Working on "As I Lay Dying."

My perspective as a spectator is gone for this topic, replaced by my sense of being a performer. Work has started on a stage adaptation of William Faulkner's novel "As I Lay Dying." We will have to turn brilliant poetic explanation and discription into living dramatic action. Somehow. And not that a collection of talent automatically makes for a good or meaningful or engaging production, BUT...it does bring excitement to the beginning of the work. I'm happy at rehearsal to be in the presence of actors with the kind of deep instinctual abilities that our cast has. What will come of it and where we will take it remains to be seen. I'll be in touch.

"Physical Comedy" Workshop

If you are in Tucson during the month of October, I suggest you check out the following workshop. Matt and Angela (the instructors) are wonderful people, you won't find better, and terrific teachers.


For Immediate Release—21 September 2011

TRAINING IN “PHYSICAL COMEDY” TO BE HELD AT THE ROGUE THEATRE
TUCSON— Through the month of October, The Rogue Theatre will sponsor “Physical Comedy: A Beginner’s Intensive,” led by Matt Walley & Angela Horchem, graduates of the Dell’Arte International School of Physical Theatre.

“Physical Comedy: A Beginner’s Intensive” focuses on the realm of the eccentric character and his or her hilarious interactions with the surrounding physical world. Inspiration comes from archetypes: It’s the Trickster, in control and always stepping out of danger. It’s the Fool, always failing miserably and getting up to try again--to the delight of the audience! It’s Bill Irwin, Carol Burnett or the timeless appeal of Lucille Ball, Buster Keaton, and the Looney Tunes. These are just a few names from the vast realm of eccentric character and physical comedy.

The training will begin with character creation and physical principles--such as slips, trips, falls--and move on to explore relationships and status. By the end of the course, all participants will create a unique character using voice, movement, and costume. On October 22, participants will share their collaborative process with their family and friends in an original showing.

Participants should be age 15 or older. The entire four-session course costs $160. For more information about course content, eligibility, or to register, please contact Angela Horchem: theroguetheatretucson@gmail.com.

Matt Walley & Angela Horchem graduated from the Dell’Arte International School of Physical Theatre where they studied Commedia dell’Arte, mask, clown, acrobatics, and movement. They have appeared on stages across the country from New York to Chicago to California. Their flagship production, I Hate ♥, marked their first foray into the realm they call “Cartoon Theatre,” and was met with wide celebration among its initial audiences. In Tucson, they have worked with various companies including The Rogue Theatre, Live Theatre Workshop, Pinnacle Peak Pistoleros, and Stories that Soar! among others. Whether approaching Shakespeare or an original, devised work, they bring a passion for character, love for the physical, and spirit of exploration and discovery.

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WHAT: “Physical Comedy: A Beginner’s Intensive” led by Matt Walley & Angela Horchem
WHO: Participants ages 15 and up; first-come, first-serve basis
WHEN: Saturdays, Oct 01, 08, 15, & 22 from 12-4 PM; Final performance October 22 at 4 PM
WHERE: The Rogue Theatre, 300 E University Blvd, Suite 150
ON-SITE CONTACT: Angela Horchem, 347.870.9834

Dario Fo and F. Scott Fitzgerald

A couple of "unusual" shows that I am looking forward to seeing this upcoming season - "We Won't Pay! We Won't Pay" by Dario Fo, which will open late January at Beowulf Alley Theatre Company and "The Great Gatsby" at Arizona Theatre Company in late February.

Thirty-Three from the sacred bone, cross bone, to the top

33 bones from your sacrum bone to the top on your spine - symbolized throughout history as 33 steps to unite your body with your mind. Oneness. The body as a temple with 33 steps. Illustrated for example as 33 miracles performed by Jesus in the new testament. 33 steps to illumination of the mind.

Giorgio Strehler - Notes on The Cherry Orchard

Patrick Baliani recently reminded me of an essay written by Giorgio Strehler. It is simply called "Notes on the Cherry Orchard." In it Strehler says the problem,or challenge, of Chehkov is what he calls "The Three Chinese Boxes." I won't attempt to explain the entire essay or premise here. I certainly recommend reading it though. Strehler describes the play itself as being like a serious of boxes nestled inside one another, the second containing the first, etc. For Strehler the first box is "reality." The second box is "history." And the third box is "life." Each box he says has it's own aspect and it's own danger. For example, the first box holds the danger of pedantic minutiae, the second box has the danger of isolating the characters as historical symbols, and the third would risk being merely abstract. A "correct" production of the play he says should stage all three perspectives put together, sometimes giving a close up of a hand or heart, sometimes letting history pass before our eyes, sometimes questioning us about the destiny of our humanity.

That Was Your Cue! or can I once again escape with my life!

For those in my area, who might be so inclined, I am taking a turn in Rogue Theatre's production of The Real Inspector Hound. Starting tonight.

Suddenly I'm funny. Or so some think. Little did they previously know of my comic genius. I'm unleashing it on the world. Again. Surely this will be a profound stage episode...

But I will only be satisfied if I can pull off a second coming of "Cindy, that was your cue!" Yes, that is my challenge for this run!

Twenty-five years ago, or so, me and one of my acting mates in this show...who I shall not, uh, name...were in a show together. She played the house-help character and I played her boyfriend. We had multiple entrances and exits. One night, during the very quiet and concentrated "young lovers scene," my acting mate was sitting backstage, fully in preparation, etc. I went up to her and with urgency whispered "Cindy, that was your cue!" She jumped up, anxious, startled, and dashed on to the stage! Only to find herself in the middle of a scene in which she did not belong! LOL. I can't help it! she will kill me for sure even now! Anyway, the very surprised actors playing the intimate young lovers scene looked up at her...lol...she backed slowly off the stage...step by step...LOL. I ran like hell down to the men's dressing room and locked the door - never to come out - for the remainder of the run I think - save to go straight on stage and off.

Well, my un-named acting mate is once again playing as the house-help, with multiple entrances and exits! It will be difficult...and being the serious artist that I am...it goes against all ethical behavior...but...I think I have to give it a try.


Enjoy the show otherwise!

In Out

I am more than happy to talk about acting as an inner and outer process. In this day and age that goes against the grain of common attitudes and perspective.

But,

Actors create experientially what poets and other artists only describe - to borrow from or paraphrase Lee Strasberg. And once they do it, they have to repeat it, over and over, from one try to the next, from one day to the next.

In order for that replication to take place - literally as if for the first time each time - the actors body must follow a set of commands provided by the mind. And this happens actually on two levels so to speak. One level is the actor as artist...he/she percieving the work to be done. The Other level is the actor as the living material of the art, the stage experience. Sounds complicated, but its not. Simply put..."The mind asks and the body responds."

Beauty

Simplicity and Earnestness

The effects/results of ones yoga practice is found/measured in ones relationships with other people.

This being a blog dedicated to theatre(not to yoga), I mention that only to stress my non-trendy nature toward that type of practice, and/or toward actor training and preparation - and other similar pursuits. The practice, or the training, is something you just do, daily, and without fanfare, without showiness, but with hard work and dedication, perhaps in solitude, perhaps with others, but always with respect and with a gracious intent of improvement.

diagram for yoga