Not "like" real life!

"She simply didn’t act. Or so it appeared. She wasn’t an actress; she was a tired, silly, irritating, touching, fraught, aging woman with no self-awareness, no censor for her ceaseless flow of words, no sense of the effect she was having on her children—or the audience. It was as if you were listening in on the stream of her consciousness. Her self-pitying yet valiant voice, reflecting both the desperation of her situation and the faded remnants of her Southern-belle charm, was maddening, yet somehow endearing. You wanted to hug her, to swat her, to run from her—in other words, you reacted to her just the way her son, Tom, did. 

The crucial thing was the absolute naturalism: her acting wasn’t “realistic”—that is, like real life. It was real life. The production was in some ways stagey, but there wasn’t a touch of staginess about her. She knew exactly what she was doing, though; she just didn’t want you to know what she was doing. What she deplored, she once wrote, was when “you can see the acting.”

This is from an article by Robert Gottlieb about the original production of "The Glass Menagerie" which featured the great American actress, Laurette Taylor, as Amanda.  When students ask me how they can improve, I think I need to ask them,  "Where can you go from here?"  For some of us, it is the mechanics -- you need to speak slowly and clearly and think about projecting your voice throughout the theatre.  But the beauty of being an artist is that you can always strive to reach further, to understand more clearly, to find the joy in what we do, to push ourselves to dig deeper and to "hold the glass to nature".  What great opportunities we have when we walk on stage!

Notes for Friday's run -- Old Glory

OPENING AND HAPPY JOURNEY

Don't speed up on "hooligan", Stage Manager.

Mandy will lead "Ring around" -- she will start on a higher pitch and go faster.  Follow her!

Listen to each other!

Boys, giggle when it's obvious that Arthur is not looking for his hat.

No noise backstage or in the stairwells.  Mrs. Schwarz, Hob., and Adler -- you will be lit the whole time.  Stay in character.  Mrs. Schwarz and Adler, mime talking to each other when you're not talking to Ma.  Don't be too big, or you will upstage the rest of it.

All men need a white button up shirt and dress shoes and neckties.

Point stage left for "Webber and Heilbronner", Arthur.

Good crying, Urvee, in the funeral.  I really like the listening when Ma tells Mrs. Schwarz that the key is in the kitchen.

Signs need to move smoothly, like you're driving past them.  People in the car watch as the signs go by.  Mia, you need black for funeral.  Where was Mya?

Project!

Ma, more frantic on "collie dog" -- much more!!!

If you have to cross the stage, do it behind the black curtain at the back.

More rage at Arthur's remark about God, Ma.

Everyone!  Be conscious of the ENDS of words.  "Greek" for example.

Hot dogs should be quicker, Arthur.  Poke Pa on "how many people live in the US?"

Instructions to Beulah's house must be in Pa's pocket!  Pa, make sure they're there.

Wait for laughs -- Beulah -- big on DEAD.  I liked those shoes.

Ma and Beulah -- the pain of not having your daughter know you and the pain of losing a child is real.  Let the audience see the true pain of those tragedies.  Let's see your faces, girls.

Crew needs to know what to do between scenes and it needs to go FAST.

DANCERS

Nice attitude, Stage Manager.  Let us see your face!  Really enjoy yourself dancing.

Elizabeth, you need pumps.  Inez, you need a black turtle neck.  Good on filing nails, Lila.  Chew gum, too.

Good hair and attitude, Elizabeth.

Be apologetic, move forward and back, on the tux conversation, Herman.  Inez, your whole conversation with Horace should be full frontal.  Horace, stand up tentatively on "I don't dance well enough".  Cheat to us, Inez.  You don't need to dance the whole time.  Show Horace how to stand.  Get him to smile.

Elizabeth, don't mime the door.

Remember the counting while you dance, Horace.  When you make a misstep, go back to the beginning and try again.

Horace needs money in the tux jacket.  Horace, check to make sure it's there.

Lila, laugh at Horace on the street.

Inez, slow down! (speech)  Emily, slow down!

Horace, make sure you wear the correct jacket.  When you go to the Crews house, and after at the drugstore -- tux.  At Inez's house, school jacket.  Picking up Mary Catherine, tux.

Velma -- cheat out -- your motivation can be listening and watching for the car.

"Call Leo" -- that's your big decision, Emily.

"beer joints" -- he'll know you're not his class, Mary Catherine -- how does that make you feel?

Horace, Mary Catherine loves to dance, and you can't.  Is that a deal breaker?

Tom!  Project!  Don't move unless you absolutely have to.

DICTION -- everyone!!!

Mary Cath:  Well, Horace, you see that's just what I was about to ask you!  Subtext -- so surprising!!!

Tom:  listen to a transistor radio while you wait for Mary Cath to come home.

All cast and crew    DO NOT LEAVE YOUR BACKPACK OR COATS OR LUNCH OR ANYTHING IN THE THEATRE SEATS.  DO NOT WANDER AROUND THE THEATRE WHILE WE'RE RUNNING THE PLAY.  YOU ARE A HUGE DISTRACTION!  (TO THE ACTORS AND THE CREW AND THE AUDIENCE.)

Remember diction as you cry, Inez.

Stage Manager:  "our last little PLAY"

PRETTY TRAP

confrontation between Amanda and Laura terrific!

nice on the stairs, Tom and Jim.  Keep ringing the bell, Tom.  You can make it a bit of a joke with Jim.  "What?  Nobody's home?  I know they're there!"

good on lights!  Excellent on sound

"Your mother's voice - Southern"  --  "PERENNIAL SOUTHERN belle"

good reaction on "never knew a Jim who wasn't nice" or whatever -- Jim

nice look on "handsome gentleman" -- both Jim and Amanda

Great on "perennial Southern belle"

"I'm not coming out" -- great reaction, Amanda

Great reaction on "look like a witch" -- Tom and Amanda

More frantic on "dinner is served".  You're upset, but then you pull yourself together, visibly.

Great on "Can't say grace; won't say grace".

Routine for Laura not taking Jim's hand saying grace:  Jim, look at her -- Laura, look back shyly -- Jim, smile, gently, like "you can trust me" and then take her hand.  Laura, look carefully at him -- ask yourself "can I trust him?" and then take his hand.

"rash promises" -- great, Tom

Great reaction on Amanda taking a look at you at the warehouse, Jim.

Tom:  Good to know I HAVE a classification.  (You didn't before.)

Great, everyone on "radio engineering".

Jim, react on "Tom Sr. was 'type number three'"

"Don't be shy with me" -- good.  Also "sure, sure"

Laura,  "delicate" -- this is a theme.  "only music behind them" -- that's a lovely thing to leave behind.

She's mesmerizing, Jim.

Good putting unicorn and candles on the dining room table.

Take your time on "little (standing) . . . little (take her hand and look at how little it is) . . . look at her face.  You're so moved you can barely speak -- she's so lovely -- so delicate -- "if you breathe, she breaks" -- in a low, shaking voice "girl".

Amanda -- too much dancing.  Tell Tom that Jim kissed Laura, then spin away, take centre stage. One swing left, one left, hug yourself and laugh softly.  Tom says you're a witch and you say you WERE a GIRL, just like Laura is.

Everyone who dances -- Inez, Horace, Mary Catherine, Jim and Laura -- let's get together on Monday at lunch to choreograph these dances more.  Then perhaps Tuesday at lunch (if there is one with the pep rally) as well.

Good work, everyone.  Our long dress rehearsal is on Monday after school.  Come immediately after the bell so we can start, especially if you are in "Happy Journey".  We will do notes after the run and Ms. Sakata has offered to pay for pizza!  Tell your folks you might be at school until six.

Thursday notes on rehearsal

This is just what I saw as I ran in and out.  Unfortunately, I didn't see much of "The Dancers".  Emma and Angus, try the dance together while you're waiting to go on.  Emma, be harsh with him but try to look like you're enjoying yourself.  Angus, watch your feet and apologize a lot.

Everyone!  Diction!  Speak clearly and almost all of you could stand to project more.  React, react, react!  Listen to what the other people say and respond to it.  Choose the strongest emotions -- if it's a choice between mild liking and deep and abiding love, choose love.

Find stillness.  Don't move unless you're motivated to do so.  You should be able to articulate why you're moving if you move.

Practice "Ring Around the Rosie" -- it needs to go faster.

Cues -- don't wait for people

It's pronounced "Newerk" not "ark".  Girls, you need sensible dress shoes.

Crew needs to start doing the signs.  Ma -- slow down on "yewman" , more panic on collie dogs, more furious about what Arthur says.

Car action better.

Amy:  School.  Kind of.  Nice.  (Don't forget the "nice").

Tap Pa on the shoulder, Arthur, on "how many people live in the United States".  Don't chew gum on stage.

"The Dancers" -- pretend to chew gum, Lila.  Good attitude on the coffee.  Emily, you hate your mom, not Inez.

Check your script, Inez.

Emily, don't cross your arms over your chest.  That's a sign of a lack of confidence.  Emily has confidence.

Mary Catherine, when Horace says "let's stay" show your disappointment.

When Mary Catherine says she was afraid she wouldn't be "popular", can you believe that, Horace?

Inez -- don't speak so quickly.

Pretty Trap:

More frantic on Mexico, parrots -- Amanda
Soften visibly, audibly on "I'm of a different generation";  make "cold" cold.  "Do I look like a  . . . witch?" harsh, in Laura's voice

Witch -- like a swear word

Amanda -- "Excuuuuuuse me!"  (like Steve Martin, almost)

Emphasize RICH, old man, Amanda

"One girl was swept" -- that girl was you, Amanda

No black fingernails, Amanda

Great reaction, Laura on "One!"

That's it!  See you tomorrow at 1.

Notes from rehearsal and updates

"Old Glory" rehearsal notes:

Obviously, I wasn't able to see the whole thing, so I don't know how it all went, and my notes will be general.

You really have to get beyond reciting your lines (and to do this, you need to know them!)  You need to live the part.  Imagine that you are the person you're playing and listen to what the other people say to you and react.  That's a huge part of being convincing on stage.  You listen to the other person like it's the first time you've ever heard what they're saying and then react to it.  Choose the big emotions. If you're sad, be terribly sad.  If you're excited, let's see wild excitement.  The audience uses you as a way of exploring the extremes in emotion.

The laughs you're getting are helping you practice what to do when you get a laugh in the show.  Wait for the laughter to die down a bit before you keep going.  You don't want to discourage laughter by talking while people are laughing.   Then they miss what you're saying.

Anyone who has to dance -- practice the steps so you don't have to look at your feet or count.  Practice talking while dancing.  Smile!  Look like you're enjoying yourself.

You need energy on stage.  Just because you're speaking quietly, it does not follow that your energy level drops.

Cheat to the audience.  Don't turn your back.  When you're in the car (Happy Journey), imagine you're looking out the front window at all the cool things passing by.  Imagine you haven't been on many car trips -- everything is just amazing!  Include the people who aren't talking in your conversation -- you can use them to cheat out.

Find stillness.  Don't wander around the stage and don't move because you're nervous or because you think it's interesting (it isn't).  You need to choose when to move and think about what motivates your movement and then not move around randomly or repetitively (which is irritating to the audience).  Every move you make on stage should be motivated by something and you should be able to articulate what it is.

You need to be ready for your entrance!

Drama Classes:  No journals today -- because it's not Friday.

Grade 8's:  Make sure you bring music to accompany your extended mime on Monday.  It should be instrumental music.

Everyone else:  Memorize the "speak the speech" passage.  We will recite on Wednesday.

Memory passage for D Block!

Oops, I must have been in a fugue state and wrote "if you mime it" instead of "if you mouth it"!  Don't say "mime"; say "mouth".

Drama Club:  You MUST know your lines.  You can't act if you don't know what to say and other people can't act with you, either.  You don't want to stand there in stony silence and search for what to say -- that's the actor's nightmare (and the director's).  Once you know your lines, that's when you start acting.  If you don't know your lines now, you'd better learn them lickety split.  We open in a week and a day.

November 20 Journals

Speak the speech, I pray you, as I pronounced it to you, trippingly on the tongue.  But if you mime it, as many of your players do, I had as lief the town crier spoke my lines.  Nor do not saw the air too much with your hands, thus; but use all gently.  For in the very torrent, tempest and, as I may say, whirlwind of passion, you must acquire and beget a temperance, that may give it smoothness.

Senior Drama -  this is your memory passage.

Grade 8 journal:  Write about your skills in working as a part of a group.  What skills do you have in this regard?  In which ways can you improve?  Are you a good leader?  Explain why or why not.  Tell a story about an experience you had working with a group and what you learned from it.

Senior Drama:  Remember your Remembrance Day journal!

All the world's a stage!

All the world's a stage
And all the men and women merely players;
They have their exits and their entrances
And one man, in his time, plays many parts.

Grade 8 journal:  What should Ms. Kosar know about you?  You should include any drama experience you have or if you have none.  You can mention things you did in elementary school, or outside of school, hobbies you have, performances you've been in (even musical performances or athletic ones).  Do you have stage fright?  Have you ever done any public speaking?  What are your thoughts about Drama so far?  Anything you think might help me teach you better!

Grade 9/10;Theatre Production 11/12

Your thoughts on our Remembrance Day ceremony this week.

Notes for "The Dancers" rehearsal on November 10

Great to be able to do a run through!  It gives us a real sense of the play as a story.  Please try to clear your schedules for the next while so we can continue to do these runs.

Opening scene:  Inez, Emily and Elizabeth - pick this up!  It needs to bounce along.  Don't wait between lines.  That's death to any comedy in the scene and it should be funny.  All of you need to "work the room" -- cheat out!  Don't clump up in that corner -- use the theatre.

Know your lines by November 16.

Rachel, Sophie needs a watch.  Horace and Herman need a suitcase for their first entrance.  I think a nice bit of business in this scene would be that Inez comes in with a drink (with ice in it to make a sound) and Herman takes it from her and drinks it while Inez berates Horace.  We need a box with a corsage in it.

EVERYONE NEEDS TO PROJECT!  Think of words you want to emphasize in all your speeches - like "stuff".  Inez, use Herman to back you up and Herman, back her up with nods.  (This is on P. 33, not when you tentatively defy her later in the play.)

Inez and Horace, you need to practice dancing together.  Inez, you need to be confident dancing.  Horace, you can look at your feet a lot and mouth counting "one, two, one-two".

Sophie, you need to get used to not wearing your hat as Emily.

Elizabeth, you are very nervous with Horace.  Let's see a lot of sweaty palms and dry lips. When she lies to you, Horace, you need to react.  You've heard the yelling and you know she's lying.  When you say, "yes, ma'am.  I do understand", you really do.  After Horace leaves, Elizabeth -- you are soooo embarrassed!  Let's see that.

You all need to figure out how to get to your entrance.  Avoid rubbing up against the curtains.

Inez, Herman says you've pushed Horace.  You push Herman, too.  Let's see that in your scenes together.

Mary Catherine, enter in a funk on page 40.  You need to break your speeches into "beats".  What are you going for from moment to moment?  What do you want in each sentence?  I liked how you backed up Emily on Page 41. When Emily asks you to go with her, give Horace a glance.  He might be one of the reasons you don't want to go with her.  Page 42, Mary Catherine, use the pauses to reflect momentarily on what you really mean.  Play the subtext.

Horace, let's see the subtext on "Yes. She's very pretty."  What are you saying to Mary Catherine?  She asks you if you think Emily is beautiful.  You say she's pretty.  What does that mean?  Is "pretty" as good as "beautiful"?

Mary Catherine, be careful with diction in your big speech on p. 44.  Make a big change at the end of the raft sentence.

Tom, be warmer as Dad.  You really love Mary Catherine and are proud of her.  Don't be bashful.  You are a strong guy.

Horace, when you ask Mary Catherine if she would rather go to business school, you can't imagine that she would.  It's a dead end.  Use the pause after she says her dad was relieved.  You are changing the subject completely.  I really liked how you did "How do you get confidence?" and "Oh, is that how it's done?"

You all need to cheat out and face the audience as much as possible.

Horace, on page 46, when you get to "I know I'd gain the confidence", you're done stammering.  You're on a roll.

Inez, for your entrance on page 46,  come in from behind the blue curtain.  "She has eaten dirt" is your big triumph.  Don't upstage yourself in this scene.  Make Horace come to you.

Mary Catherine, when you tell Horace you know how he feels, you really do.  It's the truth.  When you tell him it's your first dance, that's a confession.  When you say you're afraid you wouldn't be popular, you're embarrassed and I think I would choose to laugh at myself a bit at that point.

The ending needs to make us (the audience) really happy.  The good guys have won!  We need to root for you  (Mary Catherine and Horace)!

Lest We Forget

Firstly, I want to say to the Grade 8's that I wish you all the very best in Art and that I thoroughly enjoyed your work in Drama!  Please make sure you check the posted marks and let me know if I've made a mistake.  And thank you all for your creativity and hard work in class.

As most of you know, Wednesday is Remembrance Day.  It is a day to think about all the Canadians who have made sacrifices in war so that we could live in such a safe and free place.  This year, especially, we have the recent election and exchange of power to remind us that we are so very lucky to live in such a place.  Mr. Harper did not, for a moment, consider trying to hold on to power but understood that the people (all of us as Canadians) had spoken and, as many democracy lovers would say, "the voters are never wrong".  I am proud of many things about Canada and this is one of them -- our love for "order and good government".  They may seem like rather dull virtues, but I think there is something to be said for dullness.  I don't think a battle is dull but I wouldn't want to live in one.

We will have our remembrance ceremony tomorrow at school.  Remember to be respectful and take a moment to think about what it would be like to have to fight in a war, to have to climb up out of your trench and run forward and hope you wouldn't be killed.  I can't imagine.  I have told many of you that my father was a Canadian soldier in World War 2 -- he signed up in 1939 and served in Europe until 1946.  He was a guy who liked to tell stories and make jokes and laugh, but my uncle said when my dad came back from the war, he hardly spoke a word for almost a year.  He had trouble sleeping and when he did fall asleep, he would wake up screaming.  My dad never spoke about this to us.  Most of his stories about the war were funny -- about the crazy adventures they had when they were on leave and how bad the food was.  He did tell us one story that wasn't funny.  He was part of the Canadian army that liberated France.  They all knew the war was close to ending -- he said you could tell the Germans were on their last legs.  It was early one morning and my dad got up early and had taken a bucket to get water to wash his face.  He hadn't taken his gun.  He was washing his face in the bucket when he saw something moving on the horizon.  His eyes were full of water and he couldn't  make out what was moving at first.  He finally realized it was a man on a bicycle.  Then, to his abject terror, he realized it was a German soldier.  He knew he didn't have time to run and get his gun, so he just stood there as the German soldier approached.  "Nicht schiessen!" the German soldier said as he got close enough for my father to see him clearly.  (That means, "don't shoot" -  my father thought he should say the same to the German.)  The young man on the bike got off and came up to my father and handed him his gun, which my father took.  Somehow the German soldier was able to communicate to my dad that the war was over and that he was surrendering.  My dad said his hands were shaking as he offered the German a cigarette and smoked one himself.  And when my dad told us the story, he said, "that's how I found out the war was over".  And he cried.  My dad didn't cry very often, and he said, through his tears, "I don't know why I'm crying now.  I didn't cry when it happened."   I always think of my dear little dad (he was a small man, only 5'7") when I attend the ceremony at the Port Moody cenotaph.  He was a young guy who had grown up in the hard times of the 1930's in Saskatchewan and had never been out of Canada.   I will never know what it was like for him, but it must have been awful.  Thank goodness he was able to recover and move on and build a life with us and my mother.

I hope many of you will try to go out to the Richmond cenotaph to observe Remembrance Day.  Those who do not remember their history are doomed to repeat it.

Latest Update!

Report cards are due tomorrow by 3:00 p.m.!

Make sure you hand in your last journals (Grade 8) about which "show and tell" was most memorable and your evaluation of your own speech.