General notes:
In general it was found that the dynamics of the runs were rather slow, often because people had a lack of knowledge of their cues or entrances/exits. It was also effected by peoples' apprehension towards their lines, which was down to either not knowing them well enough or becoming overwhelmed due to the fact that it is Shakespeare. I know that to begin with I found it daunting tackling his work because it often includes language that's not regularly heard in life so it can be a struggle to make sense of it. Therefore I find it helped to be confident with the lines, knowing them off by heart so that you can find your own meaning in it as it's performed as well as doing your own research and translating it. This also helps improve the colour in the lines because you feel as though there are a wider variety of ways to respond which allow actors to play about with the lines, although maintaining it's true meaning.
An issue I found was I struggled to maintain character if set was out of place but Simon pointed out that by moving it to where it should be with confidence and in character, the audience will be kept engaged because the façade isn't broken. Similarly it's important to solve issues that might arise creatively and in character.
It was also suggested to, as well as knowing what your own character is saying, to know what the others in your scene are saying so that you can react accordingly because this will make the scenes more believable as in normal life people always have an opinion.
Simon also acknowledged that we needed to pay more attention on proxemics, being aware of each other and the space to make sure that it is pleasant for the audience to see, and keeping the stage alive instead of reverting to boring lines.
Throughout the rehearsal it was found that when people messed up they broke character, which in turn meant that any characterisation they'd brought to the scene was lost and consequently saw the energy leave the scene. Therefore its important to style out mistakes, covering them up in character because in a real performance you can't ask for your lines.
I found that we needed to avoid moving too much, limiting it to just moving when necessary and if it had a purpose because it helped it to appear more natural and didn't over complicate it. It meant that actors were able to listen and respond to what was being said, not always having to face the person you're talking to which makes it more real and believable for audiences.
In the opening & the tableau:
We need to make sure that the movement in the beginning scene doesn't become naturalistic, maintaining its stylistic nature to highlights the idea of the factory's machinery.
When Lauren is singing it is important to listen to the word, giving the impression that although maintaining to work we do react to the song, letting it trigger a response. Maybe it encourages sad or hopeful emotions as it talk about our loved ones being so far away. The song needs to spread across the room gradually to the camaraderie of the women workers, showing how they've all be brought closer together due to the war.
When Chloe calls for a break we need to remember to use the whole space, so that when the chorus begins they're watched from the whole stage. It's important as the staging is in traverse and with us spread across the stage, more of the audience will be able to see our reaction and will then consequently be drawn to the chorus as well as feeling more involved in the performance.
For the tableau it must be a gradual acceptance of ideas because it must give the impression that its not a regular occurrence so maybe guns and jackets need to be grabbed after some hesitation as the idea begins to settle. However this mustn't be overplayed because we need to be ready to hit the position by the final line in the prologue. For my character I choose for her to begin apprehensive of what's going on but after being puled into position she eagerly joins in and starts morphing into her character. I like that each person has a different journey towards the final tableau as it makes it interesting to watch and the energy bounce off each other, which I feel makes my own performance better.
We then must take time to leave the stage so that there isn't a crush to leave, which might distract away from the scene that's being performed.
Pg 18 notes:
In my first scene as King Charles of France (Act II scene IV) it was mentioned that the staging required to be set up by the chorus as well as others from the French court, minus myself and the Dauphin. This should help to speed up the process, although if it does take a while we must stage the scene down stage which helps to keep the play flowing and the audience's attention captured.
Another character note is that I must remember to retain a regal posture because although I can sit like a man, it shows little of his kingly status. This requires me to improve my posture, walking and sitting with a straight back and shoulders back.
Final scene:
Focusing on characterisation I could include an edge of bitterness in my final scene (Act V scene II) due his country's loss of the battle, however my character also holds the knowledge that with his daughter marrying the King of England his grandson will one day become the King of both England and France. Therefore although he may hold some resentment towards King Harry and his court, he is somewhat content with the results.
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