Friday, December 26, 2008

The Work Begins

I am in the process of reading Who's Afraid of Virginia Woolf again and again and again. It is through these reads that I begin to form a plan of attack for the text. This is generally how the reads progress:

First Read: I get a general impression of elements within the text- themes, character, relationship, setting, etc. I try to tune in to the story and remain open to see what, if anything strikes me.

Second Read: This is a slightly more "conscious"- though still general- reading of the text. Through this reading I begin to identify what elements ring little bells of truth within me. What do I relate to? What is completely foreign to me? What do I resist? What gets me excited about the text?

Third Read: This is when I begin to read the text as an actor (or as a director, should that be my role in any particular production- but that is an entirely different process). I take careful note of things that are said by and about my character. Words stand out as clues to physical actions, habits, and/or personality traits. For example, in Virginia Woolf, Martha is said to bray... this one word will provide a valuable starting point for my use of body and voice. I make a note of this word (and other words and phrases) which I will return to when I am ready to begin my physical explorations.

Fourth Read: This is where I attempt to read through the eyes of my own character. I will often read things out loud in order to play with the language and begin to identify the thoughts that propel the words in the text.

Fifth Read: This is where I begin to part from any set formula. Some characters I get and I feel I am ready to get on my feet and play. With others I feel the need to steep myself in the play and let myself stew a little longer. Then there are plays that require a more academic approach- it is with these plays that I "score" the text. I will do some element of scoring with Virginia Woolf , partially for the exercise of scoring and partially because some of Martha's thought processes still elude me. I will do an entire post on scoring, when the time comes.

There is no set way to approach a text and every actor is different. Some actors prefer to feel their way through a text while still others need to sit down and analyze each word, each rhythm and syllable. I do a mixture of both. For this, particular project, I will not have the benefit of multiple table reads with other actors. So my process will be a little different than a process I would employ during rehearsals with a full cast- mostly because I will need to be more disciplined than if I had an ensemble around to keep me honest! I will need to use this blog to keep me accountable for my explorations. I am hoping to find a way to film some of my explorations and share them on this blog so that I may analyze my own process...warts and all. I will do my best to keep my vanity in check and illustrate my dismal failures as well as my successes!

My next posting will cover, specifically, the information I have gleaned from my readings of the text. Wish me luck!

Saturday, December 13, 2008

Drum Roll Please

Finally- I have a stolen second to talk about my little project...

I have decided to work on Who's Afraid of Virginia Woolf. The process of choosing a project to work on is as important as the process involved in creating the project itself. Here are my reasons for choosing this piece.

1. This text has survived over 15 years of bookshelf purges. It is time I figured out how and why it has survived.
2. This play has a 'kitchen sink' evolution that I favor in theater pieces. The setting is simple, the circumstances complex.
3. The circumstances are complex.
4. Martha is 20 years my senior as a character, which I could look at as a bad choice but I prefer to think of it as a challenge to my belief in the power of empathy for an actor. That, in and of itself, could prove or disprove some of my acting theories.
5. Martha is full of anger and resentment. In my experience I have found it beneficial to explore issues through character that I have difficulty expressing in my personal life. It may help me break through some personal barriers.
6. There is a great possibility that I could fail in my execution of this process. This will not be an easy text for me to tackle and I need to exercise my right to fail- knowing that it is the difficult task that is most worth the effort.
7. The characters spend the entire play in various stages of drunkenness. This provides me with an opportunity to do some sensory work.
8. Martha has a very confident sexuality, something I feel I've lost over the years.
9. The struggle for love in this play is weighted down in the circumstances. It is always a challenge to discover a relationship to joy in such a murky atmosphere, but that is what makes a compelling piece of theatre. It will be hard to keep my Martha from wallowing (something I find myself doing far too often) but her fight, and the feistiness of the other characters in the play, will be a sharp jab every time I venture into self-pity.
10. Its a good play.

So. There. I've made my decision. My next post will be an overview of themes and motivations in the play. I expect to be able to put that together sometime during or directly after the holiday.

Wish me... wish me something fun.