Week 6
Today we paired up with partners and critiqued peoples monologues one on one and it was kind of intimidating, but I feel like it was very constructive. I got some great feedback on where my focus should be and how I can fix the beginning and end portions of my piece. But, I also feel like I don't know how to give constructive criticism. I know what needs to be fixed in my head, but I don't now how to put that into words. I felt kind of bad that I couldn't give the notes I wanted but I learned allot about making sure that a piece remains active. When things are active it becomes so interesting to watch and there is so much motivation behind each sentence.
I also learned about the way that words should be pronounced on stage. RP- is received pronunciation it is supposed to reflected educated speech. Standard American Stage Speech is a middle American sound (no defining accent).
I thought it was cool how we talked about vocal liberation. Politeness is really a very deep barrier to overcome in American social situations. It prevents you from getting to the deep stuff, but it is a necessary lubricant for social interaction. I can see that in a theatrical setting THERE IS NO TIME FOR POLITENESS. We talk a lot about theater is only made up of the days that something special to happen and in order to have a large effect on the audience you can have polite barriers up. You need to liberate you voice and not be afraid to share with strangers what is really happening inside your character. Shawn Pen said "if you got something to say they will hear you".
Articulators are made up of your : tongue, teeth, lips, and jaw. These help you punctuate your speech and it is another mode to convey meaning. I think especially in dramatic pieces that articulation can be very powerful. You can have tactics and achieve them through your vocal quality and I think that is so amazing and very necessary for lots of scenes that don't require much. And combined with constants (the stopping blocks of the voice) it can create a very dramatic effect vocally, but I need to remember to always match my physical quality to the vocal intensity or non- intensity being portrayed otherwise it will look odd and your meaning won't be clear to the audience.
We also starting talking about how to be able to do odd physical things correctly. aliment to your air supply is needed to achieve healthy physical movement. I really need to focus on this. I find that I have pretty good starting ideas for certain physical movements, but I need that connection so that I can be able to do the same physical stuff 8 shows a week. A note I got on my last monologue was to make sure that I was in a more connected less breathy place. Although I did have a cold I should have focused on it more. That character, Zatz is very physical so I need to align myself to get that support. It will make my monologue more active and powerful.
I also learned about the way that words should be pronounced on stage. RP- is received pronunciation it is supposed to reflected educated speech. Standard American Stage Speech is a middle American sound (no defining accent).
I thought it was cool how we talked about vocal liberation. Politeness is really a very deep barrier to overcome in American social situations. It prevents you from getting to the deep stuff, but it is a necessary lubricant for social interaction. I can see that in a theatrical setting THERE IS NO TIME FOR POLITENESS. We talk a lot about theater is only made up of the days that something special to happen and in order to have a large effect on the audience you can have polite barriers up. You need to liberate you voice and not be afraid to share with strangers what is really happening inside your character. Shawn Pen said "if you got something to say they will hear you".
Articulators are made up of your : tongue, teeth, lips, and jaw. These help you punctuate your speech and it is another mode to convey meaning. I think especially in dramatic pieces that articulation can be very powerful. You can have tactics and achieve them through your vocal quality and I think that is so amazing and very necessary for lots of scenes that don't require much. And combined with constants (the stopping blocks of the voice) it can create a very dramatic effect vocally, but I need to remember to always match my physical quality to the vocal intensity or non- intensity being portrayed otherwise it will look odd and your meaning won't be clear to the audience.
We also starting talking about how to be able to do odd physical things correctly. aliment to your air supply is needed to achieve healthy physical movement. I really need to focus on this. I find that I have pretty good starting ideas for certain physical movements, but I need that connection so that I can be able to do the same physical stuff 8 shows a week. A note I got on my last monologue was to make sure that I was in a more connected less breathy place. Although I did have a cold I should have focused on it more. That character, Zatz is very physical so I need to align myself to get that support. It will make my monologue more active and powerful.
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