Wednesday, 28 November 2012
27/11/2012 On The Razzle
Today we had two dress rehearsals. On the first runthrough, we tried the Tailor scene with the uniforms for the first time. there was a distinct lack of pace in this section as it took me a while to dress him in the uniform. I also tried out new blocking for the cafe scene which involved me being on stage for the majority of it. Now, I introduce the Imperial Gardens Cafe and help the horse offstage before tidying the table. I then stand in the corner upstage until Sonders' entrance, where I move downstage to translate his Italian. I then return upstage until Zangler reappears where I seat him. I then slip off for the 'Happy Birthday' section. After the rehearsal, the actor playing Zangler, the director and I rehearsed the tailor scene a few times so that we could get the uniform on without losing the pacing. In the second runthrough, the practice I had had in the tailor scene paid off and the section went smoothly.I also found that as we had a small audience this time, I could make my Hupfer character bigger than ever before, which got a good audience reaction. When giving notes after the show, the director said that my Hupfer character had developed perfectly and that my translator made him "feel safe". I was also told that I could make my Parades-Man character more exaggerated. I will try to accomplish this in my next rehearsal.
Thursday, 22 November 2012
20-23/11/2012 On The Razzle
On Wednesday, we were in our performance space for the first time and tried to carry out a full runthrough in that space. However, this meant a lot of changes were needed for the blocking. During Hupfer's scene, we discovered that the blocking we had used before wouldn't work here because of different levels used in the current staging. The director also said that the grotesque laugh didn't work as well as hoped in last week's rehearsal, so it had been cut. But I also found that I now had time on stage to experiment with my interaction with the dummy. I found I got a good audience reaction when I held in lovingly round the waist from the back.
Wednesday, 14 November 2012
14-16/11/2012 On The Razzle
Throughout the week, we did a full run-throughs. We began as usual with warmups. We then went straight into performance.
It had been suggested that I experiment with my character and make him larger. I did this with success during today's rehearsals. Between some of Zangler's and Hupfer's lines, Zangler makes a few jokes. Both myself and the actor playing Zangler tried to laugh in a grotesque manner, and then mimic it exactly the second time he makes a joke. During feedback, we were told that this works well, but we need more practice doing it. Another thing I tried was to change the delivery of the line: "Please, Herr Zangler, can we please keep our minds on the tunic." Originally, I had said it in a scolding fashion. But I have discovered that it is more humorous if I deliver out almost entirely to the audience with only occasional glances at Zangler while emphasising Zangler's unintentional innuendo.
While assistant directing, I tried to help with the blocking. For example, I suggested that instead of opening the play with a freeze-frame of Zangler and Gertrud, we should just have Gertrud on-stage alone in freeze-frame while Zangler walks on with his first line. I thought that this suited Getrud's character more as one of her character traits is an exaggerated lack of movement. My director agreed with me and it was implemented into the performance.
We did a runthrough infront of the cast of the other play on Friday. I think doing this helped spark an energetic performance for myself and the rest of the cast. While playing Hupfer, the adrenaline helped me become an even larger character than I was during rehearsals. My short speech as the translator got a lot of laughs and was described later by an audience member as "one of the funniest parts of the play." This feedback helped me as I know I must maintain the speech exactly as it is.
The director suggested that during 'Madame Knorr's Shop' scene, I should catch Weinberl's cane when he throws it during the dance, and then throw it back to him after the dance. I caught the cane sucessfully but when it was time to throw it back, I found that there were three people inbetween me and Weinberl. To avoid the risk of hitting someone, I decided to slide it across the floor instead. This only worked on my second attempt. We have now decided that it's not necessary to catch the cane anymore.
It had been suggested that I experiment with my character and make him larger. I did this with success during today's rehearsals. Between some of Zangler's and Hupfer's lines, Zangler makes a few jokes. Both myself and the actor playing Zangler tried to laugh in a grotesque manner, and then mimic it exactly the second time he makes a joke. During feedback, we were told that this works well, but we need more practice doing it. Another thing I tried was to change the delivery of the line: "Please, Herr Zangler, can we please keep our minds on the tunic." Originally, I had said it in a scolding fashion. But I have discovered that it is more humorous if I deliver out almost entirely to the audience with only occasional glances at Zangler while emphasising Zangler's unintentional innuendo.
While assistant directing, I tried to help with the blocking. For example, I suggested that instead of opening the play with a freeze-frame of Zangler and Gertrud, we should just have Gertrud on-stage alone in freeze-frame while Zangler walks on with his first line. I thought that this suited Getrud's character more as one of her character traits is an exaggerated lack of movement. My director agreed with me and it was implemented into the performance.
We did a runthrough infront of the cast of the other play on Friday. I think doing this helped spark an energetic performance for myself and the rest of the cast. While playing Hupfer, the adrenaline helped me become an even larger character than I was during rehearsals. My short speech as the translator got a lot of laughs and was described later by an audience member as "one of the funniest parts of the play." This feedback helped me as I know I must maintain the speech exactly as it is.
The director suggested that during 'Madame Knorr's Shop' scene, I should catch Weinberl's cane when he throws it during the dance, and then throw it back to him after the dance. I caught the cane sucessfully but when it was time to throw it back, I found that there were three people inbetween me and Weinberl. To avoid the risk of hitting someone, I decided to slide it across the floor instead. This only worked on my second attempt. We have now decided that it's not necessary to catch the cane anymore.
Wednesday, 7 November 2012
7/11/2012 On The Razzle
We began with some basic warm-ups to get us energized and to help our diction. We then began a run-through of the play from the beginning. During this rehearsal I acted mainly as a prompt. When I played Hupfer, I implemented the super-villain/manic personality. However, I felt the energy and pacing drop during this scene regardless of how I was playing the character. I decided that I would seek advice from Luke after the rehearsal.
Next, I played the role of the parades-man escorting Zangler and Melchoir. I feel I am not postured correctly or marching in time, but I am sure that this will be resolved once I have the costume and I am marching to the actual parade music.
My next small role was the translator in the restaurant. I begin by translating Jess' line where she takes the screen away. I realized at this point that it would be better to leave this line untranslated as:
1. This is the first time the audience has heard the Waiters speak. Their Italian accent and speech is exaggerated and humorous. My translation only distracts from their speech.
2. It is obvious what the Waiters are intending to do.
3. The act of translating a line in a "Learn French" style is only funny once, and I thought it would work better for Sonder's small Italian Speech.
I suggested this to Luke and he agreed.
At the end of the rehearsal, I spoke to Luke about my concerns over Hupfer's character and he suggested I slow my lines down but leave less pauses between lines. He also said that I needed to focus more on my blocking and to speak more lines to the audience. He concluded by saying that we would work on my character in the next rehearsal.
Next, I played the role of the parades-man escorting Zangler and Melchoir. I feel I am not postured correctly or marching in time, but I am sure that this will be resolved once I have the costume and I am marching to the actual parade music.
My next small role was the translator in the restaurant. I begin by translating Jess' line where she takes the screen away. I realized at this point that it would be better to leave this line untranslated as:
1. This is the first time the audience has heard the Waiters speak. Their Italian accent and speech is exaggerated and humorous. My translation only distracts from their speech.
2. It is obvious what the Waiters are intending to do.
3. The act of translating a line in a "Learn French" style is only funny once, and I thought it would work better for Sonder's small Italian Speech.
I suggested this to Luke and he agreed.
At the end of the rehearsal, I spoke to Luke about my concerns over Hupfer's character and he suggested I slow my lines down but leave less pauses between lines. He also said that I needed to focus more on my blocking and to speak more lines to the audience. He concluded by saying that we would work on my character in the next rehearsal.
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