Day 1: We are only vibrations; when we stop vibrating, we're dead.

I’ve officially completed my first two days of class at the Summer at the Globe Shakespeare Workshop. We’re staying in Bankside House, only a block or two from the Globe and its rehearsal spaces, and I’ve often taken the scenic route traveling from one building to another. The programme:

Day 1: Orientation           

            “In Form and Moving”

            Orientation was an exciting start, coming in completely fresh. Both from Wash U., Anna Pillegi is our acting coach, and Henry Schvey is our theatre historian (and director maybe?). We walked around the immediate area, and since our only free meal is breakfast, we’ve managed to find every restaurant within 10 minutes walking distance from Bankside.

           

            “In Form and Moving” with Glynn MacDonald

            We worked specifically on four  reflexes: startle-pattern, inspiratory, spring, and cross-pattern. Startle-pattern being basic fight-or-flight instinct, Glynn gave us a definition and moved on. Inspiratory is inherent in the next two, spring and cross-pattern.

            Spring Pattern

            1. Standing straight, swing arms forward and up in a full circle,

            2. When they reach the highest of the complete circle, add a jump,

            3. Let gravity pull arms forward and down, falling into another full circle as the torso slowly folds forward

            4. At the peak of this circling, head near the knees, add a jump.

            Cross-Pattern

            1a. Crawl, watching hands as each moves.

            1b. Knee raises to touch opposite hand, to rhythm.

            2b. Variation of 1b, adding a jump

            3b. Everyone parading across the stage, stopping down-center to face the audience and “sell” this particular move, without variation or words.

            Personally, I felt my body really free up when we worked the spring pattern. The basic cross-pattern, crawling, apparently is supposed to help if done when memorizing. The cross-pattern (3b) was especially effective on the group as a whole, and noticeably because we were watching one another. One has to selflessly commit to doing something, vulnerable personality and humility in full view. And stay in rhythm. And sell it. I remember her sing-song voice saying, “Ooo, that one’s not getting cast today!”

            We also worked on a connection-communication exercise. Using only eyes at first, connect with someone across the circle you’re standing in, and don’t let go until something new catches your eye and you move on.

            Then do it with your hands.

            Then your buttocks. (No small-, tight-assed actors allowed.)

            Then your tits or pecs.

            Everyone is so afraid of their tits. I didn’t know anyone--they were only acting partners to me--and I thought, Alright, let’s go for it! I became very self-conscious when I sensed so much discomfort and complete loss of eye contact from every. single. person.

            Glynn explained: sternum is Latin for dagger. We have a dagger guarding our heart. Our daggers must connect. It’s easy to become uncomfortable when you can feel the beating heart of another’s chest.