Kevin ([info]elgranderudeboy) wrote,
@ 2007-04-12 18:22:00
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Current location:London
Current mood: tired

Alan Rickman. Yeah.
Today was a pretty laid back day.  We had a brief discussion session on Jump, though there wasn’t much to be said except that it kicked ass and the tech crew deserved a medal.  Oh, and that Kurt Vonnegut died today/last night- to which Jack had the kind of insensitive comment of “well, we all die.”  Lilli in particular was pretty upset by that.  I just want to run off and read Man Without a Country now.

I took some of my Vicodin and Indomethacin and popped my retainers back in (finally) and spent much of the day reading about Arthur Adamov and Harold Pinter in Esslin’s book.  That and napping.  I needed a day of rest.

We saw Pinter’s The Caretaker tonight.  This was the most masterful acting I have ever seen.  I was so very excited to see some absurdism (that I wasn’t in) and I was in no way disappointed.  David Bradley, who plays Filch in Harry Potter (we’ve seen almost nothing but Potter actors at this point, it’s pretty funny) played Davies, the tramp, and he was just wonderful.  A great doddering, old intrusive fool, who really gained my disgust and finally empathy by the end of the show.  But one guy (and I can’t rememer his damn name to save my life) was stellar as Aston, the slightly retarded brother, put on the single most masterful monologue I have ever seen.  EVER.  No one piece I have ever seen has ever been better.  His character was telling the story of his former hallucinations, and how he thought that they were actually the most lucid moments of his life, and then how it was all ripped from him through electroshock therapy.  The whole time, you can see this lovely, kind man just fighting back the pain of this memory, right up until he said that afterward he “thought more slowly,” and your heart just broke.  I... there are no words.  Simply no words- this was something to be experienced.  I’ve never seen an actor hold an audience in the palm of his hand like this man did.  It honestly made me feel inferior as an actor- if I can ever do something along those lines, if I can take a piece that meaty and that long and make it that compelling, I will seriously die happy.  Just incredible. 

Bradley and the other actor (whose name I can’t remember either) who played Mick were equally brilliant, with Mick’s lightning-paced delivery for Pinter’s characteristic unmotivated ramblings, and a terrifying smile that was perfectly juxtaposed to Aston’s unquestionably caring, almost dopey smile.  The whole thing was just unmatched, and by virtue of the script, it may well have already unseated Equus as my favorite production of all time. 

Then after the show a handful of us stayed at the bar at the theatre, and I met Bradley, the man who played Aston (who was a lovely, energetic man, really grateful to have us there and so excited to talk to us.  A fun man to share a pint with) and... Alan Rickman, who had come to see Bradley in the show.  I finally (after a double whiskey on the rocks) got up the courage to go up and tell him that I really admired his work, and had ever since I was five and obsessed with the movie Robin Hood, to which he replied “Hah, you must have been a bit of a bizarre child,” to which I replied “yep!”  Then we chatted for a brief moment, he said thanks for the compliment, then we shook hands and had a quick cheers.  So yeah.   I met Alan Rickman.  Booyah.  A really nice man, he was so patient with me and about 7 others coming to say hello.  Same goes for Bradley, we chatted for awhile and he asked us about Oregon and such, really a lovely old gentleman. 

Great night. 




(23 comments) - (Post a new comment)


[info]arielost
2007-04-13 02:50 am UTC (link)
I don't think facts are insensitive. I do, however, think that most people are big weenies.

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[info]elgranderudeboy
2007-04-13 08:52 am UTC (link)
I don't think it makes one a weenie to mourn the loss of one of the world's greatest artists.

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[info]arielost
2007-04-13 04:17 pm UTC (link)
You're missing my point (on purpose?) It makes someone a weenie to be offended about someone stating a fact of life. Like I said, I don't think facts are insensitive, nor is stating such facts as your means of mourning.

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[info]elgranderudeboy
2007-04-14 11:38 am UTC (link)
Ahh, yeah I see what you mean. Maybe it wasn't exactly inappropriate, just ill-timed. But yeah, I getcha, and yeah, there are too many weenies in the world. We should go around and club them with truncheons.

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[info]everest_climber
2007-04-13 04:12 pm UTC (link)
I really enjoy reading your posts.
I hope I have the opportnity to go to London again, I seriously drank it all away...lol.

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[info]elgranderudeboy
2007-04-14 11:39 am UTC (link)
Glad you like reading them! I sometimes worry that they're a bit too long winded....

Dude, you should SO come out here with us now! It would be such a killer time.

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[info]blaze2242
2007-04-14 04:44 am UTC (link)
I'm jealous. It is so nice to hear that famous actors are people to though, you know?

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[info]elgranderudeboy
2007-04-14 11:40 am UTC (link)
Exactly. I was kind of afraid he'd be annoyed by my interrupting his convo with his wife and Bradley, but he was just all kind and appreciative. Makes you realize that fame really only goes to your head if you want/allow it to.

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[info]alan55rickman
2007-04-14 10:23 am UTC (link)
Thanks for the info! Alan Rickman is a very great actor. But somehow he doesn't like the spotlight.
And, I notice you're an actor yourself.
So i bid you a warm Good luck!

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[info]elgranderudeboy
2007-04-14 11:45 am UTC (link)
"Info?" Not sure what you mean.

But yeah, tremedendous actor. With such an amazing voice. I'm not sure I've ever seen him miss the mark.

And- thank you very much!

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[info]alan55rickman
2007-04-15 12:46 am UTC (link)
It means the info that he's in London! LOL! It's hard to keep up with the man since he's almost incognito :P

Yeah, i see you've notice that too! He indeed does have an amazing voice :)

Um, since you're an actor. I wonder if you have some handy tips for this amateur drama student? Particularly on the subject of feeling nervous on stage?

Any tips would be a big help (^_^")

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[info]elgranderudeboy
2007-04-15 01:43 am UTC (link)
What I can say about being nervous onstage is this- embrace it. The adrenaline, the nerves, the absolute awareness of the fact that you're onstage and being watched, these are crucial to an actor. When people become comfortable with being onstage, yes it does mean that you've gotten a bit used to it, but it also quite often means that they've developed various tricks to avoid the fact that they're there. They shield themselves, and force things to slow down enough that they can "think" and (not) react, and if you watch the great actors, rickman included, they speak and act at the speed of thought, which is lightning quick. The more you act within your fear zones, the more you follow natural impulses instead of some pre-choreographed bullshit that is inevitably less interesting to watch.

Hope that made sense.

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[info]alan55rickman
2007-04-15 09:46 am UTC (link)
So, it means we have to be aware and act at the same time to be able to react precisely?
But would it not be too awkward to act naturally while you realize that the audience's attention are on you?

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[info]elgranderudeboy
2007-04-15 10:08 am UTC (link)
"So, it means we have to be aware and act at the same time to be able to react precisely? "-- yes. Don't think in terms of acting (or precisely for that matter), all the good teachers I've had/read have actually worked with the goal of getting people to "stop acting." It's kind of a misnomer. Try, if you can, to think of it as playing- changing the frame of reference in that regard really helps. Acting is more about reacting (paired with imagination) than just creating something out of nothing- reacting to what the partner gives you, reacting to the gravity of any particualr situation, even reacting to what you have just said. The same can be said of life in many ways.

"But would it not be too awkward to act naturally while you realize that the audience's attention are on you?"- absolutely not. Why would you want to be onstage yet NOT have the audience's attention? The feelings of awkwardness are due to a fear of failure, a desire to "get it right," which while understandable, is just silly in terms of acting. The best actors are great at holding that attention- ever heard of an actor who was "leading the audience by the hand," or alternatively "had the audience eating out of his hand?" This is because they've taken that attention and embraced it, and in addition, they give back for the gift of that attention. Think of what you do onstage as an act of generosity, truly a gift you're happy to give to the audience- particularly those difficult moments, the painful moments. It's for their sake, not yours.

Also, another thing I forgot to mention, start watching your physical tension on stage- emotion does not equal tension, and tension usually means forcing. Watch your chest, shoulders, jaw and stomach in particular- these are the muscles we'll tense to keep from letting our true, full voices out.

Above all, just focus on giving and really allowing the flow of what's happening happen.

(feel free to keep asking questions, I love waxing philosophical about acting)

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[info]alan55rickman
2007-04-16 09:33 am UTC (link)
Thanks for explaining!
But,
I'm sorry to ask again... There's a part that i'm not sure i understand...
How can particular muscles like chest, shoulders, jaw and stomach affect our true and full voice? I mean, why we even tense it if it might affect our performance?

(I'm glad you encourage me to ask questions, cause i almost feel like i'm the most annoying person on planet!) (^_^")

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[info]elgranderudeboy
2007-04-16 12:15 pm UTC (link)
"How can particular muscles like chest, shoulders, jaw and stomach affect our true and full voice? I mean, why we even tense it if it might affect our performance?"--- Because they affect the free release of breath, they're all muscles connected to either the mouth, throat or diaphragm. The voices we use in everyday life are usually not our true voices- ever heard how men will usually speak lower than their normal tones to sound more manly, or girls may speak in a higher octave to sound more girly or cute, or conversely speak lower to try to sound more professional? It's all because we affect our voices to try to force an impression on people, and these CAN be useful in character, but a true, unadulterated voice has a better chance of eliciting a visceral response from an audience. Kristen Linklater's book called Freeing Shakespeare's Voice is really good for vocal work- her other book and the technique for it is useful, but difficult to learn from the book. Linklater herself actually said her first book was not very easy to use.


And again, feel free to ask questions. I was an acting coach for a year with the UofO, and I want to end up as a Professor in charge of an acting department after I finish all my college/MFA (hopefully) stuff in a few years. This really is what I love to do.

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[info]alan55rickman
2007-04-16 01:01 pm UTC (link)
Obviously! You seems like you really love explaining all these methods of acting!
I hope you can make your dream come true ;)

Okay, so my next question is...
How can we exploit our true voice then? If the voice we use everyday is not our true voice?
I am a girl, and although i can make my voice sound higher i don't. I just speak normally, and i don't think my normal voice is all that high...
Can i consider my normal voice as a true voice?

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[info]elgranderudeboy
2007-04-16 01:27 pm UTC (link)
See, that's a difficult thing to asses without having heard it, whether or not you use your full voice I mean. I genereally test myself two ways, but they're both a bit difficult to use when actually onstage in a performance because they require you to concentrate on yourself and not the performance- I mostly use them in rehearsal, and check in a bit during shows. But anyway- one is to see how what you're saying affects you. If you say something at full vocie and hear yourself say it, and you get some kind of an internal *pang*, that's generally a good indicator. The other is to listen while you speak, particularly during warm ups, and try to get your voice to feel like it's filling the room. It's a pretty distinct sensation, and different from just speaking loudly. I try to throw my voice to the farthest corner of a room, like there's only one person in the house, and he's sitting there. Again, these are much easier to do with a good teacher by your side, but it's still a good thing to think about on your own. Plus, when your body is in a state of relaxation, without tension, your full voice is more likely to emerge without any need of coaxing, because you're not tensing and blocking it. Tension really does block up true emotion- think of times when you've had to cry but really didn't want to for whatever reason, your shoulders, chest and particularly your jaw are usually tight as a drum. You can actually focus on clenching your jaw if you absoluely want to stop crying, it's that important to the flow of everything.

Plus, it's certainly not something that can be achieved overnight. Sure you can tap into it here and there, but it really does take plenty of time and work to access it at will. Are you working with someone right now, like through a school or some such?

And thank you! I really hope it works out too, there's little that more fun than acting coaching. Apart from being onstage, that is.

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[info]alan55rickman
2007-04-16 01:58 pm UTC (link)
I was working some basic techniques with a coach. I'll finish High School in a month, and right now i'm preparing to continue to an art college to study theatre and drama.
So, all these tips will be a great help :)

Do you mind if i ask you again if one day i have a question?

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[info]elgranderudeboy
2007-04-16 02:55 pm UTC (link)
Not at all! Ask away, I'll always be happy to answer.

What schools are you looking at? Also, a conservatory might not be a bad idea, particularly if you're looking to save money and just want to act instead of chasing down a four year degree.

Personally, I'd recommend looking at schools that emphasize the Meisner, Linklater and/or Alexander techniques- I've found they're all really effective for a lot of people. Also, if you can find it, GET CLOWN TRAINING. Not the BS barnum and Bailey circus stuff, but the stuff based off of the french, like LeCoq or Gaultier. It's some of the best comic acting in the world (think steve carell in both 40 year old virgin and Little Miss Sunshine, or Buster, Tobias and Gob in Arrested Development. All clowns.) and the honesty and quick reactions of it easily translates into all kinds of acting.

Best of luck!

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[info]alan55rickman
2007-04-17 02:22 pm UTC (link)
Actually, it is the four year degree program i'm applying myself to. It's the Lasalle-SIA college of the art. In Singapore.
I'm in Indonesia right now and will move there this end of July if my application is granted.

So, what are these Meisner, Linklater and/or Alexander techniques?
And what is a conservatory school?

And thanks... I'm trying my best here ;)

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[info]petebeck
2007-04-16 05:07 am UTC (link)
dude. you got to meet Alan Rickman?! i am so seriously jealous.

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[info]elgranderudeboy
2007-04-16 12:16 pm UTC (link)
Yes. Yes I did. And he really was about as nifty as you could imagine.

And David Bradley (Filch in Harry Potter) was the sweetest old man you could ever hope to meet.

So yeah, a week in London and I've met two RSC actors. Booyah.

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