an isolated community, the program needs to exploit every opportunity to expose you to alternative professional practices. Alison, Tim and myself are Associate Directors of AFTLS, an actor-managed company formed by Patrick Stewart that has toured five-man shows around the states for more than forty years. Tim and Alison -- a husband and wife team -- have enormous experience, and I will especially prepare them to deal with some of the concerns you raise in rehearsal. So, please take advantage of them and come prepared to play.

Many thanks,

Matt

*********************************************************************************

Alison Skilbeck is an actor whose long and busy career includes performing Shakespeare all over the US for AFTLS (Actors From the London Stage), of which she is an Associate Director. She was Paulina et al in The Winter's Tale, and Rosalind et al in As you Like It. She has appeared in theatre throughout the UK, in the West End and in Europe. Career highlights include five years with Sir Alan Ayckbourn's Scarborough company, where she appeared in premieres of six of his plays; performing Pinter in Morocco, Beckett in Edinburgh, and now her solo show 'Are There More of You' (which she also wrote) in the UK regions and on the Edinburgh Fringe. She was made a Fellow of the Guildhall School in London for her work there in the '80s, but for the past twenty years most of her directing and teaching has been at RADA (The Royal Academy of Dramatic Art), where she is an Associate Director, specializing in Shakespeare. Her latest production there was 'Antony and Cleopatra' last December. She is also a member of the RADA Admissions Panel and coaches the third year students for their final Agents' presentation.

Tim Hardy is an actor-director who has worked extensively with the major classical companies following his training at RADA. Productions at the RSC include Sir Peter Hall’s Henry V and Peter Brook’s Marat/Sade. Numerous West End credits include Lysistrata and The Spartan at the Old Vic and the Wyndhams, Hostpur and Henry V at the Roundhouse, as well as Petruchio at the Open Space for Charles Marrowitz. Tim has traveled the world as both an actor and a director, appearing throughout America for AFTLS (for which he is also an Associate Director), in Hong Kong, Norway and Greece, and for the English speaking theaters of Vienna and Frankfurt. Aside from touring his one-man show, The Trials of Galileo, across the States, Tim has mounted Shakespeare productions on various campuses, including Wesleyan, Notre Dame and Michigan Tech, and has just finished a stint as artist-in-residence at Butler University in Indianapolis. Having joined the RADA faculty in 1994, he is currently a member of their Admissions Panel.

Can o' Worms

O.K. I know this is going to spark debate between the Protei, but away we go!

There has been much debate about the sincerity of Proteus at the end of the show. I personally think that, to use an academic phrase, he is lying out of his ass. Now I'm not just saying that to be inflammatory, but because I have some textual back up. Throughout the play, Proteus has no trouble lying to everyone. He even comes up with some pretty elaborate cons for the Duke, but whenever he gets suddenly caught doing something he shouldn't, he can't think. His speech, which is usually flowing and chock full of metaphor, becomes clipped and to the point in lying. In Act 1, Scene 3 (Manchester 0), he is caught reading the letter that Julia gave him. When his dad asks him what it is, he responds with a very straightforward lie. He doesn't have the time to concoct a flowery trick, so he says the first thing he can think of (which we use for comedic effect). When his dad asks him to show him the letter, he starts, again rather clipped but builds into a more elaborate lie, which could be argued is the inciting event of the play. Likewise, in Act 5, Scene 4 (Liverpool 2), when he is caught assaulting Silvia, the first thing he says is "Valentine!" and that's all he can manage. Not flowery or in any way intelligent, but after Valentine has spoken, he comes back with a line that starts clipped but (like in 1.3) builds to a more elaborate apology. Only after Julia is revealed and he is now completely caught in his deceit that he comes up with his "were man but constant..." line. At that point he is supposedly reformed, but he seems to be going back to his old ways of verbal gymnastics. It reminds me of the end of A Clockwork Orange, how Alex (supposedly reformed) gives that one last wink to the camera that he is back to his old ways.

Let the discussion begin!

Scheduling Magic

Well, I've been spending this week getting things together to schedule rehearsals for the One-Eyed Wonder Weasels, and Matt asked me to share my thoughts with all!

Apparently, Google calendar changed their parameters, but I've made due with what I have. Essentially, I began by getting everyone's schedules and creating a shared calendar on google so everyone could see when everyone else was busy/available (that may be the most difficult aspect, as you'll have to force everyone to it). Then, using my scheduling acumen, I prepared some proposed rehearsal times and finalized it. I tried to focus on scenes most apparent to what we would be working on, while also keeping in mind scenes that may have fallen a little by the wayside in the original blocking rehearsals. Next week will be a little smoother (with more notice for all rehearsing peeps), but by having a single person coordinating everyone's schedules, there is a little less wrangling and hand wringing over time and people concerns.

Just a cursory glance, but if anyone in Cast A wishes to undertake the scheduling conundrum and needs some help, just give me a buzz.

Hyfrydol

Going off Michael's suggestion to use the Welsh tune Hyfrydol, I've recorded and uploaded the song for easy access:

HYFRYDOL.mp3

Michael, I thought you might be a tenor, so I recorded it in my low range, hoping that works for both you and Monica. Let me know if you need it in a different key!

Working with Prof. Kelly

Just as A.J. has spouted the praises of Prof. Davies, so must I for Prof. Kelly. We did the exact same sections as A.J. and I really got a lot of mileage about thinking about each moment. Too often I as an actor need that outside person slowing me down to think about each line and each moment and the movement from one to another. Too often I get comfortable with an assumed connective tendancy and don't consider other stronger possibilities. Too often I need a director. Paraphrasing ASC style helps me consider moments slowly, but again, I will often allow myself to relax into one reading and not explore on my own.
I hate to once again engage A.J. in discussion, but I must. I think it's interesting that you stated that Proteus raises questions first "then he goes to think on what he's just said, and comes back with his answers". This does not seem to align with the beginning of the 2.6 monologue where he is still clearly questioning his intentions and what to do. In fact it takes Proteus 3/4 of that second monologue before he iterates "I will forget that Julia is alive,/ Remembering that my love for her is dead". This does not create the easy binary that you have suggested; rather for me, it indicates the tensions and the complexity of his consideration. There is no easy answer and he must firmly convince himself of his rightness. I do admit that throughout BOTH speeches he has a alacrity in his propensity to love Sylvia, but he does not answer his questions until he has a solution. I guess we may say he has potential answers, but the finality of that word answer does not satisfy me in characterizing 2.6. Again, to A.J. I'm glad that we constantly have discussions though no one else on the blog seems to want to do so...

I might have an idea

Can we, The One Eyed Wonder Weasels, meet about for about ten minutes before class on Monday? I have an idea for our Milan intro. Also, I'll have a typed up/itemized idea of costumes and the points at which they can be changed. I'm going to volunteer to help with Jarom's changes but we might need another hand to make the Duke of Milan, who would need to look like he runs Milan, transform into the wise but not swift Speed.

Comments from the peanut gallery

First of all, I know there are several very quick costume changes in this play. Since we're in the process of gathering costumes, maybe now is a good time to figure out who needs help, and when, just to get into the habit. The same also applies to paging any curtains.

Second, if anyone's looking for the Arden, there's one backstage at the Blackfriar's. Just a reminder for everyone to be careful about making sure we're leaving everything as we found it for the ASC actors :-)

Third, for the moonwalk, cast B folks, did we want to enlist cast A? It seems like we're having problems rushing people on and offstage, and I don't think cast A would mind showing off in their best attire... I personally like the idea. What do ya'll think?

Cast A Letters

Hey, I got so much better rope... the stuff I have been looking for last week but have only come up with the slight stuff you saw. Anyway, I'm working on that and I'm working on the patch for Jamie's bandit (any wanna go to a fabric store soon, so i can get backing for that?). I even got a roll of paper (albeit blue paper) for Launce's list. So the next thing to figure out is Letters.

I can make letters of any type, I just need to know if we want white paper, browned paper, or lined paper? do we want letters in envelopes or do we want them folded and sealed?

Do we want them all to be the same? Or are some different from another?


Let's figure it out so I can get on it.

Cast B Props

I think I am part of Cast B...

Anyway, I was wondering if anyone was working on a props list? Maybe we could use this post to create an all encompassing props list to see about getting what we need together for our dress rehearsal or possibly our rehearsal before then.

Stuff like the various notes that are handed from person to person etc.

I know we have a rope ladder now (thanks Brian) and other things we are already rehearsng with, but stuff like that still would be beneficial to list too.

My goal with this is to see if we can get a collaborative effort together in getting the props we need.

Where you are coming from and where you are going...

I wanted to note this a while ago, but forgot since then. While working with JP, he asked the question "Where are you coming from and where are you going?" With all the scansion, character traits, inflections, blocking, etc. it's hard to remember the simple things, but it is those simple things that can bring out the purpose sometimes better than anything else. So, rather than some miraculous discovery, I am passing along the reminder to remember where you are going and where you are coming from and see what comes of that.

Meeting with Prof. Davies

My post is genius to Angelina's. I wanted to sing the praises of working with Prof. Davies. I mean this with no brown-nosing intended, but rather to encourage anyone who hasn't yet, to meet up with him. Working with him on my soliloquies helped me figure out exactly why Proteus has two long speeches in such a short time span. The first speech is the raising of his questions and doubts, then he goes to think on what he's just said, and comes back with his answers. Prof. Davies also had me do an exercise where I had to pick the two most important words in each line and hit those words (the 1st most important got the harder stress, 2nd got the lesser stress). I've been going through the speeches and the whole script doing that, so hopefully I won't be as all over the place with my emphasis, now. Again, I urge you to meet with him if you haven't but said you would. It's well worth the 15-30 minutes.

Scene work

This isn't going to stir up much discussion, I know, but I just wanted to share how helpful it was to work on my scene with Dan (aka Speed) today. We really took the time to explore our jokes, and get a flow going. I'm much happier with this scene now. I hope I can say the same next week, when we work our second scene together.

Warm-Ups in Tyson

Hello all! I've confirmed with Jay that we can use Tyson from 1:00-1:30 for warm-ups on March 28th, and April 4th, 11th, and 18th. Feel free to go down to Tyson after 1:00pm to drop off your things and warm up before class. Hopefully this will keep traffic down in the lobby, too. Thank you!

Rhythm and Syncopation

Working with the cane or props in general I've discovered how such objects establish a certain beat for the character. I would like to be able to syncopate the tapping of Antonio's cane with Proteus' aside and later in my final speech, but I am finding this difficult. How can I work the sycopation in and make the nature of it seem natural and not drown out the words being said?

Also, in an attempt to differentiate my three characters I'm trying to develop different tempos in my walk. I think it's something to ponder for everyone if you have not yet. What is your characters rhythm?

Plush Giraffes and Other Late Night Meanderings...

Can't sleep, so I thought I'd post some stuff that's been rustling around since Monday's rehearsal.

I was thinking about the progression of Valentine as a character throughout the play, and I'm thinking that TGV is as much about the growing up of Valentine as anything else. He starts out as the kid leaving home, still afraid of love and the problems associated with it (watching Proteus' difficulties probably don't help). Then, he's the useless, naive lover in 2.1, the somewhat emboldened lover (with an extra helping of jealousy and potential violence) in 2.4, the resolute (though eventually idiotic) lover/hero figure in the first part of 3.1, the despondent and woebegone young man in the 2nd part of 3.1 and 4.1 and, finally, the man that reclaims his life and puts down the Duke in the final scene. The refusal to grow up by both Proteus and Valentine seem to cause the action of the play - Proteus by not analyzing his commitments or friendships, Valentine for not being bold enough to be honest with the Duke (likely wouldn't be greatly effective, but at least wouldn't incur a banishment). So, what I'm really saying is that AJ and I should sing the Toys'R'Us theme before the show. (Hence the plush giraffe title) (Haha.)

Matt was talking on Monday about AJ possibly working some underlying anger at Valentine into the delivery of lines in 1.1. I was thinking that it would be very effective to have touches of anger on both sides. While Proteus would feel upset and betrayed by Valentine leaving home, I think Valentine, too, would have reason to be mad at Proteus. Though Val has continually tried to talk Proteus out of love with Julia, he's turned him down, and now, it is resulting in their separation. I think we see that in Val finally exploding when he says, "Love is your master, for he masters you/and he that is so yoked by a fool/methinks should not be chronicled for wise". Though he calms quickly (especially with the cuts), Val obviously harbors some resentment for Proteus being stuck at home.

Morpheus calls me, so farewell for now, dear readers. The Laurence Fishburne one, that is. Matrix reference. Haha. #sarcasm

Warm ups heads up!

It isn't official yet, but Kim Maurice is working on our behalf to reserve the Tyson room from 1 to 1:30 pm on Mondays for the purposes of warm-ups.

Thanks to Kim, Jamie, and others for making the warm-ups become a more solid idea.

I will be in Tyson starting at 1 pm to help lead warm-ups. I would love if others would join me in leading as I am no expert in group warm-ups.

Of course, warm-ups are not a required part of this course, but... I'll be there if anyone wants to join me.

Cast A Discussion Group?

Hello all!

Just wanted to say I really enjoyed today's rehearsal. For all you fellow Cast A-ers out there, the beginning discussion was particularly insightful Hearing where you all are in the process was very helpful to me and brought up a lot of thoughts and ideas for my dealing with Julia. I'd love to talk more about it. I found myself thinking really hard about the Julia-Silvia relationship. They are so very different. I see Julia as this sort of frantic, over dramatic, very young girl and Silvia seems so much more poised and collected. Then they meet. I started thinking about what this meeting does to Julia; how it changes her. Weirdly, I'd given this relationship very little thought. And that is just one of many things today's little rap session brought up for me.

If anybody is interested, I'd like to suggest some sort of informal gathering to continue the discussion. I know we're all busy, but I think it would be a great way to continue building, not only our individual characters, but to build some cast unity in terms of understanding where we all are in the process and helping each other out with stumbling blocks. Even if not everybody is interested, I am sure we could get together a group and carve out an hour or two to sit and chat.

Let me know if anybody would like to do this!

Cast B Costumes

So if it is possible I would like to nail down costumes as quickly as possible; since the closer to the end it gets, the crazier things are going to be for all of us. Also as Matt pointed out we should get into rehearsal stuff as quickly as we can.

I'm going to re-watch La Dolce Vita, 8 1/2, and Nine on Wednesday for ideas for the Milan moodscape.

I'd like to have everyone's input and ideas. My hope is that by our next Monday rehearsal we all know exactly what we are wearing and when. And we may need to help each other out for costumes, due to no budget. So if you have an idea that your character would wear something that you don't have go ahead and say your idea anyway. We can as a group figure out if we have something that can work.

Okay, you all know your characters better than me, and you've seen my ideas. Give me feedback, let's help each other out, and lets get this done.

Also, if you have an idea like keeping the entire show in the style of a Fellini film, Iconic Italian filmmaker, or as modern as can be, yell it out.

Costumes and Warm-ups

I'm glad we seem to be moving toward group warm-ups. I'll definitely be at the Blackfriars a little early to take part in them.

Also, artistically speaking, I'm not a very visual person, and I've never designed anything in my life. I don't know where to begin with regard to costumes; all I can think of so far is that after my exile, I'll be wearing something different than when I was in Milan/in the court.

But if anybody has any ideas, I'd love to hear them...

Costumes

Hi!

So, I spent some time going through my closet and found that possibly the simplest and easiest costume changes for me would be to start with basic blacks and a base shirt and then add layers for each character. What are others doing? Is everyone bringing costumes today? Do we have a set date for a full costume & prop run?

Who is Sylvia? Cast A Option

Hey guys,

So I've been worrying over the Who is Sylvia section for Cast A as we still haven't figured out a great way to do it. I have a possible solution. For whatever reason, the words keep running through my head to a tune from the Episcopal Hymnal, after some research this morning, I found out that it is a Welsh tune called HYFRYDOL. It's very recognizable as a tune, but also has this nice airy sort of tone. Also, because of the way it is written, it lends itself to the awkward construction of this poem, which for me was the major stumbling block in finding music. I have found sheet music for it, and I think if we arrange it some probably for guitar and if Kim's willing for accordian than we are set. I'm more than happy to share how I would sound it out, but for now you can search You Tube to hear it (do note we can alter tempo as a few videos I watched were slow...) And I'm embedding the sheet music below:

Break is going to make this hard.

I went home over break, which meant I got to see my family for the first time since coming here, but also meant that I didn't get much work done. So now I feel like I am sluggishly trying to get my mind back into this play. So I am gearing myself up and with renewed zeal I am ready to attack the play. I know i am supposed to be working on some costume and prop piece for some of A Cast, what is everyone else doing? Secondly, I am still at a loss to account for the Who is silvia. I can sing whatever people want. but I just don't know what to do yet and I'm not musically inclined enough to pick out a song to fit. So, lets figure some of that out. Send any thoughts on it my way.

Responses mostly

I'm all in favor of doing warmups, and I will be at Blackfriars a half hour early to look at sketches that Brian might have, and if there is any space available, be ready to stretch...that being said, we may just be waiting in the lobby, which might not be the best place for warming up, but still we can run lines.

Secondly, I think that the ending is still problematic, and that all three actors playing Proteus, Valentine, and Sylvia need to figure out a way to make the weird reconciliation/offering Sylvia as a commodity to the would be rapist plausible if we are set on a traditional "happy ending" - the most awkward thing for me right now is the idea that Sylvia is willingly giving her hand to Proteus - regardless of the almost-but-not-quite molestation scenario, she just said "I do detest false perjured Proteus"... I think she still detests him somewhat....however, that is not what we are covering tomorrow.

If we find space I'd be happy to lead warm ups tomorrow, but if somebody else wants to do it I have no qualms of yielding leadership to them. I think that if people are planning on wearing certain shoes during the performance for their costume they should be working in them by now. If you want to stretch, I suggest comfortable clothing you can move in.

A Few Things....

1. I really like the idea of warm-ups. Would someone be willing to lead Cast B (one-eyed wonder weasels) in them?
2. Would it be possible to watch the other cast before the performance or even final rehearsal? I feel like I'm missing out and want to know what's happening with others.
and 3. (This one is probably the most important and I should have put it first but I didn't and am now to lazy to copy and paste, so instead I'm posting this parenthetical diatribe) Is there anyway for the directors to see the half of the show that they DIDN'T direct? I think it would be super helpful if they could see what we are doing with the part they weren't involved in. I feel like this would help make the show more unified because then the directors could see what happens with the parts they didn't direct and maybe add more or change the half they did to make the whole show come together. Just a thought.

Response to Jamie

I too like the idea of warm-ups. With a tight schedule, maybe we could meet slightly earlier for those of us that can.

And as far as performances go, would it be at all possible to have the performances two seperate nights? I have the suspicion that a daytime audience will get fewer audience members, and I think would help people (I know it would help me) focus on my own game, instead of dividing my attention between my own pre-show nerves and the other show, and won't be able to give the other cast the attention they deserve. I suspect more audience will come to two seperate nights of performance, rather than one long day. I may be perfectly wrong, however. And I also get it if the Blackfriar's isn't ours for both nights.

ALSO:

Are we having any sort of publicity? Posters? Anything to invite the local community?

sketches

I'll be at rehearsals about a half an hour early,this week, with some basic costuming sketches/idea boards for cast b. Come, if you have time, and give me some feedback, and keep in mind these are just some ideas to try and get the ball rolling toward some concrete ideas.

Warm-ups? Fight Call?

Since we have finished the blocking portion of rehearsal I thought maybe we can do group warm-ups before rehearsal to build cast unity. Just a suggestion. The other matter I have involves the bandit scenes that will need further rehearsal if we plan, as we have, to use rapiers. I don't know if we will be able to set up outside rehearsals, but I do believe those scenes will need some major thought.

I would also like to learn how to appear like an amatuer swordsman. I realize that for stage in order to look bad at fighting you have to be very good with the weapon. I have very little experience working with the rapier, but am willing to work on it enough for the performance. I would also like to put out there that I would love to write a pre-show speech. Another matter on when the performances show also came up. For the benefit of an audience can we have some hours separating each casts performance?

Woo! Spring Break!

Hey, anyone in either cast, if any of you are here in S-Town over spring break and want to get together and run lines for the show, I'm here and more than willing to join in. I think we should try to get together at some point and attempt to speed through the lines.

In response to Jonanthan...

Here's a tidbit from Wikipedia (yay!) which I like, and it helped me see what seems to be a very possessive, unloving act in a different context:

..."All that was mine in Silvia I give to thee" (5.4.83). Many critics (such as Stanley Wells for example) interpret this to mean that Valentine is indeed handing Silvia over to her would-be rapist, but another school of thought suggests that Valentine simply means "I will love you [Proteus] with as much love as I love Silvia," thus reconciling the dichotomy of friendship and love as depicted elsewhere in the play.

^{Is the other cast treating the ending differently? I think it would be interesting and worthwhile to see what happens if we give each show a different ending in regard to this line.}

CAST B

I've already posted this week but I just had a brilliant idea (actually not that brilliant but fun). I've decided we should rename our cast from Cast B--because I always, ALWAYS, forget what cast I'm in to something more fun.
Here are my suggestions thus far:

Car Ramrod (because I wrote it on the paper!)
The One Eyed Wonder Weasels and Their Two Balls (dirty, but hilarious)
Fern Gully (because we're not assholes)
Scooty Puff Jr. (Thank you Futurama)

What suggestions do you guys have?

Language of Ownership and Other Thoughts

Rachel mentioned the other day that the last scene of the play still feels really awkward and wrong to her - which makes sense; it'd be pretty disturbing if it felt all fine and dandy. But it made me think about how it's not just the obvious things - the attempted rape, Valentine's "offer" - that make it so icky.

It's also the language of ownership as applied to the women which dominates even - especially - the "happy" part of the resolution. Thurio describes Silvia as "mine" - and part of Valentine's words against him dare him to "take possession of her." When he gives up and the Duke then bestows her on Valentine, he thanks the Duke for this "gift."

I realize that not all of this is necessarily disturbing - the way we express marriage with language always to some degree turns on language of ownership, i.e. that spouses belong to each other. But I really do feel that this play's finale takes it too far, or perhaps in the wrong direction, as basically all the men treat Silvia as if she is either theirs to give (Valentine, Duke) or an object to compete for (Thurio, Valentine).

Unity

I was very glad to see how well the cast supported each other this afternoon. Everyone was very focused, and somehow we figured out how to get someone on book most of the time. No one vanished (as far as I know) for long periods of time, if they weren't onstage, but simply ran their lines or watched the show.

Because of the nature of this blog, I've noticed it's taken the form of something like our REN 510 discussion board. People post questions... but I haven't seen a lot of answers. Is there some method for getting everyone on the same page, costume-wise? Is there a prop list?

Another observation I've had about this production (and other projects here at MBC) is that many of our costumes tend to be furnished from our own wardrobes. I don't have a very diverse wardrobe, and this limits my own choices. Perhaps there is a way to make other choices, such as the Wits' collection, more available or accessible? Are there other resources we have?

Time to cook the bacon!

I'm interested to see how all this jazz goes down later today. Having finally become confident in my lines this weekend, hopefully I won't fail miserably.

As I was working back over my lines from 5.4, I was thinking about the role reversal between the Duke and Valentine. I enjoy the Return of the King-style multiple endings, but I think we need to play up the differences in each section to really highlight it. I think after the Duke and Thurio are brought in, Valentine is essentially threatening them the whole time. I'm not positive how to play that without it somewhat overbearing the scene, but I think it's important to show the change in power to explain the Duke's miraculous reversal of opinion. Especially considering the last time he saw me, I was whipped with a rope ladder.

Run-Through

I must admit I'm a little worried about the run-through. Most of us believe that the first half of our play is a completely different tone to the second half. I'm still confused on the unity of the play and have no clue exactly where the world of the play resides, traditional or modern. I'm excited about playing multiple roles, but so far have not received any acting advice on how to differentiate my body or maybe change the energy in my body and voice to achieve a different character quickly. I took this class in hopes of getting acting advice...so it would be great to get some!

Sylvia and Sebastian

I know that sometimes "thees" and "thous" can be used to convey status rather than how emotionally close two characters are onstage - particularly with the upper class and their servants. I think that when Sylvia meets Sebastian/Julia, however, her switch from "you" and "your" to "thou", "thee", and "thy" is about creating an emotional understanding between the two females in the scene. The only time where her "thee" seems like it is condescending is when she says "I pray thee let me look on that again?" when Julia hands her the wrong letter and then takes it away. Sylvia could be forceful in her order, or she could be so curious about the contents of the letter that she loses her sense of formality. She immediately picks it up however when she says "I will not look upon your master's lines" when she tears the letter - only then she drops it as soon as Julia/Sebastian says that Julia "thanks" her. The thee/thou really are these little windows of discovery into the relationship of the two women. Sylvia jumps from formality, to curiosity, to affection with a page in a span of two minutes. For me, this means that Sylvia is kind, in spite of all her hissing at Proteus, and the accounts of her rudeness to Thurio. Also, where Julia is concerned, she would make a good friend, or sister. It reminds me of "Meet Me In St. Louis" when the Smith girls finally meet Lucille Ballard, the sophisticated bell from New York - where they plan to sabotage her evening, they are suddenly stopped by the fact that she is kind to them.

Launce Un-Leashed

Today I worked with JP and the leash and it was really helpful. We, along with the help of AJ, were able to figure out some really funny bits. It's interesting how just a few very simple movements can help to make the leash look like it actually holds a dog. I'm still working on making all of the movements realistic, obviously, but I feel like it's starting to come together. I hope I feel the same way during rehearsal tomorrow.
I guess to point of this post is to sort of allow me to think about how holding the leash feels (I don't think 'feels' is exactly the right word, but I can't think of a better one at the moment). I realized today, with the help of JP, that making the movements realistic is all in the wrist--at least for the small things. Having Crab look around or walk forward is a movement in the wrist. Having Crab get away from me or when I stop noticing him is when the rest of the arm gets involved.
Does anyone else use any sort of "props" in this show? Are you having difficulties or making discoveries with them?

Cast B Costume discussion

Hey all in Cast B (not those losers in Cast A. Psh, who want's to be an A cast anyways?)

So, I was having the beginnings of thoughts about the costuming for our whole cast. I've seen a few posts about the costuming for specific characters, but I think we should come together and figure something out as a cast. We need some kind of unifying structure to the costuming. I remember us talking about modern dress back when we were with Matt, but then this week I saw Katy rehearsing the Duke/Valentine "Rope Scene" (not to be confused with the Proteus/Silvia "Rape Scene"...one letter, big difference.) and the one thing that made me stop in my tracks and scratch my head was the fact that Valentine was in a bright red magician's cape. For whatever reason, this completely shocked my senses of what our show looks like.

One idea for what could unify us, if we have anachronistic elements, such as capes and swords, would be colors. Color in costuming is a huge signifier for the audience. Like almost every time I see Romeo and Juliet (even the Gnome version), inevitably one house is always in one color and the other in the opposite (Red/Blue is the most common). It's almost like the entire household shops at the same single color store. In real life, that kind of uniformity would seem ridiculous, but on stage it reads so well. Imagine if Proteus (since it's me, and I think about myself a lot, obviously. Wouldn't you too?) every time he switches personalities, also switches the colors of his shirt. While everyone else has their colors, and stays true to them, Proteus continually shifts his colors, like a chameleon, to suit his environment.

Let me know your ideas :)

Thurio the Quiet

Just felt like sharing this tidbit. Thurio never directly talks to Silvia on-stage. I know sometimes a man can be shy but not even a "Hello" or a "My lady"... Silvia is one exquisite hottie to have tongue tied this poor bloke for the entirety of the play.

Costumes

So, I've been mulling several things.

First of all, with the addition of the role of the bandit, I feel like I have a lot more freedom with my other two characters. With a third character to contrast them against, I feel like I don't need to make Antonio and Eglamour as drastically different. That, and they are each coming into their own.

Second of all, while I have a direction for costuming for Antonio, I don't have one for Eglamour or the bandits. So, my fellow outlaws, what are we wearing?

And third of all, do we have a budget for any costumes and props?

Enter Launce

Angelina's previous post talked about the bizarre final exit of Launce. While commenting on her post, I realized that this sort of disappearing exit is perfect for Launce, because he appears for the first time on stage in much the same way. He just sort of appears in his own scene, with no previous characters even mentioning his existence. I know the introduction mentions how Launce might have been a character that was written in later, and it's these sorts of appearances and disappearance that give credence to this idea.
Launce is such an isolated character. So much of what he does is alone (or alone with Crab). I'm not sure that Launce was or was not written into the script later. I'm not even sure it matters either way.

Seeking acting advice

So I have an acting question for everyone out there. What do you do when there is a day and the lines just won't come to you? I ask since my mind ker-splat last Monday. I haven't acted in a full production since '04, I know I'm showing my age a bit with that, but I'm curious if anyone has come up with any techniques or what have you for when you mind won't spit out what you have already put in there.

Relationships, Oy Vey

So. Thanks to Angelina's brilliant post about Launce's exit, I started to consider the problem of relationships in this play from a performative point. Of course to say this play is about relationships is a given and obvious thematic fact, even the title indicates that (Two Gentleman of Verona implies not only relationship between two people, inferring the duality of the narrative, but also the relationship of person to place, indicating further the travel of the play). But as one considers the relationships, I think you have to remember that we have less than nothing to go on.

Consider: one of the play's main issues is the intense friendship between the "Two Gentlemen" of the title. Yet when do we see them on stage together? That's right: 4 times. The beginning when Valentine is trying to leave, Proteus' arrival at Milan and subsequent beginning of his betrayal, after the betrayal briefly as Valentine is banished, and then after the attempted rape when Valentine rescues Silvia (wonderfully just as Proteus claims he had just done... ahh the wonderful layers!). The problem, especially from Proteus' acting viewpoint is that the friendship is only in tact in ONE scene, and that scene is fraught with tension because Valentine wants to leave. This problem makes our jobs as the actors more important, and while it leaves us more flexibility, it also hinders us with lack of text.

Consider all of the relationships in this play. I would love to hear from you. All of them seem based on intense amounts of off stage action and VERY LITTLE presented for the audience.

Julia and Proteus have 2 scenes together as Julia and Proteus, one more if you count her in disguise as Sebastian, yet from Proteus' viewpoint that doesn't count. The one major scene where they promise fidelity is intensely short and almost pointless plot wise. It's a nice transition scene, but doesn't really offer much. It does allow the audience to see this couple together before they are torn asunder. So there's something, but again, not a lot of on stage time or dialogue to work off of for the relationship.

Proteus and Launce: As Angelina pointed out, Proteus shows himself to be a harsh master especially in the end of their last scene. This whole post erupted out of my reaction that no that's not true, Proteus is just being mercurial as always and is very frustrated that his orders were not executed to his desire. YET I began to argue and say when do we see Proteus kindly treating his boy Launce? The first time I acted with Angelina was two weeks ago for a brief bit after Valentine is banished, and I wasn't being kind. I think in the whole play I speak a total of 8 lines to her... only 8 lines for a signifcant relationship for both of the characters within the world of the play. And nothing to back my sense of their relationship, only beating and yelling at the servant.

So, back to the beginning. This is a play about relationships, right? Maybe not. Perhaps I may posit that this is a play about un-relationships, about the lack of them, about the breaking of them. This play may comically arrive at the notion that as humans we can never know another's heart or mind, no matter how hard we strive. On a theatrical level, Shakespeare has given us a text that works against our need as actors to create relationships. The play constantly removes information that should be vital; the play refuses to give us (audience and actors) the satisfaction of really knowing what these relationships are like. Instead, what we are left with, especially as audience members, is an imagined relationship. A relationship that does not exist in text or in acting, but one that your mind has created between the two people on stage. While this is technically always true of theatre, consider, as Adam Smith did in The Theory of Moral Sentiments, the extent to which this is true in life. If we never can know another's mind, what do we have access to? Our own and our imagination. Within that imaginative power, lies our sympathy and our feeling that we can understand someone else. In the end, you understand yourself alone, as your mind puts you in others' situations and concocts what they may feel.

So relationships, or lack thereof. That's Proteus' downfall and complication. As a final gesture, check this out:
http://www.youtube.com/watch?v=wapCTd5fS2Y
It's Tracy Chapman's song "Telling Stories". The lyrics are below, the link is to the video on YouTube.... enjoy.

"Telling Stories"
There is fiction in the space between
The lines on your page of memories
Write it down but it doesn't mean
You're not just telling stories

There is fiction in the space between
You and reality
You will do and say anything
To make your everyday life
Seem less mundane
There is fiction in the space between
You and me

There's a science fiction in the space between
You and me
A fabrication of a grand scheme
Where I am the scary monster
I eat the city and as I leave the scene
In my spaceship I am laughing
In your remembrance of your bad dream
There's no one but you standing

Leave the pity and the blame
For the ones who do not speak
You write the words to get respect and compassion
And for posterity
You write the words and make believe
There is truth in the space between

There is fiction in the space between
You and everybody
Give us all what we need
Give us one more sad sordid story
But in the fiction of the space between
Sometimes a lie is the best thing
Sometimes a lie is the best thing

Who is Sylvia

I am LOVING playing Sylvia! The more I delve into her ...the more I fall in love with her as a character. That being said...here are some choices I have made for Sylvia!

1) When it comes to physicality...I plan on having Sylvia lead with her chest. My choice for this is based on the text. First, Sylvia is very much a lover. Valentine is who she lives for, she wears her heart on her sleeve. Therefore, I want her to lead with her heart. Also, as staged in the beginning...Valentine has a flirtatious side to her as well....and honestly...my best asset are my boobs so I might as well use it...because Sylvia would! So...in short...Sylvia...physically...lead with her chest/heart.

2) I was baffled on costumes but thanks to Monica and Michael...I now have ideas (thank you Monica and Michael). There is a lot of text from both Proteus and Valentines that make celestial comparisons to Sylvia...therefore, I plan on finding something with celestial colors to help with that. I am excited to start thrift store shopping for costume pieces! :)

On a side note...I am still in exploration for a "Sylvia" song for Cast A. I am enjoying reliving my youth by listening to Backstreet Boys, *N Sync, and New Kids on the Block. Unfortunatley...I haven't found anything yet...but don't worry...I have not given up!!

Exit Lance

In preparing for Monday's rehearsal, I was going over the last section of text I have as Lance and discovered something a little funny.

Lance tells Proteus how he botched the entire dog-delivery plan, and Proteus responds with "Go, get thee hence, and find my dog again,/Or ne'ver return again into my sight."

And we never see Lance again. Does Lance take him at his word and never return, because he can't find Proteus' dog? Or has Lance finally had it, and seeks employment else where?

I'd like to think that Lance ends up back at wherever they are staying, waiting like a good servant for his master to come home. His whole proceeding monologue to this exchange with Proteus is about how he sacrifices himself for his servant, Crab, and it is brilliant that this dialogue follows after, exposing Proteus for the unloving master he is.

Love, Fire, and other elements

Hello!

In both of Lucetta's scenes, Love is associated with a burning desire, and to Lucetta, Love will burn out of control (as Lucetta fears for Julia), or it must be extinguished. The particular lines to which I refer to are:

Lucetta

Fire that's closest kept burns most of all (1.2.30)

Julia

Didst thou but know the inly touch of love

Thou wouldst as soon go kindle fire with snow

As seek to quench the fire of love with words.

Lucetta

I do not seek to quench your love's hot fire,

But qualify the fire's extreme rage,

Lest it should burn above the bounds of reason.

Julia

The more thou damm'st it up, the more it burns (2.7.18-24)

Proteus has some similar remarks about Love bearing the properties of fire:

Proteus

Thus have I shunn'd the fire for fear of burning,

And drench'd me in the sea, where I am drown'd.

and

Proteus

That I did love, for now my love is thaw'd;
Which, like a waxen image, 'gainst a fire,
Bears no impression of the thing it was.

Methinks my zeal to Valentine is cold,
And that I love him not as I was wont.

I think the contrast between Julia's hot, passionate desire and Proteus's "thaw'd" love is notable. Likewise, Proteus views Silvia as the flame that melts his former love, which is to say... he tries to fight fire with fire, and we know that is a perilous path. Curiously, Proteus also views his friendship with Valentine as "cold" - as before, their friendship was alive, hot, and they fed each other, like two flames.

This has me thinking a lot about the earthly elements and their properties, and how we might work fire / earth / water / wind and their different states into what we're doing.

Duke

This weak impress of love is as a figure
Trenched in ice, which with an hour's heat
Dissolves to water and doth lose his form.
A little time will melt her frozen thoughts
And worthless Valentine shall be forgot.

I think there are ample opportunities here to explore these elements and their contrasts through character as well as costuming. Since we're all on our own for costumes it seems, perhaps we can start talking about color coordination, or working some of these images in to props or programs or .... ?

Outlaw swords

Do any of the bandits need swords? I need to get in contact with the lovely Southerington to get some to use for our production since we do not have access to the ASC swords.

Kim (Maurice), Jamie, and I are using swords... last I checked.

GREAT EXERCISE for ensuring clarity, power, and comprehension

I want to share with you all the exercise that Prof. Davies had me do when we met to rehearse/explore Valentine's "What light is light, if Silvia be not seen" monologue in 3.1.

This exercise helps ensure clarity, power, and specificity in your delivery/acting and therefore comprehension for your audience...

STRESS EXERCISE

1. Find a chunk of your lines that you want to explore thoroughly to ensure verbal precision and power.

2. Look at the first line in that section/speech. Pick what you think is the most important word in that line; this word is the line's "primary stress." Pick what you think is the second-most important word in that line; this word is the line's "secondary stress." Many lines will definitely have a tertiary stress, but for this exercise, with few exceptions, force yourself to pick the two most important words in that line.

3. Speak the line aloud - emphasizing the primary stress word most and the secondary stress the second most - to see if the meaning of the action/antithesis/argument of the line is impeccably clear. (I think it's best if you have someone else to listen to you, as I had Prof. Davies; not having tried this exercise on my own, I'm not sure if/how well it will work just listening to yourself.)

4. If the meaning is not any clearer, change the word(s) you're emphasizing for the primary stress, secondary stress, or maybe even both. Try it again out loud. Repeat until successful.

5. Move on to the next line and do the same thing. You get the idea.

As we all know, much of the energy of Shakespeare's lines comes from antitheses, which are literally almost everywhere in Shakespeare. With this exercise, you can take a chunk of text that you might otherwise be tempted to just breeze through - thereby sacrificing its specificity and power - and really make the argument/antitheses/motion of the speech's meaning verbally palpable.

(NOTE: Prof. Davies did admit that sometimes you may not be able to pick just two: for instance, in the speech we rehearsed, Valentine's line, "Fostered, illumined, cherished, kept alive." He said that we had been sticking to the exercise so closely and conservatively that we'd earned a few extra stresses for that line.)

To cut or not to cut that is my question

I've had to take a surprisingly new direction for Eglamour as I guess we are going with a modernized take with the play. I like how in 4.2 the mood of the play is getting darker and how in 4.3 Eglamour enforces that shift. His character, to me, is the image of how Proteus should be had his love, Julia, really died.

As part of my admiration for this character I'd like to petition to keep these lines in 5.3:

1 Outlaw: Where is the gentleman that was with her?
3 Outlaw: Being nimble-footed, he hath out run us.

I'd like the audience to know what happened to Eglamour so he's not just some random character that enters the play. In an earlier post I had a gag idea for Eglamour in 5.1, but with the new direction I think I'm going to try something more subtle. I might just need a retractable knife. I also had the idea that he'd have a map on him. As he goes to lead her off into the woods by exiting one direction he realizes that it's the wrong way, scrutinizes the map, and then heads the right direction.

As for playing the outlaws I know our group is going for preppy, country club sophisticates. If anyone has any costuming ideas for this I'd love to hear it! I'm thinking of sporting khakis, polo shirt, and an over the shoulder sweater with an embroidered skull.

Shall and Will

For those of you who ever say shall or will, this link may help in understanding the proper context for it. I was saying one of the dukes lines that had both in it and I wondered as to the difference. I looked this up online via The Free Dictionary and found some historical usages to assist in my understanding.

enjoy -

http://encyclopedia.thefreedictionary.com/Shall+and+will

Musical Interludes

Hey all,

This is just following up on Liz's thoughts about musical interludes. I would love to do them, as I am all for any chance I can get to sing (especially when people are FORCED to listen), but I'm worried about seeming as though we're just following an ASC mold. I think that maybe if we have the time, and could figure out an interesting way to do it (e.g. Shannon's use of music in R & J), then we should go for it.

Maybe we should have a meeting soon with anyone interested being involved in music, to start throwing out ideas. Also, Liz, you already know this but I LOVE the idea of With or Without You. Kim also suggested a Julia/Lucetta song by Bon Iver (Lovin's for Fools).

I think that if we want to do it, we should start the process soon. Besides, I don't think it would hurt us to have outside music rehearsals anyway, even if all we do is the song within the text. We do have a lot of musical talent in our casts, and it would be awesome to showcase it.

Scanning Names

4.2 Thurio says "Who? Silvia?" In this shared line Proteus replies, "Ay, Silvia - for your sake."

In order to keep this shared line in iambic pentameter, the first Silvia scans as three syllables while the second Silvia scans as only two.

I have noticed that Thurio also can be scanned as two or three syllables to fit the meter. I wondered how many people had noticed this and if anyone else thought it was interesting.

In the case of Silvia in 4.2, I think that it could be fun to play up (slightly) the shift of eliding or not eliding the I-A in Silvia, since Proteus and Thurio seem to be having some slight tensions with one another concerning Silvia, at the top of that scene.

Other peoples choices or thought about scanning names?

Performance date

Awhile ago, I recall that some people were concerned about doing both casts' performances back-to-back for various reasons.

I guess this is mostly a question for our directors, but is the plan still to do both performances together on April 18? I ask because my parents have expressed a desire to come see our productions, and my dad has already fixed his work schedule so that they can be here on that date. So I hope the plan stays the same. In any case, it will obviously be best if this matter is settled way in advance. As far as I know, it is indeed already set in stone, but I wanted to be sure.

Musical banditry

Hello double casts,

Following a directors' meeting yesterday evening, we plan to divide the casts somewhat differently for the first hour of Monday's class. Can everyone meet in the theater? I will then take both the Proteus, Valentine, Speed and Silvia actors down to the rehearsal room to work on the Silvia song; the rest will remain in bandit country with Colleen.

Bandits should wear clothing suitable for a physical workshop. Musicians are welcome to bring an instrument if they wish. I leave it to you to decide whether to use original or contemporary music, pre-written or to be composed; just come with your bodies tuned, and thoughts about the song.

We might be inclined to take some acting journals shortly, so be prepared. Also, some of you are not posting. Be aware that I'm keeping tabs on what is a requirement. Finally, off books, ladies and gentlemen, off books.

See you Monday,

Matt

Musical Interludes?

I know we talked about this at the beginning of class and decided against musical interluding. However, I can't help thinking about Shakespeare without thinking of music anymore. There is music in the play itself. In fact, it is coming up this week! Does anybody have any thoughts about the Silvia song?

Also, does anybody think it might be fun to throw together two or three songs to play between the two shows? Just as a little breather? I think it would be fun, but that is just because I love to play music. Even if we don't end up playing anything, what songs, if any, have made you think of Two Gents? My top picks so far have been With or Without You by U2 and Old Letters by Company of Theives. I'd love to hear what you all are thinking!

Thee, Thou, You, Your's and Other Addresses

I have been caught up recently in the addressing of characters within this play.

For the Duke, I have not yet come across a point where he refers to Proteus as "Sir", like Speed or others do. The Duke shares such respectful addresses to Valentine and others so far in our rehearsing of the play. I'm not sure exactly why yet but I'm interested in what conclusions i can form as our rehearsals progress. Anyone find anything similar?

When it comes to thee vs. you, I hit a cool little discovery today while rehearsing with Prof. Kelly and Bobby. When the Duke knows of Valentine's plot to steal Rapunzel from her tower, he strings him along to verify the discovery and delay the plan. According to John Basil and many others, the use of thee vs. you denotes stage directions and degree of formality. Ignoring the stage directions side of the word choice, I looked at the Duke's using of thee and thou towards Valentine in this scene and read not only a lack of formality, but saw that he was trying to make him feel extremely comfortable and casual, eventually leading Valentine's guard coming down for the sweet Temple of Doom move of ripping his live heart out of his chest while he stands.

Fun stuff eh?

Now that we've had the directorial switch...

Now that we all have experienced the big directorial switch what do you guys think?

I would have to say, in all honesty, I'm not a fan. Not that I like one director's style over the other, because I'm learning lots with both, but I'm finding it more difficult than I thought it would be and more time consuming as well.

Because I am new to the directorial styles of Prof. Davies and Kelly it is taking me longer to get warmed up again to the point where I can feel safe exploring during rehearsal. I understand I should get over this if I intend to do more professional work (and I know I will in this instance as we work more together), but this is where I am right now. This is probably just me, but I seem to get caught up in the questions of "Am I meeting their expectations of where they think I should be?" and "How do I give both what they want and come up with a singular character?" (Granted, I'm playing Speed and the Duke, but hopefully you guys know what I mean.) This feeling is grouped with my experiences with our talented assistant directors as well. With four individuals working with us on scenes, that's 4 times the trust building we have to do in this short time we have.

Anyway, I'm not complaining, just voicing an opinion and explaining what I've learned in the experience so far.

Any thoughts?

The Wonderful, the DASH-ing, Eglamour

All I know about this character is that he's fair and can run like Forest Gump. I'm inclined to comedy, always, so I would like to come out in full woodsman gear in 5.1 as an eager chauffeur and protector to Silvia for when she enters the woods. I, however, don't know how far to go with this character. It is a small role as like Antonio. How far am I allotted to go with these characters? Also, is anyone reading these blogs. I've asked questions with no replies.
I was wondering if I could be provided weaponry for Eglamour and what exactly are the thoughts on costuming? Are we allowed to come up with our own costuming ideas, or do we need to get them approved? Also, I was very saddened to hear that we are not doing a pre-show as I would've loved to write and work on an opening.

Burbage Break

So, this is not about Proteus, but it is something funny that I've noticed. During Romeo and Juliet rehearsals somebody mentioned that Romeo isn't in the 4th act at all because Shakespeare had written in a break for Richard Burbage, and that you can always tell who he played because they aren't on stage for the 4th act of their respective plays. So knowing that I went through the 4th act of our play and lo and behold, Valentine has been banished and meets up with the bandits right at the beginning of the 4th act and isn't heard from again till act 5. So Bobby/Jonathan, you have the Burbage part. There isn't much of a relevance to acting process or anything, just a fun observation.

??

I'm in the same boat as Angelina about tomorrow... What's up? Anybody have a clue?

Also, are we supposed to provide our own costumes? And has a decision been made about whether we'll have more than one performance date, or if we'll have intermissions?

I recall that any notion of a preshow was cut, but is there room for others who would like to work on music to do so? Are there other production tasks we can work on, such as a poster or program? I'd be down for that!

Circuits

So, I went to Circuits on Friday and was the only person who showed up. This was my first time going. So, Thadd spent most of the time that we were stretching, telling me the origins of Circuits and his personal goals for what each person in the program will use Circuits for. And then he asked me what characters I am playing this semester. When I said Thurio, we began to discuss the physicality of the character. We discussed bowing and other physical gestures the character might use. He suggested that I figure out an arrangement of motions used in, lets say, greeting the Duke. He encouraged me to practice them, trying to turn them into smooth motions. So that they look like movements Thurio has been doing all his life by the time I put them on stage.

I had never before thought of how to develop the physicality of the character. These are all thing, I have been thinking about since Friday. And just because I have now had these thoughts, does not mean that I necessarily know what how to act on them. So, I'll be trying things out.

In the mean time, I will continue to go to Circuits. I hope to see you all there (though if I don't, that means more one on one time with Thadd, which feels a little like having a personal trainer ^_^).

Switching directors

Hey casts.

Does anyone have any idea what exactly we'll be doing tomorrow with the switching of directors? Are we going to show them what we've got, or keep moving on with blocking?

Thanks from a confused Launce.

Hey all,

Excuse me for being a little self indulgent in talking about Julia for a bit. Before class, Kim and I discussed the relationship between Julia and Lucetta at length and came up with what we thought was a pretty decent interpretation of Act 2 Scene 7. While what we came up with seemed to work for the scene, Matt brought up a very interesting point. He likened Julia to Juliet, and how she is this untouched, "untalked of" girl who has a very specific idea of love that she got from romance novels and epic poetry, and I thought that was a very interesting point. I had all along thought that Julia was naive young girl who falls in love really only because she's found someone to love her, which really isn't too far from Juliet either. This correlation between the two characters really opened some doors to Julia that I had never really seen before.

I think that this reading of the scene, which was very different from what Kim and I had discussed beforehand, marks a dramatic shift for Julia, thus making the ending even more tragic in my opinion.

Thoughts? Opinions?

Late night musings

Hey all, insomniacal tendencies striking, so I thought I'd share my thoughts from today's rehearsal.

I thought we had some terrific conversations about the interplay between Valentine and Thurio, Silvia and Proteus today. The problems of both Courtly position and the potential problems of aggression between Valentine and Thurio wasn't something that had particularly struck me as important, but it really informs how I react to Brian (and vice versa) and can give the final scene some extra punch when Thurio gives up straight away.

I'm really enjoying developing the bromance aspects even further as we get closer to blocking and developing the betrayal scene. I'm excited to see what AJ and I can do with the dichotomy of emotions between Valentine and Proteus after V's banishment. Have to say, I loved the gag Matt inserted after Proteus' kiss of Sylvia's hand. I think that will play even better as we go along.

Looking forward to next week!

Crab, My Dog

Hey guys,

So if you don't know already my Crab is simply a leash (or lead as Matt Davies says) that has no dog connected to it. But it looks like there is an invisible dog on the end of the leash. Currently I am using a coat hanger to get the shape for the leash and the feel of holding something down. What I want to know is: does anyone have any ideas for how to make the leash look better than a bent hanger?

Steph

Character: what he things; what others think

Playing Thruio is interesting. He is the guy no one wants to get the girl. Your not supposed to wan him to get the girl. But he's supposed to want to get the girl and he's not supposed to think of himself in the same way as the other characters and even everyone talking about the play. We all refer to him negatively. Even a the Arden, lists him as "the foolish rival of Valentine." But for all that, I have found a way to like the guy. The reason we don't like him is because he is living, wooing, by set of social norms that no one else in the play cherishes. Not even the Duke, in the end. You see, as I begin trying to figure out character motivations and the like, I have decided that Thurio wants to marry Silvia for social reasons, not romantic ones. For him it is a financial and political arrangement. So it is natural that he would go to the duke and not Silvia. He isn't malicious or trying to ruin her happiness. He is just not concerned with romance. I think he understands his world in terms of social position and political status and that affects all of his affectations. This doesn't make him a nice guy by our standards but he doesn't think by our standards. Obviously, this is just my reading of the character, but for me understanding why a character does something that we don't like is important for being able to play the character. So for me Thurio is the protagonist of his own narrative: this one is a tragedy, in which sticking by his ideals of marriage as a social contract, he looses a most advantageous marriage to a very beautiful woman.

Father and Son

I'm wondering if there is some way we can reinforce to the audience the father and son relationship between Antonio and Proteus. If maybe they both share some idiosyncrasy or gesture. The same would go for the Duke and Silvia. I just feel that there is still a disconnection there. Also, I am still working on how to work with the cane. I'm trying to figure out why Antonio would need to use it; age, ailment, or for authority. I want to use it.

Thoughts from the Arden intro and Matt Davies' document on working with prose

I finished the Arden intro tonight, and so much of what it brought up is really fascinating. The discussion about how editors, directors, and actors often try to mitigate the impact of Valentine's offer at the end particularly held my attention.

In particular, Collier's idea on p. 114 struck me as very interesting and even potentially plausible.

But I don't really think it could work. If ideas like his had their origin in anything other than discomfort with the plain meaning of what seems to be happening, they would be more persuasive. As it is, that is the only motivation: "This is terrible. Surely he can't mean that."

I suspect that the right thing for actors and directors to do with such moments is not to shrink from them and their rightly uncomfortable awfulness, to find an escape hatch through which to avoid playing something really twisted, but rather to play them with honesty and courage.

That's not to say I'm not open to alternate readings of Valentine's offer. As with every rehearsal so far, I'm sure when we get there I'll make discoveries in rehearsal that I never anticipated in my preparation work. But I think my instinct is to reject any idea whose primary motive seems to be discomfort at the tension Shakespeare deliberately forces us to experience between the conflicting loyalties of different types of human relationships.

Also, I really loved Matt Davies' Peter Hall document, the one he sent by email. The Launce monologue really is like a stand up routine! In light of all he discussed, he was definitely justified in asserting that the scene's precision is "worthy of Samuel Beckett."

I also found this quote particularly relevant and helpful:

The primary need in speaking prose is to feel the rhythm of the sentence so that the requisite words can be emphasized in order to point the paradoxes and the comparisons.

Looking forward to tomorrow!

What Others Bring To A Scene

Jonathan, my fabulous Valentine, said something to me the other night about our scene together and after that conversation I got to thinking about how amazing it is acting with other people and how much it brings to a scene. Rehearsing lines on your own is wonderful and before coming into a rehearsal an actor already has a sense of who their character is and what they want out of the scene. But when you throw in another actor so much of that can change. Another actors portrayl of their character can change your tactics and can completly alter the energy of the scene. Thinking about these things made me realize even more a) just how much I LOVE being an actor and b) how lucky I am to be acting with all of you! We are such a talented class and I am just so proud of everyone's work. I can't wait to see what Cast B is doing with Matt Davies and I am so excited to share our work with them. Thank you all for inspiring me even more and for being so fabulous!!

Text issues

Hello everyone,

Enjoying the blogs. Tony Tambasco and I are pondering how to create an electronic master text with stage directions that the whole company can access. This would require the prompter/stage managers who notate the blocking to transfer the hardcopy to a web text. As we discuss, we're happy to receive thoughts and ideas.