The document summarizes the actor's experience working on and refining his performance of a monologue from the play "Prodigal Son" after watching a video from "The Audition Doctor" and having a second lesson with his director. In the second lesson, the director questioned the actor to ensure he understood the character and could answer questions from audition panels. The director had the actor heighten the emotions in the text and add pauses and gestures purposefully. Practicing this new combined approach of dialogue and choreography helped the actor memorize and improve his performance to take risks as directed.
The document summarizes the actor's experience working on and refining his performance of a monologue from the play "Prodigal Son" after watching a video from "The Audition Doctor" and having a second lesson with his director. In the second lesson, the director questioned the actor to ensure he understood the character and could answer questions from audition panels. The director had the actor heighten the emotions in the text and add pauses and gestures purposefully. Practicing this new combined approach of dialogue and choreography helped the actor memorize and improve his performance to take risks as directed.
The document summarizes the actor's experience working on and refining his performance of a monologue from the play "Prodigal Son" after watching a video from "The Audition Doctor" and having a second lesson with his director. In the second lesson, the director questioned the actor to ensure he understood the character and could answer questions from audition panels. The director had the actor heighten the emotions in the text and add pauses and gestures purposefully. Practicing this new combined approach of dialogue and choreography helped the actor memorize and improve his performance to take risks as directed.
Between the first lesson, where we practiced the tool of directing,
and the second, we watched a video tuition from the audition doctor. The questions she prompted upon the actors, sparked thoughts that they use to paint a faithful image of their character on stage. They were forced to produce information, from analysing the emotions within the given text.
After I had a shot at performing my Jim Quinn monologue. Kieron
fired questions at me to prove that I had read the play and that I was knowledgeable, in the case that the audition panelists throw questions at me, to try and catch me out. He asked of me to section off different emotions present in the text, and project them, with a heightened difference in each. During this process, I had to produce small transitions between emotions to showcase a change in thought as humans would. I added an array of elongated pause and marked gesture where it deemed appropriate. By this method, every action the audience perceived on stage would be purposeful. Nothing was just chucked in there - each physical element was calculated. A difficulty arose from this process; I had to now memorise the choreography and noticeable marks of human nature, alongside the dialogue. I benefitted from constant practice of my freshly devised piece. Repetitive practice, consolidated my newly ‘put together’ monologue. When going through the lines I would always complete a brief action. Just to aid me to remember the order. This method of devising was a new one to me. Normally, I would add in the marked gesture, or elongated pause or whatever it may be, after I had completely learnt the lines. But composing my piece around my lines, combining dialogue with choreography, will hopefully allow me to include every learnt piece in my final performance. By trying new methods of devising, prompted by my director Kieron, I was able to meet my target of taking risks in the performance space - trying something new to refreshen my heavily rehearsed piece.