With four rehearsals to go, I wanted to make sure I set aside time to categorize all my rehearsal notes. This way I can make connections and see progress as well as remind myself of the areas I need to work on in order to better myself at this craft called "acting."
Areas for improvement:
- Early in rehearsals I had a tendency to rush through beats. At one point Heather called this "cutting myself off."
- Now, I have slowed my rate of speech, but I still need to make sure my thought transitions are there. I have a lot of specific transition notes; Miss Fischer has many calculated thought shifts. I need to make sure I give those thoughts time and let the audience see them develop as well as make sure they are connected to the thought that precedes it and follows it.
- In monologues, I can play with different tones (anger, humor, etc). I have tried to infuse some anger in certain moments as an experiment, but I think I'll back off my anger in the line: "Purchased. At astronomical prices through Kanweiler and Rosenberg." Having too much anger at this line throughs the following lines out of sync for me, so I think I'll tone it down a little, though it will probably still color the line.
- Blocking: I must learn to stop upstaging myself.
- Picasso's insults: Find a way to respond to them.
- Physical commentary (blanching): No "musical theater" acting (no offense, GCP)! Acknowledge Picasso's actions and then choose to ignore them. This is much stronger, and less "Chelsea"
- I look down or away too often. If I must look away I should choose a specific place to focus so the audience can see my thoughts and reactions.
- Stand up straight... no sunken, defeated shoulders!
Questions to consider:
- Will she or wont she what?
- How is Miss Fischer's suffering informing her actions?
- What is Miss Fischer's greatest secret?
- Mark off the beats/tactic changes.
- Where there is significant blocking, mark what the objective is, using this form: I am _____ you or I want to ______ you.
- Later I actually used the Actors' Thesaurus to specify the action verb for these objective shifts.
- In some sort of short hand, mark in the margins when your character has the upper hand, is gaining the upper hand and has lost the upper hand.
- Watch some 1940s films with strong female leads like Barbara Stanwyck and Betty Davis.