Evaluation
Verbal Evaluation
Written Review
One significant moment in the performance where I applied a Stanislavski method is in the use of the Super Objective, which can be observed right from the start of the performance from 0:20 to 9:05. I employed this technique because it was crucial to understand and convey what Brick is trying to accomplish throughout the performance, despite his limited dialogue. Brick's super objective was to get drunk, driven by his desire to reach a mental state where he feels okay, referred to as the "click" in his head. My goal was to communicate to the audience Brick’s alcoholism and his relentless pursuit of this elusive sense of peace. To reinforce Brick’s dependence on alcohol, I consistently held a glass and took large gulps at regular intervals, emphasizing his urgency to get drunk as quickly as possible. This behavior was subtly supported by references within the dialogue, such as Gooper’s line, "stay out there on the gallery with your liquor," which normalizes Brick’s excessive drinking. I aimed to create an aura of emptiness around my character, showcasing his indifference to everything except his liquor. This was particularly evident when Big Mama took my glass at 7:16, advising me to stop drinking. At that moment, I portrayed Brick as clearly perplexed, a reaction stemming from his intoxicated state. Following this, my body language became more withdrawn, and I adopted a more compact stance, even with my character's broken leg, which was meant to further illustrate Brick's retreat into himself. This shift was noticeable to the audience, especially at 7:28 when my facial expression conveyed a deep sense of detachment. However, there was a brief moment of contrast at 7:38. Despite Brick's animosity towards his wife, Maggie, I showed a slight change in demeanor when Brick lights up and thanks her for the shot she gave him. This was intended to highlight Brick's complex relationship with Maggie and his fleeting gratitude amidst his usual indifference towards her. My overarching aim was to depict Brick's desperation for the "click" through his continuous drinking. The audience's feedback on performance day indicated that this portrayal was effective and well-received. The method of the Super Objective, being integral to the entire performance, could not have been applied elsewhere in the same manner. However, if given the chance to perform again, I would enhance this portrayal by drinking even more, further emphasizing Brick's desperation and dependence on alcohol.
Another significant moment in the performance where I applied a Stanislavski method was in the use of the circle of attention. This technique was integral to my portrayal of Brick, a character who is very withdrawn. Throughout the acts, I varied my circles of attention to reflect Brick's interactions and mental state. In Act One, from 0:20 to 2:45, I was in the second circle of attention while interacting with Big Daddy. This circle encompasses speaking to one other person, creating a more focused and intimate dynamic. In Act Two, from 2:56 to 4:08, I shifted to the first circle, where Brick is entirely self-contained and introspective, highlighting his isolation. However, from 4:08 to 4:19, I moved back to the second circle to interact with Gooper, saying "sorry," which, despite being in a group situation, required Brick's attention to be directed at a single individual. Finally, in Act Three, I primarily remained in the first circle, emphasizing Brick's withdrawal, except for brief moments where I entered the third circle. This happened when I thanked Maggie for a shot and told Gooper, "help yourself, Gooper boy," from 7:37 to 7:46, indicating a rare instance of engaging with the broader environment. I applied this method because it was crucial to pinpoint where Brick’s attention was at any given moment. This helped communicate to the audience that Brick is a deeply withdrawn and possibly antisocial character. My goal was to convey a palpable sense of something being wrong with Brick, emphasizing his reliance on alcohol to cope with his issues. By maintaining this careful control over the circles of attention, I aimed to highlight Brick’s depression and the emptiness that defines his existence. The audience's feedback confirmed that this portrayal was effective. Comments such as "I looked empty inside, like there wasn’t a spark in my eyes" indicated that my performance successfully conveyed Brick's profound depression. Given the chance to perform again, I would focus on expressing more emotion through my facial expressions while maintaining Brick's overall dullness and emptiness. This would enhance the portrayal of Brick's inner turmoil and depression.
Finally, another significant moment in the performance where I applied a Stanislavski method was through emotional recall. This technique is particularly evident from 7:20 to 7:35, where I visibly zone out after my drink is taken away, showcasing Brick's deep depression without his only solace. Additionally, at 6:56 to 7:00, I move away from any physical contact, illustrating Brick's desire to avoid being touched while he drinks and thinks, preferring to retreat into his own thoughts. This preference for isolation is also why I often remain in the first circle of attention. You can see emotional recall in action again at 3:45 to 3:49, where I acknowledge Maggie's presence but choose not to engage with her. This moment reflects my internal struggle and his probable reminiscing about my relationship with Beth. In my mind, Brick is likely thinking, "Oh, can she leave me alone?" This ties into the concept of inner monologue but also highlights the use of emotional recall. I employed this method to effectively convey what Brick is experiencing, particularly in his interactions with others, and to communicate the nature of his relationships to the audience. My primary aim was to illustrate Brick's poor mental health and his emptiness, underscoring his dependence on alcohol to suppress his troubling thoughts. By using emotional recall, I intended to create a sombre atmosphere around Brick, making his distress palpable even when he is not speaking, through his physical demeanor and sense of despondency. I believe I successfully achieved this aim, as the audience responded positively to the portrayal of Brick not merely as an alcoholic for the sake of it, but as someone deeply troubled by his circumstances. Feedback from a peer before we left the lesson included comments like, "Brick seems like he's been through hell and back," which confirmed the effectiveness of my portrayal. Although I could have applied this method throughout the entire performance, if given the chance to perform again, I would certainly do so to further enhance Brick's character depth and the audience's understanding of his mental state.