Embedded Files
We are now in the next scene. This play is episodic rather than evolutionary. It offers snapshots of what happens and the audience has to read what has occurred previously. This scene structure is throughout the play and could be described as 'jittery' as its purpose is to keep the audience on the edge of their seats. The Restaurant Lobby scene begins and ends in this one location. The audience is aware that time has passed as Adam is starting to look different and an intimacy has developed between the two characters.
We are now in the next scene. This play is episodic rather than evolutionary. It offers snapshots of what happens and the audience has to read what has occurred previously. This scene structure is throughout the play and could be described as 'jittery' as its purpose is to keep the audience on the edge of their seats. The Restaurant Lobby scene begins and ends in this one location. The audience is aware that time has passed as Adam is starting to look different and an intimacy has developed between the two characters.
In the performance style of realism expectation is at the edge of every actor's performance; the character must not only try to achieve their objective, he or she must expect to achieve it (Cohen, 1998, p.4S) both mentally and physically. This means that the actor must create the expectation and excitement of success in all the scenes. The excitement and underlying energy in Adam and Evelyn's growing relationship is imperative to create as this will interest and engage the audience who may have begun to feel some empathy for the characters.
Workshop
Workshop
- In class workshop pages 16 to 22.
- Discuss positive objectives and tactics and the audience's response to the growing intimacy between the characters
- Examine and question:
- What Evelyn positively expects to get out of this meeting with Adam?
- What Adam positively expects to get out of this meeting with Evelyn?
- How the characters go about getting what they want?
- How the actors are physically creating truth in their characters performance.
Pair work
Pair work
In pairs workshop pages 23 and 24, breaking it down into two sections.
- Section one is an exploration of physicality only. Create a 10 to 20 second improvisation that explores the characters physicality through truthful movements. Workshop how the characters reach out for each other through smiles and small touches.
Discuss as a class how the growing intimacy, as well as Evelyn's dominance in the relationship, is demonstrated through truth in physical performance.
- Section two is an exploration of physicality and dialogue. Repeat the activity and add the dialogue below and ask:
- What are the characters physical and vocal objectives, tactics, and obstacles?
- What tone, pace and vocal rhythms are used to create tension?
- Where in the dialogue do the characters reach out for each other with small smiles and tentative touches?
- What don't the characters say in this section?
- Where is the sexual intimacy in the dialogue?
- Where do we see a small re-shaping of Adam in the dialogue?
Logbook Activity
Logbook Activity
Reflect on the workshop above and answer the questions below.
Reflect on the workshop above and answer the questions below.
- Where is the humour in this segment?
- What is the theatrical point of Phillip interrupting the couple just as they start to kiss?
- Did the workshops into expectations lead to an excitement and energy in the performance? Why?
- How do these types of acting techniques relate to the topic of Black Comedy and an audience's response?
References
Cohen, R. (I 998). Acting One (3rd ed). London: Mayfield Publishing Company.
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