Exactly one week until I play Creon! Not sure I feel ready...
Today we did a full run-through including the massive Creon-Antigone section. Caitlin was playing Antigone so I was Creon, this was a little daunting having never rehearsed the whole thing through before and I wasn't certain I'd actually be able to perform it all... I did!
The rehearsal seemed alright, not perfect, but decent for a first full-on full run-through. I don't know whether it was nerves or something, but I had a feeling of dissatisfaction with everything I did all night, nothing went overly wrong, I just didn't feel strong. Which is annoying. It was also in this rehearsal I first worked fully with the jacket, hehe... this was awkward. With this came the realisation that I really needed to work on using the coat to look like it was something which I wore everyday. There were a couple of stumbles on lines (brain blocks) and one moment where I completely corpsed!!!!!!! It was down to the fact I got confused, about to do the original blocking forgetting the blocking we had come up with the previous night and I just confused and looked out to the audience (Chipp) for help - got none, and just felt truly ashamed afterwards. My fear of doing this again however meant that for the rest of it, I really concentrated on what I was doing. Rehearsals give you the opportunity to go wrong before the performance at least.
We have a new Haemon. One week before performances. It was a strange new dynamic haveing a new Haemon and one who was taller than me... and an actual boy! What?! But he was really good, so it was actually pretty easy after a while relaxing into the new dynamic. But yeah, calling him "My little boy" when he was a good few inches taller than me just felt a little weird and actually served to make me feel younger and more feminine than ever before (as Creon).
I got the lucky job of teaching Emin (new Haemon) the fight scene at the start of the Chorus section, but he was actually a really quick learner and could probably do it better than me by the end of it. To be honest, I think the fight sequence worked better with Emin than it had with Shanice, he was a lot more violent than Shanice (by the end of the night I had bruises all the way up my arms due to the interlocking movement of the two sticks). The rest of the night was spent teaching Emin all the big movement/ Chorus sections which was also really useful to us to get them straight in our heads and work well with Emin.
Bring on next week!
(don't... please?)
Thursday, 30 March 2017
Tuesday 14th March
Tonight was the last proper run-through of the massive section with Antigone and Creon.
Agh!
To tell the truth I am terrified about next week... already... butterflies are already churning my stomach. Anyhow, this rehearsal helped to boost the spirits as I think it went pretty well all things considered. I worked with Caitlin for the most of the night beginning by sorting a couple of sections we felt a bit awkward in. The section where I throw Antigone down followed by the crouch and poke at "Alright, I've got the villains part... if I were just an ordinary brute of a Tyrant..." has never worked, never been intimidating enough and perhaps looked a little too contrived. Therefore, we worked the start of the throw so that I didn't notice she's moved till she was over the body, then shout the first lines as I storm over and throw her to the ground in sudden anger. Then instead of crouching at the front of the stage (also because the throw was too hard to make reach the front, looked more sudden if it was BAM straight on the back in center) we would be in the center of the stage and I would move her back to the corner with violent swipes meant to look like I was going for a hit. This was much more effective in looking intimidating and violent, though I need to work on my step forward apparently as I look like I'm about to spring rather than be a heavy old man, as well as the movement with my hand which can be too small sometimes. This whole section began to feel much more confident and assured.
After this, we had a run-through of the whole section. This seemed to go really well: there's something about Caitlin's Antigone and my Creon which means we manage to work off each other somehow. The scene seemed to be really smooth, and everything just seemed to slot into place except for when I say "Listen-" and Antigone cuts me off, that just needs quicker reactions. Everything else seemed good enough to perform, I mean, there would always be more work to be done on this scene just because it is so large, but I feel satisfied that we can pull of a really good performance with what we've got.
Agh!
To tell the truth I am terrified about next week... already... butterflies are already churning my stomach. Anyhow, this rehearsal helped to boost the spirits as I think it went pretty well all things considered. I worked with Caitlin for the most of the night beginning by sorting a couple of sections we felt a bit awkward in. The section where I throw Antigone down followed by the crouch and poke at "Alright, I've got the villains part... if I were just an ordinary brute of a Tyrant..." has never worked, never been intimidating enough and perhaps looked a little too contrived. Therefore, we worked the start of the throw so that I didn't notice she's moved till she was over the body, then shout the first lines as I storm over and throw her to the ground in sudden anger. Then instead of crouching at the front of the stage (also because the throw was too hard to make reach the front, looked more sudden if it was BAM straight on the back in center) we would be in the center of the stage and I would move her back to the corner with violent swipes meant to look like I was going for a hit. This was much more effective in looking intimidating and violent, though I need to work on my step forward apparently as I look like I'm about to spring rather than be a heavy old man, as well as the movement with my hand which can be too small sometimes. This whole section began to feel much more confident and assured.
After this, we had a run-through of the whole section. This seemed to go really well: there's something about Caitlin's Antigone and my Creon which means we manage to work off each other somehow. The scene seemed to be really smooth, and everything just seemed to slot into place except for when I say "Listen-" and Antigone cuts me off, that just needs quicker reactions. Everything else seemed good enough to perform, I mean, there would always be more work to be done on this scene just because it is so large, but I feel satisfied that we can pull of a really good performance with what we've got.
Wednesday 8th March - Finished the Play!
With the rest of play already blocked, all that remained was the last section in which Antigone, Haemon and Eurydices die with the messenger''s monologue narrating it. At the beginning of this section, following that of the Guard and Antigone, we added a line for Creon's entrance of "It's time" to initiate the beginning of this section. An image we decided to create was a pile of rocks out of the Chorus bodies to create the "Cave of Hades". The idea of the messenger's monologue is for her to narrate it and the others to react as if they are there, therefore, Creon falling on the stones (bodies) and taking them away and there finding Antigone and Haemon. Chipp didn't want any overly dramatic acting on our parts, as it would look corny, but Creon should definitely look sad. I wasn't really sure how far to go with my face and actions, but wasn't told I was doing too much or too little so I guess it was okay?
My lines in this section I feel need to be extremely heart-felt, perhaps the most raw Creon has ever been, yet not overly dramatic as I feel Creon isn't so much sad by the deaths of his family but exhausted by what has happened and the emotional turmoil he has already experienced, and experiencing and overwhelming sense of isolation. Therefore, the lines couldn't dramatically delivered, but rather my last line of "it must be good to sleep" is quite short and soft, with a sense of Creon's exhaustion, on the point of tears.
An idea Chipp introduced was Creon becoming the Chorus at the end of the play with his lesson to be learned, this began with one of the Chorus lines which Creon said with her (once I got past stumbling/ mumbling the words I didn't know) then at the end, the Chorus gives Creon a script saying: "You're all alone now Creon" as everyone leaves him on stage (we cut out the last bit as we felt it was more effective ending in this way than the little conversation with the page and monologue from the Chorus) I loved the idea and think the image of Creon sitting reading with a light swinging over him will be very aesthetically pleasing and atmospheric.
The next section of the rehearsal was taken over with rehearsing the first chorus section which we hadn't done in a while, and fixing messy moments.One of the moments which we repaired is the transition from the battlefield to the pile of bodies as although most of us got to our positions in time, Melody couldn't get into position quick enough without it being too dangerous so we inserted a move which also got rid of our sticks, where we all slam our sticks on the wooden boarder at the same time then moving to position which gave Melody those extra few seconds. At the end of this section, normally myself and a few others would 'melt and slither' to represent Polynices' body being left to rot. However, not only would this be ridiculously muddy and gross, but also it meant we'd be distracting and off stage just before we went on stage again to shout abuse at Polynices and those who's buy him which looked awkward.
Following this we began a full run-through avec moi as Creon, missing out the massive section to save time. This was very useful as the scene I struggle most with is that of the Guard scene with Creon as for some reason, I can never seem to say the lines correctly or at least how I feel I should say them, most notably the "Right. Speak, what are you afraid of?" As I always manage to mess it up in some form or fashion such as leaving the gap too long or just saying it in the wrong tone altogether. Anyhow, the notes I received for this scene were much less critical than those I gave myself (I though I was going to be torn into for just not having enough energy or playing Creon too cold/ stand-offish in this section) but the only notes were: say "What do you mean alarm?" more urgently, trying to get to the point, and more explicitly appear to be thinking to myself with "Who dared..." as although I was going for this, I didn't change position or tone enough that it was extremely evident to the audience I was having a moment of reflection. Finally, with the bit with the page, which has always felt like an awkward add on, where before I turned immediately to the page and spoke directly to him, now I turned and spoke out, only turning for "Would you die for me?" adding a head tilt for the more personal touch. I much prefer this idea as before it was awkward and felt completely out of place, whereas now it seems more believable that a King would talk this way to his page boy.
In the bit with the guards and Antigone I struggled with lines, continually going blank but somehow managed to save it as no-one seemed to notice, they just thought I had a lot of intimidating dramatic pauses, whoop! I have no idea why these lines weren't coming to me as I knew them back to front beforehand, but I guess these things happen.
My lines in this section I feel need to be extremely heart-felt, perhaps the most raw Creon has ever been, yet not overly dramatic as I feel Creon isn't so much sad by the deaths of his family but exhausted by what has happened and the emotional turmoil he has already experienced, and experiencing and overwhelming sense of isolation. Therefore, the lines couldn't dramatically delivered, but rather my last line of "it must be good to sleep" is quite short and soft, with a sense of Creon's exhaustion, on the point of tears.
An idea Chipp introduced was Creon becoming the Chorus at the end of the play with his lesson to be learned, this began with one of the Chorus lines which Creon said with her (once I got past stumbling/ mumbling the words I didn't know) then at the end, the Chorus gives Creon a script saying: "You're all alone now Creon" as everyone leaves him on stage (we cut out the last bit as we felt it was more effective ending in this way than the little conversation with the page and monologue from the Chorus) I loved the idea and think the image of Creon sitting reading with a light swinging over him will be very aesthetically pleasing and atmospheric.
The next section of the rehearsal was taken over with rehearsing the first chorus section which we hadn't done in a while, and fixing messy moments.One of the moments which we repaired is the transition from the battlefield to the pile of bodies as although most of us got to our positions in time, Melody couldn't get into position quick enough without it being too dangerous so we inserted a move which also got rid of our sticks, where we all slam our sticks on the wooden boarder at the same time then moving to position which gave Melody those extra few seconds. At the end of this section, normally myself and a few others would 'melt and slither' to represent Polynices' body being left to rot. However, not only would this be ridiculously muddy and gross, but also it meant we'd be distracting and off stage just before we went on stage again to shout abuse at Polynices and those who's buy him which looked awkward.
Following this we began a full run-through avec moi as Creon, missing out the massive section to save time. This was very useful as the scene I struggle most with is that of the Guard scene with Creon as for some reason, I can never seem to say the lines correctly or at least how I feel I should say them, most notably the "Right. Speak, what are you afraid of?" As I always manage to mess it up in some form or fashion such as leaving the gap too long or just saying it in the wrong tone altogether. Anyhow, the notes I received for this scene were much less critical than those I gave myself (I though I was going to be torn into for just not having enough energy or playing Creon too cold/ stand-offish in this section) but the only notes were: say "What do you mean alarm?" more urgently, trying to get to the point, and more explicitly appear to be thinking to myself with "Who dared..." as although I was going for this, I didn't change position or tone enough that it was extremely evident to the audience I was having a moment of reflection. Finally, with the bit with the page, which has always felt like an awkward add on, where before I turned immediately to the page and spoke directly to him, now I turned and spoke out, only turning for "Would you die for me?" adding a head tilt for the more personal touch. I much prefer this idea as before it was awkward and felt completely out of place, whereas now it seems more believable that a King would talk this way to his page boy.
In the bit with the guards and Antigone I struggled with lines, continually going blank but somehow managed to save it as no-one seemed to notice, they just thought I had a lot of intimidating dramatic pauses, whoop! I have no idea why these lines weren't coming to me as I knew them back to front beforehand, but I guess these things happen.
Wednesday, 29 March 2017
Tuesday 7th March Antigone and Creon
Big scene rehearsal again...
Today we looked at the 'blue section' as Harriet likes to call it (something highlights... I wasn't sure why) in which I tell Antigone about how both her brothers were basically disgusting scum-bags. Lovely of me right?
Immediately, one of the biggest problems of this section was not really the fact we haven't blocked of much of it, but rather that my tone was a massive issue. I believe this did come about due to the fact that whilst learning my lines, I like to go on walks and just run-through them to myself (I've had a few strange looks... especially when talking about death and all that) which means, despite having tried acting whilst running through them, I've got into a bit of a rhythm which is really, really hard to get out of now, evidenced by the fact that once I had to start changing all the tones and such like, I started to go completely blank and stumble and make an utter fool of myself. A fun time in short...
However, Chipp picking me up on a lot of sections was actually thoroughly useful in understanding how Creon was thinking, as I had apparently previously not put enough thought into it and believe me, from now on I will endeavor to do so... cos that was embarrassing, but a definite wake-up call, so thanks Chipp.
Another direction given to me to make my character more realistic was to add little noises, as in every day speech you would have little noises here and there, therefore, began experimenting with it. Strangely, it's harder than it sounds (for me anyway) to add noises here and there whilst speaking. I found it oddly difficult to come up with the right noise for each bit though I now have a favorite line which is "Awww, poor Antigone" where I just relish the condescending "Awww..." Anyway, definitely something to work on, and I feel it will come with working on the tone also.
Today we looked at the 'blue section' as Harriet likes to call it (something highlights... I wasn't sure why) in which I tell Antigone about how both her brothers were basically disgusting scum-bags. Lovely of me right?
Immediately, one of the biggest problems of this section was not really the fact we haven't blocked of much of it, but rather that my tone was a massive issue. I believe this did come about due to the fact that whilst learning my lines, I like to go on walks and just run-through them to myself (I've had a few strange looks... especially when talking about death and all that) which means, despite having tried acting whilst running through them, I've got into a bit of a rhythm which is really, really hard to get out of now, evidenced by the fact that once I had to start changing all the tones and such like, I started to go completely blank and stumble and make an utter fool of myself. A fun time in short...
However, Chipp picking me up on a lot of sections was actually thoroughly useful in understanding how Creon was thinking, as I had apparently previously not put enough thought into it and believe me, from now on I will endeavor to do so... cos that was embarrassing, but a definite wake-up call, so thanks Chipp.
Another direction given to me to make my character more realistic was to add little noises, as in every day speech you would have little noises here and there, therefore, began experimenting with it. Strangely, it's harder than it sounds (for me anyway) to add noises here and there whilst speaking. I found it oddly difficult to come up with the right noise for each bit though I now have a favorite line which is "Awww, poor Antigone" where I just relish the condescending "Awww..." Anyway, definitely something to work on, and I feel it will come with working on the tone also.
Friday, 24 March 2017
Metatheatre
Metatheatre is a style which is self-aware of it being theatre, drawing attention to its nature as drama or theatre being aware of an audience and the fact that they are just actors. It is a self-conscious performance seen classically with plays within plays such as in Shakespeare's 'Hamlet' or with a chorus commenting on the drama seen in our very own play, 'Antigone' by Jean Anouilh.
The prefix, 'meta' comes from the Greek term defined: Marked by change or transformation; later in time or development; behind, beyond; transcending, more comprehensive; above, upon or about.
Found a nice example in a joke: A rabbi, a priest and an imam go into a bar and order a drink. "What is this," asks the bartender; "a joke?"
The prefix, 'meta' comes from the Greek term defined: Marked by change or transformation; later in time or development; behind, beyond; transcending, more comprehensive; above, upon or about.
Found a nice example in a joke: A rabbi, a priest and an imam go into a bar and order a drink. "What is this," asks the bartender; "a joke?"
.........Haha......... Not metatheatre, but you get the idea, it's being aware of the form you are taking. Metatheatre challenges theatre's claim of being 'realistic' contrasting with ideas such as Stanislavski's which is being ultra-realistic through experiencing characters through your own experiences and emotions. It sharpens awareness of the unlikeliness of life to dramatic art or life's likeness to artificiality marking the boundaries conventional theatre would hide. It may be overly dramatic and theatrical, or break the sacred frame of the 'fourth wall' reaching out to the audience to draw them into the realm of the play. There are many examples of metatheatre in Antigone, especially from the part of the Chorus introduces the roles and the story. We emphasised the idea through inserting our own methods of metatheatre, the most notable being the beginning. In the stage directions it says, "At curtain rise all the characters are onstage, chatting, knitting, playing cards, and so on. The prologue emerges from the rest and comes forward to speak." This already has the idea of metatheatre, but we extended it by introducing the stage as an actor's rehearsal space as the cast enters in little groups, chatting about little things such as events of the previous night and stretching as if getting ready for an everyday rehearsal, then rehearsing fight sequences before Chorus starts casting us into parts. There are also very evident mentions, and hints at metatheatre within the actual text of the play, in the case of my own part within the section with Antigone, Creon makes several references to the role of hero hero and villain, "Alright, I've got the Villain's part and you've been cast as the heroine..." and a couple of other times also. I used this I guess to help the audience see that Creon's path is set and that he has no choice in the situation in the end but to have Antigone put to death, it was just casting. Another major moment we developed is when Antigone says "I don't want to [understand] I'm here to say no to you and to die." where we had Antigone break from character and go back to being the actress playing her, making the audience aware of the hardship Antigone is suffering and how hard it is to play her. Metatheatre really works well within the contexts of classical tragedy with the idea that fate determines that the hero will journey towards their eventual doom, suffering and causing suffering in the meantime. It's a very dramatic idea with an audience knowing that the hero will eventually die, yet that in a way elevates how they feel as they know no matter what the action is, the hero will eventually die. |
Thursday, 23 March 2017
Monday 6th March - bits and pieces
Today was another bits and pieces rehearsal, running various scenes separately (feel this will be the general format on Mondays). Again, myself, Harriet (t'other Creon), Haemon and Chorus went through our little section towards the end. There were a couple of issues with grasping the emotional changes through the scene, especially on my part I feel. This really wasn't helped by me continually blanking my lines for some reason - not really had this up to this point and it shook me a bit meaning I didn't really manage to act as well as I ought to have done.
There was something about this second page with Haemon -->
where I struggled getting the tone appropriate to an emotion. Wasn't quite sertain whether I should say it as an emotional father or as one trying to emotionally distance himself and make his son understand the extent his duty to the law forces him to go.
I also felt awkward with the staging for my second part on this page about 'becoming a man' as I just stand, I don't have solution to this and probably just need to get over myself as Chipp hasn't mentioned it looking strained, but I felt there too much of me just looking at Haemon and standing opposite. I don't know if either should really move at all because it is quite intense, but it just doesn't quite sit right with me.
Towards the end of it, Creon just gets tired having 'done all this already with Antigone' and on the final part he's just quite harsh to Haemon telling him basically 'to man-up and deal'.
I think the blocking will end up feeling fine, but the emotional tone shifts in the text definitely needs some work, on both parts.
where I struggled getting the tone appropriate to an emotion. Wasn't quite sertain whether I should say it as an emotional father or as one trying to emotionally distance himself and make his son understand the extent his duty to the law forces him to go.
I also felt awkward with the staging for my second part on this page about 'becoming a man' as I just stand, I don't have solution to this and probably just need to get over myself as Chipp hasn't mentioned it looking strained, but I felt there too much of me just looking at Haemon and standing opposite. I don't know if either should really move at all because it is quite intense, but it just doesn't quite sit right with me.
Towards the end of it, Creon just gets tired having 'done all this already with Antigone' and on the final part he's just quite harsh to Haemon telling him basically 'to man-up and deal'.
I think the blocking will end up feeling fine, but the emotional tone shifts in the text definitely needs some work, on both parts.
Wednesday 1st March
Tonight took the formula of 'fix little bits', break, then a run-through.
In fixing parts of the play, one of the glaring holes was the Creon and Haemon which despite a bit of self-direction in the holiday rehearsal just didn't work so Chipp directed this in the rehearsal. Firstly, we actually included the chorus part in this section, unlike last time, which was pretty useful...
In fixing parts of the play, one of the glaring holes was the Creon and Haemon which despite a bit of self-direction in the holiday rehearsal just didn't work so Chipp directed this in the rehearsal. Firstly, we actually included the chorus part in this section, unlike last time, which was pretty useful...
In the picture to the right you can see the notes saying in the first response to the chorus "She had to die" in a tired way, reflecting the fact Creon has just gone through a massive confrontation with his niece then sentenced her to death. In the next section, he becomes more frustrated and defensive employing the clear fact that it was her choice and getting bitter at her attitude and the pain she'd caused him, and will cause him.
On the next picture there's the entrance of Haemon, this feels a little forced at the moment, perhaps because it's still raw, and then the way I interact with Haemon also feels a bit false. I felt that as a father I would be more personal and it feels a little distant at the moment, just putting a hand on his shoulder. I mean... he's just sentenced his son's fiancee to death, surely he would feel it best to try and comfort his son more personally. I know by the end of the scene he is quite distant when he quite harshly says "that's what it means to be a man" but at the start I feel he should be more desperate.
The next bit of interaction with the chorus is very dismissive with short responses having tried to think of solutions desperately already. Basically, by the end of the scene, Creon is certain he has no choice in the matter and he has to force his son to understand this and to be brave and accept a world without Antigone.
We next had a look at the little section before the massive bit with Creon and Antigone where the guards have arrested Antigone.
At the beginning I storm on looking ready for it "all to kick off" and when Antigone lifts her head Creon be like: "What's this!" etc. Showing a deep care for his niece at the beginning of the scene and shock at seeing her in this situation he rushes up to undo her cuffs, furious at the guards for treating her as they did. With every interruption from the guard getting more and more infuriated by the situation and struck by the actions of his niece not quite sure how to go about it, knowing he's supposed to sentence her to death, but really doesn't want to.
Following the separating into different groups to rehearse, we had a run-through with stops for notes. I wasn't playing Creon for this, therefore had the part of the silent page boy in the corner. Literally the best part in the play. Although only doing this, it was nice observing the way Harriet did Creon, noticing the difference in which she does the opening sequence, I think I prefer her way as I am always a bit colder and more authoritative when taking the paper from the 'courtiers' whilst she looks more kindly, perusing them a bit before dismissing some rather grabbing handfuls glancing than dismissing, looking more like a kindly man giving Creon a more sympathetic light from the start.
We didn't ever get to any of the Creon scenes as during the first section with Nurse, Ismene and Haemon, we kept swapping the Antigones in and out and giving notes. Though it was a little slow, just because it was a first run-through, I thought already it was looking to be quite a captivating performance. However, one of the notes for the chorus is that although we are just sitting around the side, we needed to look more interested in the action at all times to maintain the audience's interest also. Too often we were apparently dozing off (although seeing the same scene three times in a row can be a bit boring no matter how well acted) but we have to look at the action as though we are seeing it for the first time. Anyway, I think it's looking pretty good.
Sunday, 19 March 2017
The Tumbril Ismene Choreography
As I mentioned in my last post, the section in the Chorus choreography with Ismene was very ropy and pretty slow. Therefore, we spent the lesson working who was doing what in which cast and how to do it quickly. Previously, I had been taking over Caitlin's job when she was Antigone or Eurydice's but that was pretty confusing so we decided that the Antigone's would rotate Antigone, Eurydice and Stirrup lifter, so my role is creepy hands on back, mob-walking around Ismene then catching her as she drops. Must say, only having one role is far simpler and easier for my easily confused brain.
Attempting to remedy the slow moving 'tumbril' sequence, we reduced the number of people carrying her as we carry her around in a 360, with one person (Harriet) supporting most of the weight on her shoulder and pivoting on the spot. This made it not only faster, but looked slicker. Furthermore, it provided an opportunity for shielding the mechanics of the move and creating a mob-like feeling through making the rest of the cast who normally help spin create a counter-circle (meant to be angry and mob-like though that rough aspect needs some practice in my opinion, myself included) however, a build up of people meant it took too long for me and Sarah to do the full circle and create the landing for Ismene so instead we stayed in front of the 'tumbril' thing looking angry and stuff to hide the mechanics so that we were ready for a swift change into the flip.
So basically, my role as stirrup/catcher and mob walker has now been reduced to Mob stander and catcher all the time. Whoop! Much simpler for my small brain. Thank God, I had images in my head of forgetting which Antigone night I was meant to do each role and Ismene just ending up on the floor.
Another problem which arose was the problem with Ismene talking whilst upside down or something (I wasn't too clear on the issue) but in summary, there would be silences, therefore we decided to introduce an idea of the mob whispering harsh, violent comments at Antigone such as "Die traitor, you betrayed" or such like, I end up just muttering "Die traitor" again and again because my brain likes to deprive me of any further vocabulary for the duration of the scene, but it seems to work because the effect is the whole mub 'hissing' violent sentiments and I think "Die Traitor" whilst not very imaginative or sophisticated does serve that purpose.
We tried the scene without whispering and then with the whispering videoing each example:
(In these videos you can see that I walk all around Ismene which means it's a bit laboured getting into position, by the end of the rehearsal me and Sarah had changed to standing in front)
Thursday, 2 March 2017
Full Day Rehearsal 20.02.17
We began the rehearsal going over the massive forty minute section with Antigone and Creon before the rest of the cast appeared. Firstly we began looking at the tone of Creon's first lines which we decided would be politician-like trying to grasp the situation, then 'pitch-like' instructions to Antigone. Finally, I understand the right-angles walking around the stage as it's meant to reflect Creon's politician like state, I just though Chipp was being picky and trying to make Creon look more formal or something. Finally sorted the "why did you bury your brother" which some reason I had been struggling over how to say for a while, deciding now on saying it tiredly. We've also added scornful tone around ideas relating to Oedipus and Antigone's family to rile her up and to show how annoyed Creon is at their family ruining everything. The first section, although previously doing it quite mockingly, we've decided to make it quite mean which I love because it works so well with the lines, pointing them and laughing at the vanity of Oedipus and his kids, who keep ruining everything. In this monologue, we also added a more tender image at the end with Creon being genuinely kind and loving in both his words and actions, where before we just put a hand on her shoulder, we added a more familial move with Creon putting his arm around her shoulders and leading her forward a bit etc.
With the arrival with the rest of the cast, we began looking at holes in the blocking linking the larger sections we had already done. Saying that, I wasn't part of that but was instead sent off to rehearse scenes we had previously blocked with various cast members. What came to my mind whilst doing this was how static I felt as Creon appears to have his own favourite corner at stage-front-left where I seem to be perpetually standing looking unimpressed at other characters. I also find there's a lack of physical connection (though Creon isn't the type to give it out Willy nilly) but for my liking, I find myself standing facing someone and acting through face and speech with little through movement quite a lot, which may be advantageous for the style or something but I would like to move a bit more, with perhaps a few more levels. Furthermore, in the massive section between Creon and Antigone, I feel uncomfortable with the number of times I walk around the back of her and I'm worried it looks a bit too staged, I think she be more natural movement between Antigone and Creon though God save us from the awkward shuffle!
Whilst looking at the Haemon and Creon scene which hadn't been blocked previously, it came to light that me and Harriet had quite differing opinions on how Creon should act around his son who's fiancee he had just condemned to death. I thought Creon should be extremely broken over it all having warred against his niece, almost killed her himself then condemning her to death and ruining his son's life, though urgent in ensuring Haemon understands he had no choice in the matter. However, Harriet thought it should be more Politician like, though upset, but again, no physical contact! I think there should at least a heartfelt embrace from Creon at the start even if he turns more cold and politician-like at the end when he tells his son the world's basically terrible.
In the afternoon we did a ragged run through swapping in the various cast members (jeez it's confusing having different casts) which went reasonably well. However, I think the unanimous decision was to keep weapons far away from me by the end of the day: during the first fight sequence I accident misjudged distance, I think because of the lighting, and hit my partner Shanice in the eye with my stick, then later on managed to hit Connie in the fingers with a (blunt) machete. Sorry guys. What I really learnt from that was to be far more conscientious with my fight sequences as I don't really want to ruin the performance by blinding someone.
The chorus scenes also seemed a bit chaotic, especially the Tumbril sequence which whilst chaotic was also quite slow. It seems no matter how many times we rehearse these sequences, the next time we manage to forget all the choreography for a short section. The only opportunity I got to stretch my Creon muscles was at the beginning in the Chorus section where I got to do the Creon bit, in which for the first time, I hit all the cues! But the run through didn't actually reach any my scenes as we were going the first but with each Antigone and improving on them. These seemed good, to me at least, though I hate to say it, seeing scenes a few times in a row can make it hard as a chorus member sitting at the side of the stage to seem interested in the action.
These are the fruits of our labour (video links):
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