Character Traits
Q What defines the character physically from the Biog's you wrote? (Go back and study them)
Chris started to play around with scratching his head and biting his finger nails, looking nervous and agitated all the time. This really worked to sell the character.
Q How does Hanson walk? Look at other people? Being the Boss does he like to take on stances that make him look powerful?
Q Jarrett - If he has already had a lot to drink can we make him more lucid? Darker? Maybe looks tired or sometimes not completely focussed. Plays around more with the pliers.
Q Shelly - She plays on her sexuality and likes playing games. How does she walk across a room? How does she look at McQueen. How would she react physically to Hanson emerging from a wardrobe?
Q McQueen - How does he carry himself? When he's being hit he responds after the intial pain by physically re-adjusting himself. He's aware of status and always ensures he's directing his attention at the individual. Making sure he looks at people directly in the eyes. This will unsettle them and give the audience more to think about. Remember he's a master of improvisation and lies. Max has concentrated a lot on body language and the position of his body on the chair in relation to others as he's tied-up.
Creating small things on stage when there is other action and dialogue helps to build the believability and sub-plot that runs through the play. We must believe that these characters exist other than on the stage and that each of their lives have put them down a certain path that we can identify with physically on stage.
When looking at the script again look at the words and then think what can you physically be doing on stage at the time within your own personal space.
Chris started to play around with scratching his head and biting his finger nails, looking nervous and agitated all the time. This really worked to sell the character.
Q How does Hanson walk? Look at other people? Being the Boss does he like to take on stances that make him look powerful?
Q Jarrett - If he has already had a lot to drink can we make him more lucid? Darker? Maybe looks tired or sometimes not completely focussed. Plays around more with the pliers.
Q Shelly - She plays on her sexuality and likes playing games. How does she walk across a room? How does she look at McQueen. How would she react physically to Hanson emerging from a wardrobe?
Q McQueen - How does he carry himself? When he's being hit he responds after the intial pain by physically re-adjusting himself. He's aware of status and always ensures he's directing his attention at the individual. Making sure he looks at people directly in the eyes. This will unsettle them and give the audience more to think about. Remember he's a master of improvisation and lies. Max has concentrated a lot on body language and the position of his body on the chair in relation to others as he's tied-up.
Creating small things on stage when there is other action and dialogue helps to build the believability and sub-plot that runs through the play. We must believe that these characters exist other than on the stage and that each of their lives have put them down a certain path that we can identify with physically on stage.
When looking at the script again look at the words and then think what can you physically be doing on stage at the time within your own personal space.
posted by Mark Bullock at 12:33 PM
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