mise en scène. No. I am one of those directors that works with the living, breathing actors and discovers new possibilities at every rehearsal.
This is not to say that I don't have a plan. I have a plan- it's just quite open-ended.
The design of the set suggests some of the movements: This area will be where the gods appear to Wang; this area will be Shen Te's shop.
Then the movements grow out of the relationships that develop between the characters and the actors. Moments are discovered that must be private; moments are discovered that are overt conflict. These will mean turns or crosses away, or crosses toward, movements to pursue or escape.
While this form of blocking takes a bit longer, I believe it is easier for actors to remember. More than that, this form of blocking belongs to the actor- and the character- and is rooted in the internal as well as external action of each scene.
The design of the set suggests some of the movements: This area will be where the gods appear to Wang; this area will be Shen Te's shop.
Then the movements grow out of the relationships that develop between the characters and the actors. Moments are discovered that must be private; moments are discovered that are overt conflict. These will mean turns or crosses away, or crosses toward, movements to pursue or escape.
While this form of blocking takes a bit longer, I believe it is easier for actors to remember. More than that, this form of blocking belongs to the actor- and the character- and is rooted in the internal as well as external action of each scene.
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