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2012-2013 Season

Creating a Character

by Ariel Mitchell, dramaturg

One of the hardest things for any actor is creating a character. The actor has to be able to separate themselves and their mannerisms from the mannerisms of the person they are trying to portray. This is especially hard when trying to depict a real person that you have met and interviewed. In order to differentiate yourself from a character the easiest thing to do is to heighten their ticks (fiddling with a necklace, drumming fingers, running a hand through their hair, etc.) and try to match their vocal tone and posture.

Unfortunately, heightening these aspects of a person often come off as comical. Whenever is something is exaggerated, especially by some one who is an inexperienced actor or isn’t very perceptive to body language, it becomes a sort of mockery. That is not what we are striving for in Gone Missing and The Cleverest Thief.

In our production, nine actors will portray over sixty characters in the span of two hours. How will they differentiate themselves from the characters they are playing? How will they distinguish their different characters from each other? Can they accomplish an honest depiction of real people?

When the representative from The Civilians company (group that devised/wrote Gone Missing), Emily Ackerman, workshopped with us she taught us some tricks. The first exercise she introduced involved status, or how a person carries themselves. A person of high status (social rank, energy, or happiness level) carries themselves with good posture and a spring in their step. As the status decreases people tend to carry themselves more curled in on themselves, as if protecting, with slumped shoulders and their gaze on the floor. Emily asked us to walk around the room and she’d say a number from 1 (low) to 10 (high) and we’d have to depict how a person of that status would look. She then asked us who a person of high status would be (we came up with celebrity, royalty, overconfident jock) and who a person of low status would be (we came up with street urchin, abused woman, someone who was depressed). Through this exercise we came up with a range of emotion that we could depict physically. We went through this process for ticks as well.

Finally Emily asked us to create a character with a defined status (from 1-10), distinct way of carrying themselves, and a defined tick (how strong it was 1-10). We then interacted with each other trying to see if we could guess the choices that our classmates made.

See if you can guess who the character is in this video. Who is it? What is their status? How does it reflect their age, gender, and how they feel about themselves? Do you believe that this character is a real person?
   

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Exeunt, Pursued by a Bear

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by Rick Curtiss, dramaturg The most quoted line in The Winter's Tale is never spoken. It's Shakespeare’s famous stage direction, Exeunt, pursued by a bear Where a character, after performing a grizzly task, is chased off the stage. It is a moment that demands pause. A bear chases him off the stage? There isn't a hint or prophecy or warning of “bears in these parts,” and within five words a bear appears and disappears. Why the bear didn't just eat the baby is beyond me. Did I mention there is a baby in the scene? It's all too reminiscent of an oft repeated family legend, Please bear with me-- In the early nineteen fifties a bear cub was found and killed outside a logging camp in the northwest corner of Montana. A few days later, Jaunita Curtiss was doing chores at the camp and her daughter Ida, not quite two, was playing outside. When Juanita turned to check on Ida, instead of a baby she saw a sow bear lumbering back into the woods on three legs. Exeunt, bear holding the baby Within five words a bear appeared and disappeared. Juanita, terrified, got everyone at the camp together hoping to find the bear before it got hungry. They searched most of the day and eventually tracked down the kidnapper sans baby. They cornered and killed the mama bear, and continued searching for (what's left of) Ida. It was a grim task. The next morning they discovered the bear's den. Inside they found an unharmed, crying, not quite two year old. Mother and daughter were reunited. What a moment that must have been. To wait through the night sure the child is dead only to be proven wrong the next morning—the best kind of wrong. It was a rarity, a miracle, a shouldn't have been. Ida's only account of the tale was a reference to the “big chi-chis.” The Curtiss family figured that the mama bear was trying to replace her cub. I imagine the mama bear spotted the human baby after just losing her own. “There is one,” she thought, “Not quite right, but close, and one not quite right baby is better than none at all.” Mother and daughter were reunited. What a moment that must have been. It was a rarity, a miracle, a shouldn't have been. They say the mama bear gave suck to baby Ida from her big bear teats, surely a bittersweet moment. Shakespeare must have known that bears have a great sense of justice and mercy. A Winter's Tale is about mothers and daughters, death and miracles, and briefly it's about a bear. But the question remains: How do we do it on stage? I won't answer that here, but I assure you it doesn't involve a man in a bear costume.
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The Face Behind the Puppet (Part 2)

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by Eric Stroud, dramaturg Welcome back! On this post we will continue delving into the opinions, lives and feelings of our puppeteers. Pay attention to what each says about the effects of the puppets on the production and after you’ve seen it, let us know if you agree, disagree or just your opinion in general. We would love to hear your feedback! (And if you missed the first half of our cast, check them out here.) [caption id="attachment_3430" align="alignright" width="225"] Aaron Fisher[/caption] This is Aaron Fisher. Playing the part of Lysander the lover seems to have come so naturally to him. However, it has been no different for his operation of the puppet Snout (who we will meet next week). Eric: What made you want to do a TYA show? Aaron : I think it was just the opportunity to be able to continue acting. It seemed like a fun project to be apart of, and that’s why I decided to audition. In the end, I just wanted to keep on acting. Eric: How has it been, working with puppets? What’s been your favorite part? What’s been the most challenging part? Aaron: It’s been great working with the puppets. I actually had no idea that I would be working with a puppet when I auditioned, but I have to say that I really enjoyed it. My favorite part is seeing the puppets develop their personalities and character as time progressed. With his physical development, I was able to create a character for Snout, and it was a lot fun trying to figure out who he was. The hardest part would be trying to make the puppets come to life. As the mechanicals, we had to channel our acting into our puppets. Through movement and breathing, it’s our job to make them come to life onstage. And despite the difficulties, I’ve enjoyed the time I’ve spent with my puppet. Eric: What do you think the puppets add to the show? Aaron: I think they add great comic personalities to the show. Through their actions we’re able to illustrate their strong characters onstage, and in doing so, we’re able to enhance the quality of the production. [caption id="attachment_3429" align="alignleft" width="225"] Lindsey Houseman[/caption] This is Lindsey Houseman. She plays the part of Helena the lover and Flute the puppet (who we will meet next week). She has some amazing enthusiasm for this show and brings so much energy to the stage. Eric: What made you want to do a TYA show? Lindsey: I love working with kids because I basically am one. How they think fascinates me and I wanted to have the chance to show them how wonderful and important theatre is. Eric: How has it been, working with puppets? What’s been your favorite part? What’s been the most challenging part? Lindsey: Working with the puppets is really a “love-hate” relationship. It’s exciting to work with them and bring them to life but it’s complicated! As an actor, you don’t think about how every part of your body is moving when you’re on stage. But as a puppeteer you have to think about their movement, their breathing, their voice, and also the lines of Shakespeare you’re performing. It’s tough. Eric: What do you think the puppets add to the show? Lindsey: A Midsummer Night’s Dream is a fantastic show already but puppets make it so whimsical! It becomes appealing to not only people familiar with Shakespeare but also those who don’t understand a word he’s written. I think that’s why this show is so good for kids. Shakespeare’s not scary for them anymore. [caption id="attachment_3431" align="alignright" width="300"] Bryce Revelli[/caption] This is Bryce Revelli. He is no stranger to Shakespeare (having won a Larry Lott award), however this is his first TYA show. It has been a pleasure to watch his skills as an actor, translate over to the work with his puppet. Bryce will be playing Demetrius the lover and Peter Quince the puppet. Eric: What made you want to do a TYA show?
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