Biography/Resume

 

One of my first acting experiences was at the age of seven when I skipped around the stage in a sequined peach dress pretending to be Cinderella's youngest step sister. This production was part of the summer program put on by the Fairbanks Drama Association. Since then I have participated in many more FDA summer programs and a variety of plays. Presently (January 2009), I'm taking two theatre courses from the University of Alaska Fairbanks: Movement for the Actor taught by Carrie Baker and Intermediate Acting taught by Anatoly Antohin.

 

Claire Lucille Wool

(907) 479-4977

klarwerk@yahoo.com

brown eyes, brown hair, alto, 125lbs, 5’5”

 

 

Theatre

 

Moth                                           Winter Shorts: A Midsummer Night's Dream                        Fairbanks, Alaska

Dir. Jey Johnson                        11/09                                                                                             Student Drama Association

 

Teenage Greek Chorus            How I Learned To Drive                                                              Fairbanks, Alaska        

Dir. Carrie Baker                       10/09                                                                                             Theatre UAF          

 

Celestia                                      Caligari: Alaska                                                                           Fairbanks, Alaska            

Dir. Anatoly Antohin                4/09                                                                                               Theatre UAF        

 

Jan, Wabbit Woman                Anti VDay Dinner Theatre:                                                          Fairbanks, Alaska                                                                                                                   

Dir. Andrew Cassel                  Just Be Frank, The League of Semi-Super Heroes                    Student Drama Association   

                                                    2/09

 

Doc Robinson                            The Adventures of Tom Sawyer                                                  Fairbanks, Alaska                       

Dir. Mike Karoly                       8/07                                                                                                Fairbanks Drama Association         

 

Ichabod Crane                           The Legend of Sleepy Hollow                                                      Fairbanks, Alaska                                                                                                                 

Dir. Mike Karoly                       8/06                                                                                                Fairbanks Drama Association         

 

Link Deas                                    To Kill A Mockingbird                                                                  Fairbanks, Alaska                                                                                                                    

Dir. Steve Mitchell                    5/06                                                                                                Fairbanks Drama Association        

 

Tammy                                         Ramona Quimby, Age 8                                                              Fairbanks, Alaska                                                                                

Dir. Mike Karoly                         8/04                                                                                               Fairbanks Drama Association  

 

 Education          

 

Journal

 

January 23, 2009

 

Yesterday I had my first Movement and Acting classes and I'm very excited about both. I couldn't fall asleep last night because I kept thinking about possible clown skits or routines for Movement. It seems such a rare thing to have your own creative mind called upon in school. I feel that in core classes you're made to soak up facts and all sorts of abbreviations and things that have been created by some other entity without being asked to dispel your own ideas. With art classes it's sort of the other way around, or at least you are asked to mix yourself into it. I sometimes worry I'll lose creativity if it's not exercised enough.

 

I was very pleased that we started up acting in Acting right away. I want to act a lot and right from the start like this because I think doing is the best way to learn really. It will also allow me to learn right away how I am and all the things I need to work on specifically. I expect to learn a ton from this course and have insightful experiences that will improve me as an actor and strengthen me as a person.

 

Anatoly brought up the fact that people talk or address others in different ways. Surely this applies to me too, but I've often thought about it and I always see myself addressing most people in more or less the same sort of way. Perhaps not so much with babies and adults, but I think I do with strangers and acquaintances. Maybe my tone changes somewhat. Most likely there is an obvious variance in the way I speak to different people that others notice, but, alas, I can only see it in others and not myself.

 

Something similar that I've been thinking about is master gesture (I believe that's the correct term). Is there also something called master phrase? I've noticed in people, teachers especially, certain phrases that are spoken repeatedly and somewhat subconsciously, like a gesture, I guess. I had a terrible elementary school substitute once who would finish every new rule he would make with, "fair square?" One of my old swim teachers, before demonstrating a stroke, would always say, "like so." My karate teacher still says, "an' all" very regularly. There are countless others I've witnessed, some quite funny, but I can't remember them just now.

 

I'm considering master gesture as similar to the way people address others because I'm having a hard time coming up with my master gesture, as well. What I always do notice is when someone else's master gesture has rubbed off onto me. It's like something alien has invaded my body and I find myself either tapping my nails on the counter, or using my hands to express myself in ways unusual for me. I've only to spend a certain amount of time with someone before I accidently begin doing something characteristic of them myself. It's rather a strange feeling, but fun too, I think, because then I get to act inside my head like them or another character. This quirk also applies to speaking style and this can become annoying. A girl that I used to hang out with a lot was not a considerably good storyteller. She would take a long time, filling in spaces with "ums," telling her story more or less out of order with seemingly no point or climax thereby making it uninteresting. I thought that previous to spending so much time with her my storytelling skills were adequate, but afterwards they were just as poor as hers and I found I couldn't keep an audience as intrigued as I would have liked. Likewise, I was watching a fair amount of 'Absolutely Fabulous' recently and had begun to talk in Edina's sloppy, lethargic, and unsoberly manner. Back to master gesture: I know I shake my head in a way reminiscent of Ringo Starr when I'm content, particularly at the dinner table where I can also be found wiggling around in my seat. I've become self conscious about these things, unfortunately, because my family makes me aware of them. I don't think those could count as master gestures, however. Nervous tics may be considered master gestures, I'm sure, but I've had so many different nervous tics come and go. Nail biting has stuck around as long as I can remember, but that's not something I do too much and it's a common thing among many, so not unique. Nervous tics I feel susceptible to as well, so I felt a mite bit ansy being around one of my high school teachers who had a terrible incessant eye squinting/blinking/winking tic. Anyway, maybe it's just as well to not know my master gesture as that might make me too self conscious. Although I have observed just in writing this that I use "sort of" and "often" sort of often.

 

I'm going to finish this journal entry with a few questions and then head to bed, for it is already 2:15 in the morning of the upcoming day. I hope I haven't made too many spelling errors and if I have I blame fatigue. Will the actors in 'The Cabinet of Dr. Caligari' have to act more exaggeratedly like mimes because it is going to be silent? Will there be music? And in picking monologues for auditions, is it favorable for one to be both contemporary and comedic and the other to be classic and dramatic or the other way around or just one or the other?

 

Goodness, I'm going to sleep.

K-Noise...zzzz...

 

 

January 25, 2009

 

I went to see 'Capitol Steps' last night and enjoyed myself immensely just as I expected I would. It was very refreshing...the material was new and mostly unpredictable and they refrained from placing too much emphasis on Sarah Palin which was good because I've heard enough jokes on her to last me awhile. The woman who did play Sarah started out talking just like her, especially with the word "so," but the focus on perfect pronounciation was lost as the skit went on. She probably didn't study Sarah the way Tina Fey must have. The first half of the show began with a "musical" consisting of 3 ABBA songs, with altered lyrics of course, and finished with the classic 'Lirty Dies.' They had many great skits in the second half including one about Friendly Unicorn (FU) Airlines. (There will be a beverage service on the plane. Choices are Pepsi or no Pepsi. If you would like some, take the can, have a sip, and pass it on.) In another an Al-Quaida leader explained to his suicide bombers (the audience) that because of the economic crisis explosive vests could no longer be afforded and explosive cummerbunds would have to suffice.

 

I have to get ready for rehearsal tonight. I'm still waiting for my textbooks to arrive. I could go on about two movies I've seen recently, but I'm not sure if that would be considered irrelevant. Also, I'm not sure if there is such a thing as "swear" words on bloggy things or whatever this is.

 

So long.

K-Noise...flowers humping...quite a sight...

 

 

January 28, 2009

 

Uggggg. I'm dying. Not like Gogol. I just want to go. Not quite like his Mistress. I'll be all right. I just haven't done anything today. My body is all dead and asleep and is yearning to be awoken. When I'm exercising I feel I could just keep going and going, on and on. I wish classrooms looked differently. They could all have their own personality. I want to act and act and act all day and then fall asleep exerting myself that way. There's not space in the basement. You'll wake someone if you play with your voice. No playing with your voice. All I can do is write! Now.

 

'Gogol' is a great play. And Mesmer, as well as Gogol, was a real person. The word mesmerize came from Dr. Franz Anton Mesmer. His crazy treatments centered around 'animal magnetism' later inspired the development of hypnosis as a means of curing people. Mesmer was born in the 1700's before the French Revolution. Nikolai Gogol, the Ukrainian-born Russian playwright, was born a decade after it ended. I shan't go on, for I've still a lot to do and my soul and body won't stay still.

 

I've been thinking about the animal problem. I used to be a chickadee. I don't know that I still am. I do twitter most frequently. However, I am in love with the beautiful ocean and as such I might very well be a playful porpoise, or better yet, a flying fish. I've never met a flying fish before, but it appears they fly, or atleast soar for long stretches, and they swim. But there are also dragonflies. I really really love dragonflies. How should I know what animal I am when I don't even know all those that exist? And how is it that everyone else already knew theirs? Is that something they're given at birth? I once had a leech, пиявка, named Symbiotic. He disappeared, unfortunately. I was getting to like him. I took care of a butterfly once, Filbury was his name, I believe. And then there was Bogart, the spider, but he died of starvation, I'm afraid. No, I'm not one of those.

 

Anyway, I've a huge day tomorrow...packed. Must be getting on.

K-Noise...bath boy to the seance...

 

 

January 29, 2009

 

I just watched an incredible film at the library called 'Madeinusa'. I recommend it.

 

I've always been an indecisive person. Trying to do my monologue analysis is difficult for me. There are so many variables. I like not knowing details about my character; it keeps things mysterious and slightly unreal and that's how I feel 'Gogol' sort of is. It seems, though, that as an actor I'm supposed to know everything about my character and leave the mysteriousness for the audience to behold. Without establishing the "5 Ws" one apparently can't act. This makes sense, I suppose. I have to create an identity for my character who I presently just know as "Girl". Bestowing her a name, age, background and history will certainly give me a clearer visual knowledge of her and allow me to enter her mind. It seems a rather fun task, only I can't decide what I like best and the vagueness of the text really leaves it up to me. I was considering the name of Lydia, but that really makes me think of Groucho Marx. Pearl would be okay, but it sounds too wealthy. But then, maybe she was named that in hopes she would bring in some dough. I was thinking she would be an orphan around seven or eight years old, but then it struck me that she might have a mother that makes her go out on the street with her pig to bring home some money, similar to 'The Little Match Girl'. And where has she seen or read picture books? Did someone used to read to her when she was younger? It occurred to me that parts of her monologue might be rehearsed words out of a routine since she is frequently with the Porker Pundit on street corners. I wonder if she would take additional pennies from the audience if they were offered and if she's not really as modest, humble, and sincere as she appears. Does she really believe in her piggy or does she just make up her own answers in her head? Sounds like a fun game. Does she appear only as another warning to Mesmer? I've experimented with a few master gestures including touching the rope that connects me to piggy, scratching as if I've lice or fleas, and pulling at my clothes, but these create a sort of nervous, unfunny atmosphere and I was told to make the monologue comedic. I'd settled, more or less, on licking my lips because I thought this helped show the age of "Girl" and hinted that she is probably chronically hungry and so possesses this habit, but Anatoly didn't seem to like it. Oh, what if she doesn't have a name-everyone just calls her Girl? She might not know her age, but I suppose I must know it. As I was saying, there are so many possibilities; making a slight adjustment can change everything. It could continue endlessly. I wonder if people with imaginary friends give them this much thought. Ought one always analyze like this and complete the 9 square style blocking before auditions?

 

I'm so sleepy. I hope my textbook gets here soon.

K-Noise...mmmmm i feel like sushi...

 

 

February 10, 2009

 

I intended to post this at around 10:00pm last night, but the internet wasn't working. Can't post things up when the internet's down.

 

Wooooh. That was such a fun first rehearsal of 'Caligari'. I'm so happy I'm finally having my chance to work with Anatoly, and just in time. I must now write my rehearsal notes. I suppose it's best to write them at the end of rehearsal. It might be too much and too distracting to make notes during rehearsal. Goodness, I haven't rehearsed "The Porker Pundit" in ages. Only once in my dreams while I was sleeping. And my book still has not come. I'm made anxious by this fact. I only read a small portion of Part 1 when I borrowed Sally's copy. I really like the writing, though. It's very easy and enjoyable to read. Must be going.

K-Noise...wonderful world, beautiful people...

 

 

February 23, 2009

 

It's been awhile, eh? I love Ibsen's A Doll House. I want to do both a monologue and a scene from it, and unless I wasn't listening, this is okay to do? I will post both below. I'd like to do the scene with Eric, maybe? I've finally received my copy of the book. Thank goodness. It's a nice hardcover copy, hardly used, and only cost one cent. Now I just have to read it. Once I do I'm sure I'll be bursting with new things to write about, but right now I'm devoid of anything else to say.

K-Noise...the best...

 

 

March 14, 2009

 

Hurrah! I've finished Chapter 1 of the textbook. I enjoyed reading about paintings and the novel. Activities and actions confuse me. David Kaplan notes in two different parts of his excerpt of The Lesson that "to praise" and "to bluff" would not be the actions, but the activities. In another play's script couldn't these same words be interpreted as actions and not activities? These two terms seem so similar to me. I would have to work with them much more to be able to tell them apart. Kaplan says that "to mock the Pupil" could be an action that would motivate the Professor to engage in his activity of marveling. If he is marveling mockingly, then is he really marveling? If a character compliments sarcastically, would the action be "to compliment" or "to disrespect"? Kaplan also says that the Professor's super-task could be "to murder the Pupil". This would imply that the Professor knows from the beginning that he is going to murder the Pupil, or intends to, correct? Isn't there another term for this.....super objective, maybe? Suppose the Professor does not intend to kill the Pupil from the beginning, but simply does so, on a whim at the end. Would this then be one of his final tasks that he would transition to, but not his super-task? The Professor stabs the Pupil while teaching her to say, "The knife kills." This makes me think of when Dr. Caligari hypnotizes Alan to say, "I want to die."

 

Eric and I have rehearsed our scene just once this break. I hope we practice three times more. I feel like I can be so much more productive with somebody when we both work on the same thing separately and then come together to discuss our ideas. This seems contrary to the idea of "script analysis," though. I do realize how important it is to talk about and analyze a piece before standing up to rehearse it. What does Nora mean when she says, "Oh, Torvald, you're not the man to teach me to be a good wife to you."? Would it look better for her to leave wearing a green or pink jacket? I don't have any dress that she would likely wear. I'm having trouble getting into her psyche. This is mainly because I've not worked on it much at all, and her mind is complex and full of feelings and needs and ideas zooming around, especially in this part of the play. I struggle with focusing on becoming a character and developing a scene in a limited amount of time, while trying to accomplish other things in other subjects, focusing on many things at once or in turn. I have been slacking badly, and I really respect students like Shelly who display such effort and attention consistently.

K-Noise...would it be considered disrespectful to present a play like A Doll House in a melodramatic style?...are there guidelines on this sort of thing?...

 

 

March 15, 2009

 

Eric and I rehearsed tonight and made a whole lot more progress than in last night's rehearsal, which we almost could have done without. Eric is the optimistic type and seems to feel confident and happy with our scene, while I am more or less the opposite. Having fun, though. More tomorrow.

K-Noise......

 

 

March 17, 2009

 

Oy. I meant to write on the 16th. And now I'm only writing to say that I'll write tomorrow. I've got to go to sleep. I've got things to say about what I've read in the textbook, what I felt about everyone's scenes, and I do have a floor plan that I'll try and figure out how to post on here. Tomorrow. Mmm I think that's all. I can't remember.

K-Noise

 

 

April 1, 2009

 

I've just discovered some notes I'd taken on Chapter 2 of "Five Approaches to Acting" that I haven't yet posted. Here they are:

 

I like that Kaplan stresses the importance of raising obstacles when an action seems weak. He uses a good pole-vaulter analogy to show that, rather than squeeze the task, the obstacle itself must be heightened. This gives the acting more of a sense of truth, I think.

 

Okay, I'm afraid I cannot continue because either my computer or the internet or this program is acting up on me and deleting my words. I don't understand these things; it's frustrating. Anyway, I'll write the rest later.

 

K-Noise...grrgle...

 

 

April 5, 2009

 

Oh pooh, this is still screwed up. Could somebody help me fix it and get rid of the horizontal arrows? It's testing to have to type one word and then have it join the others...

 

I've been thinking about the character of Popova from Anton Chekhov's The Bear. I'm unsure as to whether she would be angry and moved by all of Smirnov's ranting or actually amused for the majority of it. I think it would be interesting if she found pleasure in listening to Smirnov's complaining until his remark, "That's real silly feminine logic." She could then get pissed and defensive and have her turn at losing temper completely. I think she would keep this up until Scene 6; after she has retrieved the pistols, calmed down, and overheard Smirnov's praising of her, I think she would be in a more submissive and seductive mood. I've been playing with the idea of Popova being "the bear" in this play as opposed to Smirnov. Or, she could be seen as the bear trapper, rather. And the trapper must be the slickest in order to catch the bear. It could be, that as soon as Smirnov enters, or even as soon as Popova hears his manly voice outside the door, she prepares to lay her snare. She could pretend to her husband's photograph and herself that she does not want the man's company, but in reality she is overjoyed to have it. And she is probably pleased that Smirnov arrives requesting money, because then she doesn't have to create bait for the trap; he comes providing it. Her constant replies of "no" are attempts to keep him around longer. Her monologue in Scene 1 is begun out of boredom and pity for herself.

 

Oh, I'll write more about this in the future. I'd rather be writing in sand or snow, or on paper anyway. I'm tired of being on the computer.

K-Noise...the problem I was having before miraculously healed...thank goodness...

 

 

April 6, 2009

 

Oh, glorious day. I feel like gardening. I shall finish my old Chapter 2 notes now.

 

I like Kaplan's quote, "...don't copy the form of truth; repeat the structure of relationships that got you to the truth." Copying the form of truth is the classical method of acting where one represents emotions through the study of still statues, is it not? It was very amusing to read about the young actors who were around at the beginnning of theatrical development. I like Edmund Kean's response to the inquiry about his staged choke. And the anecdote about the boy from the tavern is hilarious. As is the acting textbook's recommendation to purchase and use a 3/4 length mirror to help find and study the 10 emotions. What exactly does Kaplan mean when he says, "Ibsen was a master at writing scenes where different characters fulfill their chosen tasks even when they seem to be at odds."? Don't the tasks have to be at odds in order to create conflict and dramatic action? I love Tolstoy's paragraph on man's dipositions. Kaplan says that, in cold readings and on-book rehearsals, it's important to start and finish one's line acknowledging the other actors and to abstain from keeping one's eyes on the printed text. This is something I need to practice. He says that one should look up to see another's reaction, to not assume it. I've found that making assumptions about anything often proffers negative results. I disagree with Kaplan's comment that writing actions down distorts them. I believe some things, dreams for instance, are easily distorted when written down, but with acting notes, one need only write a few key words to remember the note in it's entirety, thus evading the chance for distortion. Lastly, my question from March 14, concerning pairing plays with appropriate acting styles, was essentially answered at the end of Chapter 2, under "Suitable playwrights."

K-Noise......

                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                      

 

April 13, 2009

 

I want to do Charlotte's cocksucker monologue from Christopher Durang's Beyond Therapy, but part of it is cut off on my script. How do I find the monologue in its entirety? I think this is the most challenging and interesting of Charlotte's monologues. I love love love this play, by the way. My favorite character is Bruce; there are so many things he says that I agree with. Of the ladies in this play, I prefer Charlotte. I feel like she might be the hardest character to portray and justify. My my my. And she, also, says several things that I like. Among these are, "Prudence, you know the song 'Someday My Prince Will Come'? Well, it's shit. There is no prince. Everyone in this world is limited, and depending on one's perspective is either horrible or okay." and "We're all alone, everyone is crazy, and you have no choice but to be alone or to be with someone in what will be a highly imperfect and probably eventually unsatisfactory relationship." and "It's all how you look at it. If you take psychological suffering in the right frame of mind, you can find humor in it." and "Andrew has real sensitivity in him; we just haven't seen any of it yet." I suppose I should explain why l like this last one. I'm not sure whether she is saying that Andrew hasn't displayed his sensitivity to the others yet, or that she's still trying to discover it in him herself, but I prefer the latter interpretation and I think it would be funnier. Actually, now that I look at it again, I can see it probably applies to the first. Nonetheless, it follows Tolstoy's view on dispositions that we read in Chapter 2 and that is why I like it. I was just now contemplating this play and A Doll House and trying to decide which I like more. That's silly, I'm not sure if I could decide. Probably if I lived in 1879 I would prefer A Doll House because it would be more modern and applicable. The two plays really reflect their times and were probably most important and influential to the people of those particular times. I can relate to Beyond Therapy's overall subject matter better than A Doll House's. I also like Beyond Therapy's simplicity of plot. Anyway, I know I shall have plenty of difficulty finding and playing Charlotte. I think she has Tourette's syndrome and little control over what she says, especially when she's searching for a word she needs. This diagnosis works well with her views, as she believes that people should never refrain from saying things and keeping them inside. She is not a hypocrite. I just researched a bit about Tourette's and it is apparently something that is rather common, but not usually so severe. It is just a more extreme form of nervous tics. I didn't read about the causes of Tourette's, but I imagine that the feeling of suppression by societal expectations and the little rebel squirming insecure inside some people have something to do with it. I'm glad I didn't read about the causes yet, or I might not have had time to think about or remember my own opinion. I despise that to happen. My present math teacher is sooo full of nervous tics; I can't concentrate on anything else in her class. She must have Tourette's. I'm actually failing that class and partly because I've been more focused on all her little ways and tics and things about her than anything. I act them out in my head and think she would be a fun and challenging character to play. It's inspiring and highly annoying. I've written down the things she says again and again and her little nervous gestures. She is so insecure, I find, and I even feel that she is intimidated by me. By me! I feel like I'm in some SNL skit when I go to class. If only it were one. As it is, I'm probably going to have to retake fucking math. I've only ever had one good math teacher and that was in sixth grade. I've known how it is to have obsessive tics; I got rid of mine a few years ago, and it feels good...I hope that my math teacher is not contagious. The difference between her and Charlotte is that she isn't funny and Charlotte is. Oh, you know what she looks like? She looks like what a little woodland animal in the book "Little Tricker the Squirrel Meets Big Double the Bear" would look like upon meeting Big Double the Bear. Okay, I'm finished here; I'm afraid I'm going to sound overcritical and analytical.

 

I did have a question: Anatoly said something like; the characters in comedies have lower mental capacities than the audience. The audience knows more.

In tragedies then, do the characters' mental capacities equal and exceed the audience's? That's a silly question, isn't it? There could be some characters in a tragedy that are stupid. But perhaps the main characters have to be more intellectual?

 

K-Noise...everyone should go see "romeo and juliet" put on by fst...it is excellent!...

 

 

May 1, 2009

 

First, let me say that I've been wanting to post my thoughts for a long while, but I haven't found the time. I like to write what I have to say all in one sitting, but because I haven't been posting regularly, that's hardly possible; I've compiled too much. And what I haven't written down I'm afraid I'll have forgotten. Anyway, right now I'll write a short blurb of whatever is on my mind and probably post more tomorrow.

 

I need to rehearse things many times before feeling confident enough to perform them well. Tricia, Sergio, and I have worked on our scene together for roughly two hours total, I think, since the time we were given the assignment. I memorized my lines today. I recalled Anatoly saying that it's better to let the lines settle in naturally while going over blocking and analyzing one's character, rather than sitting down and memorizing them all at once. I've had to resort to this latter way of getting them in my head, though, because it's almost time to perform the scene and I still don't have set blocking. My eyes are closing. More later. I love acting journals, by the way. I'll keep one all my life.

 

K-Noise...cyberspace really seems far away to me...

 

 

May 2, 2009

 

Tricia informed me that Sergio might be getting out of work at 4:30pm today, so we will hopefully meet after that.

 

The character of Charlotte, as I had expected, is extremely difficult to figure out. Analyzing a character is an activity without end. For this reason it is tricky to know when to stop doing work for acting and move onto another subject. One could go on indefinitely. After all, it is a separate complicated being that must be analyzed. It's very psychological work. The character is not completely separate, of course, or it wouldn't need an actor to complete it. The relationship between the actor and the character is an interesting one. Hm, is it different than the actor/playwright relationship? I think so. Anatoly mentioned some play about characters searching for actors to give them life, but I forgot what it's called. Anyway, the following is some of what I've thought about Charlotte Wallace.

 

I'm looking at my messy scrawlings on Charlotte and I see "she is a monkey." Now I can't remember why I wrote this. I think Anatoly was saying something about animals and characters or something, but, gosh darn, now I don't remember the significance of this note. Boy, I'm outside and totally burning up from the hot hot sun. I wonder how my laptop is going to take this. I'm going to return inside with it now.

 

I want to reserve a section on my page for things Anatoly has said that I like.

That's all for today. More tomorrow.

 

K-Noise...i don't want to make plans for my life while it passes me by...

 

 

May 3, 2009

 

Neither Tricia nor Sergio could meet yesterday. We're going to try for 5:30pm today.

 

All three of us are very indecisive. I don't feel like we've progressed or improved at all in the short time we've rehearsed. If anything, we've regressed. At one point Tricia tried having Charlotte bring both chairs in front of the desk and push them together before Bruce's arrival. I liked this, but the others didn't, so Charlotte stays behind the desk now. I feel like she is behind the desk far too much. I think it would work to have her use the desk in every possible way, save sitting behind it. Or to sit behind it properly only when she's wearing her therapist "mask". Anatoly mentioned that we need to show a Charlotte with and without a mask or she won't be dimensional and believable. To help this I thought we could start out with Charlotte recovering from her last patient. This patient happened to really tire her out. It was fine at first, but he babbled on and on and she became uninterested and went off into space. She'd been having a particularly helter skelter day. When she realizes Bruce is next, she loosens up and takes off a mask. At the end of the scene, after getting angry and before receiving the next patient, she could put her mask back on. Charlotte's relationship with Bruce has changed since we've begun. There was a time when I suggested she could feel slightly turned on by him. I tried having her do yoga at the start of the scene...when Bruce would enter she would have her legs stretched open or be doing downward dog and peep through them to say "hello". This was also unpopular. Now it seems that Charlotte sees Bruce as she sees all her other patients...he is her friend, someone who she has an excuse to be physically close to and touch now and then. I know there needs to be something unique between them, something that makes their relationship special. Charlotte likes him above all her other patients, but I don't know why yet. I still feel she's got a little crush on him or something. She longs to sit ever closer to him and hug him ever longer, but catches herself and puts one mask back on. Perhaps I wouldn't still be struggling so much to figure out their relationship if I hadn't counted on Sergio to develop his Bruce. Sergio is having trouble understanding who Bruce is and how he would react to Charlotte's ranting and so he is not giving me anything consistent to interact with. None of us have been working on our assignment as much as we should be.

 

Continuing on with Charlotte...I decided she is a New York born 36 year old with blond hair in a low bun. She was victim to two older brothers who would never let her get a word in edgewise as a child. She took out her anger, as well as tenderer emotions, on insects, mostly ants. She sings to herself often to keep herself on track, reminiscent of the music professor from "The Man Who Mistook His Wife For A Hat." I feel that Charlotte is really missing human contact. Her husband is gone every morning before she wakes up. There is no warmth to him. He restrains her from living as she would like to at home. Her office is where she feels freedom and control. She tries hard to be an effective therapist, offering what advice she thinks valuable, but mainly she acts as a therapist so she can be close to people and learn about others' troubles and not feel so alone. She purposely takes the longer Metro route home, so she can rub up against more people.

 

Ugg. This is so so frustrating. I have so much to say, but so little time. What a mess this is. So unorganized. I have to go meet up with the others now.

K-Noise...robins have eyes like black eyed peas...

 

 

 

July 8, 2009

 

I have just finished my second day at the Stanislavski Summer School in Massachusetts. I am full of questions and opinions and ideas and information to give up. It is such a sweet relief to rid oneself of these things that clog up and confuse the brain, to put them on paper (or online) so that they can be more clearly analyzed by oneself and others. Unfortunately, I'm rather exhausted and so feel incapable of posting everything I should like to and in the order I desire. I shall therefore simply put down whatever my fingers happen to type first and when I can't go on, for the sake of fatigue, I shall retire and try to find time at a later date to evacuate my thoughts.

 

I awoke at 4am. Not purposely. I'd set my alarm for 6am, but apparently my clock time was set two hours ahead of the correct time and so I was aroused too early. I arrived at school too early because I'd been told it was to start at nine, but it began at ten. My lack of sleep led me to become very tired this afternoon when we were presenting our skits. Oh shucks, I can't do it... I haven't even started writing about the school itself and it's already 10:02pm. It is all right; I have made notes in my notebook of as much of what I want to say as I can presently remember. I will try to begin from where I left off at the next chance I have to write. I will hopefully be more successful.

 

I almost wish that, instead of going to school steadily for six days a week with one day off, we would alternate and so go to school one day, come home and take the next day off to process and digest the information obtained, compile all the questions and ideas we give birth to, write them down in our journals, give them consideration, and then go to school the next day to research and discuss and understand and find answers and dig deeper and learn more.

 

Down to the apartment now...goodnight!

K-Noise...i imagine i'm a bit easier to understand when i'm better rested...?

 

 

July 9, 2009

 

It occured to me today that it is not solely fatigue that has been making my eyes want to close during class. I sneezed a bit today, too, and now I reckon the carpeting in the classrooms are full of dust mites. This makes sense and I guess I didn't realize it until today because I've been so absorbed and interested with all the happenings around me. I imagined this camp to be far different than it is turning out to be, but I am loving it just the same. The professors are wonderful. I am in love with them; they are beautiful. How I wish I could work more with them one on one. A few of the students apparently have their own personal acting coaches at home. I long to have individual attention like this and to be able to pose all the questions that I have to an artist I trust and find beautiful. I've begun to realize more and more lately how alone I am. The people I feel I can relate to are "few and far between." My beliefs and ideas differ so much from the mainstream.

 

Anyway, I must go to bed now. I haven't even typed a word of what I'd written in my notebook. How loathsome it is to only ever have enough time to write little snippets of what is in my brain. I imagine that about half of what I've ever written in this online journal has been complaints about lack of time to write. I am so full of frustration! I am stuck. I can't even write properly right now. I have a million thoughts buzzing in my head at once...each one pushing it's way to the front, wanting to be chosen to be typed into cyberspace before the others. The other thoughts that get shoved back keep trying to come back to the front and some do, but some get pushed too far back and I forget them. I don't think they come up in matter of importance because

 

 

October 1, 2009

 

Explanation: I ended above in mid-sentence because I became very engrossed in what I was doing and accidentally knocked out the power cord with my foot! 'Twas the absolute worst moment it could have happened. When I logged back on there was nothing left of what I'd been writing, and I went down to the apartment that night perhaps more frustrated than I've ever been and crying up clouds. When I came back to Fairbanks about a month ago I came back online and discovered what I had written had magically appeared in between time. Of course, I don't remember what I was going on to say anymore, but I still have loads of things I briefly wrote about in my scrapbook that I want to

 

 

 

Monologues

 

excerpt from Len Jenkin's Gogol, A Mystery Play

 

I do hope, sirs and ladies, that my pig will be good tonight and tell you, every one, that what you wish in your heart to know. He can do it, and that's why he's called the Porker Pundit, a fancy name to be sure for my own dear piggy, but his own true name, for my father gave it to him, and when he died, he gave piggy to me. Isn't that right, piggy dear? The Porker Pundit can answer any question, so if you'll look into your heart and see there what you most wish to know and ask, he'll answer, and there's no need to throw a penny, for the kind lady has given us already, oh more than we deserve. Isn't that right and true, piggy dear? Who would like to ask a question first? Ask, oh ask![Silence, punctuated by coughs, from the audience]

 

It's so simple, sirs and ladies, and don't be frightened. Piggy talks inside your head and tells you the answer. Nobody else will know! It helps you to look at him. If you can't hear the Porker Pundit inside your head after you ask your question, I'll help and tell you the answer. It's always in my head, even when I don't know what it means. Spelled out in big letters, like the ones that start the story in picture books. So please, sirs and ladies, ask! [Silence from the audience on-stage. She turns to Mesmer] Please, sir, why don't you try? If no one asks a question my part here is done, and I return into the nighttime.

 

 

Analysis:

 

I am a seven and a half year old orphan named Pansy. My favorite memories of my father are of him reading to me, but he might have just made up the words because I don't think he knew how to read very well. My father died of tuberculosis two years ago. I don't remember my mother because she left soon after I was born. There are people on the street who look out for me, but mostly I take care of myself and piggy, and piggy looks after me. I am interested and curious about life. I pick up on things rather quickly, but I am also very dreamy and disconnected. My pig is my only possession, besides the rags I wear, and a dear friend to me. I believe in him and understand that most other people do not share my gift of hearing him.

 

We are starting up our street routine in front of a small audience in the mistress's house. We always like to make each presentation a little different. I try to not get robotic like Mr. Chancy tends to. I met the kind lady late this afternoon at the corner of Busby and 1st. She gave piggy and I enough money to eat quite well for the next day or two. I'm not used to reciting with piggy inside a house. The set up and lights are rather intimidating, but we do our best, as always. Dr. Mesmer is up in front. I've heard interesting things about Dr. Mesmer and I don't think I like him. Piggy shares my feelings.

 

It is around eight in the evening, I believe. We don't usually go on this late because we are usually outside and it's dark. These summer nights have been windy lately, too. The mistress fed me nice soup a little earlier that tasted like something. It made me sleepy. She and Mr. Gogol seem very well off. I wish I could sleep in their house tonight.

 

The stage is behind us and the audience somewhat near. I like to be at the level of the onlookers-that's how I am usually. I don't care much to be on a center stage, although looking down can sometimes offer a neat perspective. The whole audience is not quite visible to me because the lights are so strong, but Dr. Mesmer I see very well.

 

I'm confused as to what the mistress wants exactly, but I gather she would just like the regular sort of routine. She seemed to take to us nicely and wanted us to be a surprise for Mr. Gogol. It seems they have a whole play to be presented to Dr. Mesmer. Curious thing.

 

 

 

excerpt from Henrik Ibsen's A Doll House

 

Perhaps. But you never think nor talk like the man I could join myself to. When your big fright was over--and it wasn't from any threat against me, only for what might damage you--when all the danger was past, for you it was just as if nothing had happened. I was exactly the same, your little lark, your doll, that you'd have to handle with double care now that I'd turned out so brittle and frail. (Gets up.) Torvald--in that instant it dawned on me that for eight years I've been living here with a stranger, and that I'd even conceived three children--oh, I can't stand the thought of it! I could tear myself to bits.

 

 

 

 

Scenes

 

out of A Doll House by Henrik Ibsen

 

NORA. ...then I went from Papa's hands into yours. You arranged everything to your own taste, and so I got the same taste as you--or I pretended to; I can't remember. I guess a little of both, first one, then the other. Now when I look back, it seems as if I'd lived here like a beggar--just from hand to mouth. I've lived by doing tricks for you, Torvald. But that's the way you wanted it. It's a great sin what you and Papa did to me. You're to blame that nothing's become of me.

 

HELMER. Nora, how unfair and ungrateful you are! Haven't you been happy here?

 

NORA. No, never. I thought so--but I never have.

 

HELMER. Not--not happy!

 

NORA. No, only lighthearted. And you've always been so kind to me. But our home's been nothing but a playpen. I've been your doll-wife here, just as at home I was Papa's doll-child. And in turn the children have been my dolls. I thought it was fun when you played with me, just as they thought it fun when I played with them. That's been our marriage, Torvald.

 

HELMER. There's some truth in what you're saying--under all the raving exaggeration. But it'll all be different after this. Playtime's over; now for the schooling.

 

NORA. Whose schooling--mine or the children's?

 

HELMER. Both yours and the children's, dearest.

 

NORA. Oh, Torvald, you're not the man to teach me to be a good wife to you.

 

HELMER. And you can say that?

 

NORA. And I--how am I equipped to bring up children?

 

HELMER. Nora!

 

NORA. Didn't you say a moment ago that that was no job to trust me with?

 

HELMER. In a flare of temper! Why fasten on that?

 

NORA. Yes, but you were so very right. I'm not up to the job. There's another job I have to do first. I have to try to educate myself. You can't help me with that. I've got to do it alone. And that's why I'm leaving you now.

 

HELMER. (jumping up.) What's that?

 

NORA. I have to stand completely alone, if I'm ever going to discover myself and the world out there. So I can't go on living with you.

 

HELMER. Nora, Nora!

 

NORA. I want to leave right away. Kristine should put me up for the night--

 

HELMER. You're insane! You've no right! I forbid you!

 

NORA. From here on, there's no use forbidding me anything. I'll take with me whatever is mine. I don't want a thing from you, either now or later.

 

HELMER. What kind of madness is this!

 

NORA. Tomorrow I'm going home--I mean, home where I came from. It'll be easier up there to find something to do.

 

HELMER. Oh, you blind, incompetent child!

 

NORA. I must learn to be competent, Torvald.

 

HELMER. Abandon your home, your husband, you children! And you're not even thinking about what people will say.

 

NORA. I can't be concerned about that. I only know how essential this is.

 

HELMER. Oh, it's outrageous. So you'll run out like this on your most sacred vows.

 

NORA. What do you think are my most sacred vows?

 

HELMER. And I have to tell you that! Aren't they your duties to your husband and children?

 

NORA. I have other duties equally sacred.

 

HELMER. That isn't true. What duties are they?

 

NORA. Duties to myself.

 

HELMER. Before all else, you're a wife and a mother.

 

NORA. I don't believe in that anymore. I believe that, before all else, I'm a human being, no less than you--or anyway, I ought to try to become one. I know the majority thinks you're right, Torvald, and plenty of books agree with you , too. But I can't go on believing what the majority says, or what's written in books. I have to think over these things myself and try to understand them.

 

HELMER. Why can't you understand your place in your own home? On a point like that, isn't there one everlasting guide you can turn to? Where's your religion?

 

NORA. Oh, Torvald, I'm really not sure what religion is.

 

HELMER. What--?

 

NORA. I only know what the minister said when I was confirmed. He told me religion was this thing and that. When I get clear and away by myself, I'll go into that problem too. I'll see if what the minister said was right, or, in any case, if it's right for me.

 

HELMER. A young woman your age shouldn't talk like that. If religion can't move you, I can try to rouse your conscience. You do have some moral feeling? Or, tell me--has that gone too?

 

NORA. It's not easy to answer that, Torvald. I simply don't know. I'm all confused about these things. I just know I see them so differently from you. I find out, for one thing, that the law's not at all what I'd thought--but I can't get it through my head that the law is fair. A woman hasn't a right to protect her dying father or save her husband's life! I can't believe that.

 

HELMER. You talk like a child. You don't know anything of the world you live in.

 

NORA. No, I don't. But now I'll begin to learn for myself. I'll try to discover who's right, the world or I.

 

HELMER. Nora, you're sick; you've got a fever. I almost think you're out of your head.

 

NORA. I've never felt more clearheaded and sure in my life.

 

 

Floor Plan:

 

UR       UC       UL

                        door

                          n10

 

 

CR       CC       CL

 couch   chair     jacket

  n1         purse    gloves

                n2          hat

                                n3

DR       DC       DL

 n6        n5        window

                          table

               n7         n4

 

                  n9        n8

 

 

 

out of Beyond Therapy by Christopher Durang

 

CHARLOTTE (into intercom): You may send the next patient in, Marcia. (She arranges herself at her desk, smiles in anticipation. Enter Bruce. He sits.) Hello.

 

BRUCE: Hello. (Pause.) Should I just begin?

 

CHARLOTTE: Would you like to begin?

 

BRUCE: I threw a glass of water at someone in a restaurant.

 

CHARLOTTE: Did you?

 

BRUCE: Yes.

 

CHARLOTTE: Did they get all wet?

 

BRUCE: Yes. (Silence.)

 

CHARLOTTE: (points to child's drawing): Did I show you this drawing?

 

BRUCE: I don't remember. They all look alike.

 

CHARLOTTE: It was drawn by an emotionally disturbed three-year-old. His parents beat him every morning after breakfast. Orange juice, toast, Special K.

 

BRUCE: Uh huh.

 

CHARLOTTE: Do you see the point I'm making?

 

BRUCE: Yes, I do, sort of. (Pause.) What point are you making?

 

CHARLOTTE: Well, the point is that when a porpoise first comes to me, it is often immediately clear...did I say porpoise? What word do I want? Porpoise. Pompous. Pom Pom. Paparazzi. Polyester. Pollywog. Olley olley oxen free. Patient. I'm sorry, I mean patient. Now what was I saying?

 

BRUCE: Something about when a patient comes to you.

 

CHARLOTTE (slightly irritated): Well, give me more of a clue.

 

BRUCE: Something about the child's drawing and when a patient comes to you?

 

CHARLOTTE: Yes. No, I need more. Give me more of a hint.

 

BRUCE: I don't know.

 

CHARLOTTE: Oh I hate this, when I foget what I'm saying. Oh, damn. Oh, damn, damn, damn. Well, we'll just have to forge on. You say something for a while, and I"ll keep trying to remember what I was saying. (She moves her lips.)

 

BRUCE (after a bit): Do you want me to talk?

 

CHARLOTTE: Would you like to talk?

 

BRUCE: I had an answer to the ad I put in.

 

CHARLOTTE: Ad?

 

BRUCE: Personal ad.

 

CHARLOTTE (remembering, happy): Oh, yes. Personal ad. I told you that was how the first Mr. Wallace and I met. Oh yes. I love personal ads. They're so basic. Did it work out for you?

 

BRUCE: Well, I liked her, and I tried to be emotionally open with her. I even let myself cry.

 

CHARLOTTE: Good for you!

 

BRUCE: But she didn't like me. And then she threw water in my face.

 

CHARLOTTE: Oh dear. I'm so sorry. One has to be so brave to be emotionally open and vulnerable. Oh, you poor thing. I'm going to give you a hug. (She hugs him.) What did you do when she threw water in your face?

 

BRUCE: I threw it back in her face.

 

CHARLOTTE: Oh good for you! Bravo! (She barks for Snoopy and bounces him up and down.) Ruff, ruff, ruff! Oh, I feel you getting so much more emotionally expressive since you've been in therapy, I'm proud of you.

 

BRUCE: Maybe it was my fault. I probably came on too strong.

 

CHARLOTTE: Uh, life is so difficult. I know when I met the second Mr. Wallace...you know, it's so strange, all my husbands have had the same surname of Wallace, this has been a theme in my own analysis...Well, when I met the second Mr. Wallace, I got a filing cabinet caught in my throat...I don't mean filing cabinet. What do I mean? Filing cabinet, frying pan, frog's eggs, faculty wives, frankincense, fornication, Folies Bergeres, falling, fork , fish fork, fish bone. I got a fish bone caught in my throat. (Smiles. Long silence.)

 

BRUCE: And did you get it out?

 

CHARLOTTE: Oh yes. Then we got married, and we had quite a wonderful relationship for a while, but he started to see this fishwife and we broke up. I don't mean fishwife, I mean waitress. Is that a word, waitress?

 

BRUCE: Yes. Woman who works in a restaurant.

 

CHARLOTTE: No, she didn't work in a restaurant, she worked in a department store. Sales...lady. That's what she was.

 

BRUCE: That's too bad.

 

CHARLOTTE: He was buying a gift for me, and then he ran off with the saleslady. He never even gave me the gift, he just left me a note. And then I was so very alone for a while. (Cries. After a bit, he gives her a hug and a few kisses from the Snoopy doll. She is suitably grateful.) I'm afraid I'm taking up too much of your session. I'll knock a few dollars off the bill. You talk for a while, I'm getting tired anyway.

 

BRUCE: Well, so I'm sort of afraid to put another ad in the paper since seeing how this one worked out.

 

CHARLOTTE: Oh, don't be afraid! Never be afraid to risk, to risk! I've told you about Equus, haven't I? That doctor, Doctor Dysart, with whom I greatly identify, saw that it was better to risk madness and to blind horses with a metal spike, than to be safe and conventional and dull. Ecc, ecc, equus! Naaaaaaay! (For Snoopy.) Ruff ruff ruff!

 

BRUCE: So you think I should put in another ad?

 

CHARLOTTE: Yes I do. But this time, we need an ad that will get someone exceptional, someone who can appreciate your uniqueness.

 

BRUCE: In what ways am I unique? (Sort of pleased.)

 

CHARLOTTE: Oh I don't know, the usual ways. Now let's see. (Writing on pad.) White male, 30 to 35, 6'2", no--6'5", green eyes, Pulitzer Prize-winning author, into Kierkegaard, Mahler, Joan Didion, and sex, seeks similar-minded attractive female for unique encounters. Sense of humor a must. Write box whatever whatever. There, that should catch you someone excellent. Why don't you take this out to the office, and my dirigible will type it up for you. I don't mean dirigible, I mean Saskatchewan.

 

BRUCE: Secretary.

 

CHARLOTTE: Yes, that's what I mean.

 

BRUCE: You know, we haven't mentioned how my putting these ads in the paper for women is making Bob feel. He's real hostile about it.

 

CHARLOTTE: Who's Bob?

 

BRUCE: He's the guy I've been living with for a year.

 

CHARLOTTE: Bob. Oh dear. I'm sorry. I thought you were someone else for this whole session. You're not Thomas Norton?

 

BRUCE: No, I'm Bruce Lathrop.

 

CHARLOTTE: Oh yes. Bruce and Bob. It all comes back now. Well I'm very sorry. But this is a good ad anyway, I think, so just bring it out to my dirigible, and then come on back in and we'll talk about something else for a while. I know, I mean secretary. Sometimes I think I should get my blood sugar checked.

 

BRUCE: Alright, thank you, Mrs. Wallace.

 

CHARLOTTE: See you next week.

 

BRUCE: I thought you wanted me to come right back to finish the session.

 

CHARLOTTE: Oh yes, see you in a few minutes.

 

(He exits. CHARLOTTE speaks into intercom.) Marcia, dear, send in the next porpoise please. Wait, I don't mean porpoise, I mean...pony, Pekinese, parka, penis, no not that. I'm sorry, Marcia, I'll buzz back when I think of it. (She moves her lips, trying to remember. Lights dim.)

 

 

Character Letter:

 

This is to remind you of your appointment with Dr. Wallace on August the twentieth at 3:15pm. Hi Bruce! Come a little early if you'd like. I baked some cooties special for us. This time it's oatmeal raisin. You are becoming such a powerful person. Snoopy and I are very proud to have you as our porpoise. Oh, and don't worry, my dirigible never sees what I write to you. I mail your letters myself! Privacy is always very important in this business.Oh, does your lady friend appreciate cookies? You should bring her in sometime. Well, see you on May the fourteenth!

 

Dr. Charlotte Wallace    and Snoopy ruff! ruff!

 

Psychiatric Therapist

 

 

 

 

Performance Critiques

 

Lysistrata--evaluation of Sarah and Pedro

 

I felt there was too much shouting in this scene. Excess shouting is repetitious, cacophonic, and hard to understand. I don't think Pedro should have lost his temper until his line, "I cannot keep my temper."  He didn't appear to have any sort of caring, human feelings; I could not sympathize with him. I did think that Sarah did a good job at showing seriousness and sincerity. I thought there were parts in this scene that could have been played more peacefully and somewhat seductively. I should have liked to see Sarah and Pedro get closer together and more personal at some points. There was a bit of unnecessary movement around downstage. Pedro and Sarah rushed rather quickly through some of the scene; I did not see their characters having their thoughts before acting.

 

 

A Doll's House--self-evaluation

 

I should have taken more time with this scene and given my character more time to contemplate things. Also, I should have had more spots of determination and self-confidence. Of course, it's easier to use the nervous energy one gets before acting, to portray a character being nervous rather than determined and confident. I've had many classmates complain that my character seemed too child-like to be a mother. I do think I should have tried to make her a bit more motherly, but I argue that her habit of being dependent on and inferior to her husband, as well as the minor, frivolous time she spends with her own children cause her to act somewhat "child-like" herself. I had a floral skirt I was going to wear for the scene, but I never rehearsed with it, so, because of the fear that it might mix me up, and the fact that my backpack was stuffed to the maximum, I left it at home. I would have and should have put together a better walk for my character, as well as a voice. I don't think A Doll's House would work so well in a modern setting because women have far more liberties these days and it is not unusual or surprising for them to walk out on their husbands anymore. Anatoly said he liked that Eric took one of my gloves, but that he would have like to see me struggle to get it more. I'd previously tried to grab for it a couple times before gaining it, but it seemed too comic or joyful, so I cut it out. I had trouble doing much pre-acting in the scene because I'd started mid-sentence, and after my character has persuaded herself to talk to her husband face-to-face. As with the rest of my classmates, I did not use the stage as well as I could have. If I'd said my last line right next to the door, I could have used a piece of upstage.

 

 

Taming of the Shrew--evaluation of Shelly and Pedro

 

This was the best performance by far. It was more polished and natural than any other. Apparently, Shelly and Pedro met everyday to rehearse this scene; this definitely paid off. There was good physical action and one could tell that Shelly and Pedro were totally comfortable with each other. If the actors are not at ease with each other, neither will the audience be. The physical struggling that went on between their characters made them slightly out of breath and this elevated the sexuality of the scene. I thought Pedro was an outstanding Petruchio. He did well at being a dominating and loving man simultaneously. I did wish that, when he came in close to Shelly, he had touched her, but he kept his hand on his jacket. Also, his voice became inaudible when he turned in close to Shelly. Overall, Shelly and Pedro's performance of this scene was was well done and very funny.

 

 

Much Ado About Nothing--evaluation of Mary and Sarah

 

The mats, that I think were set up to look like a garden fence, were unnecessary. Had Sarah or Mary peeped over them to spy on Beatrice they may have seemed to belong more. The giggling in the beginning would have sounded better had it mounted to a climax and then lingered off. Sarah and Mary could have brought smaller giggles into the scene in between lines when they are trying to make an impression on Beatrice. There was a line that had the words "wise," "noble," and "young" in it and I'd wished that these were drawn out more. At the end it would have been nice if Sarah and Mary had both looked in the same direction back at Beatrice; the location of Beatrice was highly ambiguous, I thought. Besides this, Sarah and Mary's energy seemed very much like that of two girls engaging in mischievous trickery.

 

 

Glass Menagerie--evaluation of Eric and Sally

 

I thought it was good that Sally put her pillow in her lap when she sat down...it seemed natural for somebody shy to do. The lack of better props was distracting. I think Eric used his lighter, both to light the candles and offer Sally gum. And putting a flame over wipe-off marker candles is kind of unsettling. I thought Sally should have taken the gum, passed back the package quickly, and then, after putting the gum in her mouth, should have let there be an awkward silence before asking Eric about his singing. I thought there could have been a few places for "awkward silences". The dandelion wine should have been sipped right after it was poured (this would have been a spot for an awkward silence, too), when Eric gave Sally his signature, and Sally should have sipped it right before asking Eric about his engagement. I have more notes on this...I might post them another time.

 

 

Caligari: Alaska--evaluation of Tricia

 

Because I am a part of this production, I do not get to watch the majority of it and observe everyone else's acting. I have, however, noticed that Tricia makes a serene and mystical dead mother and a fine bum-hip whore. She holds her complicated and uncomfortable looking pose in the love tableaux quite well and has softened her voice to sound more tender and caring in the dead mothers' poem scene than it has in the past. As a prostitute, I think she maintains her bum-hip all through the show and succeeds in being drunk without overacting. Just seeing the prostitutes in their provocative getups, clip-clopping about in the panic scene is something to laugh about.

 

This play was a blast to put together. I had never been part of a collaborative project like this before. It was so freeing to have no script; the whole experience felt very liberal. I didn't really understand what a collaborative project was when we began, but I learned as we went along. I began to loosen up, dispose of the feelings of restriction and submissiveness that had been manifested in me by years of abiding by a script, and, as the saying goes, let my creative juices flow.