Friday, November 2, 2012

BLOG #52: Tweaking Meisner and Method to create a workable method:




            In the last Blog entry, I talked about the importance of backing the Meisner Knock-at-the-Door exercise directly with personal sensory work rather than ‘making up a story’ and then backing that with personal material. In this way, one has only two stories, the one in the script and one’s own, and the task is to ‘feel’ them as one. Sometimes it can feel like chasing the Minotaur, but – to mix metaphors – for the true actor there are many pots of gold throughout the labyrinth.
            Working in this way – without made-up circumstances - partners are required, through sensory work, to dig deeper into themselves and find a personalization of the other actor; this process of ‘searching the self’ puts one’s own feet onto the trail of the character and brings one directly into the situation in which the relationship with the partner is embedded. As I have said before, this is a very complex idea, and I will continue to describe it from different points of view in order to make it clearer. It cannot be grasped all at once.
            To continue on from the last entry; Actress A was beginning to show signs of feeling more comfortable with the idea of the Voices and how they translated into ‘objects’ from her own life. Actor B was going through a similar process; his question was different, of course. He had to ask himself ‘what was his most difficult memory of having to break away from someone he loved.’ Or put another way, ‘when had he felt the necessity to follow his own path, however the devastating the consequences might be for someone close to him?’ The second is better because it opens a clear way to Actor B’s/Dunois’ objective.
            Both characters have very strong objectives. Although technically Joan probably has the stronger need, Dunois feels at this point that he stands to lose everything if he continues to fight for her cause, but he also knows that he is abandoning her.  So the scene – or in this case the two monologues can be approached through improvs, in which the actors switch between ‘pursuing an objective’ or ‘dedicating him/herself to an activity’.
            So far, we have principally discussed how the actor who has the objective prepares his role. Now we must show in detail the preparation of the actor who is more ‘acted upon;’ the one who is satisfied with the situation as it is. This is an odd word to use vis-à-vis Joan the Maid, who was never ‘satisfied’ a moment in her life. However, before the moment in which this scene takes place, Dunois has lead her armies to victory , so one could certainly agree that his generalship was satisfactory. Now, however, he is shifting his position and asking Joan to accept his decision to drop out of the fight against the English.
            She has no inkling of his altered stance at the beginning of the scene and continues for quite a while to be her ebullient, confident self. Even in her monologue, she doesn’t appear to have accepted his withdrawal of support – clearly she is still of the opinion that she can change his mind. (There is another monologue at the end of the scene by which time she is fully conscious of the trap into which she has fallen, and line by line she resigns herself to her fate with immense intelligence and dignity, at no point showing even an ounce of self-pity.) But at the point in the scene under discussion, her objective is to win back Dunois, so one could say we are observing one objective up against another objective.
            Since this is the case, why can’t we leave out the ‘activity’ altogether? Because the ‘activity’ is not called an ‘activity’ for nothing. It’s certainly not called a ‘passivity!’ And even when I didn’t know why I was doing it - I have always required students to rehearse scenes from both points of view: first, ‘taking the objective’ and then ‘doing the activity,’ or vice-versa.
            Meisner defines a good ‘activity’ - for use in an improv - as something difficult to execute that leads to a necessary result. Example1: you have broken a dinner plate that is part of your mother’s set. She has a dinner party coming up immediately and you have to glue it back together. Example 2: your finicky boyfriend’s birthday is coming up in a few days and you’re shopping on the Internet for a present. Your girlfriend has just broken her leg and you’re trying to write a poem to cheer her up.           I used to attend a very good Meisner class and knocked my head against these improvs over and over again. I spent hours and hours behind a door creating imaginary circumstances. And then I began teaching classes of my own, perpetuating what I had been taught. I have always felt that the premise was right, but that it required ‘something more’ and ‘something different’ while going along the same general path. I think it’s always like this with methodologies. They fit the time in which they are set up, and then as things change, they morph slowly. And, of course, there are actors who do better following one method more deeply as opposed to another. But that is not my subject here - another blog entry-in-the-making.  I will state, categorically, that most actors need both Meisner and Method – and lots of other things too, but these are absolutely basic.
            This is my thinking – I may have said this before, but not quite like this: Method is me, myself and I taking in the world and being affected by it from over here where I stand, while Meisner is me being tossed around by the world and endeavoring to hang on for dear life to a piece of me, myself or I.
            So, to get back to Actor A and Actress B and their improvs on St. Joan; they alternated struggling with their activities and bursting in through one another’s doors for several sessions. However hard they tried, the work kept falling into lifeless and unfocused patterns. The actors were becoming bored and almost despairing. This is not unusual, as human beings are not machines and our systems need to adjust slowly Finally, I did something I avoid when there is more than one actor present.  We had a discussion about the ‘sensory objects’ they were using, Actress A for her ‘activity’ and Actor B for his ‘objective.’
            In the next entry I will take a little breather from this subject to discuss a couple of plays I just saw, Who’s Afraid of Virginia Wolf and Harper Regan - and their relevance to this discussion…

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