I am quickly typing this in my seconds between scenes so I can sort through my thoughts and give a great run. Marc’s notes to me were about “seeing what I can get away with” in terms of my intimidation and noting urgency. I felt the logical shift in my kissing scene (which went great) when I paid more attention to the urgency, but I’m struggling to incorporate the other note.
I suppose it’s better to keep it in mind and find opportunities in the moment to try out ‘being intimidating’. So I can’t really fail as long as I’m in the moment and am lost in the reactions of my partners and my body.
Here it goes!
——————————————–
Huh! Went pretty okay. Blocking went a little awry, and I was kind of saying text instead of conveying meaning, but I found those moments of intimidation spontaneously. At this point, it doesn’t make sense for me to be focused on doing something because the feelings that appear in the moment will take care of that for me. I need to focus on whether I’m getting what I want (ie. doing something is about me, seeing something is about my partner).
——————————————–
Marc comments:
- Really good run for you
- Great application of intimidation
- Move to the left so we can see Greta during her “Ducks!? What Ducks?” line
I asked Marc how you can be in the moment but also actively try something. He said that you can try it clinically in many areas to see if it works, and once you know you can, it will be there for you in future rehearsals as an option.
For my specific qualm about not being able to play ‘intimidating’, he noted that you can’t play a state of being, you’re just demonstrating. You need to focus on the target, the bones themselves that need to quake. No attention on me, full attention on my target.
Here’s the cast, we’re ready to go for our PWYC Preview tomorrow!
