Units and Objectives - 23/11/16

Splitting off into groups, the Antigones and Creons were left to go through their scene with the argument very deeply, using the Stanislavski method of splitting the text into sections depending on the change of mood and titling them with what our character is trying to do/ how they are feeling about what is happening. I found this extremely helpful in grasping my character (though there's still a way to go) as it helped me look further into the text and understand how he was saying it and why. The discussions with Mr Chipp and my cast-mates made me feel more confident in how I was going to perform the character and helped me see what Mr Chipp wanted from him.

As we had a go at the first bit with just Antigone and Creon, I realised that rush far too much, just trying to get the lines out and I need to slow it down and not be scared to put pauses in. For example, when I was questioning Antigone so that I could fix the situation, I was rushing the questions out as if Creon knew exactly what he wanted to ask, but he is trying to work out how to fix it after being plunged into a situation where his niece's life is at risk, and by extension, the life of his own son. Therefore, we developed this, and I began to add pauses as Creon works out what to do and then comes to a solution. I'm hoping that starting this way will help me get into the character and his interactions with Antigone relatively quickly.

A couple of examples of our titled sections in the script: