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.
Dear Christian, this is an absolutely exemplary post. One of the best I have read. One of my favorite lines that you wrote is:
ReplyDeleteSuddenly 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.
What a beautiful way to describe what you were experiencing. You wrote so poetically about your experiences each day last week and it was a joy to hear the days described from this perspective. So glad that you had this opportunity. He will be back which is a great encouragement right. You can show him how much you have grown by then.
Thank you so much! I'm looking forward to Andong this weekend!
Delete