It's a great read and gives everyone, actor, director, techie or audience member, an idea of the time and effort that needs to go into putting on a performance; doesn't matter if it's Shakespeare, Rattigan, Churchill or Aykcbourn, this is the sort of enthusiasm and dedication that is needed. Professional or not, you gotta put the work in to get the results.
Katherina and Petruchio aka Jilly Brock and Rich Turley, trying to remember that it's actually Padua (huzzah!) and not Dartmouth Castle. |
It would appear that Max (aka ‘Grooms’ or Grumio) is
putting me to shame with his regular blog entries so here’s my much overdue
next entry.
I’ve been reflecting on just how much effort an ’amateur’
theatre company puts into ensuring a production is as professional as
possible. By 4 June, in the 16 weeks
since my final audition for Petruchio back in February I’d estimate at least 40
hours of rehearsal on 10 occasions be that Wednesday evening or Sunday
afternoon.
On top of that a full day RSC Open Stage workshop at the
Sherman Theatre in Cardiff and the delight of working with Michael Corbidge for
our first Text and Voice Workshop. Not
to mention at least the same amount of time again learning lines (and Petruchio
has lots
of lines!!).
Oh, and I forgot to mention a final promenade performance
of the Dream on 10 May!!
So just what do we get up to at the rehearsals and what
does it take to bring Will’s wonderful text to life?
In this blog I’d like to share a little about creating a
back story. At the workshop in Cardiff
we discussed the “Actors’ Questions”, i.e. fully understanding everything about
your character so that you “be your character” and don’t “act”.
“Don’t act”?! I
hear you say – well, yes that’s the trick it would appear! The more you understand your character and
how they would naturally react to any situation the more you become them and
hey presto you behave in a natural and believable way on stage.
So here they are, the Actors’ Questions ...
1. Who
am I?
2. Where
am I?
3. When
is it?
4. What
circumstances happened before the play begins?
5. What
has just happened?
6. What
do I want?
7. Why
do I want it?
8. Why
do I want it now?
9. What
would happen if I didn’t get it now?
10. How
do I get what I want?
11. What
must I overcome?
12. What
are my relationships?
Now, with The Inn Theatre Company being such a dedicated
bunch we’ve taken this one big step further and each actor is writing their
character’s back story (see...the title of the blog does make sense after all
!!)
Hats off to Jilly for her confidence to write a very
detailed and open back story for Katherina which she then shared with Janie and
me. Jilly put a lot of research into
this and when I read it her character made sense and so I decided to do the
same for Petruchio.
5,000 words later (yes, 5,000!) I had produced my
detailed back story and an outline of what’s making Petruchio tick for each
scene.
Clearly you don’t need to go that mad but for me it was
the ideal way to develop the character.
Without giving too much away the back story covers his childhood,
formative years, the year leading up to the time of the play and what sets
Petruchio off on his travels to “Wive it wealthily in Padua”.
I used the 12 questions above combined with some personal
insight and experiences (which then make it easier to tap into the emotions
required for Petruchio’s varied personalities!!). Jilly and I then shared our back stories,
tweaked them and worked together on what’s going on during the events between
scenes that Will has basically left to our devices.
Max then wrote Groom’s story which amplified mine and so
the snowball (or avalanche) commenced!!
I would whole heartedly recommend this to anyone as it is
totally worth the effort – I now have a bit of Petruchio alive inside me (what
a strange concept!) and feel a lot more confident.
To round this blog off here’s a little bit of the back
story (well, you deserve it seeing as you’ve taken the time to read the
blog!). I hope you find it interesting
and who knows, maybe relevant when you join us in August for the production.
Part of Petruchio's Story (As told by Rich)
' “Petruchio
is my name, Antonio’s Son, a man well known throughout all Italy”
Or
so he was ... until he passed away 6 months ago.
I’m
still not sure how I feel about that, I never did manage to achieve the same
fame as my father – maybe one day my son will say “I am Petruchio’s Son, a man
well know throughout all Italy”, but there’s fat chance of that without a wife
to my name...and the last thing I want is to be tied to some woman for the rest
for my life with a kid in tow.
------
After
6 months of xxxxxxx my inheritance up the wall feeling sorry for myself it’s
about time I sorted things in my life once and for all ... if nothing else I
need some money because the kitty is pretty empty now. I’m sure Grumio has got a whiff that the
money is drying up ... he’s a cheeky little xxxxxxx when he gets going and
tries winding me up – the last thing I need is him blabbing that Petruchio {famous
old Anthonio’s son} is nearly bankrupt – I’d kill myself before allowing such
shame to go against the family name. But
Grumio knows the score and keeps it to himself right now ... and he keeps the
servants in line which is no mean feat I can tell you!! '
More from Rich when he has the time, between shrew-taming, working and learning lines. I also hope to get some of the other cast members to add to this memoir of The Shrew; it's always good to get a broad perspective on what's going on and how people feel about a production.
Great stuff! I wonder if the servants (eg Curtis, aka Freya) will be doing something similar? Is it worth it for the very minor characters?
ReplyDeleteThe director wanted the cast to get a real feel for the characters they were protraying. This year's production is much more physical, as you know, because of the styling, and getting into the skin of a character is that much more important. It all helps. Everyone was invited to write a back-story, to think about their back-story, and how it might affect the other characters with whom they interact. The major characters (Katherina, Petruchio, Hortensio, Baptista Minola, Lucentio, Binaca) all have interaction that stems from their back-story. And for the the minor characters...in this production, as with Lear, the 'minor' characters are pivotal: with Lear they were the buzz, the foundation, canvas upon which the whole was splashed, with Shrew they are the warp to the weft, they coil in and out of the play, holding the whole up and adding texture and colour. If they composed have a back-story, the director is aware of it and the other characters have taken it on.
ReplyDeleteBecause we are using the stock characters from commedia as a framework for Shrew, Curtis has been 'supplanted', as it were, by Columbina, so that she may play foil to Grumio...or Arlequino in the commedia instance! It's all shaping up beautifully, thanks to the intricate work the entire cast are putting in!