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.
No comments:
Post a Comment