EXPERIMENT #2

CRACKS IN THE FLOOR

Lab Report

2.3.08

PURPOSE:

To explore spontaneity and impulse as a means of expression, while keeping that expression held within the context of specific guidelines, rules, or disciplines, in hope that through limitation the expression will gain strength. By giving free reign within a strict syllabus, the goal is both parts growth for the actor and an overall emotional truth for the story.

METHODS:

Each character should be developed separately, as a collaboration between director and actor. The actor will be responsible for coming up with the basic inner-workings of the character and the director will be responsible for helping that character grow into something will support the piece as a whole. I.E. If two people come up with the idea that their character is passionate about volleyball, that is less interesting than one character who is passionate about volleyball, and another who thinks that people who are passionate about sports are idiots. The point is, both actor and director will bring something to the table, and through discussion, an agreement will be reached that will support the whole of the production.

In order for this method to be effective, it is important that the director discusses and rehearses with the actors individually before they are brought together as a group. No acting should happen until the actor has a solid idea of what they are portraying. That doesn’t mean everything about them must be known, but the what-makes-a-person-what should be in place, the situation should be set for the subject to evolve.

Once the parameters are set, we will begin a number of experiments, which will be filmed, and reviewed by actor and director. Discussion will take place. The experiments will be repeated with differences (and surprises). Some experiments will work on scenes that exist in the play, and some will be strictly for character building.

As the experimental process continues, the writer/director will be thinking of the big picture. At a certain point, the what-will-be-done will be revealed, the play will be on paper, and rehearsing the play as a whole will begin. Again, during this time there will be some room for experimentation, as this is an exercise in following one’s instinct and growing as a result, not in how well one can memorize something that once was off the cuff, One point of caution: to remember, and for working in this way is to avoid and go deeper than anything that borders on phony naturalism.