So for Sense and Sensibility one of the big things that comes into my personal process involves more preciseness of stage pictures. As you watch a live performance in person these pictures are meant to direct the human eye. Through deciphering these pictures within our opinions we can determine what a show's atmosphere, theme, or director's style could be.
Because I am a fan of this preciseness, I tend to spend a lot of time in front of a mirror working on body movement. I also have to account for the flow and rhythm of the spoken lines so in turn there isn't a specific length of time of getting into the next pose. So what kind of mirror work could I do? I could spend hours in front of a mirror just repeatedly wagging my hand back and forth in front of my face over and over. Or I can combine clown with the style and turn the whole thing into a comedy of manners and essentially just go from there. For me, this is a fun opportunity to work on multiple techniques, while still attempting to play true to the story and observing my overall role as an actor within the space.
The main thing to remember is that while doing this, every action is meant to be grand and loud. For your own work into clown try highlighting notes or things you've been told by others. Then exaggerate those notes to the most outrageous thing that works for you. I've found clown to be a very vital tool within the artistic process because clown work in particular has helped with my own writing process. Most recently I was able to perform at the Brody Theatre with a clown act that I had created on my own. It was extremely satisfying to share a bit of myself with Portland like that, which is why mirror work can help you when you are doing the work by yourself. Because when you're sharing the work with a mirror, essentially you're sharing your work with you, and you're the one who's doing the work so it'll probably help if you can stand by yourself...get it...cuz it's a mirror.
Robert Bell plays Colonel Brandon who longs for a certain sister to notice him despite his somber exterior. Will he get the girl? Get tickets to find out!
Because I am a fan of this preciseness, I tend to spend a lot of time in front of a mirror working on body movement. I also have to account for the flow and rhythm of the spoken lines so in turn there isn't a specific length of time of getting into the next pose. So what kind of mirror work could I do? I could spend hours in front of a mirror just repeatedly wagging my hand back and forth in front of my face over and over. Or I can combine clown with the style and turn the whole thing into a comedy of manners and essentially just go from there. For me, this is a fun opportunity to work on multiple techniques, while still attempting to play true to the story and observing my overall role as an actor within the space.
The main thing to remember is that while doing this, every action is meant to be grand and loud. For your own work into clown try highlighting notes or things you've been told by others. Then exaggerate those notes to the most outrageous thing that works for you. I've found clown to be a very vital tool within the artistic process because clown work in particular has helped with my own writing process. Most recently I was able to perform at the Brody Theatre with a clown act that I had created on my own. It was extremely satisfying to share a bit of myself with Portland like that, which is why mirror work can help you when you are doing the work by yourself. Because when you're sharing the work with a mirror, essentially you're sharing your work with you, and you're the one who's doing the work so it'll probably help if you can stand by yourself...get it...cuz it's a mirror.
Robert Bell plays Colonel Brandon who longs for a certain sister to notice him despite his somber exterior. Will he get the girl? Get tickets to find out!