On Saturday, 10 December we were able to have a full cast, full day rehearsal in which we were able to address a lot of the feedback given to us on the Wednesday rehearsal and do multiple run-throughs and focus on peoples characters.
One of the main problems with the performance at this stage was the pace of it because people still weren't completely sure on their lines and the blocking it was still quite fresh in our brains so the pace really lacked. Therefore we started the day with we about three maybe speed run-throughs that condensed the 20 minute play into about 7. This was really useful in being able to pick up the pace of certain moments especially in the group scene when there's all four band members in the room. To further tackle this problem, our director also made the decision that overlapping lines would be a good idea to just add a more natural vibe to the dialogue because it was sounding really rehearsed and slow and lacked the energy that was needed. This was especially effective in more heated moments (like the hair pulling scene) because increasing the speed and volume of the dialogue, having people overlap lines really created a very natural chaotic atmosphere. In my scenes, building up the pace was also needed to make it seem more natural and slightly less awkward, especially because quit a lot my our lines a very short, the distance in between them seems very noticeable.
We also changed the entrance of The Girl and The Boy in the first scene and quite a lot of the blocking in that first scene. In particular, at the beginning instead of saying my line as I'm walking in infant of the boy, I walk in on my own and take in the room (showing a face of curiosity and slight amusement) while it's still dark, I slowly amble towards the drum kit and I tap a symbol, giggle a bit to myself and then stop as the boy walks in. He strides in, closes the door behind him, crosses me to the other side of the room so he can turn the light on. After he turns on the light, he looks at me in a hopeful way as if to say 'this is it, what do you think?' and then say my first line and I say 'this is where you rehearse, in here' in a surprised and disappointed tone, as if I'm mocking him slightly because this is obviously wasn't what she expected, when this boy said he was in a band and they rehearsed in a dark cellar, it must have sounded much cooler than what she was faced with. This change to the moment of orientation made a huge difference to the atmosphere in that whole scent made it so much more natural and it fit with the script really well, we both felt much more immersed in the characters. We also made quite a lot of adjustments to the delivery of some of my following lines to make me more of an animated character because my director wanted me to be quite likeable character emphasise the pain of the violence towards me in the final scene. So to do this I was more juvenile and enthusiastic, much larger with my body movements and expressive in my face, in an attempt to make the boy leave the room with me (The Girl's objective). It also creates a lot more energy in the scene, I'm not sure if it was just me from an actors perspective because I've rehearsed the lines so much but I was finding the scene quite dull. I think having this more realistic and enthusiastic character makes it more enjoyable to watch and it makes the audience invest more in the characters because it definitely adds something to their relationship with each other, it means that the girl is not only more likeable to the audience but the audience can also see why the boy likes her so much and why he acts the way he does around her.
Another thing we addressed in the Saturday rehearsal was my delivery of the word 'yeah' because I have so many of these 'yeah's to say in the script that they sound very realistic and posh and out of character, so we cut some of them out and changed them with nods but mostly I just tried to say them with more speed so they sounded more natural and as if they were just fillers in the conversation.
One of the main problems with the performance at this stage was the pace of it because people still weren't completely sure on their lines and the blocking it was still quite fresh in our brains so the pace really lacked. Therefore we started the day with we about three maybe speed run-throughs that condensed the 20 minute play into about 7. This was really useful in being able to pick up the pace of certain moments especially in the group scene when there's all four band members in the room. To further tackle this problem, our director also made the decision that overlapping lines would be a good idea to just add a more natural vibe to the dialogue because it was sounding really rehearsed and slow and lacked the energy that was needed. This was especially effective in more heated moments (like the hair pulling scene) because increasing the speed and volume of the dialogue, having people overlap lines really created a very natural chaotic atmosphere. In my scenes, building up the pace was also needed to make it seem more natural and slightly less awkward, especially because quit a lot my our lines a very short, the distance in between them seems very noticeable.
We also changed the entrance of The Girl and The Boy in the first scene and quite a lot of the blocking in that first scene. In particular, at the beginning instead of saying my line as I'm walking in infant of the boy, I walk in on my own and take in the room (showing a face of curiosity and slight amusement) while it's still dark, I slowly amble towards the drum kit and I tap a symbol, giggle a bit to myself and then stop as the boy walks in. He strides in, closes the door behind him, crosses me to the other side of the room so he can turn the light on. After he turns on the light, he looks at me in a hopeful way as if to say 'this is it, what do you think?' and then say my first line and I say 'this is where you rehearse, in here' in a surprised and disappointed tone, as if I'm mocking him slightly because this is obviously wasn't what she expected, when this boy said he was in a band and they rehearsed in a dark cellar, it must have sounded much cooler than what she was faced with. This change to the moment of orientation made a huge difference to the atmosphere in that whole scent made it so much more natural and it fit with the script really well, we both felt much more immersed in the characters. We also made quite a lot of adjustments to the delivery of some of my following lines to make me more of an animated character because my director wanted me to be quite likeable character emphasise the pain of the violence towards me in the final scene. So to do this I was more juvenile and enthusiastic, much larger with my body movements and expressive in my face, in an attempt to make the boy leave the room with me (The Girl's objective). It also creates a lot more energy in the scene, I'm not sure if it was just me from an actors perspective because I've rehearsed the lines so much but I was finding the scene quite dull. I think having this more realistic and enthusiastic character makes it more enjoyable to watch and it makes the audience invest more in the characters because it definitely adds something to their relationship with each other, it means that the girl is not only more likeable to the audience but the audience can also see why the boy likes her so much and why he acts the way he does around her.
Another thing we addressed in the Saturday rehearsal was my delivery of the word 'yeah' because I have so many of these 'yeah's to say in the script that they sound very realistic and posh and out of character, so we cut some of them out and changed them with nods but mostly I just tried to say them with more speed so they sounded more natural and as if they were just fillers in the conversation.
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