Work Journal questions

Reflection questions guidelines:

- use theoretical terms and concepts that you have been taught
- quote ideas based on your independent reading, and evaluate these ideas
- refer to taught texts, and/or other plays you have read

Remember to append your name at the end of your post, so I can keep track of your submissions.

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Harold Pinter, Betrayal: Characterisation; Objectives

1. Apply the Stanislavskian ‘magic if’ to this extract. How does it help you to build either the character of Emma or Jerry?
2. Read up on the works of Vsevolod Meyerhold and his theory of ‘biomechanics’, and Stanislavski’s main concepts. Which approach to acting do you find easier to adopt?

Paul Abelman, She’s Dead: Vocal use and variety

1. What are the aspects of voice production that an actor needs to keep in mind when he acts? How does voice help in characterisation? (Read up on the works of Cicely Berry and Patsy Rodenburg for reference.)
2. Is voice the most important ‘tool’ for an actor? Why or why not?

Edward Albee, Who’s Afraid of Virginia Woolf?: Physicality, awareness of space

1. What inhibitions do you still have in using your body to express yourself? What are the strategies you can use to overcome this?
2. Read up on the works of Rudolf Laban and Jacques LeCoq. To what extent do you think their works can help an actor be more adept in the use of space and their own physicality as an actor?

Jane Taylor, Ubu and the Truth Commission: Use of puppets and multimedia

1. To what extent has modern theatre successfully incorporated puppetry and/or multimedia? Does this enhance or detract from the overall production? Use examples from local productions you have seen, if possible.
2. Construct one set design for the extract you have studied, and adapt it for two different spaces. How does your set design in each space express the overall atmosphere of this piece?

- Miss N