Joshua Hassler Theater Journal
In preparing for the monologue project we have been asked to use Stanislavski's method of acting which hinges on emotional Recall. In my monologue I am playing the part of Egeon from Shakespeare's "A Comedy of Errors." In the scene he has just been told that he must recount the tragic store of how he was separated from his two sons. The monologue opens with the lines "A heaver task could not have bee imposed/ Than I to speak my grief Unspeakable." This made it clear in my mind that I must use a sad memory to instill the feeling of dispair that Egeon is feeling. Looking back into my childhood I found that the closest memories I have to this feeling was in the 8th grade I had hardly any friends and felt very alone. This feeling is the closest thing I can even think of as relating to despair, however another feeling which comes through in the monologue is the feeling of being heart broken. This feeling was by far the hardest for me to relate to; "why?" you might ask. The answer lies simply with the fact that I have never dated or taken part in a relationship, therefor I have never had to deal with being heartbroken. I took a blind guess with the feeling and equated it to a feeling of extreme disappointment. These feelings were the two hardest for me to find a memory for especially the first one because I had to find something which was no too raw because it could effect me on stage. I am looking forward to being able to recite my monologue using Stanislavski's method.
In today's rehearsals we will be working on the feelings of the characters and understanding their personalities.
We will start the rehearsal with some meditation. It is very important for the actors to unwind and to leave their bodies and minds so that they may become their character.
After a period of meditation the actors will be asked to reflect upon thier character and thier motive, what do they want? How are they going to get it? The actors will then be asked to move arround acting in thier character figuring out how they walk, talk, act, and adress others. Once thier has been a greater integration between the actors and thier character, they will be asked to do the play.
Doing the play will not be in an ordinary manner though, it will be done as in character as possible with an emphasis on showing the dicodamy of serious and humerous moments in the play.
I beleve as the Director that it is verry important for the actors to find there own characters and objective because that is the only way that they can truly relate them to themselves. If an actor is told what they want, how they want it, and what to do about it then they will never be able to be thier character.
At the end of rehersal we will repeat the medetation process bringing the actors back from thier characters to thier bodys so that to make shure the actors relise how to not let the character cpnsume you and everything you do.
I decided to compare myself wanting to get across to some picture of someone in real life who might want to get across. In the picture of the tightrope Walker you can see a look of not only determination but confidence in what they are doing, as opposed to myself were i took on more of a look of fear. It is also notable that the circumstances are different where I am on a more solid base (as shown by the spread of my feet where as the Walker is in a much more percarious situation.