Thank you for your focus, ensemble work and energy tonight. We made great strides tonight and we are starting to have the outline of a show!
Please read through notes & try to apply for tomorrow's run through. If you have questions about something feel free to come ask questions or email questions (clarahillier@yahoo.com). Remember to head straight down to the Costume Room at 3:15 tomorrow so we can start as quickly as possible!
NOTES:
All: Use each side of the audience, not the juror's box, to act towards---remember to throw voices & bodies up the top row
All: Make movements precise and motivated in Prologue
Antigone/Nurse/Haemon/Creon/Amelia/Bryce/Kendall/Ismene/Elijah: you both tend to drop off ends of lines, complete words and throw ends of sentences up
Nurse: Follow the instinct to fix your dress, clean hair in your awkward response moments to Antigone--it was hilarious and we need more of it
All: Think about how you sit in the Juror's Box--tense, engaged, dismissive, where is your mask and how do you allow your bodies to sit?
Nurse: Use more of the platform upstage in scene with Antigone to keep distance and allow us to see both of your faces/masks
Nurse: Take on full posture and different vocal quality for when you're telling the Jocasta story of shaming the nurse on page 20-21
Antigone-find more opportunities to present your back mask, arms out/away from the body, more distance from everyone
Haemon-"Not to meet a lover?" Nurse's line, clear stand up, stand in neutral and exit
Maggie- We needs tons more volume, energy punching through, more dynamic
Bigger reactions when you hear rotting bodies
In Ismene monologue: Creon's chorus bigger hands in your marching, more menacing and militaristic in your movement page 24
Lucy- in Ismene monologue page 24 move further on stage as you're the only Antigone chorus member onstage now and very large reaction to the terror happening
When kneeling together, after that monologue-Ismeme/Antigone make sure you don't block each other, so angle off each other
Nurse and Antigone page 27, fully wrap yourself around her body so we can see front and back mask
Nurse: On the dog exchange--I loved your tense move away while sitting, can you find a spot to stand and walk away too?
Haemon-More youthful energy on your first entrance, you're the lover of the show and we need to feel that instantly
Haemon/Antigone--remember to stay angled, off each other shoulders, rather than standing directly face to face. When you don't this, you block each other
Haemon/Antigone: Antigone find more moments for back mask towards Haemon and Haemon react to that distance and try to find her front mask and make her look at you
Haemon/Antigone: Find a moment in sweet embrace where Haemon treasures the back mask and is kind towards it
Antigone: when explaining why you acted that way last night try using more back mask towards Haemon to open you up
Ismene-on 2nd entrance be more sleepwalker, distracted, terrified rather than low energy. drift slowly into the space with your entrance but your vocals should start immediately page 32
Creon- the instant you appear we must buy you are a KING
Guards--always play the clean precise comedy, the constant rotation rather than clumping up. The lines/diagonals are much funnier and easier to understand
Guard #1: Play the stalling game more on cross to Stage Right
Elijah: Must be clear...BURIED. you are the first one to mention this to Creon so we must hear it and understand it
Elijah: remember your props (SHOVEL!!)
Creon use your kingly posture wisely in the throne, watch out from bending and letting your shoulders collapse in due to your height--it loses your King status immediately
In reactions to the 3 guards, Creon you can use your back mask sometimes rather than turning attention to each guard
ALL: Chorus in the 2 page interlude after Creon/Guard scene---it must sound like one voice, so get rid of all those pauses---learn your cues, and really engage the audience--tell them the story! energize all movements--work in sync with your full chorus
Ismene's chorus page 38 you can tell the audience directly downstage by your hang out spot, include them
Creon and Antigone: "Don't annihilate me with those eyes"..wait for her to make the movement to motivate the line, be chilled by her eyes, Antigone--really stab back mask/arms at him
Creon: you must look through your giant scene with Antigone--find the nuance, tone, change of approach so your voice is less monotone. Use your tactics, make your chess moves and watch her responses
Page 45: Antigone show us how you feel about description and stories of your family
Page 45: All make blinding eyes section on back mask huge and deliberate
Creon & Antigone: you must keep us engaged and caring about these two characters. Antigone knows she will die, but she wants to be heard and respected. Creon must feel respect and order but that is threatened by the presence of Antigone.
Fix arm pull-work with Clara to fix this
***GUARDS--learn lines and your blocking:)
Creon's Chorus: move with purpose and dignity towards juror's box (represent the KING)
All chorus: Try vocalizing tomorrow to support Creon/Antigone scene--find rhythms and places to support the action
Whenever you move as a chorus--add vocals to it
Creon's chorus: Back mask and arms out and open on page 51
DRIVE IT Creon!!!!
We will block page 54-55 with the family (Bryce, Kendall, Gwyneth, Andrew, Diego)
Haemon: walk further in and offer arms to meet Antigone during the "Happiness" section
Ismene/Antigone Chorus: page 59---make that bow and pull back huge and dance like..it needs to read 100% more
Chorus: during Haemon's scene with Creon make yourselves a clear barrier between them and only allow Creon through
Haemon page 62 stress man on this line "Was that man you?" You have some great instincts for this scene, we just need to nuance your fear and anger more
Guards 2/3 find reason,timing to sit and turn back mask towards Antigone during the letter writing section
Chorus: Watch the guard scene and make yourselves the barrier/jail bars physically
No comments:
Post a Comment