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ceebeegeeWe had our first "blocking" rehearsal last night for Twelfth Night.
WOW.
Ben is different from any other director I've ever worked with, and it's an amazing, intense experience. I took a risk deciding on someone whom I didn't know that well, but he had such a passion for the play I decided to go with it, and it's paid off. We sat in a circle and read II, iv (the scene where Feste sings "Come Away, Death" and Cesario and Orsino talk about love with insane amounts of subtext). Ben's just...he's great, man. It's awesome having a director who is just as into the Romantics as I am!--at one point we were discussing the exchange:
ORSINO
For women are as roses, whose fair flower
Being once display'd, doth fall that very hour.
VIOLA
And so they are: alas, that they are so;
To die, even when they to perfection grow!
I didn't quite get Viola's lines there--it's obvious it's an important couple of lines (the punctuation, the fact that it's a couplet) but why? It sounds as though she's agreeing with Orsino--but does she mean the agreement or is she speaking wistfully (unlikely, since Viola's supposed to be young) or sardonically? We were throwing around a few lines and Ben said something like maybe she's frustrated because she can't act on her emotions, she's frozen, and I said "yes, she's like the youth, in 'Ode on a Grecian Urn,' the youth in the frieze" and Ben knew exactly what I was talking about.
God, I am SUCH a Romantic geek. I could find Keatsian resonance in...Kentucky Fried Chicken.
The Ode talks about the interesting tension of various dynamic scenes portrayed on the Urn--and these scenes will remain forever in those poses, they'll never move on, or die, or decay, or achieve any sort of resolution. The bride is "still unravish'd" and "happy, happy boughs! that cannot shed/Your leaves, nor ever bid the Spring adieu."
We started putting it on its feet and went through a bunch of different beats and approaches and played a lot and eventually settled on some basic blocking. I felt completely engaged and just...like an actor. Man, I love the work, the gritty, deep-down work of acting, the analysis, the risk, the connecting with another person. I just love it. At times like this I feel such a connection with my grandmother.
So, to my ducklings who have yet to work with Ben--look over your text and think about it, 'cause he'll put you through your paces.
WOW.
Ben is different from any other director I've ever worked with, and it's an amazing, intense experience. I took a risk deciding on someone whom I didn't know that well, but he had such a passion for the play I decided to go with it, and it's paid off. We sat in a circle and read II, iv (the scene where Feste sings "Come Away, Death" and Cesario and Orsino talk about love with insane amounts of subtext). Ben's just...he's great, man. It's awesome having a director who is just as into the Romantics as I am!--at one point we were discussing the exchange:
ORSINO
For women are as roses, whose fair flower
Being once display'd, doth fall that very hour.
VIOLA
And so they are: alas, that they are so;
To die, even when they to perfection grow!
I didn't quite get Viola's lines there--it's obvious it's an important couple of lines (the punctuation, the fact that it's a couplet) but why? It sounds as though she's agreeing with Orsino--but does she mean the agreement or is she speaking wistfully (unlikely, since Viola's supposed to be young) or sardonically? We were throwing around a few lines and Ben said something like maybe she's frustrated because she can't act on her emotions, she's frozen, and I said "yes, she's like the youth, in 'Ode on a Grecian Urn,' the youth in the frieze" and Ben knew exactly what I was talking about.
Fair youth, beneath the trees, thou canst not leave
Thy song, nor ever can those trees be bare;
Bold Lover, never, never canst thou kiss,
Though winning near the goal—yet, do not grieve;
She cannot fade, though thou hast not thy bliss,
For ever wilt thou love, and she be fair!God, I am SUCH a Romantic geek. I could find Keatsian resonance in...Kentucky Fried Chicken.
The Ode talks about the interesting tension of various dynamic scenes portrayed on the Urn--and these scenes will remain forever in those poses, they'll never move on, or die, or decay, or achieve any sort of resolution. The bride is "still unravish'd" and "happy, happy boughs! that cannot shed/Your leaves, nor ever bid the Spring adieu."
We started putting it on its feet and went through a bunch of different beats and approaches and played a lot and eventually settled on some basic blocking. I felt completely engaged and just...like an actor. Man, I love the work, the gritty, deep-down work of acting, the analysis, the risk, the connecting with another person. I just love it. At times like this I feel such a connection with my grandmother.
So, to my ducklings who have yet to work with Ben--look over your text and think about it, 'cause he'll put you through your paces.
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That's awesome!
Date: 2007-06-28 03:09 pm (UTC)I can't wait!!
no subject
Date: 2007-06-28 03:10 pm (UTC)Thou foster-child of Rooster and slow Hen,
Snobbish food writer, who canst thus express
A tasty meal more sav'ry than your fry:
What herb-spiced coating haunts about thy shape
Of regular or crispy, or of both,
In Bucket or the box with Mac and Cheese?
What food of gods are these? What tasty stuff?
What legs or theighs? What side dish to consume?
What dark and white meat? What wild gluttony?
Can I put <i>THAT</i> to music?
Date: 2007-06-28 03:13 pm (UTC)no subject
Date: 2007-06-28 03:36 pm (UTC)no subject
Date: 2007-06-28 08:50 pm (UTC)no subject
Date: 2007-06-28 03:35 pm (UTC)I'm so glad this is working out for y'all! Hooray!!!