Don't be a slave to the truth

Saturday started off with a workshop with Victor Rodger at Playmarket. The initiative is called Brown Ink- its all about Maori and Pacific island writers getting together and jamming, learning some more about how to approach writing a play.

It was amazing to hear peoples ideas! I want to see all of the plays that were talked about today...I took some key things from this day:

-Don't be a slave to the truth- Even though we may be writing from real events, we don't have to glue ourselves into being completely factual. Plays allow us the chance to play, explore and use our imaginations. Also, there may be a small tweak you can make that will increase the conflict..Conflict is our friend in writing..

-Write that script and finish the damn thing- There are a lot of theoretical things to think about when writing a play but the first thing to do is actually write it. It's not helpful to edit as you go..You're better off writing the first draft (even if there is a cringe factor- you can always go back and change things)

(I gathered from today that I need to read a lot of screen plays also- screen writing is something I am really interested in.)

-The famous 3 act structure is alive and well- Most films/plays follow this formula or subvert it in some fancy way. It is helpful to be able to watch work and analyse it as a writer for these elements.

On my second day with the film school I was given a list of "must read" books in terms of film-making, cinematography, directing, screenwriting....etc. etc.

----

Today (Monday)....We started our workshop with Dave Armstrong (He wrote Niu Sila with Oscar Kightley- I love that play!) We were getting general tips on how to approach writing by got pretty deep into our own individual ideas. It was nice to only have 5 people as it means our ideas get a real good chance to be teased out.

Catherine and I shared ideas about our Nuance show (collaborating with Theo Wijnsma and Monique Webster). We are creating 5 paragraphs before the next class for this...I'm looking forward to sharing this- He helped us think about HOW we are telling the story and we got some good feedback about he exercises we are doing now. I'm focusing on writing monologues now as I think it'll fit really well within our concept....If you'd like to hear more about it give me a buzz!...

I also had my first Te Reo class this evening! It was really fun- Especially Whakatau Hinengaro...where we lie down and get told a story and get the chance to really relax. I could totally get into this! It's real helpful for my research too! At Te Wananga O Aotearoa they have a big emphasis on being relaxed and easeful to learn ---Exactly what I am trying to have in my acting! Thank you...

Its all relative!

I'd really love it if you would put a wee comment if you read this..Even if its just a little smile..Would be cool to know whether people are reading...

xx

Inspiration to the nth degree

I am enjoying my research....a lot. How lucky am I that my research includes watching some of the most amazing films ever made!!

Dog Day Afternoon

Human Traffic

Snatch

Pulp Fiction

Reservoir Dogs

Taxi Driver

Godfather Part one

....and many more....

The masters at work.......Al Pacino is a genius.

I am currently reading "Acting in Film" by Michael Caine. It really is an amazing read- its honest, to the point and he doesn't muck around. Their really are some gems in that book!

"If you catch somebody acting in a movie, that actor is doing it wrong. The moment he is caught performing for the camera, the actor has blown his cover. He is no longer a private character in a private world" Michael Caine

I spent today onset with the film school crew on their film intensive. I was originally there to observe and help out a bit, but ended up acting in it. It was a great experience!

This exercise was about them practising lighting, set ups and film (on actual film...not digital!)...there was no text..I got the chance to test out some of the techniques I have been reading about in the many screen acting books I'm reading...I am really passionate about learning about the technical side of film as it is such a huge part of it. The crew paint the picture of the world the actor gets to play in....

"After looking through the lens the director Michael Schultz asked me what I was doing..I said..Leaning on the wall...NO! You're ACTING leaning on a wall..." Robert Brestoff

There is something incredibly technical about being natural on film. I could feel when I was "acting" today. When I felt like I had to show something....it is so much stronger to just BE in it.

I have read (and keep reading) "The Camera Smart Actor" by Richard Brestoff- it has a really unique way of going through and explaining all the technical roles...We read a script of a scenario about a new actor on a film set aptly named "Newcomer"..We follow him round as he meets all the different crew members and tackles the challenges of being a screen actor...cute (and really helpful actually)...

Today was topped off by seeing the film "Bridesmaids". I don't think I have ever laughed that much in a film or yelled "Oh my Gosh...thats just what I say!". I was really inspired by this film in a number of ways--It was really refreshing to see a female lead film like that but also successful female comedy...and a lot of it!.... It broke down the "Sexy" female stereotype that haunts the media and showed as real women being stupid, disgusting, rough and above all else- human.

My research is about me figuring out why I find a sense of ease onscreen and I think its a number of different reasons...

-The short sharps spurts of action (In between set ups I can reflect and gear myself up for the next part)

-Shot size- When I am aware of my shot size I can play within that container, it gives me a very specific limit ..Limitations are sometimes the best things- its always good to have something to push against and work with

So the question is how I take this over to the theatre I do:

I managed to do this in Go Solo this year in my piece Ngahirata as it was a series of vignettes from different parts of my grandmothers life. The movement transitions in between the time periods gave me a chance to check in and breathe...much like in film...giving me the chance to gear up for the next point I had to hit.

There is something in this for me about "bite sized chunks". If I break my work up into pieces I can work with specifically with a clear focus then it's not about being good- but doing that job.

I need a container to play within or I feel like I have to show and spell things out to an audience. Once again a huge part of this is trust. Trusting the preparation, trusting the work put in and letting that moment with the audience be what it is....

Anything could happen really..I've decided to view it as an adventure from now on...

This acting thing....

Just watched A1 solos! Really helpful to watch others working their own text when I'm trying to write...

It's really interesting to see how different people used the container of 3 minutes. It's such a short amount of time. It made me think about the limitations work needs to grow.

So in terms of the scripts I'm writing- what limitations can I put in place that can help me?

It's really good to see when people are "at ease" too. You can see them being in the world and really enjoying the enviroment rather then worrying what we think as an audience.

SPECIFICITY-- I found that when I painted the world for myself really clearly in my solo (Kitchen scene--knowing where the kids were, what the kitchen looked like, what color the vinyl was....)I found that ease. I didn't have to push any sense of emotion, or try and do all the work and 'show' because I had that world to work from.

It also helped when I played the other characters (that I react to) and got clear on what they said- cos then in the show I knew what I was working with.

Confidence is such a massive part of this acting thing....But what does that even mean?

con·fi·dence/ˈkänfidəns/Noun

1. The feeling or belief that one can rely on someone or something; firm trust: "we had everyconfidence in the staff".

2. The state of feeling certain about the truth of something.

OR

early 15c., from M.Fr. confidence or directly from L. confidentia, from confidentem (nom. confidens) "firmly trusting, bold," prp. of confidere "to have full trust or reliance," from com-, intensive prefix (see com-), + fidere "to trust"

TRUST is a huge part of it. Trusting your own ability, trusting your writing and commiting to bringing that world to life.

IPP = Independent Practice Period (for future reference)

Soooo independent practice has begun. 4 weeks of work independently!

My goals over the IPP are:

*Complete draft one of "Hit/Sparky" (Short film) Work with others on this and send parts to David Geary to get feedback. I am really investigating structure and time in this piece at the moment...I am hugely inspired by the structure of Quentin Tarantinos work. For example Reservoir dogs where Mr. Orange is shot and dying first..then we find out later how it happens and it meets up to that point again. It's really interesting that people create and star in theatre shows..I want to create and star in films! (Just like Tarantino does)

I am also doing a" Brown Ink sessions" one day workshop with Victor Rodger- I want to take some of this material as well as nuance writing.

*Write and submit (at least) one radio play to Radio New Zealand. I am trying to kill two birds here...I think I can make a radio play from the material we make for nuance, or make from what I'm discovering with "Hit/Sparky". One thing being--I love high adrenaline thriller/action type movies that keep you on the edge (I watched Black Swan last night and loved it!!....I was so freaked out I fell off the couch--true story) How can I create something like this in a radio play without it being melodramatic?

*Enter Sunday Star times short story (enter this to RNZ also) and poetry competition (late aug/late sep closing dates) Also, can double up with one submitted to RNZ although I hope to have multiple offers.

*Research, write,make material and test ideas for NUANCE "Walk a mile in our shoes"---Currently meeting up with Catherine Croft and sharing writing we have been doing based on memories that were heightened emotional experiences involving food. It's really exciting....Onto the images maps we go....

*Research Conference work ---"How do I transpose the subtlety and ease I find in screen work to theatre?"

I am watching the classics for this....So far I have watched Pulp fiction, Taxi Driver, The Deer Hunter, Reservoir Boys, The Graduate and am currently watching The Godfather Part one. Adam McCauley put me onto this as he said "How can you expect to work in an industry you're not familiar with at all?". ...So So true...So thanks Adam.

ONE IDEA: I want to know how I can be relaxed in any role in theatre whether its as a writer, deviser, outside eye or actor..How do I maintain that rigour with ease? I find this ease when working on screen because I have a very focused role and a clear container in which I can perform (Shot size etc)- Can I give myself these limitations or this sense of focus on the stage? or in the rehearsal room?

I found a sense of ease from reading/doing exercises from "The Confident performer" by David Roland- there definitely is a key idea in "focus". I was working with making sure my thoughts were task relevant before and during the show and this helped me stay present. PREPARATION is also a big one for me!

I still do want to focus in on extending what I have found onscreen.(Main focus after graduation will be screen acting) I want to cultivate and explore being able to "internalise" or bury emotion and not feel like I have to push anything...How can I explore through action and not showing?

I have just gotten out"The camera smart actor" by Richard Brestoff to help with my knowledge of screen acting technically. How can this help me relax as I gain more awareness of the process itself?

For this I am also doing the screen acting workshop with Nathalie Boltt in week four of the IPP with 7 other classmates. I spoke to her about my wishes to find ease onscreen and develop this further...I am looking forward to this :)

* Practice my work as an outside with ALT'native. (Adrian, Tawanda and Leroy)- I am really interested in the type of work they want to make as it aligns strongly with the type of work I love and spoke about earlier in the blog...HIGH OCTANE theatre.... How can I contribute with ease, but not be passive within this role? Practicing the muscle of seeing potential and feeding back about it.

*Headshots and showreels- Very practical. I want to be able to charge into the screen industry after graduation and begin auditioning. No mucking around!

Well thats me for now..I will keep this updated and keep trucking a long with my research and writing! Its really helpful to clear things up in my head like this...

YOU~! Yes you.....If YOU know of any movies I should watch or any material/companies you can refer me to as part of my research I would be hugely grateful! Contributions always welcome!

Thanks for reading :)

Te Rina

Ahhhm Jusss duin Sum Eckting

Ohk so heres the dealio.





I'm really interested in playing mulitple characters for my solo and have tonnes of ideas already!


These are characters that have just emerged in everyday life (as Tameka Sowman will confirm haha).


Every now and then K will come out, a young maori boy with a hardout accent. Then maybe 'Nani'. And now.....Wiki. Shes a new one though.





I spoke to Madeleine Sami (really briefly) after Havoc in the Garden last night. She said she finds her characters in the same way. Like, elements of the ones from Supercity came out when she was talking....So I guess those parts of yourself just come out and the best thing is to roll with it. Or "Role" with it ha ha ha (Lame -o)


Anyways, So I think this has made me take a bit of a specific look at my research. Which was about how to get 'deeper' into characters and worlds.


I think a lot of characters are just waiting to be let out, but its only when I'm most comfortable (Like with my mates) that I really let go. So how do I bring this into the rehearsal room, and onto the floor??





JUST LIKE KURA . Kura Forrester (Actor in Massive Company's HAVOC in the Garden) has an alter ego or character who emerges quite frequently called Rebecca. I like Rebecca, but just watch what you say- she might give you the bash-jokes- but really....

Watch this:
http://www.youtube.com/watch?v=CKmF6FfYZ-o&feature=player_embedded

Thats all for now folks, but if you have any comments , advice, questions I'd really love the help!!

oxoxoxo

Is it you or is it me? Lately Ive been lost it seems I think a change is what I need, If you're looking for a chance or a dream Shortland Street...

Hey All,

Remember when Shortland Street had Tina Cross singing in the titles? I do. I've been watching that show for the majority of my life. On and off. I remember when Mckenzie burnt the hospital down, Chris and Rachel were together the first time and when Caro ran away with Greg.

It was quite surreal being where this show is made! I spent one week with the casting director Andrea Kelland. I was really keen to find out how it works, TV and film still remains a mystery to me. I've done shorts and commercial stuff but nothing like this.

This is a very very busy place. They are months ahead of themselves and film the equivalent of one episode a day. Thirty minutes of material. Just to put this in perspective I believe that Out rageous fortune did about 3-5 minutes a day. S.S is super super fast turn around T.V. I was told that other countries look to Shorty as a model. (If they can do it that fast- SO CAN WE!!).

So the biggest thing that struck me is TIME- there basically is no time for preparation. Its in and out, lines being down is even a struggle at times. Its just so fast.

It was great to see the EXTREME opposite of what I experience in theatre. The process is such a huge part of creating a theatre show and using time to dig into the text and really sink your teeth into it. The problem then becomes the ability to keep it fresh, how do we experience it anew each night? How can we discover AND not pattern (Say it the exact same way). After all if we wanted to see robots we would go see transformers not a live show.

When I see a show I love seeing the performers enjoying themselves! This is one of the hugest things I am noticing. Whether its a comedy or a tragedy if a performer is really investing in the text, enjoying the language and entire experience. This is watchable. I cant take my eyes off them!

I was away from MASSIVE COMPANY for a few days as I had a few bits and pieces to do in Wellington. Including a reshoot of scenes for a short film, we had originally done 6 months ago.
At first I thought "Oh sweet as, I did it then Im sure it will be easy". It wasnt. The difference being I hadnt immediately done the other scenes, or the text work, or reminded myself of who this character is.

CONTINUITY!!===== Another intricate part of screen acting. As Rob Hartley made me see (for those of you that saw 2010 toi research conference) with examples from The Lord of the Rings trilogy. Elijah Wood was jumping from film to film, utterly out of chronological order beacuse this isnt efficient for filming and just isnt possible. So one day he may have met Gandalf and then the next he was throwing the ring into a volcano, then back to the start again. How does an actor keep up?

-What has just happened?
-What has changed?
-What do they want?

Youd have to be aware of what hasnt actually occured yet so your not pre-empting.

So in fast turn around TV there is no time, Film time is screwed round, and theatre there is loads of time- but you have to be invested in it to make it worthwhile.


PHEW!

Im back at MASSIVE COMPANY now and will be till they open on March 2nd at the Herald. Make sure you get your tickets!!!!! its honestly going to be amazing. I am really proud to be a part of it, even in the small way I am.

Its crunch time in rehearsals as the final weeks to opening are edging forward. It gets really tricky at this point! But I know it will all be good, because of these amazing peoples strength ,energy,talent and manaakitanga!!!

ALSO: Welcome to Leroy from my class who joinged last week!

MASSIVE IS THA BOMB DIGGITY!! ALL DAY ERR DAY!!


Tee Boz ox

Dont think..Just act!!

Hey All,

So the next major point that has come out has hit me on a real personal note, and has come head to head with one of my biggest habits as an actor. We talked intensely about how "talking about working" is not working. Its better to get up on the floor and work it, rather then discuss it and build it up/layer things on it.

Looking back on past projects, Im terrible at this. I spend all my time talking about what I want to do, thinking about things- leaving as little time as possible to actually making the work. I expect the magic to happen in the time I have with the audience. But I dont have a solid action plan, points to hit....Basically....The point of acting is to take the audience on a journey, but if you dont even know where you are going its just B.S. They are coming along to a sloppy thing that your too lazy to really invest time and effort into. I need to rethink my priorities and have this really change in my Solos project this year.

Ive already been thinking about characters I could play, things Im inspired by, how I could explore characters/situations. But I need to remember this is useless if I forget "the other". I'm really going to utilise the outside eye as much as possible, including my class. Once again, I usually have the " I should know how to do this" attitude and never ask for help- but thats going to change.

AT MASSIVE: I'm learning that the more feed back you get the better. Acting is a subjective thing, but if you get lots of people to feed back- then your building and getting a true reading (Especially if they are not familiar with the text/story).

All the cast of "HAVOC in the Garden" are so into getting feedback. They really want it because they know whatever they recieve will help them build on their work. It's changing my attitude too which is great.

YET another IDEA..........

Fear. So as an actor you have bad days, where it feels like nothing works and you generally feel bad about yourself. Is there a trick to seperating yourself really? In this work we become so in the work, when we are told its crap. It sucks. So what do we do...usually Id go have a sulk and get put off doing it for a while. BUT the best thing to do is keep working it. Get it in the muscles and find the play between you and "the other". Other actors AND our wonderful audience.

We are the vehicle for the story, we are inviting an audience to go on a journey and discover thing WITH us, in that moment. LIVE- being the amazing aspect of theatre. Its right there!

I want to make theatre that really involves the audience, that it would not be possible without them being present (those particular people--this relates to my current theatre project "Walk a mile in Our Shoes" which will be around a dinner table and focus on sensory moments. Its still in the works, but if any one want to talk about it, id love it.

I dont know how to do that just yet, but hey, its all good, Plenty of time!


T oxox

YOU BETTER BELIEVE IT!

Week Two -Massive Company Secondment

So far I've been thinking about the 'pressures' surrounding being a performer. It's such an ephemeral thing, and so personal, that I find I start to judge myself from the work I do.

I'm just realising how much pressure I out on myself,and how much I think "You should know this, you've had two years of training"

But as I'm learning- No one has all the answers. Even the most experienced actors don't have everything 'figured out'. They test, play, try out ideas and are open to feedback ,meaning they can grow change and discover new things in the rehearsal room. Where would the fun be if you knew everything?? What would be exciting if on Day One you had decided exactly who you character is??

TO ME NOW: Drama school training plants seeds, you are introduced to some things that may not land till years later. It opens up new possibilities, introduces you to new concepts and can show you the potential you have or parts of you that maybe you cant see.

At Massive, theres a real environment that supports risk, being different and giving your all. Whether its the free dancing (One of my favorite activities this is where a song is put on, we connect with another person and dance together wholeheartedly, no rules. You get as much out of this exercise and you want to put in. )

You have the ability to let go, express yourself, show your moves and enjoy it.

ANOTHER ONE................... The Importance of Listening

I mean really listening. Being vulnerable and honestly taking in what the others are saying and letting yourself be affected. This is just as important when your speaking- How do I make sure the other person is listening? and taking in what Im saying...How do I want to affect them..Is it successful.

This is a big point I am taking with me! relating back to my research question. I can go deeper in characters/worlds, if I listen and be open to the other characters. It is between us that the world is made.

I've been working more with actors in "HAVOC in the Garden". Really getting into the text, getting an understanding of whats happening and feeding back. I'm really enjoying being this involved and discovering whats underneath this amazing text and what they can play with.

Maybe directing is something I should explore...Im getting a lot more confidence in my ability to critique! I'm going to take this back to Toi, and feel more content in knowing my ideas are valid.

(Stop thinking I SHOULD already know how to do it now-thats silly!)

Thanks for reading

T oxoxox

HAVOC at MASSIVE

Hello,

I've started my secondments in Auckland now. Started with CCMT (A musical theatre workshop for young people) . I found this was hard week because my role wasnt quite clear and ended up just watching. I did learn that I need to establish a role for myself in these situations. And just take risks and initiative like working things, being an outside eye for groups not with the director. Some of the young kids were amazing.A little girl (About 8 years old) asked a tutor"Sometimes I get really sad on stage that I actually cry. Is that normal?"
Adorable.

Im now with Massive Company and having an awesome time. Im working on "HAVOC in the garden" a show by Lennie james and Massive. There is a cast of 14 (so literally massive). Its a show about five very different groups of people. I love this script!! Im having quite a hands on/active role in this show. I am really enjoying it! there are some younger actors who havent worked with text analysis before so im helping with this, working the scenes, being an outside eye so that when they hit rehearsals with Sam they have some strong offers to take.I really love the way in which this group works! It is a family. We all just joke and have fun all day then go...hey we got heaps done!!

A big idea is coming out for me "Just play the game". I get so preoccupied with what im doing and thinking that i dont play the game within the shows Im in. I want to work more with this idea....We start the days with four square, skipping, dance offs................and other epic adventures!

There is so much PLAY , exactly what im researching.....How do I go deeper into creative process, characters and worlds?PLAY, PLAY ,PLAY (And not being so damn shy!)Wooooooooooo

Te Rina aka Tee aka TRED (Potential street name!) oxoxoxoxo