When people poke you.
Today in class we practiced the speeches we’d deliver before the show started. It’s supposed to give the audience a taste of what our vision is.
Mine was this:
“Hey, my name is Sarah, and the name of my play is “To Our Dear Friend, Wendy.” The inspiration behind this play was directly from reality, because it is actually based on my life, because the events that take place in the story actually happened. It is in memorandum of a dear friend, Wendy, who committed suicide last April, a few days before my birthday. This drove me into a spiral of confusion, because, to me, it was completely unbelievable. The play deals with my wonderings of the situation, and how much you can NOT know about someone. I thought it would be interesting to write about this, not only as a tribute to Wendy, but as a question to the community, which I’ll leave to you guys to find. Though I intended for it to be a realistic play, it is an expressionist play, because I incorporated almost fantastical elements into it, since I’m always imagining bizarre happenings around me. For this reason, I use sound-scaping and breaking of the 4th wall, which are a very Brecht type of theatre. The method of acting, however, is naturalistic as well: the Stanislavski method, which asks the actor to recall real emotional memories to try and “become” the person they’re interpreting. I wanted it to be something of a “sit-com,” where the audience is just watching reality happen from a set position. The view of the stage becomes a reflection of life, which eventually comes and confronts the audience as well. I also wanted to demonstrate my personal interpretation of adolescent frustration that people in high school face, and how you don’t want to fall into this mentality where you forget about what it means to enjoy yourself…It’s a trap.”
Of course, it is cut down significantly because I can’t really memorise the details of this paragraph, but this is what I intend to say. It’s so hard to refrain from using pause words (i.e. like, sort of, um, and, or) because it makes you seem uncertain. I am so nervous for my cast, but I do believe that they can do it. I have this feeling in the pit of my stomach though, and I can’t focus on anything at all. There’s nothing more I can do except to let the show become theirs, and hope that the audience has an idea of what I’m trying to say with my play. I wish that if Wendy were alive, she would be taken by the gesture…I didn’t want to invite my mom to watch it, because I’m sure that she would be extremely offended that I’m telling such a personal story to the whole school. I’m pretty sure she’d say that my perspectives of things are totally wrong. Perhaps they are flawed, but this is my interpretation of what happened, and there’s nothing she can change about it.
Last rehearsal before the actual show, we met on the Auditorium steps. I needed to clear up some light/sound cues since we’ve had very little chance to practice with them. I had people use their costume and props, and we started right away. I had to work with Fiona a little, since her portrayal of my mother was a little bit off. I feel she could do much more, so I told her some ways to make her “worried” expression more anxious and concerned, for it looked a little nonchalant and vacant. Though I wanted her to look slightly detached, I wanted her to be nervous as well. In scene 4, I had Josephine work some more on her short monologue. It’s strange, because she always seems to be laughing at herself on and off stage. I do not understand why. Perhaps she thinks she’s foolish for appearing such way? I asked her to really imagine how she would walk when she was angry, and how she should use her hands. The body language is so important, and she doesn’t do a very good job. No matter how many times I’ve told her, she still does it the same. Leo has the same problem, where he is unable to take the scene seriously. In Scene 3, he is supposed to be a door knocker, but he smiles at times during the scene. All sound effects are not supposed to have any emotion, so I’m quite angry that he can forget what I’ve told him even right after I’ve said it. In scene 8 (Anjo and Alec), I noticed it was a little strange how their cheesy friendship appeared almost creepy. For this reason, I asked the other actors to observe their scene and make suggestions. I even asked others to try and be Alec in his scene with improv. This did not turn out very well, but with the opinion of everyone, we decided that he shouldn’t touch Anjo’s hand, like it said in the script, but bump her with the shoulder, since it would be “cuter.” I did like the effect this had on the scene, so I made this last minute change. Overall, however, I think that we may be ready for our performance after all. I was apprehensive at first, but I think that comes with all productions. It’s probably different because I’m a director this time. I now know what it feels to have something you’ve created transition to real life, and it’s starting to make me nauseous and excited at the same time.
First day of my final year in high school. The second I get back, I will have several assignments…One of them being the Practical Performance Proposal (I think), which will give us 5 stimuli to inspire a concept of a play….I AM READY.
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