Obviously, both Mark Hill and McGregor share the same passion for theatre, and more importantly, theatrical dancing. However, Mark Hill believes in the fact that actors are just 'empty shells' on stage and theatrical Gods take over them. McGregor doesn't believe this at all, he's more of a practical thinker instead of a spiritual thinker. I think that this is because Mark Hill had trained with Japanese Butoh dancers and being Japanese probably influenced Mr. Hill in a sense where traditional Japanese spiritual stories had shaped his thought on theatrical dancing. I think that both Mark Hill and McGregor share the idea of using peripherals and isolating body parts while still focusing on the whole body. I also think that both dancers think that keeping energy levels high are an essential part of theatre but, I think that Mark Hill has a better grasp at this as he also uses the fact that actors can still keep their energy levels high while still keeping very still or curled up on the floor. I think that this is a part of Butoh's influence on Mark Hill, where Butoh requires the actors to fall on the floor and go very slowly through the pain when getting up from the fetal position.
Another thing that both actors have in common is the use of mental architecture where the actors have to visualize themselves as objects or reanimate objects that might not be there in the first place, on stage with them. I think that this is both crucial and effective in theatrical dance because of the fact that there are NO words involved in physical theatre, and the more the actors imagine and create up on stage, the more they have to show it with each limb that they have, and the more they show up on stage, the more the audience can see therefore making the audience see what the actors see.
Wednesday, 26 September 2012
Sunday, 23 September 2012
Our weekend
Apart from this cold that I have now, the trip was just....... oh my lord.
This weekend was absolutely an experience that I will cherish with me, until the day that I find Atlantis. I feel as though the class has all bonded together nicely, and that we've all really learnt a thing or two about each other. But what really took my heart on this trip, was the history behind the Korean masks. To think, that a young boy had made fourteen of these masks, each with it's own meaning carved into every spec of the wood is simply breathtaking.
This is just one of the many masks that we had seen on the trip, and technically, I think that it is the best out of all the fourteen traditional masks that there are. I love how with this mask, the mouthpiece moves according to however the user moves it. Looking up to look happy, and looking down the look mad. The number of wrinkles on each side of the mask having a specific meaning to it also gives me the influence that I would need in order to wake up one night from a dream and make some of my own masks (what the young boy had done).
This weekend was absolutely an experience that I will cherish with me, until the day that I find Atlantis. I feel as though the class has all bonded together nicely, and that we've all really learnt a thing or two about each other. But what really took my heart on this trip, was the history behind the Korean masks. To think, that a young boy had made fourteen of these masks, each with it's own meaning carved into every spec of the wood is simply breathtaking.
This is just one of the many masks that we had seen on the trip, and technically, I think that it is the best out of all the fourteen traditional masks that there are. I love how with this mask, the mouthpiece moves according to however the user moves it. Looking up to look happy, and looking down the look mad. The number of wrinkles on each side of the mask having a specific meaning to it also gives me the influence that I would need in order to wake up one night from a dream and make some of my own masks (what the young boy had done).
What really gives me the creeps about the mask though, is how spirits travel all the way from the top of a mountain just to reanimate themselves into one of the actor's bodies. I mean, the faces are already there to control the facial expressions of the actors, but to think that a spirit is actually controlling you like a puppeteer is truly remarkable. This kind of brings me back to what Mr. Hill had been talking about when people preform in acts with Butoh theatre. When people have to wake up the theatrical Gods around them in order for them to use the actor's bodies on stage.
I have been editing a video with all the footage that I was taking on the trip, and I'll try to have that up by tonight. That video will be a part of this blogpost, so stay tuned!
Thanks so much Mrs. Moon, Mr. Moon, Mr. Dornbach and Mrs. Dornbach for this magnificent trip. I actually hope we could do this again before the year or perhaps even, the semester is up!
Wednesday, 12 September 2012
The M.H
I'm not going to lie, I had my doubts at first. I thought that this wasn't going to be a pleasant week, seeing as the 'drama' class which I had once known had turned into some p.e class with a drop of artistic profanity in there. I thought "If this is a p.e class, why not just chuck away the artistic drama side of it?" How wrong could I have been?
The second day of Mr. Hill's lessons took me by surprise. It wasn't a p.e class anymore. His first intentions (I think) where to make us feel as if our second home was located in the Blackbox. This meant we had to find every aspect of the blackbox and make it ours by cleaning the floors. Each and every stroke of the watered-down towel scrub felt more and more as if we actually cared about the ground we were going to practice our physcial theatre. Suddenly the ground wasn't just a black surface anymore, it was an entire canvas awaiting to be painted by each of the strokes of our limbs. In a way, I thought that we were painting ourselves down in the blackbox through the use of dynamic stillness, levels of energy and how each and every one of us interacted with each other. Mark had told us about the time where he had to practice with people in nothing but a shack, but I guess that's theatre.
This is Mark Hill. One can see how much energy he puts when on-stage by looking at the veins pulsing from his neck. How his arm is so charismatic the way it just sits there with his fingers positioned in such a way, that you feel as if he's trying to grab at you. In this one photo, you can see so much about Mark Hill and to think, how much we've soaked up from him, considering the fact that we've had him for a whole week...
Mr. Hill always talks about energy levels and how you've got to keep them high, even when you're just standing there. He talks about how all this energy can induce so much synergy onto the stage with your cast members. Wherever you are on stage, whether your at a counterpoint up-close or maybe at a distance from the audience your energy level must be at least at a 5.
On the third day, we had talked about being physically aware when mimicking somebody as if you were their mirror. Mrs. Moon had gone through this with our class in a session as well. Mr. Hill had tried to test our focus, by making somebody ask you questions while you would mimic the other person.
What all of this has done for me as an actor:
First of all, now I really don't care how I look up on stage or if sweat is trickling down my face. I've learned that the audience love to see the actors struggle with their own problems when up on stage. It's interesting, and it will eventually show how much focus the actor has and how much pride the actor has for what he/she is aiming for in the play.
I've learned that acting is something that we can't learn through a teacher, or learn from a book. It's a mental challenge with yourself. Do you want to be you? Or do you want to make your body but a shell, so that the character's personality can use you as it pleases. In Butoh, you awake your theatrical 'Gods' by stomping on the floor and totally letting yourself go out towards the audience. This is an example of when we as actors need to make our bodies hollow and a shell that the spirits can use for that moment in time. In Butoh, you sweat yourself out making you vulnerable towards the audience. I think that when we sweat out, we're also releasing all the tension that we have, and our spirits for that moment, so that the theatrical spirits can help guide us through the performance.
Another thing that I've learned, is the meaning of what Mark Hill likes to say: "The best type of acting, is reacting." What does this mean? It means that the play can't just be about lines, or memorization of the script. It's how much focus the actor puts into the play and if he/she knows what's going on around them, in the story, and in each character's minds. How would we know what everybody else is thinking? Well we can know by the use of synergy, perception, if somebody goes up to a counter point, you must support their decision. Maybe go the distance and go parallel across from the counter point, or make a distance from you and the audience watching. It's also how you react to the things around you. If somebody falls on accident, make it a part of the script. Mark Hill had also said that the play has to always be constantly updated, renewed and added to. I think that this means that whatever happens in the performance, has to be a part of the play. You can't break out of character because you'll lose your energy and focus of your spiritual character.
Energy is another factor that Mark Hill had been talking about. You need to bring energy into the performance, and take it out when you need to. A performance is nothing without energy, and with no energy, means no synergy between the actors. I'm sort-of repeating myself here, but I just feel as if it's a crucial point that Mark Hill was making. What's a performance without it's energy? You guessed it, a bunch of zombies reading memorized scripts up on stage.
Mark Hill also has this incredible gift of bringing people together as a group. He does this by first making you show your presence in the room by saying your name out loud in a circle. The circle works as this thing where we can all see each other in our peripherals. Any move a person makes can be spotted out in an instant with the peripherals. It makes you all feel so much more closer together. It also makes you feel as if all eyes are on you (which technically is true) so you can't make any mistakes by showing disrespect to anybody in the room.
The use of peripherals that Mark Hill had constantly brought up was quite intriguing for me. Maybe it's because I had never thought of using my peripherals so much but when I think about it, it could be one of the most strongest things in theatre performances. You can immediately see what each person up on stage is doing if you feel that synergy and have that right angle for your peripherals, without your audience knowing it. If the audience feels as if your looking at them 24/7, it establishes a good connection while still 'looking' at each cast member up on stage. It's like a Mum with two children. One of the children being the audience, and the other child being the cast members. Each need attention but the audience needs it more. Therefore you look at the audience while still looking at your cast members. There's no trickery in that, it's just... synergy..
When Mark Hill had brought me up to do a 3 scene performance with him, I was amazed. To think that I was going to do a duo act with THE Mark Hill was truly breathtaking. I could feel his energy coursing through my body at the start of the act, even when he was 5 meters away from me. His stare went straight though my eyes. His smile was a symbol of energy and comfort, and his laughs were a symbol of connection and communication towards all who could hear it.
They say that people talk from different places in the body, and that some can feel where it comes from. Mark Hill's words come from his heart. Each word he would say would shoot out of his mouth like a bomb. A big booming noise would come from his mouth whenever he would speak, even when he was speaking softly. It doesn't take much for one to feel his presence in a room, even if somebody didn't know him, they would be able feel him in the room. I think through this, every one of us had gotten a feel for what presence should be like towards others. Maybe he intended for people to pick up on this small detail.
Without question, I know that Mark Hill has changed me for the better, and I thank him and Mrs. Moon so much. They are both great actors, who have guided me through the mists of theatre and it's secrets that it has to offer. Mrs. Moon, if you are reading this, I thank you so much for the chance for me to meet Mark Hill. Thank you for bringing him to the school, he was a TRULY amazing person to meet.
What all of this has done for me as an actor:
First of all, now I really don't care how I look up on stage or if sweat is trickling down my face. I've learned that the audience love to see the actors struggle with their own problems when up on stage. It's interesting, and it will eventually show how much focus the actor has and how much pride the actor has for what he/she is aiming for in the play.
I've learned that acting is something that we can't learn through a teacher, or learn from a book. It's a mental challenge with yourself. Do you want to be you? Or do you want to make your body but a shell, so that the character's personality can use you as it pleases. In Butoh, you awake your theatrical 'Gods' by stomping on the floor and totally letting yourself go out towards the audience. This is an example of when we as actors need to make our bodies hollow and a shell that the spirits can use for that moment in time. In Butoh, you sweat yourself out making you vulnerable towards the audience. I think that when we sweat out, we're also releasing all the tension that we have, and our spirits for that moment, so that the theatrical spirits can help guide us through the performance.
Another thing that I've learned, is the meaning of what Mark Hill likes to say: "The best type of acting, is reacting." What does this mean? It means that the play can't just be about lines, or memorization of the script. It's how much focus the actor puts into the play and if he/she knows what's going on around them, in the story, and in each character's minds. How would we know what everybody else is thinking? Well we can know by the use of synergy, perception, if somebody goes up to a counter point, you must support their decision. Maybe go the distance and go parallel across from the counter point, or make a distance from you and the audience watching. It's also how you react to the things around you. If somebody falls on accident, make it a part of the script. Mark Hill had also said that the play has to always be constantly updated, renewed and added to. I think that this means that whatever happens in the performance, has to be a part of the play. You can't break out of character because you'll lose your energy and focus of your spiritual character.
Energy is another factor that Mark Hill had been talking about. You need to bring energy into the performance, and take it out when you need to. A performance is nothing without energy, and with no energy, means no synergy between the actors. I'm sort-of repeating myself here, but I just feel as if it's a crucial point that Mark Hill was making. What's a performance without it's energy? You guessed it, a bunch of zombies reading memorized scripts up on stage.
Mark Hill also has this incredible gift of bringing people together as a group. He does this by first making you show your presence in the room by saying your name out loud in a circle. The circle works as this thing where we can all see each other in our peripherals. Any move a person makes can be spotted out in an instant with the peripherals. It makes you all feel so much more closer together. It also makes you feel as if all eyes are on you (which technically is true) so you can't make any mistakes by showing disrespect to anybody in the room.
The use of peripherals that Mark Hill had constantly brought up was quite intriguing for me. Maybe it's because I had never thought of using my peripherals so much but when I think about it, it could be one of the most strongest things in theatre performances. You can immediately see what each person up on stage is doing if you feel that synergy and have that right angle for your peripherals, without your audience knowing it. If the audience feels as if your looking at them 24/7, it establishes a good connection while still 'looking' at each cast member up on stage. It's like a Mum with two children. One of the children being the audience, and the other child being the cast members. Each need attention but the audience needs it more. Therefore you look at the audience while still looking at your cast members. There's no trickery in that, it's just... synergy..
When Mark Hill had brought me up to do a 3 scene performance with him, I was amazed. To think that I was going to do a duo act with THE Mark Hill was truly breathtaking. I could feel his energy coursing through my body at the start of the act, even when he was 5 meters away from me. His stare went straight though my eyes. His smile was a symbol of energy and comfort, and his laughs were a symbol of connection and communication towards all who could hear it.
They say that people talk from different places in the body, and that some can feel where it comes from. Mark Hill's words come from his heart. Each word he would say would shoot out of his mouth like a bomb. A big booming noise would come from his mouth whenever he would speak, even when he was speaking softly. It doesn't take much for one to feel his presence in a room, even if somebody didn't know him, they would be able feel him in the room. I think through this, every one of us had gotten a feel for what presence should be like towards others. Maybe he intended for people to pick up on this small detail.
Friday, 7 September 2012
What I learned today: Physical Theatre day 1
Theatre can be anywhere, in the slums, in the ghetto, the royal palace... anywhere.
What I learned today was that people can have different views on what theatre can be and what goals they can achieve through theatre. Physical theatre however, is not about expressing your feelings and emotions through the script, but it's how you portray your emotions though the use of body movements.
These body movements can be thought of as something easier than what normal theatre is, but I don't think so. I think that physical theatre is a lot more harder than having theatre with lines because of the fact that you need to express words through your bodily motions, not through your mouth.
To be honest, I can't think of much to write about today's lesson, other than the fact that I had found out that drama class could just as well be the same thing as a P.E fitness class but I can tell you this. Whatever we had done today, made me feel closer to the whole class as a whole. I don't quite know why, but I just feel as though that small 20 minute activity had made us all closer in a way. Maybe it was just the fact that we had all stuck our sweaty disgusting feet into the middle of the room, or maybe it was because of the fact that we all looked absolutely ridiculous today, but whatever it was... it worked for me!
What I learned today was that people can have different views on what theatre can be and what goals they can achieve through theatre. Physical theatre however, is not about expressing your feelings and emotions through the script, but it's how you portray your emotions though the use of body movements.
These body movements can be thought of as something easier than what normal theatre is, but I don't think so. I think that physical theatre is a lot more harder than having theatre with lines because of the fact that you need to express words through your bodily motions, not through your mouth.
To be honest, I can't think of much to write about today's lesson, other than the fact that I had found out that drama class could just as well be the same thing as a P.E fitness class but I can tell you this. Whatever we had done today, made me feel closer to the whole class as a whole. I don't quite know why, but I just feel as though that small 20 minute activity had made us all closer in a way. Maybe it was just the fact that we had all stuck our sweaty disgusting feet into the middle of the room, or maybe it was because of the fact that we all looked absolutely ridiculous today, but whatever it was... it worked for me!
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