Some misc. notes from last week.

Aaron’s teacher Victoria has a warmup exercise with clapping echoes that’s interesting. We try it in warmup, with him clapping rhythms at everyone in the group and them clapping back at him. I would like to try it again.

I spent last week notating Aaron’s various 3rd-week acting notes in a clean script. It was a really good exercise for me. We worked section by section, once through for small notes and once through for connection.

When do you switch to a clean script, if ever?

I realize, in terms of Aaron saving notes, that what he saves notes from are runthroughs – he doesn’t save a page of notes for every single day. That’s probably a good balance. I never would have worked that out without blogging about it.

You can either write down blocking or else be focused on acting and intention – and in fact, the act of writing down blocking, because it is tedious, makes me automatically care less about intention. Chris Bolender had to tell me this.

Instead, I’m trying to be aware of the blocking and the feelings of it, as the overall picture of the play.

Paper tech:
Our front projector will be for more specific settings, for landscape, and back-screen for memory. Do front and rear projection have different feelings or is it just a technical thing? I’ll have to see.

Someone suggests crickets!

Lights is cueing off blocking and projections off language.

Editing is like directing. (As I edit essays.) What are you trying to say? What do you want? And actors are writers.

Is there something to be said for making a point badly? Is there a way for unclearness, or confusion, to be clearly expressed?