Swangsong
Swangsong is a play set in 19tth century Russia. The play is staged in a provincial theatre, which means it’s outside of the cities. The play starts after a performance of another play within the story. The main character wakes up to find the performance is over. He then begins to talk to himself in relation to the play.
Given Circumstances:
Set in Russia during the 19th century. The character, Vasily Vasilich is a 68 year old washed up actor. He is an alcoholic or a heavy drinker. There is another character Nikita who is a prompter at the theatre or with the troupe. Actor for 45 years. Mainly Shakespeare plays? Part of a touring company. Seems to be more of a stand in, or performing minor roles, but is still part of a well known troupe. Currently playing in 'La belle Hélène'. This is an opera, so Vasily is potentially also a singer.
Character
A Shakespearean or melodramatic actor. Has some influence from naturalism and may apply it to his characters. Vasily appears to have a reputation as a renowned actor, but this may be his own hubris. He once was in love with a woman, but she rejected him because she only wanted him for his fame. This moment appears to have broken Vasily and made him into a train wreck and mercenary. He believes he had the potential for greatness but gave it all up because of the woman and probably alcohol. Vasily is extremely proud and arrogant, but he let himself go and now rues his loss of youth and divine energy. He looks for any ear as an audience, friend, fan, stranger, random, to reminisce on his past glories, his performance, his youth. He is very childish and seems lost with Yergorka and Petruska appearing to be handlers. They seem connected to the theatre but also his current drinking buddies. Vasily is lonely, he never married or had children. He has no close friends, just associates and drinking partners. He lives alone in an apartment. I believe he is possibly a womaniser or even bi-sexual and is trying to use the personal drama to convince Nikita to come home with him. Vasily has been an actor for 45 years. This is quite an accomplisment and it seems he has enough wealth to own a home and live a bohemian lifestyle. His favourite colour sky blue. The sky is important to him, as he imagines he is performing to the gods when he performs. He believes he has such power as that the gods can hear him, and almost thinks he has the ability to creat thunder.
Background/Chekov
The plays take place in the mid to late 19th century Russia. When researching background for the play, Chekov himself became an important focus of the research. His life story is influential to his work. Chekov is known to be something of a prodigy, but it was play-writing and short stories that became his passions. He was forced to start writing young in order to help provide income for his family. Due to the upheaval and challenges he faced, Chekov became anti-Imperialist and saw the Tsar as incompetent. Russia had been involved and wars and defeated by smaller nations. This had destroyed the Russian economy and there was a general resentment towards the Tsar and people of wealth. The comedy sketches illustrate the lives of middle-class people during Chekov’s time. The aim of the works is to reveal the childish nature of these people in order to feed resentment. Chekov’s work was influential and coincided with the rise of Marxism in Russia. This is why Chekhov’s works became synonymous with the Soviet Union, due to its satirical illustration of bourgeoise life. The characters in the sketches are representative of such people and Chekovs idea was to show how petty these people are. How little they contribute to the world. How they are able to live such lifestyles whereas everyone else is struggling with ‘real problems’. Luca is a working-class character, but he a servant to a grieving widow. He is weak, easily bending to her will and his service allows her to live like this. Nikita and Vasily have similar problems, they are old and lonely, but Nikita is worse off because they are homeless and have an ordinary life. However, it is Vasily, the famous actor, who has lived an extraordinary life and knows many people, who is lonely, who has ‘problems’. The homeless, Nikita just tried to get on with their life, where as Vasily feels obligated to share his with the world.
An alternative performance of Swansong
As I had not seen an original version, at the time I had mixed feelings about how I should perform. This performance was interesting, it showed how the character needs to play on being drunk in order to create humour. It makes the script work; it makes it funny. The script is slightly different adaption to the one I have been learning, and I like some of the changes, particularly when he says “my genius” instead of “my talent”. I may add this into the script or use it to help create times recall lines. I like how the actor starts on the floor, but I will be entering via a door. The actor is pacy and rarely takes pauses or breaks. I feel I need to be able to perform like that, pressing and mumbling and spitting out words. I like how the actor gets scared when calling for Yegorka, I think this would be good to use in the performance. This performance is funny but is more in the style of a naturalistic actor. I feel the actor Vasily would be more like a melodrama or Shakespearean actor but may have been influenced but naturalistic techniques. I found it funny how the actor is topless, and his build also adds to the comedy value. He actually looks like someone I know who ironically is also an alcholic. I decided to get rid of the toga and be topless under a dressing gown because of this.
Another play that has been influential in character development is ‘The Dresser’.
The character is very similar and in persistent need for an audience. The play shows the character in the dressing as they are cleaning their makeup. This character is more of a typical thespian than the naturalism shown in the Swanson performance.
Annotated Script
Script study is extremely important to implementation of Stanislavski and naturalistic techniques. It helps provides details of the story and characters background. It can be used to action or track the actions during a scene. How they are feeling in the moment, where is their attention?
One Letter Script
So far, the one letter script is helped me come of script. I think it is important as it shows me, I know more than I think and provides confidence. It acts as a prompt during rehearsal or readings, without telling me the exact script. Originally, I found learning 1 or 2 lines took weeks to learn, but now I am capable of 10-minute monologues, or 20-minute scripts with few prompts within the same period. The one letter script has been important to improving as a performer, as the sooner I am off script, the more focused I can become on performance.
Playing Out of Character
With naturalism, an important part of developing the character is playing off script in order to become naturlised with the character. It is also useful for adding character depth and putting them into alternative situations.
Bank Robbery
The characters were placed into a Bank Robbery situation. I played as VV in the situation where he is observing a Bank Robbery for research for the role. My character is not a criminal and therefore when caught up in the crime, starts to show their true nature.
19th Century Road Trip
We imagined ourselvesin the 19th century. Jay acted as Nikita and I was playing as Vasily. I requested to go to the theatre and Jay states that the show is over. This plays on Vasily being late to everything or missing shows.
Business Meeting
In this, I play on the character being hungover. The meeting doesn't go the way of the character, so I misbehave.
Elevator
I played upon being very drunk as I thought it would add to th situation. I also saw that the character may be going home. I interacted with other actors as if a drunk person would and started to feel sick as we were in an elevator. I pointed out that NIkita was also on the levator as if in the play.
The technique is useful for developing and naturalising the character. They are put into different situations with different emotional requirements. I continued to play on the character throughout the duration of the term, particularly in my interactions with Jay who is playing Nikita. Not only did I find this useful for building character and become naturalised to their movements, I also found it helped me develop empathy with the character. I am able to put myself in the characters shoes, because I am that character. With this character, I found tht it actually made life easier, that I could relax and play on my own self issues, such as being tired or feeling weak. Instead of having to maintain myself, I as able to let it go. I would do things the character would do instead of myself, for example, going to the pub and drinking Vodka instead of Gin.
Hot Seating
Hot seating is useful technique for developing character. It is a useful exercise to play in character whilst responding to questions for the group. From the exercise I am able to show my knowledge of the character and also think about details of the character I had not originally considered. IN this exercise I played upon the characters pride and arrogance. Despite their pride, they are also vulnerable and insecure. In this exercise I am questioned in regards the naturalism vs classical theatre. I act outraged by comments that naturalism actors are better and could never compete against a thespian.
When developing the character, reading the script and learning to understand the subtext, I found a lot of myself within the character. Originally, I looked at this character and thought perhaps I am a long way from them. That I needed to add more to myself to create this character. However, as I gained a better understanding of the character and lived as them, I found there are many similarities between me and Vasily. That when I let go, I am not so different to them in their given situation. I am more independent, I don’t need people as much as Vasily, but if I was in their shoes, I would be like him in terms of how emotional I am when I am when upset. I may be recallling life situations. Yes, I live in a different time and place, but when I was able to feel realize their emotions and put myself into their shoes, I felt a relation to their emotions, I experienced them myself. I was able to understand his feelings, what emotions the character is feeling in that time. This helped me to develop the character and realised I need to find the attributes within in myself, that I share with the character. I had much already and so when coming to perform, it was more natural and effective. It seemed so much easier in many regards than other performances. The role is the most challenging but the most natural to me. Of course, practice, time, characterization and experience help, but simply letting go allowed more of me to come out and find the right energy for the character in the moment. Researching and experiencing the character life as close as possible has been an extremely interesting moment of life. It felt like an indulgence, an opportunity to play on certain attributes. It made me feel more confident and that what I did was meaningful. I felt more relaxed, careless. I didn’t need to hold it together, if I felt tired, I showed it. If I felt cynical, I used it. Due to the similarities to Vasily, I have found an acceptance of myself of my own situation. Yes, I can feel lonely at times, and I often feel unwell, yet, I also have a great life, with some amazing experiences. I get to follow my own dreams and whims as when I desire, or my body allows and make new friends everywhere I go. I see this as how Vasily has somewhat lived his life, that we share a connection through a common source. Although I can be a diva sometimes, which is not uncommon for performers, Vasily still has personality attributes that are different to me. Vasily will play upon his age, his afflictions to gain pity from others. Vasily also exaggerates everything, which again, I have within me, but I need to bring more of it out for the character.
Collaboration
Collaborating with Jay was integral to the performance, and we spent extra time working on the performance on Thursdays in the theatre. Jay and I have good chemistry and we are able to play off each other’s jokes outside of rehearsals. We developed our characters independently, but encouraged ideas in others such as Jay helped developed some direction for my characters movement. I found that we were able to apply chemistry through contrast to our characters and add to each other’s through observation and reaction. For example, I tried to unsettle Jay on stage and he could react to this. With my character I am near Jay, sometimes he doesn’t know what I am going to do, and it can create spontaneous real reactions within the performance. Jays character also has their business, so it also forces my character’s reactions, that he must force NIkita to listen. We have a good understanding of each-other’s humor and were able to play along with the characters outside of class, such as referring to Jay as a Nikita and his job being a prompter and I was the ‘renowned actor’. This could only be achieved through the relationship we have developed over time we have known each other.
Methodology of being drunk
This is a complex character and is an alcoholic. The character is normally able to drink responsibly when they are working, but this time got too drunk and made a fool of themselves. They wake up drunk. I needed to incorporate this into my character. Originally, I intended to be just a slight bit drunk/hungover, but I felt it was important to play on being very drunk in order to add humour. As I am not typically a drinker, at least not since my early 20’s, I had to do some research in order to gain a better understanding of being drunk, how people act, how I act, move and feel. Are there different stages? Am I a straight drunk? Is the character? The first time was accidental I stayed in and had some ‘light’ drinks. Sooner rather than later, I realised I had made the drinks stronger than I thought. I found I had an increased urge for alcohol. I was able to start deep conversations with myself. During this time, I would focus on an object whilst conversing. I observed my body language, feelings and reactions, such as I would overreact to news article and feel obliged to tell the world via a HYS. I also went out socially to interact with people of society in a building called a 'Public House'. It had been a while, but I was able to make friends quickly. I saw that Vasily is probably like this, he will go out to drink to socialise. He probably has drinking buddies, if not, he will find new ones. I possibly drank faster than I realised but felt ok or functional most of the night. However, I hadn’t factored in the 4 extra shots and the 2 doubles and probably had over 12 shots in a few hours. I had been able to maintain myself but then suddenly I was just a wreck and needed to leave. I saw that I am a straight drunk who aims maintains a pose and will push it until the point where I am can no longer hold it together and just be like ‘that’s it’. This recon and observation were important for me to understand being drunk, how a person moves, how they could be ‘normalish’ or high functioning whilst under the influence. I saw a lot of myself in the character, where I am barely functioning most of the time and then pull it together when I need too. However, this character is not just an alcoholic or drunk, he is also a 19th century actor. The challenge, therefore, is incorporating the elements together.
Empathy
The character Vasily has shared his feelings of loneliness, regrets, loss. I feel a connection to the character through the expression because I can relate to them. I can put myself in his situation, being drunk, being late for everything, being angry at himself at others. Being intimate and sharing deeper emotions with strangers. When I speak the characters words, I have memories that relate to their situation. This can help me to apply and express the emotions to each situation.
Circles of Attention:
The circles of attention are going to be a primary focus of the characters movement. This is because the performance is mostly a monologue. There are times where the character is in thought, thinking of the past, his youth, his potential, the woman he lost. They are looking out to the audience; they are looking to the skies. There is also interaction with Nikita, but I feel that their focus would mostly be away from the other character. As they are drunk, I feel the character may also focus on a particular object when talking and this may help them recall memories.
7 Levels of Tension
The 7 levels of Tension will be useful for this character due to the emotions of the character. The pace varies throughout. It will be useful to apply different levels of energy to the script and the characters actions to figure out where it needs to vary.
8 Efforts
This character is emotional, drunk and a thespian. It will be useful to use the 8 efforts to see where different physical actions are applied. Important actions for this character will be slashing, due to the anger, flicking because of their flamboyancy, pressing as when they facing into the darkness and wring when the character is cold, scared or tense.
Group Discussion
As a series of sketches, it was important to consider the order of the plays and what was required in terms of staging and props. As the Bear and The reluctant tragic Hero’ both have similar scenery, it was suggested that the 2 plays would go together. They also have the most scenery so we decided to start with these. With Swansong, I suggested that the play is set on a stage and the scenery from the other shows can be pushed to the back or covered over. The Dangers of Tobacco is also set on a stage but has only a few alternative props. We concluded that the order would be 1. The Bear 2. The Reluctant Tragic Hero 3. Swansong 4. Dangers of Tobacco
First Discussion - Swansong
It was important to communicate in regard to our feelings and perceptions of the play and characters. I have been cast as Vasily and Jay is playing Nikita. We have determined that Vasily is a 68-year-old alcoholic actor. He seems selfish and self-orientated. He is looking for an audience any time anywhere. When he is talking to Nikita, he will talk like he is telling a story. I have found that using circles of attention that are outward and inward would be useful. Vasily is a proud man but has let himself go and at this moment is at his lowest ebb. However, his personal drama is no different to Nikita, who is a person with problems but doesn’t complain. Nikita appears as a contrasting character. Vasily see’s Nikita as beneath him as a prompter and as an audience member. Nikita is a prompter and is said to be mousy. Nikita’s reaction seems to be as if they have seen it all before but has some concern for the actor. Maybe this is the worse breakdown for Vasily. I’m not sure about how to perform this role, but I think the characters are contrasting and can play of each other.
First read through
Although the stage is setup, this is my first rehearsal/readthrough. I did think too much about emotion, energy or technique and followed only the basic instructions. From this, I got some understanding that there needs to be more emotion and pace. I feel in this moment, that the character is mostly angry or upset about his life. I also breaks into moments where he remembers his youth and this changes the emotion. This needs to be considered and factored into the performance. Although I remain seated for most of this as directed in the script, I feel it would be more interesting to move around.
Rehearsals
I still have little idea of this character, but I was able to sense some of the emotions require. There is a good pace to this read through. I should look to apply this energy. I figured out to start the chair on the floor, with the blanket draped over. For now I am picking up the blanket. I need to set down less on the chair and make more use of the stage. This is challenging, as I am already struggling to balance everything. I am considering where I need to be positioned on stage and where my attention is. For example, I come to the front of the stage when looking into the darkness. Although there was some good emotion, this character seems to straight. The character needs to more drunk, eccentric and flamboyant. I liked the overeating scream and think this is a good approach for Nikitas entrance. There is opportunity to play upon to eccentricities within the character and make the performance more interesting.
Overall, this rehearsal was slower with a dryer take. Although some of the dryness works, it shows the performance needs more energy. I need to be able to drawn upon energy when needed, even if I am tired or unwell, if I am going to perform this role. There are some parts which are interesting such as reacting to the woman not wanting to marry me. The scene overall lacks energy and movement, I need to make less use of the seat and Jay needs to move around more and look busy. I can react of him and the way he moves and this will create humour when combined with the script.
Rehearsing a performance but off script. I know much of the script but it’s still not there. However, this allows me to play around with the script. As I forget lines, I make up new stuff. I mutter things such as “where is a prompter when you need one?”. I also extend out certain phrases and interact with the ‘audience’. I like the drunk sound I have for this but need to apply pace to the script. Without script, I can make better use of the circles of attention and other techniques. I liked how I approach the front of the stage. I think I need to lose the blanket or make less use of it as it restricts acting and the costume. I like how in this I get really scared in the dark, I reminds my of myself, as my own paranoia and imagination can terrify me. Although I sound drunk, I sound like too much of a typical drunk and not a 19th century actor. I have been able to apply some mannerisms of the character and Jay has been helpful with suggesting movements such as swishing the blanket. We came up with an interesting idea that in an emergency, a vodka bottle could be used as Jays stand in. Overall, I sound too drunk, but it was good for example, playing in different accents. This helped me move away from being drunk and could be how I approach the Shakespeare parts. Some of the best movements are when I am off script and discussing things with Jay. My body language is probably closer to what I need with the character and I am probably closer to the character in reality than in performance.
Role Reversal
This was an interesting approach to gain new perspective on the character. Jay and I played each other’s roles in our own styles. I played Nikita much more emotional and compassionate than Jay. However, Jay plays a dry Vasily, so the approach has its own twist. I like how Jay plays Nikita because it contrasts Vasily, but I feel that at times Nikita should show some concern and passion. IN this performance I also play along with Vasily during his ‘performances’, I think this is something that could help make Nikita more interesting.
The 'thespian'
Bringing out the thespian in the character is the challenge for me. I can do drunk. I am melodramatic, a diva and a train wreck, but I needed to learn to play this 19th cnerutyr actor. During this we discussed the type of actor, how they might be someone like Brian Blessed, but more flamboyant. There are other characters such as those in ‘the dresser’. I tried to play on different versions of the character, such as focusing on power/volume, energy or flamboyancy. Although this feels impossible now, I have gained a better sense of the character, for example, performing the Shakespeare parts.
Off Script
I have tied my hair up and this looks good for the character. MY body shape is revealed during this scene and it adds to the performance, so I should play upon this. I am playing upon the words; I am expressing them. I have given them meaning. I am overreacting to the situation. I have a change in pitch and tone which make the character closer to the thespian. I have integrated an ‘almost empty’ bottle into the performance. This has added meaning to my words, it seems natural. I have integrated drinking into my performance, my character has found Vodka so drinks at certain stages. I like how I use my arms to shape out the outline of what I can see. It is more effective that I do not use the blanket until later in the performance. I now use the chair to stand on to call out to Yegorka and Petruska. This has added another layer of interest and seems realistic. I have added picking up the chair when I am scared, but I am considering fulling backwards over the chair. The blanket seems to block too much of the performance, so I need to consider how to use it. I do not like how I sat down after; I need to stay standing for longer. There also needs to be increased tempo, but I am still recalling the script, so I have faith I will be able to produce the desired tempo. Although the pace is lacking and their needs to be more purpose and direction, the emotion change is there.
I have taken some of my considerations from the last rehearsal and applied them to this one. I now use the chair in a choreographed routine rather than sitting. I fall off the chair to show I am drunk. Sitting on the back of the chair is also more interesting. There is a much better pace to the performance. I still feel I am standing around too much and this is mostly because of the challenge of recalling the lines. I like how I am more upset in this performance, more emotional. However, I have applied some movements when describing the scene which is original. I pick up the blanket later. I like how I hide behind the chair and this will become part of the final routine. I think there is a good amount of the acting like a drunk going through emotional moment. Being more terrified when Nikita enters has added something to the performance. There is still too much blanket, so I need to make less use of it. I also ‘made love to the chair’ during the performance and then knock the chair over. This is a more extreme moment and adds more comedy to the scene. Overall, this is a good performance and probably close to where I need to be. I need to incorporate all the elements together, add things that are lacking, refine the recall and choreograph.
Jay/Nikita's entrance
It was important to establish Nikitas’s entrance. There was opportunity for humour and to change the energy of the scene. We decided Nikita should be calm, confused and disturbed. I would overact to Jay, and he would calmly take the chair. I then added the part where I reach out to feel for Nikita, to feel they are a real person and not a ghost. The blanket is perfect in this scene, where it covers part of my body but is not restrictive.
Dress Rehearsal
With this I am coming closer to what I am aiming to achieve. I have finalised the costume and feel its workable and not too complicated. It looks effective for this role and reminds me of being at home sat in the garden on a sunny day. It makes out the character as being an actor. The energy and mannerisms of the character are right and there is a variation in the tempo. There is a range of emotions expressed. I have developed a ‘drunk act’ and made use of my own physicality. I am off script which is important but not 100% automatic as of now. If I can remember the script more clearly, I will be able to add more intensity to this. The choreograph for parts of the routine is good but lacking some purpose elsewhere. I feel this is something I have to work on but have improved over the term. I am seeing that the words are important for this, what would my character be doing when they say this, what prompts them, is there an object that stirs a memory? Even though Jamie is a stand in for this, there a good contrast between my character and his, particularly with their appearance and reactions. This adds to the visual element and draws attention to each character. There are still some parts of the script I get confused on, but I am getting to the point where I feel it doesn’t matter to much that I am ‘word perfect’ and if I am performing a script that flows it will work. What has been most challenging has been to create a contrast between different character states. I have made a good use of rings of attention, as they are extremely important to the break between ‘performing’ and their internal monologue.
Set Change
A quick transition between sketches was important as we had a limited time-window, and it would also help keep an audience engaged. We had already arranged the order of sketches to help with transition. It also displays another example of my inner prankster which has been prevalent this term. We will be in costume for the transition, and I found it interesting for example with my character doing this type of change. I think it adds to the performance as it provides a glimpse of characters in other sketches. I would like to see a transition that is theatrical, perhaps dance like, or clown like, such as accidents happening and the crew/actors playing in character. They react to the accidents and make transition sketch based around it. I have not seen this used elsewhere and is particularly useful where a blackout is not possible, such as performing in alternative/non-theatre venues.
Final Rehearsal
This rehearsal was the most fundamental rehearsal in refinement of the performance. I had choreographed the routine I still felt I had not found the right energy. Whilst I was doing a read through, I felt a different energy and a sudden urge to do a full performance. I rearranged my room in order to stage the rehearsal and get a good camera angle. The script by this time had become almost automatic once in flow so I was able to intensify the performance and add pace. I wanted to be panicked, angry and upset due to ‘missing the performance’ and getting too drunk, again. I decided to maintain a drunk physical appearance but try not to do a drunk voice. The changes in emotions and stances have also become natural. To switch from angry, to sad, to ‘alive’ and back again. Although some of the vocal is difficult to understand, I still feel like it works, it seems natural and tells a story through raw emotion. I have chosen to act big, to express every word. It has made the performance interesting. The tone, form and energy distinguish it from the Shakespeare parts. I have allowed the blanket to be lost, at one time it slipped over my head and I simply let it drop. I will apply this from now on. Although I drop some lines, it mostly flowed. I got to a Shakespeare part “Why look you now..” and lost it. However, I decided to go against checking the script and was able to makeup my way into it. It’s ironic that this verse was one section I had previously had no issues with. The rehearsal also shows how the performance could work as a solo act if I emphasised that Nikita is a ghost or hallucination. I found a real life branded ‘Nikita’ vodka which I have been using as a prop. The prop would become Nikita and could be rolled on stage, or hung from a wire, for entrance.
Final Costume
The only change from the original costume design was to swap a toga out for the sarong. It is simpler and easier to manage. The costume is effective and works for the character. It adds to the performance and ties in with the script. I grew out my beard and messed my hair up to finish to visual appearence.
Accidents
Accidents have been some of my favourite parts of the performance that became part of the performance. For example, part of my costume kept falling off, so I decided to just allow it to happen. At one point I tried to fix it and failed so just went with it. During one performance, Jay who played Nikita came in too early and I was reacted to it and looked at him as if I had something to say and he better listen. Jay also generally played on his own sarcastic characteristic and that changed the emotion in the scene. During the 2nd performance I actually fell of the chair, not scripted fall, and somehow regained my poise. Much of the energy of style of the character came in a Friday night, at home reading, 3 days before the show. My hayfever has affected my voice so added to the drunk sound to the character. The play itself was an accidental choice, I took on the play without having previously seen it.
Breaking the 4th Wall
Before the 2nd performance I discussed with the other students their thoughts on me breaking the 4th wall. There had been no rules as such taking this approach, to go 'Brechtian', and Jamie breaks the 4th wall during ‘The Dangers of Tobacco’. As the script refers to 'the performance being over, the audience having gone home' and makes other references to the audience, it seemed that breaking the 4th wall and looking directly at the audience whilst quoting the script would be funny. It would add greater comedy to the sketch. It was a last moment change but it took the performance to another level. At one time, when I fall to my knees quoting “I fell to my knees in front of her and she said.” I was staring directly into the eyes of one audience member for 10 seconds from about a metre away. I was also able to gage audience reactions such as some were smiling and others slightly intimidated due to the proximity. I would liked to have looked at someone when I was stating ‘you don’t give a damm about your health do you...” but I missed that opportunity.
During the performance, a member of the audience responded to my characters whining. I almost broke chracter in this moment as it was very funny. I was almost tempted to play on it but felt it might throw me off script and make me lose my way. However, I am intrigued by the thought of playing on this, playing on audience responses. "Who is there?" Act as if they are a ghost, or use it to engage with an audience that I 'only just realise is there'. It could be a way of expanding the act, improvising, making the audience part of the performance. Making every performance unique.
Narrator???
Although the scripts and performances have funny moments, they do not provide much detail of the context of the stories. A narrator may have been useful to provide context to the plays. For example, with Swansong a narrator reads Swangsong, 19th century provincial theatre, Characters Vasily…. Adding context would help to illustrate the satirical nature of the plays.
Perfect role for me
I am a clown, so this role allowed me to make use of my clown physicality. Playing a drunk, throwing myself off balance, shapeshifting, falling off chairs and doing ridiculous things were all elements I could add to the performance. I will do things no normal person would ever do in public, such as dry humping a wooden chair, and use it as part of a performance to make it funny and memorable. In this role, I am at my best and worse at the same time. I never imagined myself to be able to perform with this confidence when I first started performing arts at Gloucester College. In fact, in many ways I felt more confident playing this role than any other parts. I think the costume helped as it was basically like me at home in the summer, so I felt at home in this role. When performing I took on another level of energy than I had previously, I was in the zone and the script felt fluid. I felt confident going in that I would remember my lines, or at least be able to work through it if I stumble. I think this allowed me to become more focused on energy, emotions and direction which improved my overall performance.
This was also the most challenging role, finding the character, finding the energy, tempo. A 20+ minute script which is basically a monologue or could be if played differently. Even though my performance is crude, I am proud of what I have achieved with this role, and I am considering continuing with this character. I will either use the same script, modify the script, or create something new with a similar character. I may even play without a Nikita actor on stage, playing on Nikita being an Hallucination, with a reader backstage. If not, then I will probably become a specialist in training actors to perform as drunk!
I realise what I am as a performer, and I found a role where someone like me works. Yes, I have dabbled in other styles played varied characters, performed in musicals. This is the first role where I felt “this is what I am about”. That I was able to apply my own unique twist to the role. I had an intensity when performing a surge of energy, like I was possessed by the spirits of my ancestors. I am from a 1000 generation of alcoholics and probably the first people do discover intoxicating substances. Even though I do not always feel confident, particularly when performing, I performed extremely confidently with this role, especially in my 2nd performance where I broke the 4th wall. My ability to overcome shyness and engage with the audience in such a manner shows how far I have developed in 3 years of college. If I carry on performing, I will want to perform in this way again, where I can engage with the audience and perhaps refer to them as not being there.
Performance - Tuesday
It was interesting to see how the performance looked in the setting. It is perfect for the setting. I feel I did not start with the right pace, but I picked up as I went along. I personally thought that the 2nd performance was the better one, but I do not have a version of this.
There is a good choreograph to the performance, that works with the script. From the beginning I had found it difficult to position myself and move purposely on the stage. By this performance, I had moved towards the point where my every movement and word had purpose. There is reason for my character was saying those words, why they were moving to a place. Using an object. There is a good range of emotion and tempo. I like the variation between being drunk and an emotional wreck, and then switching to the Shakespeare parts. In my opinion I have captured close to what a 19th century actor may be like during one of their ‘break downs’. I have got the characteristics accurate without sounding too drunk. The visual style of the character and scenery fits into the venue. The venue was interesting, and I enjoyed the proximity to the audience. It is worth nothing that sound doesn’t resonate as effectively within a tent on grass than a theatre. Jay and I work well together, we play contrasting character and help create new direction for each other’s character. It was helpful to get Jay’s (Nikita) input as neither of us are directors and we had the challenge of having to direct whilst study the script. Sonia (Tutor) was also helpful with character suggestion and considering different types of drunk.
I received a lot of positive feedback after the performance and some laughs during it. Different people have picked up on different aspects of the performance. It was quoted that my ‘drunk’ persona was accurate, and I had added small actions that a drunk person performs such as when they are trying to regain their poise. Another person focused on the mumbling, bumbling, drunk form of expression. How I could tell a story even if unclear with diction as for example when upset. Some people found the extreme parts funny such as imitating sexual intercourse whilst others enjoyed the choreograph, the big movements. My favourite part is where I state “she wanted MEeee to give up the theatre. I act outraged because its an insane suggestion for the great Vasily Vasilich to quite acting. I like how I turn and flick my hand. I also find it funny how the Sarong is hanging out of my shorts and I let it drag around. Something I would have added to help transition would be to have Yergorka and Petruska come on stage and pick me up of the floor. I am held up by them for the rest of the performance and help with set transition and the end.
This was probably my best performance as an individual performer and director. I also created the costume and designed the set. I worked my way through the script confidently. I knew I could play on the script as this made it easier for me. I could rework sections to make it fluid. Describing the same situation but not word perfectly from the script. This isn’t just a performance but a potential act. I would like to test it in different venues and audiences, adding in new idea’s I have thought of since and perfecting the performance. Jay has already suggested working with me again so maybe he would take up the mantle of Nikita.
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