Although this does cause an issue as we now have to rethink previous idea's we had involving four members, we will be continuing and I will have to show hints of the suppressive emotion at times it is necessary, but I will focus on the confident aspects of my character.
We are now looking at the part where the character are communicating. This is where we have decided to push Ciara out as it shows that once the man has started talking, my main worry is over. This could show that the woman's only fear was if the man felt the same attraction she did, and once that feeling was reciprocated she no longer felt need to be shy or restrict herself, and therefore I could continue talking for myself. By me physically pushing Ciara out of the picture it shows the audience how I am now the superior train of thought and the doubt remains out of sight for now.
While doing the naturalistic talking about how it's a lovely day, Jake and Matt have a choreographed conflict where Matt is trying to be polite and Jake just wants to sit down next to me. I don't make any reaction to this movement as the battle is happening inside the man's head and I want the audience to understand that the woman is only really seeing what the man is saying, rather than the dynamic battle of the thoughts. To show this, I stare forward instead of at him, this removes the possibility of confusion within the audience as they understand I cannot see the physical battle, this element also creates humour as I am unaware of the constant battle the man is going through.
We struggled with thinking of a way to split up the 'overlapping' analysing each other, so are first step was to divide the lines so we knew who was saying what and the queue for their next line, so the order we came up with was..
Jake: Blue eyes
Me: Blue eyes (changed as both Jake and Matt's eyes are blue)
Matt: Nice
Me: Nice
Matt: I like that
Me: Hair dark soft
Jake: Fullness in lips
Matt: Soft
Me: Hands, strong, big
Matt: Legs crossed
Jake: Skirt shirt
Me: Worrying thoughts, eyebrows, nose
Jake: Darker recesses leading to the various succubi and incubi swarming in her panties
Me: Mouth avaricious, devouring
Matt: Those gardens of cotton roses
Me: Like to be - now
Jake: A child wandering through hot gardens
Me: who is he - what does he - how does he
Matt: those smelling summer times
Me: Bird-like - hawk-like predator
Matt & Jake: I love her
My tone when saying 'worrying thoughts' should be different from when I say the lines about attraction. As I'm saying it as if I notice him looking at the show of my legs whilst crossed. This gives the audience I chance to see that I still have traits of the submissive characteristics even though Ciara has left the stage.
Before Matt and Jake say 'I love her' we all move our heads in synchrony to the top of DSL to show a possibility of further chemistry after analysing each other.
We then wanted to move the movement further, and we thought that Jake should take over the speech, but we wanted to remove Matt so he was where Jake was behind the both of us. Having the characteristic that's not at the surface of the person behind and in the middle of the man and the woman, allowed them to easily interject and terminate the conversation or attraction that starts to happen, or if it is Matt (suppressive) that is at the surface Jake can take over and bring the attraction back with ease.
So whilst Matt says 'the sea is calm today', in synchrony we move our arms across the horizon as if we're pointing at the sea, and Jake can then push Matt off the seat and take his place. We then end with our faces only inches from each other, showing the attraction, clarifying Jake taking over the position in order to pursue the woman further.. I then use my next line to break the tension and discuss something else.
The next page we want to continue using synchronised movements in order to add movement that isn't to visually distracting but still adds the physical aspect that fulfils the traits of Berkoff's method. But we are thinking of adding these in during the holiday rehearsal, and moving on with the script and adapting it by cutting large chunks out of it.
Me: who is he - what does he - how does he
Matt: those smelling summer times
Me: Bird-like - hawk-like predator
Matt & Jake: I love her
My tone when saying 'worrying thoughts' should be different from when I say the lines about attraction. As I'm saying it as if I notice him looking at the show of my legs whilst crossed. This gives the audience I chance to see that I still have traits of the submissive characteristics even though Ciara has left the stage.
Before Matt and Jake say 'I love her' we all move our heads in synchrony to the top of DSL to show a possibility of further chemistry after analysing each other.
We then wanted to move the movement further, and we thought that Jake should take over the speech, but we wanted to remove Matt so he was where Jake was behind the both of us. Having the characteristic that's not at the surface of the person behind and in the middle of the man and the woman, allowed them to easily interject and terminate the conversation or attraction that starts to happen, or if it is Matt (suppressive) that is at the surface Jake can take over and bring the attraction back with ease.
So whilst Matt says 'the sea is calm today', in synchrony we move our arms across the horizon as if we're pointing at the sea, and Jake can then push Matt off the seat and take his place. We then end with our faces only inches from each other, showing the attraction, clarifying Jake taking over the position in order to pursue the woman further.. I then use my next line to break the tension and discuss something else.
The next page we want to continue using synchronised movements in order to add movement that isn't to visually distracting but still adds the physical aspect that fulfils the traits of Berkoff's method. But we are thinking of adding these in during the holiday rehearsal, and moving on with the script and adapting it by cutting large chunks out of it.
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