Wednesday, 21 May 2014

Emotional truth

Today’s session was a very emotionally gruelling one and many of the group tapped into their feelings extremely deeply. Most of the group started off sceptical and didn't want to get emotional as they felt uncomfortable around negative emotions. We were instructed to each tell a story from our past which provoked emotion, Andrew started the session with a very heart saddening story involving his mother and himself, this really hit me emotionally and I couldn't help but cry, due to my tears Jill told me I was next. I’m not going to lie, my story really opened me up emotionally and induced a lot of tears not only from myself but from my friends around me. I found the whole experience extremely draining but it opened my eyes onto how I can tap into emotion from past emotion, I have now realized that I can channel this emotion into my character of Alison and really find an emotional truth within the character. After we told our personal stories we had to take part in a completely different scenario in which we channel the emotion, Andrew told the story of the three pigs, due to his emotion and sadness in the moment the whole class hung off every word he spoke, this really made an emotional connection as it formed an emotional connection with Andrew and his story, due to us knowing his story I could clearly see the connections he was making with himself and the pigs, it was very moving. I have to do Lauren's hair whilst creating convocation which provokes and reaction, due to the rawness of Lauren's loss we had to end the exercise prematurely as she broke down and it became too close to home for her. Over all I now know how Stanislavsky wanted his actors to really connect with their characters and how deep you have to retreat into your past to draw out emotion to use in your acting.  

1 comment:

  1. This shows the way that you can process difficult exercises and find positives to take away. I am interested in your opinion of whether you think that emotion memory of this kind is controllable in a performance situation, and whether you think you could employ these techniques directly and repeatedly to rehearsals.

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