Monthly Archives: July 2020

Another tool I used to explore play analysis was to use another experience I had observed from real life: I can tell you exactly the circumstances of any breakup that you have in life. Pretty heady claim – right? But my theory is that the breakup is written in the first moment that you meet him/her. You may never HAVE that breakup (hopefully), but if it does happen, I can predict the reason. You will break up with someone for the very reason that you were attracted to them. For example, if you are attracted to some guy because he is so outgoing and loved by so many friends, the thing that will drive you to the breakup is his very outgoingness and gregariousness. It began as THE attraction and now turns the blade and becomes the reason for the breakup. I apply this life observation to play analysis. I asked students to look at the moment a fictional relationship begins, identify the chemistry of this creation, and watch it play out to become the reason it ends. Try it; you would be amazed how many times it works.

I love improvisation. I have always loved improvisation. I am good at improvisation. I think that I am much better at improv then I ever was as an actor. My brain worked quick. I could always think of a thousand circumstances and a thousand characters to inhabit those circumstances. I also loved to teach improv. The classroom was always engaged and entertained and a there was a sweet air of fear as all worried about their time up in the spotlight – but a good fear – a fear that was natural and desirable when it came to performance. Read more →

It has seemed interesting to me that the “bad boys” and “bad girls” always seemed to have an edge when it came to success in their scenes. Now, when I say “bad boy/girl”, I am not talking about a felon – I merely talking about students that often string up a few tardies and are on a bit of a first name basis with the administrators of the school. They can sometimes be in the wrong place at the wrong time. They are often totally great kids, they just find themselves pushing the rules a bit. Read more →

If one were to ask Beyonce, she would likely say, “girls.”  BUT I have a much better and far more useful answer.  In teaching play analysis for a hundred years, I have used every possible grid, outline, worksheet, questionnaire, and essay.  My play analyses have been over 10 pages long (when they did them right!) where all factors of the character’s world would be pulled out of the text and fully footnoted.  I have also used the opposite: where I gave out a simple index card and not much more than a verb.  All served their purpose – – to a point.

But then I stumbled on the best question and the best answer of all.  I believe it is the best because it mirrors the best question and answer we have in our own day-to-day life.  AND when it gets close to answering my life and the life of the plays I think I must be on the right track. Read more →

After so many years of teaching and admittedly going over and over the same plays, same periods of history, and the same notes, I have entire lessons built on acting or directing quotes that at one time stuck in my mind and grew and grew until they became their own lesson.  Of course I have no idea the genesis of such ideas.  It could be from Facebook, my mother, subway graffiti or a Hallmark greeting card.  Although, I do love the possibility that a few of these ideas came from my own creativity.  So – over the next set of entries I may go there boldly – and if you think you have heard this before – you likely have.