GRASP

OBJECTIVE: To discover how the creation of a character can be a great help when preparing
complicated characters.
ROLE: You're an actor
AUDIENCE: The audience of the Teatre Nacional de Catalunya
SITUATION: The actor Oriol Pla has had an accident and has broken his foot, so he has to leave
the play he was doing so far. From your actor’s agency, they have called you to let you know
that you are going to replace him. But now you only have two weeks to learn the text and
prepare the character. This weekend you should present a written proposal of how you want
to approach this character to the director.
PRODUCT: You have to define what this character will be like with great precision so that the
director can see if you are in the correct path, so on Monday you can start rehearsing with the
rest of the company.
 

The character you have to prepare is Trigorin from Anton Txékhov’s "The Seagull". Next, the
director has added a series of points that will help you develop this character as well.
 
*It would be perfect if you could read the play, but in this case, since you will not do it, you’ll
have to look up for information about it or some summary where you can see what happens to
this character and what moves her to do what she does.
**Many of the points on the character list are in charge of your imagination!
 
 
 

 
 CHARACTER PROFILE

PSYCHOLOGICAL PROFILE

·         NAME:
·         AGE:
·         PLACE OF BIRTH:
·         PROFESSION OR MAIN ACTIVITY:
·         FAMILY HISTORY:
·         MARITAL STATUS:
·         NUMBER OF CHILDREN AND OBSERVATIONS:
·         SENTIMENTAL STATE:
·         SOCIAL, CULTURAL AND ECONOMIC LEVEL:
·         VIRTUES:
·         DEFECTS:
·         PREVIOUS DETERMINING FACTS:
·         OTHER OBSERVATIONS:
 
PHYSICAL PROFILE

·         COSTUMES:
·         PHYSICAL CHARACTERISTICS DUE TO THE PAST:
·         MOVEMENT STYLE:
Light-heavy / Direct-indirect / Tied-broken
·         DEGREE OF ENERGY AND SPEED:
·         MOTOR BODY PART:
·         PERSONAL PROPS:
 
RESEARCHING

·         IF SHE WAS AN ANIMAL:

·         IF SHE WAS A REAL HUMAN REFERENCE:
·         IF SHE WAS A FICTIONAL REFERENCE:
 

INTERIOR WORK

·         WHERE AM I? WHAT DOES THE SPACE MEAN TO ME? PLACE:

·         WHO I AM WITH:
·         WHERE DO I COME FROM:
·         WHAT DO I DO HERE NOW? ACTIVITY:
·         WHAT DO I WANT? (OBJECTIVE)
·         WHY? (MOTIVATION)
·         CONFLICT OF THE SCENE:
·         INTERNAL CONFLICTS:
 
OBSERVATIONS: