(Start 4:36 – 5:28)
- T: great articulation at top of scene – hold it.
- T “what” after acted out little jesus line (A) – don’t let it be lost.
- K – when you hear the click of the holster, look up at him – you’ve consistently missed this moment.
- A – your face looked worn when you were reading the stories
- A – “why odes there have to be people like you” – good whisper, but more supported, articulate
- K “could you beat me up” – more urgent, then settle.
- A – longer beat before “you killed your parents?”
- A – questions to K about parents, inquisitive, curious, you are contrasting your expereiences with K
- A – bring box up onto bed, put in your lap to sort through instead of back to audience.
- A – longer beat after “they will not get away with it”, find your beats, volume levels at start.
- “Little kids” – A – fourth wall is diminished, this is your dream.
- K “and who…” – the voice sounds false in this moment, it can be accusatory without being performed
- T – “already murdered him of course” – give A a beat after to get up and laugh.
- A & T – wonderful dynamic.
- T – leaning on desk during “commandante” speech is flawless.
- K – good guilt whenever you are mentioned killing kids
- T – projection/articulation got beter
- A – if you are being blocked by Tupolski, move yourself
- T – or was she dead” – don’t raise pen until you get an answer from K, great to direct to A
- T – sit on desk was great.
- T – click on “I (click click) am a detective” – wonderful.
- T That pen is your wand!
- T – take beat to think up “maybe its ahead of its time”
- K great reactions to T’s story.
- T “the world is beneath him” take that moment for yourself
- T – great story. Great.
- T – watch posture when you lean forward, don’t hunch too much.
- T _ hang on – vicious, ferocious, he TOOK YOUR PEN. Push from stomach voice.
- T – watch downstage arm blocking you when you tower over Kat.
- T – you cross behind K after “shooting in head in 20” you looked at his head like you were assessing your shot…great.
- T – don’t make eye contact with Kat when you’re explaining why you like the Pillowman story. Take your time.
- “son drowned.”
- T – bring box up to you sitting, or don’t lost yourself so much in box.
- K – do you do it out of the blue – great stumbling through this. Really good work in this scene with your focus.
- A – remember to rotate hips out for hair pull
- K – great reaction to Maria, especially when T catches you being happy.
- T – “commandante” point to camera is great.
- K – wait a beat before saying “I never knew about any of this before today”
- A – sitting “you’re witness”
- A – great moment after “thank you”. This is a big moment for you
- T – we lost “burn” with trash smash.
- T – love the bucket lean.
- K – “ariel”
- K – hand tension
- K – good lean on table.
- A – stage whisper work
- A – can you find a moment to replace electrodes to clear the stage.
- A – T lies and lies and puts K through more than he needs to. Is this a partial reason saving the stories? Why why why
- A – I love the passing of the jacket.
- K – take in Ariel being onstage with you.
- K – let’s work final monologue.
- “in a cold prison cell”
- A – listening to Michal?
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