for actors and understudies

Uta Hagen’s “Nine Questions” Uta Hagen: “Respect for Acting”

1. Who am I? (character-search for character’s life prior to play’s/scene’s beginning)

2. Where am I? (environment: location, conditions)

3. What surrounds me? (persons, objects, color and texture)

4. What time is it? (hour, minute, date, year, century, era)

5. What are the given circumstances? (those events, facts, and conditions occurring before or during the play/scene that affect the character and /or action)

6. What is my relationship? (to all of the above and to other characters-solid or shifting?)

7. What do I want? (Objectives or Intention –includes the overall character objectives as well as more immediate beatto-beat intentions).

8. What’s in my way? (Obstacle)

9. What do I do to get what I want? (ACTION – VERBS; physical, verbal, psychological)

for actors and understudies

Role Analysis

Whenever possible, all answers or comments are to be based on information about your character in the play.  When this is not possible, you may create answers provided they are logically related to the information in the play.  This is an opportunity for fresh, original actor creativity, provided in an organic framework for directing and acting which permits and encourages artistic individuality as well as artistic collaboration.

1.       Name of actor/actress ____________________________________________________

2.       Name of character – first and last _______________________________________

3.       Age of character ___________Precise birthdate of character _________________

4.       Astrological sign__________________  What significance if any to this sign.

5.       How Physically active is your character?  Explain.

6.       Name an animal – not a bird – which in appearance, movement, or manner seems analogous to your role.

7.       What is it about this animal that most specifically relates to your role?

8.       Can you name a person close to you who seems to be a good deal like your character?  If so, name him/her.

9.       Can you name a famous person who seems to be a good deal like your character?  Name him/ her.

10.   Vocally, is your character quiet and demure or loud and flamboyant? If neither, describe your character’s vocal nature?

11.   How would you describe the way your character likes to dress?

12.   How would you describe the way your character likes to wear or comb his/her hair?

13.   Select 3 or 4 major emotions your character encounters most?

14.   Give an example from the play in which each of the examples you listed are revealed – from #13.

15.   What is the MF (Motivational Force (spine) of your character? State the MF of your character by beginning with the name of your character and the word – wants… The spine or want should relate to another character or characters in the play.

16.   What is the major beat or action (key moment of activity and/or decision/choice) in the play for your character (The most important moment in the play for your character)?

17.   Describe in short phrases the MAJOR activities your character engaged in during the day of action of the play (from rising, up to the first entrance on stage).

18.   Describe in short phrases the MAJOR activity your character engages in during all offstage time after every exit made during the action of the play.

19.   Create a list of 5-8 MAJOR character idiosyncrasies, likes and dislikes for your character.

20.   Add any other pertinent comments about your character.

Seven Spots on the Sun Cast and Crew

Seven Spots on the Sun

These parts are not set in stone.  There were many talented people tonight. If I have left anyone out, please see me tomorrow.  All actors and crew must turn in packets by Friday at 4PM.

Cast

1.       Moises – Eli Kollman

2.       Belen – Reagan Tucker

3.       Luis – Colin Lain

4.       Monica – Cooper Mitchell

5.       Eugenio – Maverick Bryan  (Alternate – Carter Berryhill)

6.       Town 1 Alee Roberts (Alternate – Faith Ruckey)

7.       Town 2 Kaytlyn Bunting

8.       Town 3 Stephen May  (Alternate – Chase Hunter)

9.       Town 4 Ramzi (Alternate- Clayton Medley)

10.   Town 5 Kate Munson (Alternate – Luisa Glennemier)

11.   Town 6 Carter (alternate – Tre Nunez)

12.   Town 7 Hannah (Alternate – Kate Adair)

13.   Town 8 Don (Alternate – Breck Moyers)

14.   Town 9 Marinda Pincon

15.   Town 10 Spencer Jackson (Alternate Ryan Melcher)

Crew: Clay Moyers – Spanish Guitar

Lights: Matthew Haynie

Stage Lights : Taylor Everitt

Hair and Makeup – Alyssa Benthall , Sarah Tucker, Taylor Cox

Crew – Riley Emery, Emma Talley, Brady Gillson, Nathan Couto

COMMENT ON THIS. Maky and Riley did most of the critiques. Mine were intermixed.

EVERYONE	Opening of play was slow You are anticipating the freezes and especially Tipperary Everyone freeze in motion. Freezes were sloppy at the end. LISTEN TO EACH OTHER – IT’S BECOMING EVIDENT Look around after first bomb scene – You have to make it clear it is the first time this has happened. KEEP watching the soldiers as they leave until SHHH GREAT COMMENT FROM MAKY – SAY EACH OTHERS’ NAMES – THAT WILL MAKE THE LINES FRESH. Rule Britannia was great today. In the first freeze everyone was facing the same way – ask Maky.  I noticed Frank and Judith DICTION   DICTION   DICTION Everyone needs to be louder – the stage will be bigger.
Judith	Tag on dress Thanks for moving suitcase down. Do you want Alee and Kate to do it? In Judith Joan scene – we believe – hit believe You say front twice in the last monologue – hit both differently. Lower pitch in doll scene.
Bela	Don’t anticipate Sheila singing.
Sound	Could not hear some of the gunfire at the beginning. Louder on air raid sirens when no one is talking in the beginning. Sound in dead person scene needs work – see Maky
War head and soldier puppet	Don’t move them too late.  They are the entrances to the scene.  Head listed to the left at the beginning.
Viv and Soldier 1	Viv, let us see the expression on your face as Sheila does the desert fox line  then shimmy – seems too orchestrated. Aussie – have a funny face – oh gosh- react more. Also, Aussie, a beat longer before you follow Viv.  They laughed last night but would laugh more if you milked it.
Soldier 2	Start and finish in accent
Judith and Frank	Freeze in motion Frank, your diction is good, but Judith’s is REALLY good.  Match hers. Last shirt line was weird – no vocals. It just stopped.
Frank	Look out – don’t turn upstage to Judith. – I don’t know what
Military men	Work on win the war
Joan	What’s our wages? Slower diction Amazing – don’t tell me to say good bye.  I agree with Maky.  You improve with each performance. Good job raising flask – that’s right love
Aussie 1 Brian	Down under – hit the n’s and d.  Let your voice crack as Aussie 1 More Aussie than English More heartbroken, not mad when speaking to your mom.
Sheila	Monologue more heartfelt.  Think about the words Change the way you say – we haven’t killed anyone – many of your lines are starting to sound the same.Maybe laugh – like she is ridiculous – you haven’t made any bombs.
Aussie 2 & Angie	Watch your scene being too memorized.
Joan	Hope you remember how you did little woman.  It was magnificent. You changed the way you said many of your lines – wonderfully fresh.
Frakker	Cost us the war – hit t   DICTION make each word different.
Briggs family	Good on getting up quickly after the bomb. Speak to Mrs. Kuehler about her view on the scenes.
Alister	COMMIT to UGGGH LOUDER, but you were better with everything else.
Mrs. Gently -	Say Mrs. Gently in your lines about Alister when the men have gone. Good noise falling Don’t anticipate drum
Tom	Louder Fall when the bomb hits.

TEST GRADE

Comment -  What can you do to help at STATE make the experience better, to help the play, etc?

Rooms for State

1.                       Kadyn, Ashlynn Maky & Carly

2.                       Kate, Alee, Hannah, Kristen

3.                       Taylor C, Emma, Claire, Taylor Everitt

4.                       Reagan, Marinda, Kaytlyn

5.                       Payton, Sarah, Cooper, Brooklyn

6.                       Evan, Jonathan, Spencer, Carter

7.                       Eli, Reese, Tre, Ramzi

8.                       Brady, Riley, Ryan, Colin

Order for State

3A - May 3, 2018     4pm - Session 1

OrderSchoolTitle  

1stShallowater HSsf Front  

2ndUniversal City: Randolph HSsf Cat on a Hot Tin Roof  

3rdLittle River: Academy HSsf Twentieth Century  

4^thMalakoff HSsf Peter and the Starcatcher 

7:30pm - Session 2     

5thWhitesboro HSsf Ghetto  

6thCanadian HSsf The Angelina Project  

7thYoakum HSsf The Curious Incident of the

Dog in the Night-Time

 8thWhite Oak HSsf The Women of Lockerbie

Public performance video April 8 Comment on one this week.

https://www.youtube.com/watch?v=yr4x7yVGJQM&feature=em-share_video_user

Public performance April 8 - COMMENT

Everyone	This is a team effort.  When the stage needs to be set or struck, everyone needs to help. Declaration of war – only Payton reacted big. Coming out of the rubble after first bombing, look around.  The grocery you always went to is gone.  The church your children were baptized in is gone.  Discover new things in different places or old things torn up AFTER EACH bombing. Someone PLEASE tear up Judith’s home or move the dress into rubble somewhere (Ramzi or Kate?) Coming out of bombs – two people whom I respect said this – it’s a new world – a damaged world.  REACT to Chamberlain’s message. No energy in farewell scene – Frank, beat then line about women.  Everyone come out more excited so it is a contrast with the lines after the men leave. LISTEN ACTIVELY – REACT ACTIVELY Sing Tipperary LOUDLY – almost shouting so it doesn’t seem like a mistake that everyone is singing something different. Be as loud as the music. All characters were strong – even those with fewer lines. This show has an all star cast.  Everyone is involved.  Keep it this way. This is how we started in November- revisit objectives for each scene for each character.  Did each character achieve the objective or was the obstacle too great?  Must see this so go back and look at script.  Give CREDIT to the obstacle or whatever gets in your way. Recognize smells, tastes, sounds and touch to the city that was and the city that is. The audience believed it happened because the actors believed it.
Joan	Stop being like him – voice breaks Could not hear bloody bombs Tick tick – more mimicking with emotion – exaggerate. Didn’t believe forget your name forget your face – memorized – needs emotion. It should be spontaneous and does she immediately regret this?
Mr. Briggs Foreman	Move, scratch something, snort, cheat out during factory scenes. You have a commanding stage image, move, MUST HAVE FACIAL expressions.  Show that you are listening and reacting to everything.
Sheila	I’ll be gobsmacked – like I LOVE a man in uniform WELL – big like I love a man in uniform
Brian Soldier 1 Lionel	I never killed….. voice breaks
Music	Tipperary did not end when singing ended.
Holding war machine	Don’t let it dance. It can lean forward to action on stage or turn to look at something. It needs to have purpose.
Gently family	First vocals should be an explosion of fun – like someone just turned the volume on the TV suddenly. A burst of excitement, laughter
Judith & Frank	Believed hugs, BUT need more magic – electricity in the marriage.  Sometimes it looked staged – like you were told to  look at each other. Step on lines more.  Especially a line where Frank pauses a beat between pronoun (I) and verb. At the end of cheek to cheek – look at each other a beat then dialogue.
Judith & JC Smuts	Begin moving, getting the letter during Chamberlain scene. Start vocally stepping on Chamberlain’s line – war.
Briggs family	The JOY in the Briggs family needs to be tempered with apprehension because of Judith’s last lines.   Mrs. Briggs – this would be you….. hesitate a SEC not so sure of Alister going to war. ?  If this doesn’t work, we will scrap it. Alister MUST CHEAT OUT!!! (This is a basic acting mistake and makes you look like a novice actor). Vocals when Ms. Briggs sees Alister.  Mr. Briggs, drop bat closer to mid stage – maybe when you move to hug ALister.  Ms. Briggs, pick up bat, do some hiccup sobs – ask Taylor E. Make a decision, then drop it in rubble
Photographer Bela	It looked awkward on the ground taking pics.  Try this over and over until it looks natural. – It looked like  you had never done this before.  Must look rote.
JC Smuts	Keep chin up – be a little more arrogant so we can see your face – almost like nose in air.
Factory workers	Kit bag song lacked energy.  Look at the lyrics and act them.  SMILE – greet each other. Good transition to pub – Quieter as you move pub stuff during Judith’s scene.
Tom and Mom	Tom, change more re-entering with doll.  Eerier Listen to the doll.  When he says – she’s real and she is my friend, Judith KNOWS something is wrong.  React more.
Lionel Spender And dead people	Don’t look at Judith during dead scene. STEP ON LINES!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! INTERRUPT EACH OTHER. HAVE DIFFERENT TEMPOS. THERE MUST BE ENERGY UNDERLYING THE LINES.  VARY PITCH. I died must be different.  Hands must have purpose. Hands must move with emotion. Movement is triggered by emotion.
Soldier 2 Angie Factory girls	Soldier 2 is going to do a few steps of samba – laugh and carry on like you would if it really happened.  After he asks Angie to dance, girls react big.  Play on the care to dance.  See Angie’s expression as she sees soldier in mirror.  When he asks Angie to dance – almost shout with joy – yes.  The first dialogue between Angie and soldier seems a bit staged.
Val	SEARCH for your brother.  Maybe go past an area looking then retrace steps.  SEARCH
Angie and soldier	LOVED moving the leg
Angie and mom	Make freezes as big as bar scene freezes.
Haris and Viv	Viv, react more to Haris opening up.  Haris, while you are explaining about your other life, look back at Viv to see if she is listening, then carry on. We have to see his decision to carry on.  We have to see Viv’s decision to take him back.  Let’s try – she doesn’t take his tie.  He shows surprise as gets up without him. She walks up to 4 X4 turns and opens arms as if to say well, are you coming, and Haris almost stumbles as he hurries to catch up with her.  Viv, we need a lot of hip moving up the steps.
Soldier 2 German	LOVED the dance. Look at you tube how to move from slow to fast in samba/samba lessons.
Judith and Joan	(Judith, keep knees together on steps). Loved picking up the flag.  YOU MUST INTERRUPT EACH OTHER STEP ON LINES. MORE EMOTION. FASTER AND VARIED PACING.
Frakker Frank	As Frakker, DICTION – Step on lines – I won’t tolerate….
Second factory scene.	Love the handicapped man. Sheila and Bela – good with face and body. Judith’s face is good.  Joan, more surprised, but not surprised.  See decision to move away from Judith.
Ending	Loved parachute and parachuter. Great ensemble. Stop shrieking. See Joan’s decision to make us believe she is going to get the gun – dead girl, have it there, but we need to see Joan’s decision to pick it up. The sound of the gunshot must bring her out of the fugue she is in.  Shake when holding gun. Joan’s last speech was powerful. Judith, so emotional that you try to touch your cheek, but can’t because you will fall apart. Hand shakes as your hand drops.
To do	Ashlynn, dirty your apron.