Friday, December 25, 2009

first scene

Merry Christmas everyone...instead of a generic xmas post, I'll just give a regular one today.

For my first scene, I did a scene from "Two for the Seesaw" by William Gibson. The play takes place in NYC in the 1950's. My character was Jerry Ryan, a lawyer from Nebraska who was recently separated from his wife. My scene partner is Gittel Mosca, a failed-dancer that owns a dance studio. The scene is when Jerry follows Gittel home when he sees her walking out with another guy, suspecting that they slept together. Gittel has just found out that Jerry is still talking with his ex-wife, and that he might still have feelings for her. The scene is mostly about Jerry coming to the realization that he doesn't give all of himself in the relationship, and Gittel finding out that she does mean a lot to Jerry.

There were several challenges to this scene that weren't in the first year:

1) We now worked with impediments/mannerisms that were required in the scene, while previously they were ignored for the most part.

2) We read the whole play in order to get a better sense of the entire character. When we did scenes before, the text was just used primarily as a vehicle for connecting with the other person, now we had to relate to our character and find out what his intentions and his goals were in order to find appropriate meanings for different parts of the scene.

3) In the first year, we did the scene however it came out of us. However, this year, we wanted to concentrate on developing an action for every moment in the scene. Not everything in a scene will be relatable to the actor, so for those parts we need to come up with particularizations. We need to come up with concrete actions that we are trying to accomplish with a line, so that our meaning becomes specific instead of general.

The scene itself was complex blocking wise. We had to pre-determine what actions we were going to perform to make the lines make sense in the scene, and at the same time have reasons for those actions. The challenge is having a worked out scenario where all of our actions have a distinct purpose and goal behind them, but living through it organically as if it were all happening spontaneously.

At the end of the scene work, I was a bit unsatisfied with how it turned out for our final run through, but it is what it is. I was unsuccessful in working with a Midwestern accent for the scene, it put me in my head while doing it. I also did not fully particularize my actions for the entire scene, which is why some of it felt flat at times.

I didn't feel fully emotionally connected to the circumstance. I don't know what it is, perhaps I'm not delving deep enough, because I know I would be going insane if a girlfriend of mine was cheating on me right in front of me. I'll have to experiment with different scenarios to try to tap into my rage (I know it's there somewhere, hiding).

Next scene will have to wait as we're doing a whole bunch of other stuff before that when the new year starts.

Thursday, December 10, 2009


My script analysis class has given me a greater appreciation for plays and works that I would have considered too weighty or anachronistic to be of interest to me in the past. It has also been a while since I have truly been able to pick up a book and read it from start to finish with ease. While I do read a lot of content on the internet, it is in short 1-2 page bursts, anything else is tl;dr. Some of the plays are not that enjoyable, but I can see why the teacher picked them to discuss. Others are good enough to bring back old times where I would lay in my bed till I finished the book at 4 in the morning (which by the way is annoying if you wear glasses because you have to shift constantly from laying facing up and down because putting the head down on the side doesn't work).

Today, we went over the play "A Streetcar Named Desire" by Tennessee Williams. The play is about a Southern Belle, Blanche, in the mid 1940's from "Old Money" who has recently lost her estate. She visits her sister, Stella, who moved to New Orleans with her husband, Stanley, into a urban and "common" type of lifestyle. The power of this story is the way Williams interweaves multiple themes into one story, while developing characters into human beings you can relate with. There are no real heroes or villains, just two people with conflicting desires and motivations. I want to someday also be able to create characters that have fundamental flaws that inevitably create conflict with their environment yet are also understandable.

The most poignant thing about today's class however, was not the play itself, but when our teacher read to us a preface to the play that Williams wrote. It was an essay titled "The Catastrophe of Success" where Williams delves into the idea that the "success" of an artist can deaden his sense of life itself. Reading this essay before reading the play gives an insight into what Williams is truly interested in, in life itself, in the animal-like pleasure loving sensuality of the Marlin Brando played Stanley, and the aesthetic admiring dreams of Blanche. Here is an excerpt from that essay:

This is an oversimplification. One does not escape that easily from the seduction of an effete way of life. You cannot arbitrarily say to yourself, I will not continue my life as it was before this thing, Success, happened to me. But once you fully apprehend the vacuity of a life without struggle you are equipped with the basic means of salvation. Once you know this is true, that the heart of man, his body and his brain, are forged in a white-hot furnace for the purpose of conflict (the struggle of creation) and that with the conflict removed, the man is a sword cutting daisies, that not privation but luxury is the wolf at the door and that the fangs of this wolf are all the little vanities and conceits and laxities that Success is heir to—-why, then with this knowledge you are at least in a position of knowing where danger lies.

You know, then, that the public Somebody you are when you “have a name” is a fiction created with mirrors and that the only somebody worth being is the solitary and unseen you that existed from your first breath and which is the sum of your actions and so is constantly in a state of becoming under your own violation— and knowing these things, you can even survive the catastrophe of Success!

It is never altogether too late, unless you embrace the Bitch Goddess, as William James called her, with both arms and find in her smothering caresses exactly what the homesick little boy in you always wanted, absolute protection and utter effortlessness. Security is a kind of death, I think, and it can come to you in a storm of royalty checks beside a kidney-shaped pool in Beverly Hills or anywhere at all that is removed from the conditions that made you an artist, if that’s what you are or were intended to be. Ask, anyone who has experienced the kind of success I am talking about— What good is it? Perhaps to get an honest answer you will have to give him a shot of truth serum but the word he will finally groan is unprintable in genteel publications.

Then what is good? The obsessive interest in human affairs, plus a certain amount of compassion and moral conviction, that first made the experience of living something that must be translated into pigment or music or bodily movement or poetry or prose or anything that’s dynamic and expressive—that’s what’s good for you if you’re at all serious in your aims. William Saroyan wrote a great play on this theme, that purity of heart is the one success worth having. “In the time of your life—live!” That time is short and it doesn’t return again. It is slipping away while I write this and while you read it, and the monosyllable of the clock is Loss, loss, loss, unless you devote your heart to its opposition.

When I heard this spoken, it was like a Braveheart moment when the speech is said and you just want to go out and do battle and kill some Englishmen with a Scottish accent. But seriously, the whole reason I wanted to go into this profession was to experience life itself more fully than I had been before. Williams is an inspiration for me not to sell out and always remember that life is not fulfilled by "success" but rather the constant yearning for truth of the human experience.

Saturday, December 5, 2009

new additions

a lot of these are adapted from Tom Wang, a fellow poker pro that i met this year living together in vegas. we basically discovered that we were soulmates and that with our powers combined we pretty much annoy the crap out of anyone within a 50 meter radius.

LIC - like it's cute/cool

me: like how he shoved all in with gak lic

LT - like that, shortened version of YLT, used now as a standard greeting and pretty much after every statement we say

me: lt
tom: lt

CG - cool guy (used sarcastically, in a derogatory manner)

me: hey cg
tom: lt

NS - nice story (i don't really use this one, it's just like a "yeah, right" statement)

me: zomg i'm going to pwn you
tom: ns

sip - meaning lose

tom's friend: can you just sip all your monies at 500/1000 NLHE

gak - also listed in my previous entry as what the gak, gak is a very versatile word that can be used in pretty much any context.

WTG (what the gak) - similar to wtf, but with less anger and more lol as in a piece of gak
gakball - someone who is overly MR and does things that incite a lot of WTGs
gakking around - being silly

other phrases known to be used are gaktastic, gakfest, gakker

jack the ripper - a person who shoves all in with retarded gak. they "rip" their money in the pot, hence they are a ripper.

unbirthing - this came from me and another poker player, kenny. kenny constantly was saying that he was going to make the other players wish they were never born, so i ask him if he's in the process of unbirthing as a greeting.

GOTM (grind on the mind) - another greeting that i use with kenny, it just asks are you playing poker

me: gotm?
kenny: obv

Tuesday, December 1, 2009

Impediment work

So in the first couple months or so of class we have been performing the regular domestic or relationship exercise (refer to previous Acting entries for more info) but with different twists and turns involved. This is the start of character work, to develop characteristics about ourselves that are almost second nature.

Each week we would have a different impediment to work with, but the exercise would remain the same, the focus would be working off the partner while maintaining the impediment.

Point of view:
A partner would develop a certain point of view, something that was totally different from what they believed. They can just be outlandish ideas like it's fine having sex with another woman than your wife because you have a point of view that it's ok as long as you don't share an emotional connection with that woman. One I was going to use was cooking dog for my partner (with the idea that eating dogs is cool), but I never got to do it unfortunately. The trick is really researching that point of view to get behind it, what are the arguments for it, and how could you conceivably put yourself in the shoes of a person who actually believe it.

Physical impediment:
Each partner would have some sort of physical impediment (blind, paralysis, tick, etc.) that would prevent them from doing something normally. A lot of this involved watching people who were actually afflicted with the impediment to find out how they reacted to everyday scenarios. It's almost like practicing a dance step, I suppose.

Pain impediment:
Each partner would come in with an ailment that would affect their pain thresholds. This is harder because now you have to simulate being in pain while not actually being in pain. The circumstance and emotion almost becomes secondary to the pain because the pain takes over as the one thing you are focused on. However, there still needs to be an objective that you have to get to, otherwise there is no behavior that comes from suffering through the pain.

Hot and cold impediment:
Both partners must decide whether the room is hot or cold and act accordingly. There are certain actions that one does when it is freezing (rub extremities, shiver) and scorching (wipe sweat, air out clothes) that have to be almost routine. The temperature tends to enhance emotions in different ways, cold tends to make people more on edge while people tend to want to slow down when it's hot.

Partners choose a person that they know in real life and try to emulate their physical behavior. This was tough for me because I don't know very many people that act too out of the ordinary in real life. I didn't particularly enjoy this one for that reason, I figure if I had a better palette of people to work with I might enjoy it more.

With all impediments, practice is key to make it second nature. I remember practicing a Scottish accent but it faltering completely during class because it was only a few days of practicing. It has to be to the point where it's like you're speaking Scottish all the time. I'd try to find random phrases to practice with and sounds I needed correcting over and over again, until I could try doing it in everyday speech. Then when you're actually in the exercise, you have to forget that you're "doing" a Scottish accent because you'd have practiced it enough so that it comes out naturally out of you.

Also, an important thing to remember is cause and effect for impediments must be clear. If you're in pain, any movement should affect you in one way or the other, it should be clear what the source of pain is and what alleviates it and what makes it worse. If you're physically impaired, you can't all of a sudden lose it by doing something that an actual person with that impediment would never do, such as pointing the head in the direction of a bag when you're grabbing something.

Impediment work was interesting, but I thought it was too quick because we only spent a week on each one. I suppose more independent work will be done on it in the future as we take on roles that require actual impediments.