All actors know, blocking is an essential necessity to most plays. Most actors write down there blocking which is what all actors should do. I'm not joking about that, you should always write your blocking down. Of course, there are different ways of doing the actual writing. Of the tools I use, one of my most important is my legend in my script. I have a few other notes throughout however many of them are in regard to personality as opposed to the actual blocking.
I practice by getting the text into my body. Which means I go through my blocking on my own a lot. I definitely do this a lot more since I started studying at PAC. Naturally, you might assume I would just become mechanical with it, and that there'd be no real individuality inside. Well, sorry to burst your bubble, but no two shows are EVER identical. Especially with a personality like Bottom's, or rather, the one I've crafted for him with my tools.
There are two main things I must decide for each moment in the play. One: who is this moment in the script for? And as I see it, ya got three vague options. The people on stage, the people watching, or both. Two: how am I going to go about making that moment happen? Here I have limitless options. There are limitations and social contracts to all these options which I set up through the rules of comedy.
If there are any specific questions or if you would like more information about my personal process, please comment or add me on Facebook and send me a message.
Robert plays Bottom in A Midsummer Night's Dream and is a second year PAC student with a B.F.A. in theatrical performance from the University of Texas in Arlington. Robert spends his time looking into political and economical philosophy when he's not working on his artistic soul. He also enjoys gaming of many types and dances like a sharknado to Watsky.
I practice by getting the text into my body. Which means I go through my blocking on my own a lot. I definitely do this a lot more since I started studying at PAC. Naturally, you might assume I would just become mechanical with it, and that there'd be no real individuality inside. Well, sorry to burst your bubble, but no two shows are EVER identical. Especially with a personality like Bottom's, or rather, the one I've crafted for him with my tools.
There are two main things I must decide for each moment in the play. One: who is this moment in the script for? And as I see it, ya got three vague options. The people on stage, the people watching, or both. Two: how am I going to go about making that moment happen? Here I have limitless options. There are limitations and social contracts to all these options which I set up through the rules of comedy.
If there are any specific questions or if you would like more information about my personal process, please comment or add me on Facebook and send me a message.
Robert plays Bottom in A Midsummer Night's Dream and is a second year PAC student with a B.F.A. in theatrical performance from the University of Texas in Arlington. Robert spends his time looking into political and economical philosophy when he's not working on his artistic soul. He also enjoys gaming of many types and dances like a sharknado to Watsky.