Performance Blog #3

11/7

We have a memorization quiz of the script today. I think I have memorized those lines pretty well after numerous reading and practice. Memorizing lines well is absolutely very important. We all do not want to “get stuck” during the performance, or try to think about what the next line is with interrupting our natural acting as well as my partner’s. And for now, the thing me and Marinda need to mostly focus on is how to add our character’s feelings into the lines by using different tone, voice, emotions or body language. 

11/8

We do our first run through without script today. It’s worth mentioning that we eventually get our props — an old plastic knife, a small bottle of vial (unknown red solution) and a cross necklace. There are actually two kinds of knives in the props room: a small modern one and a bigger old one. I finally decide to use the second one because the small one looks like the tableware, not threatening enough to be used as a suicide prop, and also the bigger one is more old, fitting that time period. Using these props actually makes our performance more realistic and natural because it can give the audience a better understanding with adding more truthfulness in our performance. Despite the props, we also get many valuable feedbacks at the first run through without script. After the run through last time, we make any improvements such as adding some blocking, like the first scene in which Friar is praying before Juliet knocks the door. Nonetheless, there is still more needed to add, like more physical touch between Friar and Juliet to show how Friar try to comfort Juliet. Specifically for me, I give Juliet more emotions and body movement, which I think is somehow successful at the beginning where I knock the door out loud and rush into the door with shouting my first line “O, shut the door”. However, I do not keep Juliet’s mood till the end. For example, at the end, where I say “give me, give me”, after Friar gives me the portion, I should show more hope in my face. Same for the last line — “Farewell, dear father”— Juliet is very determined for what she would do at that moment. Except my lacking of emotions, another thing I need to pay attention is my talking speed. Although, it is reasonable to speed up when I reach the climax of Juliet’s feelings, I need to make sure that the audience can hear clearly every single word I say on the stage. Therefore, another way of acting shall be applied, rather than talking faster, I can slow down my tempo with maintaining the intensity.  Overall, more time we need to spend with being familiar with our own characters. 

11/10

Today, we start our practice by running the lines to get in character’s mood first. Since Marinda’s lines were cut again, it takes some time for her to get used to it. And I spend my time reading my lines again and again with paying attention to my tempo. For example, at Juliet’s climax — “Be not so long to speak, I long to die” — I try to slow down with keeping the intensity. Trying a new way of speaking is very difficult at first because it is different with the way I am talking usually. But, after repeating several times, I feel way much better. Despite learning the ability of how to control my talking speed, I also practice the distinct tones corresponding to the various feelings. As what I mentioned yesterday, I did not perform Juliet’s feelings of hope which exists in between “give me, give me”. Through today’s practice, I think I do catch the way to express this kind of feeling: widen my eyes and voice up on the word. It is like hopefulness with a little bit excitement. More practice was needed to get through still. 

11/11

For the last practice before the final recording, we decide to watch some videos on the Youtube in order to see how other actors perform Juliet and Friar. There isn't that much videos about this scene. From the videos we watch, I see the different ways of performance. Some of those “Juliet” are very emotional; they really cry. Oppositely, some are pretty calm. I think the emotional one is the Juliet I have been trying to achieve. I feel like showing more strong emotions would be more realistic and easier to tell the audience my feelings. Throughout the three-week long practice, I realize the most challenging part for being Juliet is to get in her mood 10 seconds before the play starts. I need to think about some sad things that really happen. My ultimate goal would be to really cry while performing on the stage.