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/.