secrets

Happy New Year!

Equity has given us the day off, though I think all of us would rather be working on the play right now. Very difficult to be away from the script/words, even for a day.

I was looking back at my previous entries for this blog, and have noticed that I never delved too deeply into the “work” of acting (ie, how to approach complicated characters like Heisenberg/The Bohrs, how we form the relationships, blah blah blah) and have instead stuck to anecdotes and amusing topics (I hope!) that might effect the process in general.

I guess such ponderings might have seemed to me to be a bit boring/pretentious to read about (though maybe not…) but it’s also a bit of protection. Before the A.R.T. asked me to keep a blog for Copenhagen, I had only kept a private journal for plays, and I never realized how important the privacy is to me. To talk about such things is to become conscious of them, then self-conscious. (It’s why stage actors never read reviews: even a good comment on your performance makes you unable to find it again, makes you regard your performance and the “good” or “bad” moments, rather than being inside them and with your fellow actors on stage.)

So I haven’t talked about these things here.

I will say though, that Heisenberg is unlike any character I have played before, in that he has many wants/desires/obligations all at once. He had myriad motives, all of which must be internalized. To paraphrase the play, he is like one of his own particles that must go through two slits at the same time. Or Schrodingers’ Cat, that is somehow alive and dead at the same time. Like the cat, the character is in this state as well (something Stoppard illuminated quite well in “R&G are Dead”). The possibility of the character being “alive” only exists when the sealed chamber is left unopened.

We start tech tomorrow.

-John

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