I just sent this out to my current LA class. I thought I’d post it here as a little window onto the Andrew Wood world.
Everyone has gotten up once! These last three weeks of the class are really exciting, as we are now in a position to start putting it all together. Expect to see some dramatic leaps forward in the coming weeks.
Make sure, when you get up for the second time, you have the things we talked about when you first got up at the tip of your tongue: in particular, your underlying objective, and how you are pursuing that in the scene. Everything we do going forward builds on that, and I don’t want to have to spend time working it out a second time. If we do have to discuss it again, this will be time spent not working directly on your work in the scene. I will ask about it. If I didn’t get to discuss it with you this time, or if you feel the need to check
your understanding, please don’t hesitate to be in touch by email to clarify.
Now that you have gotten up once, you’re eligible for coaching sessions. I urge you to consider this. When I am working with you in front of the class, I have to spend time explicating what we are up to to the larger class, but in a coaching session I can give you my undivided attention. The classroom space is available after class for free, so if you want to have a session after class, you won’t need to pay to arrange space (although this coming Wednesday is already taken). The cost is $80/hour, which can be split between you and your
In your rehearsals, have you:
-rehearsed doing the eyeball-to-eyeball exercise?
-broken the scene into units, and rehearsed one unit at a time?
-spent time and care on defining the scene environment?
-rehearsed voicing points of concentration (inner objects)?
-thrown the ball
All of these things are worth revisiting even if you have done them.
Other things to do:
-improvise the Dream Come True and Nightmare scenarios for the scene for both characters. Have a brief discussion about what will transpire in each, and then play the scenario out.
-Also do this with significant gashes and trophy moments in the past of the relationship.
-rehearse each unit of the scene, taking a moment before to think “neck free!”, as Ben demonstrated.
Keep up your personalization work: keep particularizing people, places and things, and siginficant events in the past, and keep finding transferences.
Keep reading the play.