King Lear Workshop 1

On wesnesday I was in the King Lear workshop. I'm exited to be in a workshop that has an end result. We are going to take King Lear and change it into a 5 min abstract piece. This is something I've never done before and I'm going to make the most out of this experience. Before we even begin thought, we have to read King Lear. I'm on Act 4, but I should be done by now. The outside work is annoying but necessary. How are we going to work with a play we've never read?

Dance workshop 1

Today we learned how to do pirouettes. They are not easy, trust me. There is a lot of techniques that goes into doing a simple spin. You have to keep your body completely straight, learn the dance positions and point your toes the right way. I was having a hard time with it until I switched sides. Ah that made all the difference, but I know it isn't good to favor one side. Our workshop leader was explained everything so well and was extremely fun to work with.
We learned how to do pirouettes because they are a need to know for auditions. The workshop leader ( forgot his name, yikes!) explained the process of auditioning for dance and what to expect. Although I'm not going to go on a dance audition anytime soon, his advice was helpful. He gave us tips like aviring super early and be prepared to be suprised. Many times, they may audition you with hip hop to a contemporary musical or vice versa. It's the same with any type of auditon, they throw random things at you to see how versatile you are and how well you are able to take diretion and change. It's good to have a couple of things under your belt that you can take out when they surprise you.

After learning pirouettes, we put them into a fun little routine. Musical Theater dances are so different from what I'm used to. Its all silly and flowy, unlike hip hop which is mostly isolated movements. Next class, we are learning hip hop. Can't wait.
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Auditioning

On Saturday I went on a little audition for a summer theater program that I've been interested in. Woah. I felt like I was being interviewed for a job, which I guess, in a way, is what I was doing. When I walked in, the lady shook my hand firmly and asked if I wanted to sit and chat or jump into my two monologues. I told her that I'd rather being my monologues. I really just wanted to get them over with. That was a big mistake. I picked the monologues first because I was nervous. But I should have talked with her first. It would have given me time to relax and compose myself. I would have given her the impression that I can slow down and hold a conversation, instead of being the bubbling fool that I was.
I did my contemporary monologue first, "This is my Monologue" by Parker Posey. It is supposed to be silly and fun. It's a monologue about a girl given a terrible monologue. I forgot a few lines, even though I had them memorized perfectly but went on with my happy self. When I was done, I expected her to be smiling, it was a hilarious piece, but instead, she stared with a bored face and asked me who Libby ( the character given the monologue) was. What? So I told her, she is excited, overly confident and thinks she is given the best monologue ever given. She told me "Well, this girl Libby, is really into this right?". "Yes." "So then make me see that she believes it." Great, so I did it again, this time, Libby wasn't as giddy, she acted like she knew exactly what she was doing. "No!", she stopped me. "You walked right through the bed". I smiled, " Oh yes, Libby is terrible, it says- ". "No, don't listen to the stage directions. Do it again, this time show me Libby sees everything. She takes this serious. This is serious". So I did it again, this time I made sure to show everything with my mime skills. This is the bed. That is the door. I was really raped by my brother. Ehhh. Then she said, "Great"
For the next monologue I played Isabella from Shakespeare's "Measure for Measure". I think I did ok. Not as great as when I was practicing but that is to be expected with nerves. I used everything I learned. And then I committed an actors suicide. I looked at her. It was only for a line, and I quickly averted my gaze, re-focused on the imaginary person I was yelling at and continued as if nothing had happened. When I finished, she said, "Don't look at me". I died. "I know". She told me to do it again. She told me to see the person. What color is his hair? How tall is he? What is he wearing? And so I did. That was probably the best I've ever performed. Then she asked what the play was about. Score! I knew this!
We then sat down to talk. She explained what the program was about, asked about me, my previous experience, and why I want to do this. My answers were professional. I wish I had talked to her more casually, showed her my personality. It seemed as if she hated me. Really. She kept repeating how people audition every year and even after the fourth year don't get in. She must have said it four times. And that they don't select individuals, but a company. I felt as if she was just letting me down easy.
Well, I would do it again. And I will, next year. It was a great experience.