Dress and
Tec Run Rehearsal Notes: How to improve
I found the dress run particularly useful as it gave me an opportunity to focus on moving around in the space, work on my vocal projection and play to all sieds of the audience.
How to improve
When I am climbing the front ladder of the frame I started too late as I wasn’t talking on the frame as my back is turned away from the audience blocking my communication, projection and facial expression. Therefore, whilst I climbed and once Rosalind had spoken this left a “dead space” which wasn’t long but sucks some energy from the quicker pace and excitement that is present in the scene and is not needed. Therefore, as Rosalind asks all of her many questions I am going to adjust my timing by playfully rolling my eyes and excitedly climbing the frame to tell her she asks them. This way I feel it will enhance the energy of the scene and in this way we shall “bounce” off of each other more as it is important that our connection onstage is strong to communicate our relationship.
How to improve
When I am climbing the front ladder of the frame I started too late as I wasn’t talking on the frame as my back is turned away from the audience blocking my communication, projection and facial expression. Therefore, whilst I climbed and once Rosalind had spoken this left a “dead space” which wasn’t long but sucks some energy from the quicker pace and excitement that is present in the scene and is not needed. Therefore, as Rosalind asks all of her many questions I am going to adjust my timing by playfully rolling my eyes and excitedly climbing the frame to tell her she asks them. This way I feel it will enhance the energy of the scene and in this way we shall “bounce” off of each other more as it is important that our connection onstage is strong to communicate our relationship.
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As an ensemble we need to remember to always
have a mixture of cast sitting, lying and standing. We can come further
forwards right to the very edge of the floor mat and lean on pieces of frame to
bring a stronger cohesive sense of ensemble.
New staging
of the marriage at end:
The staging of the ending wedding scene has been altered for
the performance which we ran through a couple of times. As Hymen starts to sing
Oliver takes my hand and leads me to coupled Phoebe and Silvuis who in turn go
around the frame from couple to couple as we adjust our staging until all of
the couples are arrange with more space. This looks more pleasing to the eye
and shows that whilst the wedding is a happy and cohesive event the audience is
able to focus on the individual couples in love as well. This is helpful as
there are four couples getting married at this point, making the scene less
confusing and muddled for the audience. We take it in turns to bow towards one
another during the music and then put our arms around each other as we are
married.
At the very end we come out of our “As You Like It” role and as school girls hug one
another to celebrate the end of the play that the school girls have just
performed. We wait for Rihannon and Lucy’s cue to bow to the audience.
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