|
REVIEW: The Vital Source TICKETS: $12 DATES: April 18-May 4 LOCATION: The Alchemist Theatre CONTACT: Tracy Doyle DESCRIPTION: Cracks in the Floor is the story of a voyeur who is overcome with guilt when drawn into his downstairs neighbor's affairs. It stars Tracy Doyle, Tim Chrapko, Jason Hames, Johan Hauser, Cynthia Kmak, Kate Pleuss, Kasia Drake, and John Olstad. It appears with Alchemist's 31, a psychological thriller about a forensic scientist. PROCESS: This is a workshop piece, so we're employing an experimental process. First, the ideas for plot and character were loosely brainstormed in workshop. Then, Wes Tank was elected to be the director of the piece. He made some specific decisions based on the brainstorming and is now guiding a unique process of production. Described below. PURPOSE: To explore spontaneity and impulse as a means of expression, while keeping that expression held within the context of specific guidelines, rules, or disciplines, in hope that through limitation the expression will gain strength. By giving free reign within a strict syllabus, the goal is both parts growth for the actor and an overall emotional truth for the story. METHODS: Each character should be developed separately, as collaboration between director and actor. The actor will be responsible for coming up with the inner-workings of the character and the director will be responsible for helping that character grow into something that will support the piece as a whole. In order for this method to be effective, it is important that the director discusses and rehearses with the actors individually before they are brought together as a group. No acting should happen until the actor has a solid idea of what they are portraying. That doesn't mean everything about them must be known, but the what-makes-a-person-what should be in place, the situation should be set for the subject to evolve. Once the parameters are set, we will begin a number of experiments, which will be filmed, and reviewed by actor and director. Discussion will take place. The experiments will be repeated with differences (and surprises). Some experiments will work on scenes that exist in the play, and some will be strictly for character building. As the experimental process continues, the director will be thinking of the big picture. At a certain point, the what-will-be-done will be revealed, the play will be on paper, and rehearsing the play as a whole will begin. Again, during this time there will be some room for experimentation, as this is an exercise in following one's instinct and growing as a result, not in how well one can memorize something that was once off the cuff. |
