Friday, March 25, 2011
3/24/11 Journal
Hayley
-Love your point of focus
-You could tell a story with your eyes!
-A little more volume
-Transition a little more smoothly into the piece from the slate (someone elses note) I personally liked the transition
-Could see the emotion in your eyes
-Seemed a little short, but great presence on stage!
Sean
-Nerves seemed apparent; more diction!
-Clean up the speed of the piece
-Good character choice; good physical choices
-Say the slate more clearly
Kailee
-Good attitude in beginning , but focus up
-Good physicality but go FURTHER (arm was dangling too much by your side)
-Keep focus on the convo saw your eyes dart to the side when you were trying to think of a line
-Nice hold on moment but motivate it more! But funny.
-Good timing with the piece
Gabriel
-Nice volume, nice movement (but too long of a pause)
-Too many breathes in beats
-Keep focus up!
-More volume like in beginning
-Good commitment to the character
-Some pauses are awkward; took way to long in pauses because it made me think that you were forgetting your lines
-Too much eyebrows
Morgan
-Look too angry in slate
-Hand gestures are awkward
-Stance is awkward
-Backed down too soon on some lines
-Hands onhips was weird (too super hero looking)
-Good volume
Jeremy
-Don't look down too much
-Really nice vocal quality
-Volume is good
-Don't trap your hand gestures; explore physicality
-Nice outfit!
-Great for film (the piece)
-Very genuine, nicely done
V
-Slower slate! (Could not understand you!)
-Weird stance in the beginning
-More volume; DICTION
-Gestures are too repetitive (hands down)
-Nice mimic of guy
Ari
-Nice physical choices in beginning
-Keep focus up!
-Nice attitude
-Kept doing same hand gesture repetitively
-Nice vocal variety; LOVED yelling bit in the monologue
-Maybe do a dramatic piece next time ;)
Ariel
-A bit awkward sitting position
-A little more volume
-Great physicality
-A little too many breathes between lines
-Nice usage of prop
Nadia
-Nice presence in beginning
-Pull hair back because its hard to see your eyes
-Don't look down
-Good vocal variety; good volume
-Great physical choices; maybe don't move as much?
-Overall good work
Everyone did a great job on their monologues. My two favorite monologues were Ari and Jeremy's pieces. Overall I was really impressed with all of the monologue work.
-Love your point of focus
-You could tell a story with your eyes!
-A little more volume
-Transition a little more smoothly into the piece from the slate (someone elses note) I personally liked the transition
-Could see the emotion in your eyes
-Seemed a little short, but great presence on stage!
Sean
-Nerves seemed apparent; more diction!
-Clean up the speed of the piece
-Good character choice; good physical choices
-Say the slate more clearly
Kailee
-Good attitude in beginning , but focus up
-Good physicality but go FURTHER (arm was dangling too much by your side)
-Keep focus on the convo saw your eyes dart to the side when you were trying to think of a line
-Nice hold on moment but motivate it more! But funny.
-Good timing with the piece
Gabriel
-Nice volume, nice movement (but too long of a pause)
-Too many breathes in beats
-Keep focus up!
-More volume like in beginning
-Good commitment to the character
-Some pauses are awkward; took way to long in pauses because it made me think that you were forgetting your lines
-Too much eyebrows
Morgan
-Look too angry in slate
-Hand gestures are awkward
-Stance is awkward
-Backed down too soon on some lines
-Hands onhips was weird (too super hero looking)
-Good volume
Jeremy
-Don't look down too much
-Really nice vocal quality
-Volume is good
-Don't trap your hand gestures; explore physicality
-Nice outfit!
-Great for film (the piece)
-Very genuine, nicely done
V
-Slower slate! (Could not understand you!)
-Weird stance in the beginning
-More volume; DICTION
-Gestures are too repetitive (hands down)
-Nice mimic of guy
Ari
-Nice physical choices in beginning
-Keep focus up!
-Nice attitude
-Kept doing same hand gesture repetitively
-Nice vocal variety; LOVED yelling bit in the monologue
-Maybe do a dramatic piece next time ;)
Ariel
-A bit awkward sitting position
-A little more volume
-Great physicality
-A little too many breathes between lines
-Nice usage of prop
Nadia
-Nice presence in beginning
-Pull hair back because its hard to see your eyes
-Don't look down
-Good vocal variety; good volume
-Great physical choices; maybe don't move as much?
-Overall good work
Everyone did a great job on their monologues. My two favorite monologues were Ari and Jeremy's pieces. Overall I was really impressed with all of the monologue work.
3/22/11 Journal
Today in class my peers performed their final performance for their monologues. Sammie and I already performed our final monologues before this class meeting so we did not have to present on this day.
Jessica: Pheiffers People
-Good transitions between characters within the monologue
-Rafi said that you don't necessarily need to go on the ground. He wasn't sure it necessarily worked for the monologue, but he liked the levels.
-I had a hard time understanding what was said when fell to the floor.
-Overall enjoyed the piece. great work.
Shane: Savage and Limbo
-Making same gestures several times
-Liked his point of focus (he really saw Linda)
-Physicality was more like Shane instead of Tom
Rafi wanted his slate a bit more professional
-Natural quality showed itself a little more, but ending needs to be shaped and molded more
Danny: Ron from Search and Destroy
-Need different vocal levels
-Really liked the movement with the piece because the gestures gave it life
-Get the chair before introduction/slate
-Overall a funny piece and loved the choices that were made
Brante: Miss Warren's Profession
-Good physicality
-Good voice levels
-Really liked the facials that she used
-Push lower register of voice
-Really great piece for you and loved the moment when you turned around and really saw that other person
Anna
-Transition in beginning should be a little more fluid
-Try not to repeat the same motion over and over
-Very diverse actress proved that you can do comedy and drama; great work!
I enjoyed all of the monologues that were shown today. Everyone did really great on their pieces and I was impressed overall.
Jessica: Pheiffers People
-Good transitions between characters within the monologue
-Rafi said that you don't necessarily need to go on the ground. He wasn't sure it necessarily worked for the monologue, but he liked the levels.
-I had a hard time understanding what was said when fell to the floor.
-Overall enjoyed the piece. great work.
Shane: Savage and Limbo
-Making same gestures several times
-Liked his point of focus (he really saw Linda)
-Physicality was more like Shane instead of Tom
Rafi wanted his slate a bit more professional
-Natural quality showed itself a little more, but ending needs to be shaped and molded more
Danny: Ron from Search and Destroy
-Need different vocal levels
-Really liked the movement with the piece because the gestures gave it life
-Get the chair before introduction/slate
-Overall a funny piece and loved the choices that were made
Brante: Miss Warren's Profession
-Good physicality
-Good voice levels
-Really liked the facials that she used
-Push lower register of voice
-Really great piece for you and loved the moment when you turned around and really saw that other person
Anna
-Transition in beginning should be a little more fluid
-Try not to repeat the same motion over and over
-Very diverse actress proved that you can do comedy and drama; great work!
I enjoyed all of the monologues that were shown today. Everyone did really great on their pieces and I was impressed overall.
Tuesday, March 22, 2011
My Resume
Allison Boettcher
619.933.9312
boeallison@gmail.com
Height: 5’3” Weight: 125lbs Hair: Blonde Eyes: Blue
Theatre
Joseph…Dreamcoat Narrator Valhalla high school
Wish: A Musical Revue Snow White SDSU
Pirates of Penzance Mabel Valhalla high school
Training
SDSU BA in Theatre Performance expected graduation in 2013
Voice- Mary MaKenzie, Tommy Vendafreddo, Audrey Rountree
Acting- Peter Cirino, C.J. Keith
Dance- APA, Touch of Class Dance Studio, Dance Express
(Jazz, Ballet, Tap, Hip-Hop, Dance Team experience) 15 years of dance
Special Skills or Experience
Impersonations and Noises: Golem from Lord of the Rings and Terridactal
Scholarship Pageants: Miss El Cajon Teen 2007; Miss Teen San Diego County 2008-09;
Miss Valhalla 2008-09; Miss Rancho San Diego 2010
Enrolled in Personal Training Courses at 24 Hour Fitness
Drivers License, Current Passport
619.933.9312
boeallison@gmail.com
Height: 5’3” Weight: 125lbs Hair: Blonde Eyes: Blue
Theatre
Joseph…Dreamcoat Narrator Valhalla high school
Wish: A Musical Revue Snow White SDSU
Pirates of Penzance Mabel Valhalla high school
Training
SDSU BA in Theatre Performance expected graduation in 2013
Voice- Mary MaKenzie, Tommy Vendafreddo, Audrey Rountree
Acting- Peter Cirino, C.J. Keith
Dance- APA, Touch of Class Dance Studio, Dance Express
(Jazz, Ballet, Tap, Hip-Hop, Dance Team experience) 15 years of dance
Special Skills or Experience
Impersonations and Noises: Golem from Lord of the Rings and Terridactal
Scholarship Pageants: Miss El Cajon Teen 2007; Miss Teen San Diego County 2008-09;
Miss Valhalla 2008-09; Miss Rancho San Diego 2010
Enrolled in Personal Training Courses at 24 Hour Fitness
Drivers License, Current Passport
First Half of Midterm: Freeing the Natural Voice by Kristin Linklater
First Part of Midterm: Freeing the Natural Voice: Blurbs about what spoke out the most within the text
This book is intended for use by professional actors, student actors, teachers of acting, teachers of voice and speech, singers, singing teachers, and interested lay people. Its aims are to provide a series of exercises to free, develop, and strengthen the voice as a human instrument and to present a lucid view of the voice both in the general context of human communication and as a performer’s instrument.
The basic assumption of the work is that everyone possesses a voice capable of expressing, through a two-to-four-octave natural pitch range, whatever gamut of emotion, complexity of mood, and subtlety of thought he or she experiences.
The result of the work will be a voice that is in direct contact with emotional impulses, shaped by the intellect but not inhibited by it….The natural voice is transparent, it reveals, not describes, inner impulses of emotion and thought, directly and spontaneously. The person is heard, not the person’s voice.
The paradox is that actors must train their voices so that they can sacrifice them. Actors’ voices must learn to be dissolved by the impulses of thought and feeling….their voices must be wide and long and strong and tender enough to reveal the length and breadth of the imagination.
From Workday Three The Touch of Sound: Initial Vibrations…pool of water
Picture: A deep, calm forest pool with a surface roughly level with your diaphragm and its depths in your pelvic region…
Gravity loves to feed off your excess tensions. When you lie on the floor, gravity will happily suck tension out of you. When you stand up , gravity will happily play games with you to se how you can compete with his pull. Gravity is constantly challenging us in the game of life…
Picture that a great reservoir of the vibrations of sound preexists in the pelvic basin…
From Workday Five Jaw Awareness…prison gate or open door
One of the strongest and most universal muscular defense systems is in the jaw hinges.
From Workday Seven Freeing the Channel: The soft palate…
…the soft palate is all flesh and muscle. For working purposes you can regard it as either the doorway from the throat to the mouth or as the trapdoor leading up into the middle and upper resonators.
Do you yawn vertically or horizontally?
Communication is the by-product of desire and freedom.
From Workday Ten Developing and Strengthening: Chest, Mouth, Teeth resonators
Each part of the voice has its own rung on the resonating ladder, and the ladder is the body from the chest to the mouth, teeth, sinuses, nose and skull. You will be directing your voice to move up and down the resonating ladder until every part of it is available, familiar and safe. Weak rungs can be strengthened and gaps in the ladder can be filled in ways that are palpable. Your vocal range of three to four octaves can be mapped clearly and your use of it can become physically familiar through regular travel.
From Workdays Twelve and Thirteen Breathing Power
As we continue the exploration of breathing capacity the challenge is again to ask your Self: “What is my capacity for imagination, for emotion, for desire? What could I say through these large spaces I find within myself?” Let your developing breathing capacity suggest the development of your creative capacity.
Once you have found enough freedom in the solar plexus/diaphragm area to induce fast, even panting on breath alone and with sound, you can practice the panting on double triads….
The essential attributes of the actor’s voice are range, variety, beauty, clarity, power and volume, but sensitivity is the quality that will validate all the others, for they are dull attributes unless they are reflecting inner energy…Energies that fuel the voice muscles need to be attuned with great sensitivity to the still finer energies of psychological creation if the communication from inside to outside is going to be transparently true. When the energy of the content is powerful, the economy of its transmission will preserve the truth of the content.
Words…imagery
Language began instinctually, physically, primitively.
Awareness of the sensory nature of words must come before that of their informational purpose…
About Texts…art
The etymological root of the word text is the Latin texere, which means “to weave” or “to fabricate”. A text is a tapestry of ideas woven with words.
A word or a phrase or a sentence is like a pebble that, when thrown into the pool of the body-mind, sets up ripples that disturb the waters. The waters? Physical, sensory, sensual and emotional energies.When you are first learning lines, do not use the word memorize. …The old-fashioned term “learn by heart” tells you what you need to be doing when you learn. You need to be breathing the words in so that the underlying thoughts become feelings and the cellular make-up of your body starts to rearrange itself in response.
Listening in to classical texts we can hear how free and wide-ranging the classical voice was…Well-nourished by a diet of songs, poems and stories still rooted in a thousand-year-old oral tradition, all classes of society exercised the full range of voice for practical purposes. In the fields and cottages, women and men called, cajoled, wailed and wassailed. In the streets of the cities, they hawked their wares at full volume. In schools and universities, men and boys recited their lessons in stately Latin according to the rules of rhetoric. Ship captains threw their voices up with the wind into the sails where ship-boys tugged at ropes; armies were lashed into battle by the tongues of their leaders; kings and queens, noblemen and women harangued their subjects with a forceful eloquence that made good use of the melodious range of their voices exercised daily by singing motets and madrigals and canons and cantonets.
Tuning into the Text…imagination
You must be able to experience emotional imagination in your body. You must be able to express the incarnated emotional imagination in words if you are to speak classical texts and poetic texts truthfully.
This book is intended for use by professional actors, student actors, teachers of acting, teachers of voice and speech, singers, singing teachers, and interested lay people. Its aims are to provide a series of exercises to free, develop, and strengthen the voice as a human instrument and to present a lucid view of the voice both in the general context of human communication and as a performer’s instrument.
The basic assumption of the work is that everyone possesses a voice capable of expressing, through a two-to-four-octave natural pitch range, whatever gamut of emotion, complexity of mood, and subtlety of thought he or she experiences.
The result of the work will be a voice that is in direct contact with emotional impulses, shaped by the intellect but not inhibited by it….The natural voice is transparent, it reveals, not describes, inner impulses of emotion and thought, directly and spontaneously. The person is heard, not the person’s voice.
The paradox is that actors must train their voices so that they can sacrifice them. Actors’ voices must learn to be dissolved by the impulses of thought and feeling….their voices must be wide and long and strong and tender enough to reveal the length and breadth of the imagination.
From Workday Three The Touch of Sound: Initial Vibrations…pool of water
Picture: A deep, calm forest pool with a surface roughly level with your diaphragm and its depths in your pelvic region…
Gravity loves to feed off your excess tensions. When you lie on the floor, gravity will happily suck tension out of you. When you stand up , gravity will happily play games with you to se how you can compete with his pull. Gravity is constantly challenging us in the game of life…
Picture that a great reservoir of the vibrations of sound preexists in the pelvic basin…
From Workday Five Jaw Awareness…prison gate or open door
One of the strongest and most universal muscular defense systems is in the jaw hinges.
From Workday Seven Freeing the Channel: The soft palate…
…the soft palate is all flesh and muscle. For working purposes you can regard it as either the doorway from the throat to the mouth or as the trapdoor leading up into the middle and upper resonators.
Do you yawn vertically or horizontally?
Communication is the by-product of desire and freedom.
From Workday Ten Developing and Strengthening: Chest, Mouth, Teeth resonators
Each part of the voice has its own rung on the resonating ladder, and the ladder is the body from the chest to the mouth, teeth, sinuses, nose and skull. You will be directing your voice to move up and down the resonating ladder until every part of it is available, familiar and safe. Weak rungs can be strengthened and gaps in the ladder can be filled in ways that are palpable. Your vocal range of three to four octaves can be mapped clearly and your use of it can become physically familiar through regular travel.
From Workdays Twelve and Thirteen Breathing Power
As we continue the exploration of breathing capacity the challenge is again to ask your Self: “What is my capacity for imagination, for emotion, for desire? What could I say through these large spaces I find within myself?” Let your developing breathing capacity suggest the development of your creative capacity.
Once you have found enough freedom in the solar plexus/diaphragm area to induce fast, even panting on breath alone and with sound, you can practice the panting on double triads….
The essential attributes of the actor’s voice are range, variety, beauty, clarity, power and volume, but sensitivity is the quality that will validate all the others, for they are dull attributes unless they are reflecting inner energy…Energies that fuel the voice muscles need to be attuned with great sensitivity to the still finer energies of psychological creation if the communication from inside to outside is going to be transparently true. When the energy of the content is powerful, the economy of its transmission will preserve the truth of the content.
Words…imagery
Language began instinctually, physically, primitively.
Awareness of the sensory nature of words must come before that of their informational purpose…
About Texts…art
The etymological root of the word text is the Latin texere, which means “to weave” or “to fabricate”. A text is a tapestry of ideas woven with words.
A word or a phrase or a sentence is like a pebble that, when thrown into the pool of the body-mind, sets up ripples that disturb the waters. The waters? Physical, sensory, sensual and emotional energies.When you are first learning lines, do not use the word memorize. …The old-fashioned term “learn by heart” tells you what you need to be doing when you learn. You need to be breathing the words in so that the underlying thoughts become feelings and the cellular make-up of your body starts to rearrange itself in response.
Listening in to classical texts we can hear how free and wide-ranging the classical voice was…Well-nourished by a diet of songs, poems and stories still rooted in a thousand-year-old oral tradition, all classes of society exercised the full range of voice for practical purposes. In the fields and cottages, women and men called, cajoled, wailed and wassailed. In the streets of the cities, they hawked their wares at full volume. In schools and universities, men and boys recited their lessons in stately Latin according to the rules of rhetoric. Ship captains threw their voices up with the wind into the sails where ship-boys tugged at ropes; armies were lashed into battle by the tongues of their leaders; kings and queens, noblemen and women harangued their subjects with a forceful eloquence that made good use of the melodious range of their voices exercised daily by singing motets and madrigals and canons and cantonets.
Tuning into the Text…imagination
You must be able to experience emotional imagination in your body. You must be able to express the incarnated emotional imagination in words if you are to speak classical texts and poetic texts truthfully.
The Glass Menagerie: Tennesse Williams
OVERVIEW
"TENNESSEE WILLIAMS' COLORFUL GENIUS HAS BEEN GLORIOUSLY REDEEMED..."
- Charles McNulty, Los Angeles Times"GO! JUDITH IVEY IS NOTHING SHORT OF A TRIUMPH."
- Bill Raden, LA Weekly"A STUNNING AND ORIGINAL TAKE ON AN AMERICAN CLASSIC... This might be the funniest "Menagerie" you'll ever see... my hunch is Williams would be knocked out be the transformation…Judith Ivey's Amanda is a fascinating creation."
- Jay Reiner, The Hollywood Reporter"SEAMLESS AND CAPTIVATING... This 'Menagerie' is filled with humor. Gordon Edelstein has come up with a brilliant way of handling Tom's monologues..."
- Paul Hodgins, The Orange County Register
"Gordon Edelstein's SPLENDID, UNMISSABLE "The Glass Menagerie" brings out all manner of the hitherto-unseen insights, stage business and laughs."
- Bob Verini, Variety
One of the greatest American plays finds new light in this critically-lauded re-imagining of the classic story of a fragile family hanging its hopes on the arrival of a “gentleman caller.”
Two-time Tony Award®-winner Judith Ivey features in director Gordon Edelstein’s sparkling new production that makes this Menagerie as fresh and vital and sadly magical as its original 1944 debut.
Returning to the roles they played at the Long Wharf Theatre and in the subsequent Roundabout presentation are Patch Darragh as Tom, the son who works in a shoe factory and is torn between his role as the family breadwinner and his desire to lead a life of his own and Keira Keeley as Laura, his frail sister who has retreated to an imaginary world caring for her collection of glass animals.
“The quicksilver Darragh is a revelation …[He] is giving the kind of performance that lingers in the mind for life.”
- Erik Haagensen, Back Stage
“…there’s subtle craft in Keeley’s take on Laura’s fragility, and her performance grows weightier and more complex as the story culminates in a candle-lit kiss with her oblivious gentleman caller,”
- Jeff Labrecque, Entertainment Weekly
Ben McKenzie, who is best known for his roles on “Southland” and “The O.C.,” and in the films “Johnny Got His Gun” and “Junebug” joins the company as Jim, the Gentleman Caller.
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