Skip to main content

6- Macy’s Jazz

 Rehearsal log 6. 

Macy’s Jazz

Session Summary:

Today’s lesson was focused on addressing the opening section of the routine, particularly as we’re now missing a member of our company. The choreography is intricate, with many interwoven and complex patterns, so a large portion of the session was dedicated to refining these details. As much of the patterning doesn't involve me directly, I was either given time to work on my solo moments at the side or asked to observe the group and identify any inconsistencies in the execution of the patterns.

Personal Observation:

While observing from the side, I had the opportunity to apply some of the acting methods I had researched earlier in the week. Additionally, I took time to familiarize myself with the next wordy section of the song, which was helpful in physically embodying the lyrics and connecting them to my movement. Practicing this section allowed me to solidify my understanding of its rhythm and intention, as well as improve my overall performance when it’s time to integrate the choreography.

Research:

  1. Stanislavski’s System
    Stanislavski's system, the foundation of modern acting, centers on developing an emotional connection to the character. By focusing on psychological exploration and authenticity, it encourages actors to delve into their character’s inner life. Key techniques such as "emotional memory" using personal past experiences to evoke emotions and the "magic if " imagining what one would do in the character's situation are central to this approach. For me, this method has been invaluable in exploring the complex nature of the Emcee. I’ve focused on understanding his objectives in each scene, often exploring his desire for attention, control, or a deeper masking of vulnerability. By tapping into emotional memory, especially in moments like “I Don’t Care Much,” I’ve been able to connect with the underlying fears and desires of the character, enhancing the depth of my portrayal.

  2. Lee Strasberg’s Method (The Method)
    Strasberg's Method is an extension of Stanislavski’s work, emphasizing emotional experience through “sense memory” and “affective memory.” By recalling past sensory and emotional experiences, actors evoke genuine reactions that are deeply integrated into their performance. This method has allowed me to tap into the emotional turmoil of the Emcee, especially the way he hides his true feelings behind a facade. Drawing on personal memories of fear or isolation, I can infuse the Emcee with moments of vulnerability. Exercises like Strasberg’s sense memory have also helped me create physical reactions to emotional states, ensuring my portrayal remains truthful and raw.

  3. Meisner Technique
    The Meisner Technique is about living truthfully under imaginary circumstances, focusing on spontaneity and authentic reactions. It emphasizes the importance of responding to scene partners with complete honesty, rather than relying on pre-planned emotions or scripted lines. The technique’s “repetition exercise,” where actors mirror each other’s actions and words, has been helpful in rehearsal, especially when I need to react authentically to the shifting dynamics of the scene. The Emcee’s manipulative and playful nature requires a constant shift in behavior, depending on his interaction with others. By practicing the Meisner Technique, I’ve been able to keep my reactions fresh and grounded in the truth of the moment, enabling me to maintain a dynamic connection with the other characters and the audience.

  4. Michael Chekhov Technique
    The Michael Chekhov Technique takes a more physical and imaginative approach to acting, encouraging actors to embody the character’s emotions through “psychological gestures.” These physical movements reflect the character’s inner state and are used to build a deeper emotional connection to the role. This method has been especially useful in portraying the Emcee, whose physicality often commands the stage. By employing Chekhov’s idea of psychological gestures, I’ve been able to bring out the larger-than-life nature of the character, using exaggerated or controlled movements to mirror his emotional state. Chekhov’s emphasis on imagination has allowed me to create a more dynamic portrayal of the Emcee, unlocking new ways to interpret his inner turmoil and vulnerability.


What can I do to progress for next lesson:

  • Continue experimenting with characterisation by practicing facial expressions in front of the mirror, even if it feels uncomfortable.

  • Apply the techniques and methods mentioned above to deepen my connection with the character.

  • Focus on the new changes in choreography, such as slowing down the walks forward with the chair, to enhance the overall performance.

    References: 

    -Ates, A. (2019). The Definitive Guide to the Meisner Technique. [online] www.backstage.com. Available at: https://www.backstage.com/magazine/article/the-definitive-guide-to-the-meisner-technique-67712/.

    -Ates, A. (2018). The Definitive Guide to Method Acting. [online] Backstage.com. Available at: https://www.backstage.com/magazine/article/the-definitive-guide-to-method-acting-65816/.

    -Ates, A. (2023). The Definitive Guide to the Stanislavsky Acting Technique. [online] Backstage. Available at: https://www.backstage.com/magazine/article/the-definitive-guide-to-the-stanislavsky-acting-technique-65716/.

    -Backstage (2022). What Is the Chekhov Technique? Here’s Everything Actors Need to Know. backstage.com. Available at: https://www.backstage.com/magazine/article/what-is-chekhov-technique-acting-explained-74762/.

Comments

Post a Comment

Popular posts from this blog

1- Macy’s Jazz (Money)

 Rehearsal Log 1: Macy’s ‘Money’ – 22nd April Summary of Session: Today, we resumed our rehearsals for Macy’s jazz piece to "Money" from Eddie Redmayne’s live recording of  Cabaret . We spent most of the session working on new choreography and adjusting to the change in pace of the music. Since I’m playing the role of the  Emcee , the rehearsal required intense character work. This role involves intricate movements and precise musicality, as I’m miming the lyrics while dancing. It’s been a fascinating process not only learning the lyrics but also being challenged by Macy to sing while dancing. This, she said, would help with the authenticity of the miming. We also addressed some spacing issues I was facing with the chair and the steps, particularly when traveling through the crowd of people and chairs. Given the large rehearsal studio compared to the actual stage size, I had to adjust my movement to avoid overextending. Additionally, we began the chair hand-clapping secti...
Post a Comment
Read more

9- Emma’s Lyrical

Rehearsal log  9~ Emma’s Lyrical Session Summary: This rehearsal focused primarily on developing character through dynamics and breath. Halfway through, we watched a video of our performance to self-correct any visible mistakes or irregularities, which proved to be a helpful time-saving tool during the cleaning process. Emma made some adjustments to the timing of the final cannon, making it more manageable and allowing the ending to flow better. She also changed the direction of our exits to add a sense of spontaneity to the piece. Personal Observation: I struggled during this session with executing turns, spins, and sliding motions, as the floor felt rough on my bare feet and aggravated my blisters. Emma advised me and others dealing with the same issue to wear socks to prevent further damage to the soles of our feet. This experience made me realise that I need to incorporate better foot care into my weekly routine to avoid these issues in the future. Research: As a dancer, I’ve c...
Post a Comment
Read more

Show Performance Review:

Show Performance Review:  Robyn’s Jazz – “Big Time”: Because this number opened the show, and it required high energy, slick execution, and performance precision this had the pressure of starting off well. I found the tight formations and group unison sections especially challenging in earlier rehearsals, but during the show I managed to stay connected to the group while still performing with projection. One thing I noticed was how easy it is to let facial tension or over-concentration show when you’re trying to hit sharp movements and I'll continue t keep working on this. That said, the routine felt tight, and Robyn’s feedback about dancing “bigger” in space finally clicked for me on stage. I pushed further with performance energy and really tried to fill the space especially as the stage was larger than I'd anticipated. Because hadn't been able to settle nerves yet properly, I found some sections became more wobbly than they are usually are, such as the turns and unison d...
Post a Comment
Read more