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The only Shakespeare piece on in Stratford-upon-Avon this Christmas
will be Twelfth Night, starting on the twelfth night (Jan 6th) at The
Waterside Theatre (01789 290 111). Promises to be good as cast
includes Lucy Poulson as Viola and Jeremy Williams as Sebastian.  Also
in the cast are Paula Wharton, Martin Copland-Gray, Claire Worboys,
Jonathan Darby, Roger Jones, Andrew Dealtry, Jack Simons and Andy
Brownlie.

Hey guys!  For those of you who don't know me, I am Mandy Nott and I
am stage managing Oedipus.  Anatoly informed me that those of you who
are not already in the show have been added, so new people please get
in touch with me and give me your phone number and E-mail so I can
reach you if I need to.  Also, please subscribe to
groups.yahoo.com/group/3sis because that is the group for the show.
There is a chorus rehearsal tonight, Thursday, at 7pm so if you can
make it please come.  Thanks!  Mandy

The original resume I typed out for Fundamental of Acting, some of
the dates were incorrect.  For some reason I kept forgetting that
school years are different than normal years--ie fall and winter of
one then spring in the next.
Is there anything else I'm supposed to list?  For Intermediate Acting
this is the site we will be using, right?


Performance
(this only includes the last four years)
Tinkerbell, from "Peter Pan" --Fall 2000
Chorus Member in "King Island Christmas" --Winter 2000
Tweedle Dee, from "Alice in Wonderland" --Fall 2001
Chorus Member in "Joseph and the Amazing Technicolor Dreamcoat" --
Winter 2001
Lydia Bennett from "Pride and Prejudice" --Fall 2002
Lillian LeRoy, from "Reliquary" --Fall 2004
Haberdasher, from "Taming of the Shrew" --Fall 2004
High School Choir, Grades 9-12, various community and competative
performances

Productions
Makeup Crew for "Peter Pan" Fall 2000
2nd place Community Talent Show, Spring 2001
Makeup Crew, Set Design, and Set Construction for "Alice in
Wonderland" Fall 2001
Community Talent Show Committee, Publicity Coordinator, and Set
Construction, Spring 2003
Community Talent Show Committee, Stage Manager, Set Design and
Construction, and Master of Ceremonies, Spring 2004
Vocal Solo "Superior" rating at Southeast Alaska Music Festival,
Spring 2004

Education
High School Drama Class, Levels 1-3, Fall 2000-03
Sitka Fine Arts Camp, Acting and Dance classes, Summer 2001
High School Drama Club, Fall 2001
High School Improvisation Club, Fall 2001
Participated in High School Drama, Debate, and Forensics (DDF) Fall-
Spring, 2000-04
"Fundamentals of Acting" Theater UAF, Fall 2004
"Intermediate Acting" Theater UAF, Spring 2005
Expected Graduation, Spring 2008

Special Skills
Vocal Lessons, Fall 2000-current
German class, 1st year student

Statistics
Age: 18
Height: 5'2"
Weight 130
Hair: Brown
Eyes: Blue
Bust: 36C
Favorite Color: Orange!

Acting Tips, Articles, and Supplies
Issue #117
January 24th, 2005
 
35,000+ subscribers. 
 
In This Issue 
1. Welcome by Chad Gracia
2. Acting Article: Six Tips for a Perfect Headshot
3. Acting Jobs
4. Featured Product
5. Parting Quote
6. Subscription / Copyright Information 
 
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1. Welcome
 

 
I met Sir Peter Hall last week just before seeing his stellar
production of "As You Like It," and among other things, he
discussed his experience (50 years worth!) directing and acting. He
said three things that really struck me: 

"When someone walks into an audition, I can tell if they are an
actor or not within 5 seconds. It's impossible to fake, like
juggling. You can either do it, or the balls just fall out of air." 

Then he repeated a story he told to Dustin Hoffman when the movie
star approached him with the idea of playing Hamlet. "The part will
destroy you," he told Hoffman, "because you don't have the vocal
power. 80% of acting Shakespeare is mastering your voice, learning
how to speak his words, and following the clues in the text."
Instead, he and Hoffman went on to do a legendary production of
"The Merchant of Venice."

Finally, he lauded the extraordinary new Shakespeare book by
Stephen Greenblatt, "Will in the World." Everyone with an interest
in theater, literature, or simply human nature will deeply
appreciate it.

Best of luck in your acting pursuits,
 
Chad Gracia 
President, ActorTips.com 
 
PS: This week's 10% off Coupon Code is AT117 -- redeem it here:
 
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2. Six Tips for a Perfect Headshot

by Ruth Kulerman

We've talked about submission envelopes and cover letters. Now for
the thing that will make them either throw your submission in the
trash OR turn it over to read the resume. Once the envelope is
opened and the handsome ultra short cover letter is read (or just
glanced at), the next thing a casting office looks at is your
headshot.
 
First, yes you may staple your cover letter to the front of your
headshot, in the upper left hand corner. Be sure the staple does
NOT cover important contact information on your resume.
 
What constitutes a good headshot? That is IMPOSSIBLE to answer.
However, here are some general suggestions.
 
1. Like the envelope and the letter, the headshot must look
professional. Always 8x10". I prefer a matte finish. NY still opts
for a decent sized white border with your name printed in the
bottom border. No fancy fonts here either. Even the print style you
select says something about you. Neither the border nor the printed
name should draw attention away from your face! The aim of a
headshot is to have your face grab their attention. 
 
2. What should the picture look like? YOU!!! Women: Please do not
try to look like the next Miss America. "Ordinary" is very much in
these days. A pretty woman trying to look glamorous has fewer
chances/fewer roles than a pretty woman who presents herself as she
is: pretty. Or plain. Or intelligent. Or humorous. Or whatever she
is. Teenagers, please look teenager-ish. If they want someone who
looks 22 there are thousands to choose from. If you look 15, then
look 15. The more your headshot looks like you, the better the
headshot.
 
Men, one nice outfit and one casual. If you aren't the Wall Street
type, go for tee or sports shirt only. It used to be one legit
(soap, theatre) shot and one commercial. (That is, one glamorous
pose and one girl/woman/boy/man next door.) Today I would strongly
suggest that if some of your roles will be business types, then men
wear a tie and jacket and women wear a suit and blouse as one pose
and tee shirt or more sporty outfit for the other pose. Whatever
you wear, LOOK LIKE YOU. Try as truthfully as you can to figure out
what kinds of roles you are likely to get cast in. Chances are if
you are not a hunk or a model, you are not going to get hunk/model
roles. 
 
3. Make up? Exactly the same that you yourself could apply.
Horrors! I can hear the women screaming. There is only one
exception: If you have very dark circles under your eyes, then
lighten them under careful makeup. Men, unless you are only the
"scruffy, unshaven type" then please shave. LOOK LIKE YOUR HEADSHOT
AND HAVE YOUR HEADSHOT LOOK LIKE YOU. Unless you are stunning,
please do not have your face all glamored up, unless you are
willing to pay a make-up artist every time you audition. 
 
4. Just be sure the picture is about you, not about hair or boots
or glamorous makeup. What does that mean? I once saw a headshot of
a young woman sitting on the floor wearing boots. The shot was
angled from the bottom of her boots. Those boots, consequently,
were twice the size of her head. That was a picture about boots.
After I first saw the boots, five minutes later I had forgotten the
face, but the image of boots has lingered five years.
 
More and more I see headshots with distracting backgrounds--wrought
iron fences with parallel lines, cityscapes, angles, circles, cars.
STOP. Your headshot must have NOTHING that takes the viewer away
from you. NOTHING. No housetops, no trees, no nothing. If the
photographer insists, run -- run very fast to another photographer.
The photographer with distracting backgrounds is more interested in
his own clever shots than in capturing your face.
 
5. NOTHING MUST TAKE AWAY FROM YOUR FACE. That is what people must
see.
 
6. If you smile, get your whole face, especially the eyes, into the
smile. Otherwise just a "real you" look is best. If you are
self-conscious about your teeth, your smile will show it. No, do
not smile unless you can commit to it completely. (PS. You CAN
teach yourself to smile!)

Truthfully, I would have to look at every person's contact sheets
before making a judgment on headshots. However, don't merely rely
on your family to help you select the appropriate pose. Get the
opinion of someone in the profession who really doesn't know you or
else who doesn't have a vested interest in you. An impersonal
unbiased opinion. Don't believe the photographer. He's looking at
his work, not at your face.
 
A note-personal-about headshots. I love to laugh. Mouth wide open,
tonsils showing, eyes squinty closed, head thrown back. The kind of
unladylike laugh/face that embarrasses proper mothers.  
 
My first headshot session captured one of those laughs. Against
EVERYONE'S ADVICE, I had "the laugh" made up into a postcard. That
"forbidden" pose, the laughing postcard, landed on a casting desk
(because I had mailed it). And "the laugh" led directly to my first
agent. That's a pose against every rule of headshots. But I just
knew it totally captured a major side of me.
  
My advice: Go and do thou likewise. Capture you. 
 
The hardest advice of all: If a headshot is not working (that is,
if you are not getting called in for ANYTHING) heave it out and get
another set of shots. That is why it is so terribly important NOT
to pay a fortune for headshots. You do not have to use the biggest
name photographer. Your headshot is not about the photographer. It
is about your face. And if one picture isn't working, move ON TO
THE NEXT.
 
SUMMARY: HOW TO GET ATTENTION

Present the best you in your envelope's appearance.
Present the best you in your cover letter's appearance and content.
Present YOU in your headshot. 

===============
BONUS TIP from Chad: Many casting directors and agents say they
prefer Clear Headshot envelopes so that they can see your face
without opening the envelope. I also get dozens of emails every
month like the following:

"Hi Chad! I bought some envelopes from you last week. I just wanted
to say WOW! I sent out my headshots on Monday and got a call
Wednesday from an agency about coming in for a interview. They said
they just got my envelope and looked at it and called me up on my
cell phone. I was so surprised. So I'm going down to LA today for
my first interview with an LA agent. I can't tell you how amazed I
am! - Kris Palm, California"

Learn more here:
 
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3. Jobs 
 
Send worldwide acting job postings to info@... --
placement is free.
 
--------------------------------------------------------------------
4. Featured Product: New Clear Headshot Envelopes Available
 
"Chad: I received your QuickView envelopes and sent my headshots
out to 15 agents. That was actually only yesterday. Today I got a
call from AKI Management saying how interested they were in me and
wanting me to come for an interview. I was expecting to have to
wait over a month to get any response, but thanks to your envelopes
I got a call right away! Thanks so much! One Happy Customer. -
Jodi, Florida"
 
Stand out with these clear front headshot envelopes 
 
*  Impress busy casting directors 
*  Shipping costs less 
*  Make a professional impression 
*  Add note, get noticed instantly 
*  Avoid ugly, bulky alternatives 
*  Get special treatment!
 
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Now you can buy these envelopes with no logo printed on the outside! 
 
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--------------------------------------------------------------------
5. Parting Quote 
 
"The graveyards are full of indispensable men." - Garles de Gaulle

--------------------------------------------------------------------
6. Subscription and Copyright Information
 
To subscribe, please visit: www.actortips.com 
  
This newsletter, including the articles it contains, may be
re-published in whole or part as long as the following information
is included:
 
"Actor Tips" is copyright 2004 by Chad Gracia and ActorTips.com,
Inc. All rights reserved. For more articles on acting, as well as
free monologues and play scripts, subscribe to the newsletter by
visiting http://clicks.aweber.com/z/ct/?MqZLF3cVdbNaTtXOR2AFIA


ActorTips / The Gracia Group
360 West 43rd Street, Suite N9D
New York, NY  10036

To unsubscribe or change subscriber options visit:
http://www.aweber.com/z/r/?TIzMLOwstCwMTBysrAzs

The second position is with UGS PLM Solutions at their R&D center
here in Pune.

About them:

UGS is a 4,700 strong, global team whose driving vision is to work
collaboratively with their clients to create enterprise solutions
that enable them to transform their process of innovation and begin
to capture the value of PLM (Product Lifecycle Management).

Through the rich heritage of companies that came together to form
UGS, their pioneering solutions have been helping companies
accelerate  time to market, improve quality and increase revenue for
nearly four decades. With more than 3 million licensed seats of
their technology in use and 42,000 clients worldwide, today UGS is a
proven leader in both market experience and PLM solution
development. In fact, UGS manages or creates more than 40% of the
world's 3-D data.



UGS is headquartered in the USA. Their state -of-art software
development centre in the Pune Infotech Park, Hinjewadi focuses on
development of world-class PLM products suites like Teamcenter ® and
NX ®


It would also be a good idea to also go through their website
www.ugs.com and link to PLM solutions to know more about them.



To give you a little background...... PLM Solutions provides
products in the Product Lifecycle Management area. PLM's revenue was
around $1 Billion. PLM Solutions products include Unigraphics and I-
deas in the CAD/CAM/CAE space and Team Center Enterprise and
Engineering in the Product Knowledge Management space (PKM/PLM).

UGS PLM has created a core 24 x 7 Technical Support Group at their
center in Pune. The entire tech. support of all UGS PLM customers
from North America and Europe will be routed via phone/web to this
group in Pune. Which basically means that people in this group at
UGS PLM will be professionals who bring with them a combination in
technical expertise as well as excellent technical/customer support
and communication skills with strong customer orientation/focus.
Basically people like yourself.


The compensation in these  companies is no doubt the highest in the
industry.

Kindly revert back with your  interest on the above mentioned
positions. As this is urgent would appreciate an early revert.

Would also appreciate some references of your colleagues/friends
working on the Tech Support area in the 24/7 environment as there
are multiple positions going on in these companies from 1-10 years
irrespective of their locations. Needless to say this would be in
strict confidence.


Look forward.

Regards,
Shweta.

CCC,Pune
Tel.020-26145050/51
Email.shweta@...
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I posted this on 12night, if you dont want to be a member anymore just email
12night-unsubscribe@yahoogroups.com

Which is both a good and bad feeling.  A lot of work on this play - a
lot.  And a good feeling at the end of it.  Accomplishment.  We put
together a show that people wanted to come and see.  From the UAF
shows that I have been a part of it seemed that this one had the
largest attendance.  That is great!  We should all be very proud of
the work we did, despite how we may feel about our individual
performances from night to night and how we may have felt about other
people's performances and contributions to the play...the show was
enjoyed by its audience.  And that, as performers, is the most we can
hope for.  We can WANT to change the world.  We can WORK to get a
message to the audience, but if they are not enjoying what they
watch...all the other effort is wasted.  They won't learn from a show
they don't pay attention to.  The world won't change unless the
people in the world watch and understand the way things should be.
That's a part of theatre.  Tricking the audience by making them smile
and then slipping in a lesson or an example.

Thanks all of you.  It was a pleasure being a part of Theatre UAF's
The Taming of the Shrew.

3 more to go.  mixed feelings last night at rehearsal but the most
prominent was FUN!  This has been a difficult show for me and it
seems like time has really flown by since we started and now - here
it is 3 days away from being over.  Always a sad part of the
production process.  I hope you all have enjoyed yourselves as much
as I have bringing this play to life.  I love Shakespeare and I am
glad I got to learn a lot more about this play than just reading and
seeing other productions of it.  There's nothing like getting inside
knowledge of a play and getting to know it foward and backward.

Anatoly - thank you for the opportunity to perform this role.  And
thank you castmates for working together to make this one of the best
UAF shows EVER!

Speed through thursday, no tech. please look over your blocking prior
to coming. We will do warm ups for 10-20 minutes then try to be out of
there by 9.

Also anyone happen to have the address to Anatolys Oedipus page?
-Tom

Hey guys!
Sorry this is such late notice, I thought this was a tentative
arrangement, but no, it's confirmed.

We need to do a "mini-show" tomorrow at the Princess Hotel, at noon.
Lunch will be provided. This is an opportunity to meet over 100 local
business owners, so I think it's pretty important that we make it if at
all possible.

Please let me know ASAP if this will work for you. I'm happy to drive.
Plan will be to meet at my office, in cosutme, at 11:30. Please reply
all to let us know if we can work this group.

Please call me at the office: 474-6590, or on my cell phone, (before
10pm please!) at 388-1080.

Thanks so much!!!
Maya

Can't wait to see you in Santaland diaries again. The show was awesome
last year, and i'm sure it will be even better this year. But it does
kind of suck working for free all the time. "proffesional" experience
is few and far between, and it very rarely reflects the time that is
put into it. but then again being able to put 'professional
experience' on your resume, even if you only got paid 3 dollars.
An interesting thing that theatre companies could do around here is
pull together scholarship money, about 350. and basically pay for a
student to do 3 credits of practicum, plus they would get 50 and have
proffesional credit on there resume. anway just a thought
-Tom

I had a great time on Saturday after the show.  THank you Greg!

Wow!  Yesterday was a theatre full day - even without Shrew.  Spent
the day teaching theatre in school, then had a production meeting for
the Fantasticks (FST's February production) which I will be working
on publicity for, then they asked if I would auditon for the show.  I
was already planning on auditioning for Shannon Luster's Tartuffe but
I felt terrified when they asked if I would.  It was a feeling I
hadn't felt in a while.  Not just unprepared for an audition, ar a
little anxiety about getting a role, but absolute terror.  I can't do
this, I'm no good, there's no way I can succeed.  And when I felt
that I knew I had to try.  If not, if theatre can't scare us as
performers there is no way for it to affect the audience.  I read, I
sang, I was thanked for my time and moved on to the next audition -
where I felt much more confident.  At the Tartuffe auditions Shannon
(the director) scheduled the first rehearsal for SantaLand Diaries.
The stage adaptation of David Sedaris's essay about working as an elf
over Christmas.  I did the one-man show last year and FDA asked if I
would do it again.  So a week from today is the first rehearsal for
that show.  And THAT is an interesting feeling in itself.  Asked to
return to the stage and perform a one-man show that was a hit last
year.  Now - if only I was getting paid for all this stage work.
Hmmm...

I saw only the first 30 min. on TR. -- I left to write a few notes
for The Book of Spectator (I have this manuscript for years already).

When I say you have a new director now (public), I refer to their
power. I do not know if we have "theatre" public in America. I am
not sure that we ever had. For a short while (1920s-50s) Broadway
had "books-reading" spectator, now -- TV/movies watcher. They are
passive by definition (consumers). They are the opposite to the
original Shakepeare's public, who were craving for interaction. You
have to know it -- and challenge them, go after them; they are the
ones brainwashed by pop-culture (Bianca Story).
Look at the commecial messages everywhere -- of course, they would
fear the intensity of P-Kate's relations! Should they go home and re-
examine their relations? Shake thinks they should. In this second
way, they are against the message: love is the hard labor, love know
no rest, no compromise...
Third, the fight against Shakespeare. I told you many times that you
have to overpower the bard -- and it's difficult not only because he
is a genius, but an institution.

I have to say that true relations with public are "love-hate" based;
they look up to you, or they look down on you. Nothing in between.
You win or lose. You have to get them P and  K' style...

I can't write now. The notes after the show.

Anatoly

Andrew-
Thanks for your posts.
>>It was good to have an audience last night - however
>>I'm always wanting more from them. Did they laugh
>>enough? ...I think last night's crowd got the basic
>>elements of the story...Very reassuring to get some
>>laughs and reactions to the scenes.

I talked to a friend who saw last night's performance.  She was
impressed.  Her first words were that she thought it was extremely
fun, and I think that is a very good sign.  Someone who is struggling,
lost, or unengaged is not going to be having fun.  She said she is not
a Shakespeare fan, but she found our performace not only approachable
but compelling.   She particularly noted that all the reactions of the
actors on stage really helped with interpretation of the script, too.
  She was pleasantly surprised that she could not only understand but
enjoy watching a Shakespeare play.

I'm kind of new to all this (okay, _really_ new), but my take on the
audience last night was this: I saw only a problem with critical mass.
  A group that small and dispersed in a larger theatre just isn't going
to feel safe getting fully connected.  They are still individuals too
much and can't lose themselves and fully give themselves over to the
play.  That folks were noticeably interactive and laughing
nonetheless, even with their sparse numbers, bodes well.  I heard
instances of spontaneous big reactions, where people just couldn't
help themselves.  In a fuller theatre, that is going to turn into
something huge.  Anyway, that is my take on things.

I'm jazzed for tonight. Let's go!
-By

Here we go!

What an interesting couple of months.  Not quite sure what to write
and what to feel as we prepare to open the show.  It was good to
have an audience last night - however I'm always wanting more from
them.  Did they laugh enough?  Am I boring them?  Do they understand
the story we're trying to tell.

I think last night's crowd got the basic elements of the story.
They followed what was going on.  It is a pretty straightforward
play.  Very reassuring to get some laughs and reactions to the
scenes.

Here's to a great run and have a fabulous opening night!

Biography:

Carey Seward is a senior theatre major and has performed in many
plays around Fairbanks with all the different theatre companies,
including her own Theatre IME. Look out for Bar Fights 2 in the
Spring!


Classified:

(Bianca Minola) SWF 17 seeks REALLY hot guys to go out with. Must buy
lots of presents. LTR ASAP. Prefers tall, buff, rich, fun and crazy
about ME! Nice car/hair a plus.

So - here it is.  Only a couple of nights left.  Objects for tonight -
  a contiuned exploration of character on stage.

Last night, in the middle of a scene, I realized what one of my lines
actually meant.  After all this work, after knowing what the words
mean, it's the CONTEXT that is the difficult part.  How do I
communicate the ideas that I think Shakespeare wants me to put into
action.  The end of the 'Thus have I politically begun my reign..."
monlogue.  The last line in the speech is "...tis charity to show."
All during the process I have been looking to the audience to provide
this chartiy.  For them to share, since the line before that is
encouraging them to share their taming ideas.  But I am the one who
is giving them charity.  It's my charity to show them, to give them
my ideas about how to tame a shrew for them to take home with them
and incorporate into their own lives.  Arent I generous?

That means more work on that line.  How to communicate my charity to
the audience.  That's my big thing for tonight.

However, on the other side of the coin, last night I was trying to
work in a couple of other ideas and then suddenly the play becomes a
waiting game.  How much longer until I get a chance to try that
idea.  It will only get worse when an audience has seen the play
becuase then it becomes 'I can't wait to get to that line because
they always laugh.'  So tonight (and tomorrow) to some degree is a
chance to use that focus.  To let the other parts of the play take
care of themselves and concentrate on the new idea, the new
expression, the new meaining of the text.  Come Friday night -
expermentation stops and the work of playing begins.  But until then
the stage is still an acting laboratory.  I only wish we could stop
what we're doing, go back and try a different take.  But the pace
doesn't wait for us.  Just try it, see how it feels, analyze it
later, and move on to the next word.

Hello eveyone, I just wanted to take a moment to give some
encouraging words to everyone on the cast and crew of our lovely
Taming of the Shrew.  Tech First:  Oh my godness, everything is
sooooo beautiful!  I love the set, I love the costumes, I love the
lights, I love the oundtrack, I love all of te choices that have
been made for this show.  I think that they were all very strong
choices, and I am so hapy to get a chance to play my world in the
world you folk have created.  Thank you.
A quick word to everyone in the cast: thank you, all of you, so much
for all of your hard work, dedication, and, most of all, patience.
Tech weekend is always very hard, but I do not think that ours went
anything but wonderfully!  I even thought that the show itself was
still pretty good, despite our shuffling our costumes and getting
used to acting in light and such.  A little bit of a side note,
particularly to all of the smaller characters, you folk have made
some wonderful good choices, and I am very happy for you.  It
doesn't matter if you are only in one scene, if you do it right,
then you are the star.  And ten there are people like me who are on
the stage constantly, but never really contribute a great deal
(wah);)  anyway, I do not want to seem to long winded, but good job
everyone, keep up the good work, and let's rock this show like no
other!
Joe (Grumio)

I too wondered about this line at the wedding banquet, particularly
in that I have the next line. At first I thought the comment
facetious or cynical--is that all we do? My response has been one of
joy, graciousness, and self-satisfaction. In any event, depending on
how you interpret it, would affect how I respond. But it may not
matter, as I get fooled, i.e., as Baptista, throughout the play; thus
quite  possible that I don't get your meaning. Andrew, as I told you,
I very much enjoy your thoughtful comments. Gerry

re to petrucChios message:


I just want EVERYONE TO KNOW
Im PLANNING ON HAVING FUN TOO!
yEA ANDREW! gREAT iDEA!
LETS HAVE FUUUUN!!!!!!!!!!!!!!!!!!!
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

Hellloooo!
Is it possible to work on some K+P stuff or is it just too late?
Not to reblock persay, but to just give it more punch?
I beleive Andrew and I have time tonight to come at 6:30 tues?
or After rehearsal tues?
talk to me baybay
Jenny Schlo

Hello everyone,
I know this is rare that there is a post from me, but here goes.
Ive been very frustrated with Katherina in the last 3 days or so, I
know that it is normal to build up and build up then take a nose dive
for a while, but Im struggling through it and have been looking back
at the script to remember some of the first instincts i got from it,
Im also playing with the action in my mind to tweek different
parts... bits of K&P 's back and forth 'ultimate love/hate off' To
make the scene more visual and to comunicate our new relationship and
new found love.
I have been caught up on what to do when Pet is talking about "is the
lark more precious than the Jay"
and think that little things like smelling him and enjoying it,
finally really looking at him for what he is etc...
I was really happy to work with costumes on sunday
              THANK YOU THANK YOU THANK YOU TARA AND LORRAINE!!!!!
I did find a few moments that I was very aggrivated and overwhelmed,
but I just need to rehearse with the costumes more.

It was actually inspiring to see everyone in their costumes and to
visualize the play coming together and getting tighter, even if we
stumbled through it with costume difficulties.

I guess what I would like to see happen now is to speed it up, get
the beat down and pick it up a level pace-wise. I know it is
something I need to work on as well.

Thank you everybody for all your hard work,
Jenny Schlo

Wow.  What a role.  Still, days away, and even during the run, I can
only hope to keep finding things in the words I say.  They are
deceptive.  Just learning them is the beginning.  Reviewing them only
makes it more difficult because there is more and more there each
time.  Chosing which refernce with which word is a life-long
exporation.

I feel very lucky to be part of this cast - and to have this role in
this production.  I suspect I will never get a chance to perform this
role again.  The other day while I was driving in the car I felt
weighed down with burdens about the show.  Will it be funny?  Will I
get the jokes across?  Will I bring life to one of the best-known
characters in Western Drama?  Then I thought to myself that it
doesn't matter who the character is.  The work and fun that I have
put into Shakespeare roles of 3 lines is the same work and fun that
I've put in this role.  Pressure?  Will I be held up to the likes of
Raul Julia?  Ricahrd Burton?  Burbage?  It doesn't matter.  This is
my role now.  It's mine to play with, to have fun with, to joke with
the audience about.  They know the story.  They know what's going to
happen.  They want to see it happen.  They want the shrew to be
tamed, but bot subjugated.  They want me to win but to also get my
comeuppance at the end.

What I am coming closer to accepting, and on Thursday there will be
no choice in the matter, is to collect all the work that has been
doen over the past months - both on stage and off - and put it in a
little box inside my head.  Then - play play play.  The words are
funny, the situation is funny, everything's there, I just have to
make sure the audience is riding along with me, not waiting ahead of
me or falling behind.  If I'm having fun - they'll have fun.  They'll
be able to tell if we struggling or enjoying ourselves.  I'm planning
on having fun.

Thanks Anatoly.  The line is a vbery important one and I've been
thinking about how to approach it to get across the distain for the
company (all they want or hope to do is sit and sit and eat and eat)
and to include K in my dismissal of the asembly.  I've been thinking
about P's transformation over the course of the show - the subtleness
of the change.  At the start he should be filled with a kind of tired
boredness.  There is nothing exciting in the world, he's seen and
done everything he wants to do - there are no challenges.  Taming
this shrew everyone is talking about is a new and unique challenge.
Then the big challenge comes: not to loose something that has become
incredibly important to you.  Not to change the thing you love but to
include the thing you love in the world.  It will brighten up the
whole world to be with this person.  At last!  Someone that is enough
like him that he doesn't have to just have fun on his own anymore.
Grumio is not his equal - just a sidekick.  A yes man.  Even if he
does fight back a bit he knows his place and sometimes steps over the
line.  This girl - she'll help re-draw the line and we'll move it as
we grow together.  By the end, at Bianca's wedding, he's surrounded
by the exact thing he doesn't want.  A boring sit and sit and eat and
eat life.  This line should bring back the latent sadness from the
start of the play.  This is the journey I am hoping to develop as the
show progresses.  How to make him jest with the world because there
is nothing serious around him - to being more serious than he ever
thought he could be - to transcending the serious plane with his love
and living in a whole new place together.

--- In 12night@yahoogroups.com, "Anatoly Antohin" <ffaga@u...> wrote:
>
> ... "nothing but sit and sit, and eat and eat!" -- the last
(almost)
> line by P. and it doesn't come right, Andrew.
> You know that I do not like the last scene (too didactic) and I
> wanted to cut on the street "kiss" before, but if I would be
> shooting a movie, I go for P's CU on "nothing but sit and sit, and
> eat and eat!" -- the nostalgic moment, the best is behind, the
> getting the heart of this woman you love. All of them are flat next
> to her; what do they know about the experience of loving --
  "nothing
> but sit and sit, and eat and eat!" They watched it, they have no
> idea what is between K & P -- they are the spectators... Should it
> be addressed not only to public, but Kate? Does she understand that
> this one week together is the best time of her life?
> There are many very serious moments; this is one of them. The
> audience will redirect the show, in many ways pushing the valgurity
> ("male domination" and etc. -- it's done for four centuries
> already). You have to resist: there is no less "love story" in
> Shrew, than in Romeo and Juliett... The puppy love. What do they
> know about loving somebody for fifty years? ..."nothing but sit and
> sit, and eat and eat!" -- maybe this a Shake's line.
> I like that two of you leaving the stage for the curtain call; you
> have to separate yourselves from the rest. What do they know about
> love?
>
> Anatoly
>
> --- In 12night@yahoogroups.com, "a_b_cassel" <abcassel@a...> wrote:
> >
> > So - no rehearsal tonight.  Mixed feelings about that on my end.
> > Would be great to keep with the momentum we've built over the
> weeked
> > to tighten up the show and get us used to changes and transitions
> and
> > a chance for actors to explore their dialogue on stage another
day.
> >
> > But it's also not unwelcome to have an evening off.  A delicate
> > balance.  In the end, I guess, I would rather rehearse than not
> but
> > will make the most of our free evening.
> >
> > This weekend was fun and the show grew...
> >
> > I would post more now but I am subbing for science this morning
> and
> > the students are beginning to arrive...