language play

 

          Understanding the author's intention.

            author
  1. Suppose to be near poetry: It's not everyday reality.
  2. Shakespeare: speak slowly.
  3. Play of language = simplicity.
  4. Play of language. Speak the words. Don't make conversation. Don't slip into ordinary. Actor has to have voices. Affect the audience as real, but stylize everything. Deepest tone of voice.
  5. Play of language. What he says is all important, he is the star. Remember you don't have the liberty of whispering, mumbling. Must give the words their due course.
  6. Shakespeare: acting is making words into flesh. Movement dance like. Your body instrument very stylized. Can't lose words in shouts. Graceful movement.
  7. ROMEO & JULIET: Concept: don't play doom at start, they are filled with passion. It's not about sadness or grief. Only for end. They are madly in love. Scene: great fun. Purpose of scene: how happy they are. Two hot kids in love, there is fun in it. Use full force. Joy. Adoration. Hope. Her: move like a dancer, talking about poetry. Passionate lady, hot in the pants.
  8. Talk clearly and slowly. When to breathe. Five beats then breathe.
  9. Get images (throwing coat over someone's head, etc.)
  10. Going absolute clarity.
  11. Greek Theater. They wore masks. More proclaiming, learn to be an orator. Every word must be understood, this is not normal speech.
  12. Lines are the noises people are making. Mostly lies anyway. Don't take it literally. Each word doesn't have the truth, unless the play is a language play; Shakespeare, Wilder, etc.
  13. Don't get too busy, speak clearly and slowly.
  14. In a language play don't move all over, just speak.
  15. Can't move all over, just speak.
  16. In a language play don't move all over, just speak.
  17. Author is star.
  18. Full rhythm of words.
  19. Words are highly significant.
  20. Talk slowly. Don't clutter it up.
  21. Playing of poetry any play in verse, Author is real star, people come to hear, must give language it do time. Can't speed it up. Just give emotion.
  22. Don't get too busy, speak clearly and slowly.
  23. Idea to idea, not sentence to sentence. Comedy: both idea to idea and sentence to sentence.
  24. Organized, clear. Maspeth should be sexy. Plays of words. Author is important. Shakespeare. He invented the language. In verse, range of force be great. Unafraid to fill audience. Odets. Speak clearly. Enunciate. Get range in head of size of theater.
  25. Make monuments simple. To make it real: The emotions have to be real, objective must be real.
  26. What the relationship is.
  27. Staging: finding out how to physicalize. Mac Beth talking to himself. Wrong. Doing Shakespeare: when talking to oneself talk to imaginary self outward then the audience can participate. All of the language play are like that.
  28. People didn't talk that way.
  29. The reality is objective and emotion. Style is away from the norm. The audience adjusts to it.
  30. Seven ranges of voice. Between realistic and opera. Volume has to be loud to reach the person in back. Talk like telling a ghost story to children. Shakespeare is trying to scare the audience. Halloween fun. Must have passion and scary. 5 beats. To be/or not/to be/that is/the question.
  31. All the variations from the meaning. Six ranges of your voice, half way between dialogue and opera. Lay down a mood for audience. It has to have meaning.
  32. Doing the scene: Just don't do historical people for the audience.
  33. It has no form. In Shakespeare lines of play must be spoken out. No breath. Play of language.
  34. Must have a minimum of 7 voices coming out. Form: "Shape of the scene". Use form (game playing) slow revelation of the character.
  35. Form: what if it's a dance. Start little dance; who'll lead.
  36. Feel free in classic play, don't make it look ordinary or fussy.
  37. Don't need business. Can stay in one look for a long time.
  38. Get the way the hell up, get the way the hell down in voice. Use seven levels of your voice. Caution: don't use one contemporary voice.
  39. People come to hear Shakespeare. Don't speak in a hurry, can't speak contemporary.
  40. Slow it down four times.
  41. Play all the values of the speech.
  42. Has to be rhythm. American actors are taught to sound like people in the street.
  43. John Garfield in "Four Daughters" he is weird in modern acting.
  44. Can't turn Shakespeare into now.
  45. Between normal speech and oratory. Drum beat of the language, the poetry.
  46. Six times the vocal range.
  47. Don't be ashamed of image of language. Manner of walk and behavior. Don't die too quickly. A struggle that goes on, so that audience has to endure. Drama is deeply moved. Tragedy is the pit of all suffering, there is no more.
  48. The "style" of classic tragedy was suffocation.
  49. Play of language. Odet, Wilds etc.
  50. Writer is star.
  51. First mistake: actors take a bunch of words and try and say them.
  52. Shakespeare takes four times as long to say it.
  53. Take deep breath for Shakespeare.
  54. It's not ordinary speech.
  55. It's in 5s (groups) for a sentence.
  56. The unstated syllable and the stated syllable.
  57. Slow down the speech, half the speech. Extent the vowels. One accented syllable, one not accented syllable. Do five then stop, then do the next five and stop.
  58. Shakespeare speech: they got too contemporary. Nobody spoke that way. You must emote voice. Don't sound like conversation. Seven ranges to your voice, sounds that aren't yours.
  59. Truth in the verse.
  60. Shakespeare must play rhythm.

"In the end, it can't look like acting."