SITI Day 8
SITI Day 8
Spent weekend rehearsing Composition and trying to get some much needed sleep.
Viewpoints with Anne
The idea of different levels of energy. Vertical Energy= The earth, You, and the gods. Horizontal Energy= You and everyone around you. Heavy Energy= Young Energy willing to throw yourself out there. Light Energy= Old energy, conserving itself.
Suzuki at its extreme is too Vertical
Viewpoints at its extreme is too Horizontal.
How do you play with its opposite?
Worked on Topography (floor Pattern) this was the viewpoint that I understood the least and now I thoroughly enjoy playing with it. We had to go to the extreme and set a floor pattern to recognize it, but now I am picking up on it just as easily as Spatial Relationships.
Suzuki with Kelly
Play with Horizontal energy in Suzuki
Breath is food for the body.
Exactitude needs more energy, when in doubt be more exact.
Composition with Leon and Anne.
Go over your day at bedtime. Look at what is happening, not what you want to happen. Close your eyes. What do you remember, what stood out?
How do you create work that leaves an impression? Learn what stays. Know what you really like and cultivate it.
Phenomenology
The thing thats the most important is the thing that you are usually embarrassed by. Vulnerability.
Robert Altman said to pick 5 things from any of his movies that you like or remember and hey are most likely accidents. Plans are ther for accidents. Accidents are what you live off of.
An Actor walking downstage is actually trying not to walk upstage (Brecht) Play with opposites and obstacles
You have the form, but how do you hide the form with humanity?
Question---------->Solution. But find another question in the solution or it will die.
Don't put on a sound cue unless you know how to take it out with just as much if not more vibrancy.
General Comments on our Composition were good. Images stuck with them, however the acting wasn't totally up to snuff. I completely concur with them. It seems like in the general rush to get things done we forgot to spend time thinking about very basic acting questions (who am I, what do I want, what's stopping me from getting it, what can I do to get it) It seems like this is a major problem when time and pressure converge. We think we are good enough to pull it off with middle school acting. But we can't. We are building a container that needs just very strong contents.
We played at the text, we didn't play the text. Don't tell them what it is, let them experience it.
The entire world is asleep, the artists job is to wake it by turning it- Victor Slavski
Don't always try to make homeruns, Make line-drives. Consistency is the key.
Playing the effect then the act
Where are you putting the audiences attention? Put it on the most human act.
More extremes, Big or small, not middle of the road.
Ideas are like kids screaming at you.
Irwin Goffman- Behaviour in Public Places
It's so stupid, but the best theatre is stupid. We want to go there with you. Reveal the wizard behind the curtain. The real magic is making the audience still believe in it after revealing the wizard.
Unity does not mean loss of individuality, just the opposite, more individuality is needed.
Do composition again, not sight specific, but in black box. This time I'm directing.
Spent weekend rehearsing Composition and trying to get some much needed sleep.
Viewpoints with Anne
The idea of different levels of energy. Vertical Energy= The earth, You, and the gods. Horizontal Energy= You and everyone around you. Heavy Energy= Young Energy willing to throw yourself out there. Light Energy= Old energy, conserving itself.
Suzuki at its extreme is too Vertical
Viewpoints at its extreme is too Horizontal.
How do you play with its opposite?
Worked on Topography (floor Pattern) this was the viewpoint that I understood the least and now I thoroughly enjoy playing with it. We had to go to the extreme and set a floor pattern to recognize it, but now I am picking up on it just as easily as Spatial Relationships.
Suzuki with Kelly
Play with Horizontal energy in Suzuki
Breath is food for the body.
Exactitude needs more energy, when in doubt be more exact.
Composition with Leon and Anne.
Go over your day at bedtime. Look at what is happening, not what you want to happen. Close your eyes. What do you remember, what stood out?
How do you create work that leaves an impression? Learn what stays. Know what you really like and cultivate it.
Phenomenology
The thing thats the most important is the thing that you are usually embarrassed by. Vulnerability.
Robert Altman said to pick 5 things from any of his movies that you like or remember and hey are most likely accidents. Plans are ther for accidents. Accidents are what you live off of.
An Actor walking downstage is actually trying not to walk upstage (Brecht) Play with opposites and obstacles
You have the form, but how do you hide the form with humanity?
Question---------->Solution. But find another question in the solution or it will die.
Don't put on a sound cue unless you know how to take it out with just as much if not more vibrancy.
General Comments on our Composition were good. Images stuck with them, however the acting wasn't totally up to snuff. I completely concur with them. It seems like in the general rush to get things done we forgot to spend time thinking about very basic acting questions (who am I, what do I want, what's stopping me from getting it, what can I do to get it) It seems like this is a major problem when time and pressure converge. We think we are good enough to pull it off with middle school acting. But we can't. We are building a container that needs just very strong contents.
We played at the text, we didn't play the text. Don't tell them what it is, let them experience it.
The entire world is asleep, the artists job is to wake it by turning it- Victor Slavski
Don't always try to make homeruns, Make line-drives. Consistency is the key.
Playing the effect then the act
Where are you putting the audiences attention? Put it on the most human act.
More extremes, Big or small, not middle of the road.
Ideas are like kids screaming at you.
Irwin Goffman- Behaviour in Public Places
It's so stupid, but the best theatre is stupid. We want to go there with you. Reveal the wizard behind the curtain. The real magic is making the audience still believe in it after revealing the wizard.
Unity does not mean loss of individuality, just the opposite, more individuality is needed.
Do composition again, not sight specific, but in black box. This time I'm directing.
posted by The Necessary Theatre at 6:47 AM
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