Practitioner
When playing Jean I couldn’t be emotionally connected with him, so instead I opted for the “magic if.” This, I decided, should be incorporated into circles of attention. Jean’s core objective is to have sex with Julie; his lesser objectives depend on given circumstances and will be more short term. With this mind, when Jean enters the stage I wanted each action to have a point, so that it was realistic, and therefore in line with Strindberg’s naturalistic views at the time. For example, when Jean first enters, his sole attention is on the Count’s boots in complete disregard for Christine. Imagination had to play its part during the scene, although I used props – such as coat and gloves – actions like opening and drinking wine required careful thought. I decided to have a basic idea of how I was going to mime, then in the performance I would improvise. This would allow for a more flowing scene, as improvising on the spot is inherently natural.
Second performance: ‘Six Characters in Search of an Author’ by Luigi Pirandello. We Performed a scene from Act 3: I played the ‘Father’ and we focused on Characterisation, Non – Verbal Communication and Language
Characterisation
Given the circumstances of the era that the play is set in the Producer would have ultimate control, at least in theory, and would have a presumed deference given to him by the actors. The father – ‘crying out’ as per the stage directions – seems at odds with this stereotype (of Producer) – however with deeper analysis, the actions of the Father take new meanings. When asked in hot seating: ‘Why do you become annoyed at the Producer?’ I responded that my thoughts-in-the-head were, while addressing the Producer, always: ‘I want to educate him.’ Thus the Fathers actions can be split into two units.
Circles of Attention
1 represents his core/main objective: To educate the Producer of his family’s story
2 represents his outer/back of the mind objective: To keep the Producer, and to a less extend the other actors, calm and willing to listen.
These two objectives incorporate the purpose of my characters role in the scene, as demonstrated by him crying out: ‘But ours doesn’t change! Do you see? That’s the difference!’ (1) In an uncontrollable burst of passion; in which he tries to educate the Producer of his family’s difference from every other human in the world. Always in the back of my mind (2) were the feelings for the Producer and the other actors: ‘(half smiling, but gently and politely) I’m only asking.’ The Father moreover can be seen as the spokesman of the family – but just as importantly a philosopher – producing theories such as ‘whatever is a reality today, whatever you touch and believe in, is going to be – like the reality of yesterday – an illusion tomorrow.’ This dialogue is so expressive that I thought it appropriate to improvise with my gestures and location on stage – stepping closer and closer to the audience to emphasize the spokesman and teacher that the Father is.
Non – Verbal Communication
A troubled man with important messages, the Father is convinced that they, the characters, are more real than the producer. Thus a style that commanded sense and logic, not authority and status (over the Producer) was needed. I would thus take up still images, while the Producer spoke, of a slightly bowed head with both hands clasped together in passiveness; in order that I am perceived as calm. He still must, however, regularly contain his anger while addressing the Producer. This is because for the endeavour to work, the Producer needs to be compliant. So when the Father uses the derogatory term ‘game’ in description of acting, he corrects himself: ‘I’m sorry – your artistry! Your art!’, so instead I vented his emotion by the use of non-verbal communication. I took centre stage, with spatial awareness that this position would allow for a neutral status, (neither higher or lower than that of the Producer) the facial expression of anguish and a gesture of a half closed fist (not fully closed as to avoid expressing anger) shooting out in front of me. This tableau created a subtext that portrayed how misunderstood the Father is: perhaps translates into a foretelling by Pirandello of the initial reaction to his absurdist Meta-theatrical play. At the same time, however, the body language created via the physicality of ignoring the Producer, by turning away and gazing through the audience, conveys an impression to audience that the Father (that they were not sure was real or not) is aloof and idiosyncratic as well as misunderstood.
Language
Pirandello’s point in this scene is to blur the lines between reality and illusion; linking to the theatre of the absurd. For example: Man, ‘well, he can be an absolute nobody.’ A point that ties in with how the Father views the theatre: a process that is the madness of creating plausible situations and making them appears to be true. He sees it as a ‘game.’ – An opinion that upsets the Producer and the other actors. During his apology – ‘I’m sorry – your artistry! Your art!’ – I quickened my speech pattern to exaggerate this point. However he does not give up on telling his truth, as he and his family are the readymade characters – the actual story. The Father concludes to ask ‘in all seriousness’ (to the Producer) ‘who are you?’ With this in mind I decided, that for these sentences, a new speech pattern must be used to generate a subtext of defiance against his earlier submission; in accepting acting was not a game. As the question posed to the Producer is of colloquial language, I spoke in a simple and to the point style – making the most of the moment and letting the audience contemplate it.
Fifth Performance: ‘Miss Julie’ by August Strindberg. I played ‘Jean’ and we focused on Characterisation, Non – Verbal Communication and Language
Characterisation
Given the circumstances of Jeans central objectives to resist Miss Julie’s (Julie) advances, at this moment, I thought it wise to use hot seating to get into his mindset. I knew that three facts must be kept in mind at all times – which can be described as circles of attention. These, thoughts-in-the-head, were: his role as a servant (1); Jean’s commitment to Christine (2); His lust for Julie (3).
Circles of Attention
1 (Role as a Servant) represents his core/main objective
2 (Commitment to Christine) represents his second outer/less central objective
3 (His lust for Julie) represents the final outer/less central objective
When asked during hot seating: ‘What is Jean’s objective in this scene.’ I replied that my character’s role was split into three units. At first he is the stereotypical servant that knows his place – not allowing himself to engage in flirtatious conversation with Julie: ‘I remember one time especially – no, I oughtn’t to mention that.’ Later, (Second Unit) he stands up for his fiancée when Julie humiliates her – pinching her nose and shouting at her while she sleeps: ‘People who stand at a stove all day get tired when night comes. And sleep is something to be respected-’ Finally (Third Unit) he falls for Miss Julie and can’t help but be flirtatious: ‘We must sleep with nine Midsummer flowers under our pillows tonight, Miss Julie, and our dreams will come true!’
Non – Verbal Communication
Subtext was pivotal in communicating the relationship between Jean and Julie. Julie, played by Hannah, commands me to get her a beer; I do – miming to bang it on the table in an act of defiance; opening up the possibility of a power struggle between us two. She then makes the remark that a lady should never drink alone. Jean is suspicious of her possible intentions; that they should both to become not-sober. I gestures my uncomfortableness with a cough and my face drops into an expression conveying dread. Julie furthermore states that she wishes for Jean to kiss her shoe. We form themselves into a tableaux, as written in the stage directions, with me physically grabbing hold of her shoe excessively tight so that I may display through my body language I am unhappy with the arrangement: while Julie enjoys the scene visibly via her facial expression; she is shocked by Jeans roughness. Her posture is, however, strong and her sitting level is higher than that of my lower kneeing level.
Language
Julie is described* as a “half-woman.” She has the power to command others as though a man, but the weakness of mind of a woman. Her speech pattern towards the end of the dialogue has the colloquial word ‘come’ mentioned three times: the repetition an example of her determinism to be in charge. The higher classes are finite resource however, and only those who spend it appropriately can survive. Julie spends hers making demands – such as – Jean ‘drink my health now’ and ‘kiss my shoe.’ When he hesitates she teases him with the rhetoric question ‘are you shy?’ She knows full well why he hesitated, as fraternising with his better is dangerous, but she wishes for him to feel uncomfortable. Her negligence to manage herself probably through her weakness in mind leads to her ruin: ‘God in Heaven, end my miserable life.’
Third Performance: ‘Six Characters in Search of an Author’ by Luigi Pirandello. We performed a scene from Act 4: I played the ‘Father’ and we focused on Visual, Aural and Spatial (VAS), Interpretation and Vocal Awareness
VAS
The set was two chairs opposite each other, a table between them, centre stage – a single spotlight, white, shines down on the table. Having entered the stage drunk, would wonder around before the light relieves the location of the Stepdaughter. I am accompanied by a soundtrack (‘Use Somebody’ cover by Friendly Fires) as I stumble onto the stage, on the cue ‘I’ve been roaming around,’ this is fitting as it describes the Fathers long troubling journey coming to, what he thinks, an end in which he could ‘use somebody’. The music choice with the accompanying timings were specifically chosen to bring attention to the situation the audience is about to witness – was the meeting of the Father and the Stepdaughter actually all the Fathers fault? The Stepdaughter is very beautiful and knows how to use it: ‘perhaps she took advantage of him?’ is the question thrown to the audience. Yet her mask shows revenge, her arrogance allowing her to over-shadow any blame on her part. This was highlighted by the proxemics of the Stepdaughter to myself, her being centre stage – unmissable – and with the lighting on her it is like she is calling out to him. As the soundscape increases in intensity, so does my interest in the Daughter. The intention here was for the Daughter to be like a Siren, leading the Father to his metaphorical death that will be forever displayed from my mask of remorse.
Stage Plan
Father
Interpretation
At the first look at the play we decided that the scene for the Father and Stepdaughter, played by Lex, to meet would be at a party. I come in dancing, which was humorous creating a laughing reaction from the audience, in turn producing an atmosphere that was against the grain of the scene. This Brechtian technique is designed to change how the audience interpret a given scene, the juxtaposition of a sad scene that is styled in a funny way has the effect on the audience that causes them to question why they find it humorous and detaches them from being emotionally involved with the characters – i.e. feeling sorry for the Daughter – and thus went against the playwrights intension. It was for this reason that we changed how the scene would be interpreted. One of Pirandello’s key concepts, the lines between reality and illusion blurred, must be properly explored. The vision was the Father and Daughter would now meet at a restaurant, the audiences numbering two, one the actual audience and the other the other actors. The result was a blurring between what was a performance and what wasn’t; what was real and what was an illusion.
Vocal Awareness
The Father enters the stage drunk and lusting for the Daughter. When first speaking to the Stepdaughter, my voice has a low pitch and volume so as not to frighten her – and then seduce her. His articulation was unclear at times and hampered by his intoxication that interferes with his projection: the range going from an intended lowness to an “unintended” highness – caused by a suppressed burp. There were regular pauses which allowed for the Daughters contempt to be clearly noted by the audience due to regular ceasing of dialogue. The Fathers sexual delight combined with the other conventions produced a style, which once the scene was over, was juxtaposition to the new one. Sudden change in my manner provides this. My delivery was well articulated and at a slower pace: desperate to show that he is not all bad as the Stepdaughter has made him seem during the scene.
Sixth Performance: ‘Miss Julie’ by August Strindberg. I performed a monologue as ‘Jean’ and I focused on Visual, Aural and Spatial (VAS), Interpretation and Vocal Awareness
VAS
My performance space was thrust; the set comprised of a single chair upstage and my costume a servant’s jacket. I entered the stage on cue, after letting the music (‘The Suburbs’ by Arcade Fire instrumental cover) play for twenty seconds. The audience would have had enough time to become absorbed in the soundscapes; and therefore not focusing their attention on my imminent arrival. As a result of this my entrance was startling – building an actor/audience relationship – as my reaction upon first seeing the audience was anxiety and anguish, as ‘this was the story I didn’t want to tell’, underscoring the haunting effect of the soundtrack. Positioning of the audience allowed me to become engulfed and trapped when downstage, and the proxemics of the chair involved a deliberate walk to reach it – resulting in a prolonged pause with the only sound being the music – allowing for both my character and the audience to collect their thoughts. In the absence of special effects I used gestures to illustrate points. Such as: “where never a tree grew”, I shot my left out horizontally in a cutting action to indicate ‘never’ and then raised my right arm up vertically, to indicate ‘a tree grew.’ Apart from a brief use while leaning against the back of the chair pondering, juxtaposition to the earlier lugubriousness of being trapped downstage, I use levels greatest while exclaiming ‘kings and emperors.’ I dropped to my knees and bow in response to these words. As each monarchy is mentioned a spotlight, first stage right then left, shines onto where they would be – thus concluding the insanity of Jean.
Stage Plan
Jean
Interpretation
When I first analysed my chosen text I immediately cut out sections so that it was direct, from “Yes if you like. It was absurd. Look” to “look.” as the opening line. The punctuation used by Strindberg only featured one exclamation mark. I changed this, by adding more, so that a powerful and verging on mentally tormented Jean was created. I felt this adapted style wouldn’t have an adverse effect on the playwright’s intensions. This conclusion was derived from the repetition of the word “you” four times – this style of language suggests a subtext that Jean has a particular problem with someone; in my version, the audience.
Vocal Awareness
I start my scene with a clear style that intends to express to the audience the situation that Jean has found himself in. My voice has a tone of expiration that therefore leads to a higher pitch and faster pace – with an emphasis on the word “Look” from the starting sentence (“Look, this was the story I didn’t want to tell you”) immediately creates a subtext that the audience is somehow to blame; increasing their attention as they wish to find out why. My projection ranges in volume – the intention to produce another subtext that Jean is anguished mentally. My use of inflection, in pitch range, expresses this point prominently in the sentence: “No, you don’t.” The “No” and “you” I both delivered in a higher pitch and in a loud volume, upon ‘don’t’ I delivered in a deeper pitch and a lower volume. Articulation was at the forefront of my mind – making sure I spoke with diction to fully utilize the moment.
Sources
*Miss Julie Preface page 91
Miss Julie Study Guide complied by Sarah McAfee
Six Characters in Search of an Author AS Drama Student Book
http://www.britannica.com/EBchecked/topic/461518/Luigi-Pirandello
http:/en.wikipedia.org/wiki/August_Strindberg
http:/extrapris.com/astrindberg.html
Word count 3208 – 208
3000