This is the first time we here one of Katurian's sick stories. I use a more direct address approach to this part so the impact on the audience it greater, because we're telling it to the audience. This is when Katurian feels the most confident, because it's about her work, which is her life, she is obviously still nervous, but feels as if she needs to explain her story with restrained enthusiasm. When I look to Katurian to imitate the voice of the applemen, it shows the story teller aspect of Katurian's character, and creates a bigger impact later on when we find out that the stories were re-enacted. I repeat the sentence in a harsher tone to emphasise how sick the thought is. Then saying the next bit more monotone and quicker, so it follows a 'badumdedum' pattern. This gives a contrast to what I'm saying making the audience feel uncomfortable because of the violent ended has no emotion in it. When Katurian pauses, we decided that Tupolski and Ariel should stare and Katurian, because we know these stories were repeated to real children. This gives hints to the audience that there are more to these stories than them just being disgusting. Ariel's anger bubbles out and lets out a little information even though it does not make sense to then audience yet, it provides a link later on in the script.
When Katurian asks 'Should I have?' it provides a moment for Tupolski clever word play personality come into hand. Tupolski's been silently waiting for a moment to come where he can twist Katurian's words. So when I come in repeating his question, I wanted to make it jumpy, I walk back to the seat whilst saying the line, not very angry, or loud. It's more of a friendly tone emphasising the certain accusations he drew from Katurian's question. He uses this to let Ariel have a chance of violence, and Tupolski can remain to seem like the less violent cop. When Katurian stands up, Tupolski shoves him back down onto the chair and remains unharmed. This is very fast paced which makes it more interesting for the audience to watch because there is more action. I push Katurian back down to show how we don't want him going anyway but it allowed Tupolski to show a more aggressive side. Ariel then leaves and it's now just me and Kelly left on stage.Sir then sent the rest of the group to look at scene 2 and see how that could be done while we worked on the Tupolski and Katurian scenes.
When Katurian blows up after how casual I am about her brother being there it gives the audience a chance to sympathise with Katurian's character as she has no idea why she's there and she's already been beaten up and threatened many times. I just stare at Katurian in slight amusement because I achieved in winding her up. I then jokily say my line to create humour. We had issues on how the 'ooh's' should be pronounced. We've decided to just go with whatever feels right at the time for now, such as doing the noise through my teeth, as well as a sarcastic type. 'Calm the fuck down.' Is said a lot harsher and broader to assert the authority I have over Katurian and it's also quite patronising creating an intense atmosphere for the audience to react too. This is because of the contrast between the light humour at the beginning of my line and then the abrupt change in tone.
We found this line tricky to say so we looked at the certain parts to emphasise so that the audience could understand I'm saying I wasn't trying to suggest anything, even though I was. Emphasising the last 'you' makes it accuse Katurian more putting her in an awkward position. We had to cut out the second part of my line and Katurian's response because removed the previous part where it's mentioned. So it goes straight into the 'Blah blah blah' which makes my character seem dismissive to anything Katurian says he believes because we still think Katurian has murdered these children.
Here is where we can see Tupolski winding up Katurian more. Katurian has clearly told Tupolski that there is no solution and when Tupolski asks what the solution is, this frustrates Katurian but Tupolski finds it amusing. Tupolski can use his power to suggest otherwise and Katurian has to conform to agreeing with Tupolski. This is where the audience can either feel sorry for Katurian, or find it humorous that Tupolski is winding Katurian up for his own pleasure.
We got only managed to block out slightly the rest of the chunk until Katurian reads the 'The Tale of The Town on the River'. There are more points of comedy leading up to this story that are sadistic. Tupolski uses his power to manipulate Katurian into doing what he wants and uses word clever word play to assert this comedy to the audience, even though Katurian is petrified of everything Tupolski says.
At the end of the lesson Emily Jake Matt and Chris came back through with an idea of how to do the second scene, where the story of 'The Writer and The Writers Brother' is told. They decided it's hard to be seen from every angle if you're were actually laid on a bed, so they thought, using a standing piece made to look like the bed on one side could show his bed, and then him standing up in it so you could still see his facial expressions and reactions to the noises of torture that would be happening on the other side of the board. this makes it easier to show what happened in a more creative way that allows the audience to see both sides.
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