Notes before the Storm

Hi

here are the notes from yesterday afternoon's run:

FOR EVERYONE:
- you MUST allow yourselves to be surprised by your partner's choices. Especially if it is when they raise their voice, cry, laugh, etc.
- everyone needs to look at the first beat of each scene they are in - REALLY get active and physical. A great bit of advice I was once given : "always make your first action grounded in a physical activity". That way you start grounding yourself RIGHT away
- always contact someone as you try an action - THEN check them at the end to see if it landed.
- allowing thoughts to change doesnt sacrifice pacing.

OK, specifics:

Medviedenko:
- allow Masha's scream and sitting to surprise you a little - even if that surprise is registered by diappointment
- Allow yourself some time to formulate that first question - NOT an epic pause, just a thought shift
- Take a slight moment to change thought before you confess "I love you". I lost it.
- be sure to really ask the Question to Kon "You will send someone...?" You kind of 'ran away'
- make sure you laugh at Arkardina's joke about Dorn taking his hat off to the devil
- Try a change in action for "Someone ought to write a play...". Try retreating, rather than defending yourself so much

Masha:
- explore the physical impact of taking snuff - it looks a bit mechanical at the moment
- LOVELY transition on "It's so close..."
- Careful of rushing text - you speed through the lines sometimes to find passion, I think. Make the thought shift FIRST.
- find an earlier 'trigger' to check Dorn before he takes his hat off
- Try laughing at Arkardina's joke about Dorn taking his hat off to the Devil
- In your scene with Dorn, let the stakes go DEEP in you, rather than making you go faster. Allow these confessions some space to land.

Konstantin:
- Keep exploring the physicality of KONSTANTIN, rather than relying on Alborz as much as you can
- just perform the action on "She loves me, she loves me not..." You labored it a bit. Fond the significance at the END of the action
- Really pick up Sorin's 'offer' when he talks about the theater. Add on to his thought with "We need new forms..."
- try advancing to Nina on "We're alone..." It is a bit awkward right now as you go later...
- pay attention to the kiss : does he get what he wants? Does he want another kiss?
- careful of emphasizing every word in your HAMLET speech. Play the intention.
- REALLY need Dorn when he encourages you - when was the last time ANYBODY did that (not even Nina!)

Nina :
- perhaps emphasize the word 'driving' in "I was driving the horse". It means you kicked its ASS to get here on time
- She needs to get ready for the performance - make up, hair, costume, etc. All those activities stopped. So perhaps sit and put on make up?
- re-examine the kiss : who kisses who? Remember to be polite. How does she get out of that WITHOUT hurting him?
- Nice work in the play - now work more for clear, specific 'choreography' throughout Konstantin's play
- When the audience is interested (and they are for the most part), return to the world of the play and make that situation clearer
- Watch that dress!!!
- part of Nina is how quick she is to cry or how CLOSE she gets to crying. You need to explore that a little more. Like when the play is stopped by Konstantin. That happens in front of TRIGORIN! How humiliating...
- use the thought behind the line "...how different everybody's destiny is.." you rushed it a bit yesterday
- I think (but may be wrong) that the touch of TRIGORIN should be on "You're over-worked..."
- really work the actions in your speech about wanting fame. How BADLY does she need it? Isnt it her ONLY hope? That speech is like a personal manifesto...

Sorin :
- Don't rush your getting up, leaving or singing. Maybe he's a bit intrigued by Konstantin's love. He strikes me as the kind of guy who would sing "Konstantin and Nina sitting in a tree, K-I-S-S-I-N-G". No matter how old he is. Have a little giggle over the situation, maybe?
- Find a reason to GO after you story about having your singing silenced : waiting there is deadly.
- Remeber the performances / performers you describe to Arkardina as REMARKABLE.... It's like your favorite moments of youth.

Arkardina :
- You are doing some lovely work - what I still dont get is how she LOOKS. Her hair, posture, movement are all things sculpted and designed to draw attention. I think you can revel in that more. She is a carefully put together Lady, and that is what is so revealing about her
- Anyway you could KEEP the dropping of your cigarettes during the play? That was GREAT
- Feel free to laugh at your own joke about Dorn taking his hat off to the Devil - does she find a double - entendre with that sentence?
- Have more fun with your story about Dorn. How many estates did he scandalize? SIX!!!
- Try to find a final 'bow-like' moment as she exits. Not as extreme as the Clown Run, but something a bit subtler...

Dorn :
- Use that table to hold on to for your first line - it may help you find some physical ease and release... Same goes for the chair. When you sit, how long has it been since you last sat?
- Careful of breaking your line to make an action change. You did it yesterday with "How nervous.....(Action shift)....you are". It leads to a kind of William Shatner rhythm. Trust your subtext and release... (easy for me to say, I know!)

Trigorin :
- WAY stronger during the Act 1 stuff. That bear image seemed to help.
- Remember to laugh at Arkardina's joke about Dorn taking his hat off to the Devil.
- Remember how insecure Arkardina is to any kind of disagreement.
- Ive asked Caitlin to KEEP her dropping her cigarettes during the play. Be sure to pick them up like you did yesterday - great choice.
- Remember to be observant of manners at the beginning of your scene with Nina - that way, when she breaks those manners, your anger and need to leave is quite genuine. She breaks the rules you are so kindly observing.
- Perhaps he relaizes it is kind of funny when he says "So I write about EVERYTHING"
- Careful of overplaying "Who am I... Agamemnon". IT is the first reference to a mistress. Agamemnon returned from Troy pulling his mistress (Cassandra) in a chariot and presented her to his wife. And then his wife killed him with an axe. That line could be a little more 'dangerous'

Good Luck tomorrow!!!