Streetcar Named Desire: My teacher assigned us scenarios to work on. I partnered with Faye, a woman from the local area who hadn’t ventured outside her borough, while I, on the other hand, was an adventurous woman who had explored various parts of the world. Initially, it seemed like a straightforward task, but then our teacher instructed us to adopt a Southern American accent, adding an extra layer of difficulty.
However, I started to feel less like myself and more like a catty middle-aged American woman who wanted to boast to someone she thought was “less worthy.” This actually helped me become accustomed to speaking with that accent and understand how Tennessee Williams intended the characters to sound. Developing this skill enabled me to enhance my language abilities and challenge myself to improve my acting even more. Furthermore, from that moment on, whenever I read a play, I automatically heard a southern accent in my mind, which made Stanley seem much more lower class than he would have with a British accent.
Romeo and Juliet: In contrast to the play mentioned above, my task was not to use an accent but to comprehend and modernize the text. This required understanding the intended tone of voice by Mr. Shakespeare. For Monologues, I had to research the language, comprehend its meaning, and then deliver it from memory. Unfortunately, I struggled with this because I did not memorize the script. This reliance on my words undermined my performance, as I lacked facial expressions and movement as feedback pointed out. Despite this, I received praise for my interpretation. This recognition helped me understand that while understanding the play and its language is crucial, it is also important to convey it effectively.
The significance of non-verbal communication is exemplified when performing the role of a nurse in a production of “Streetcar Named Desire.” Both facial expressions and movement are crucial for effectively conveying the character’s message. Maintaining a balance between these two elements ensures that the nurse’s lines are understood and her portrayal is communicated successfully. During our performance, my partner Lauren D. and I showcased this importance through a mime scene.
The decision was made to jointly portray the scene involving Allen and Blanche, emphasizing the lasting impact of a traumatic experience where Allen took his own life. When Blanche discovered my homosexuality, we attempted to maintain a false appearance of togetherness; however, at a certain point, she rejected me and it led to my own suicide. The concept of space became a crucial element to consider, illustrating the closeness between our characters during the facade and the subsequent distance that arose after the rejection. Our most effective idea was undoubtedly to mirror one another while portraying Allen’s death. This approach served to emphasize our main objective: ensuring that the audience comprehended the pain Blanche felt when her husband died and perhaps understand why the song, the Versuvianna, continues to haunt her.
We incorporated levels into our performance by having me lay on the floor when my character died. We also utilized exaggerated movements, which helped me grasp the significance of movement and facial expression in addition to words. I came to realize that moments of absolute silence can make a scene even more impactful. As a class, we began our session with a warm-up activity that involved running, star jumping, crawling, and racing each other around the room. This exercise helped us raise our energy levels and get our blood pumping.
We engaged in a small exercise aimed at preventing the other team from entering our territory. This made us competitive and annoyed when they intruded into the space we were guarding. The purpose of this activity was to generate adrenaline and create a fight-like atmosphere, similar to the moment when the Capulet’s entered the Montague’s area. Furthermore, we added insult to injury by demanding that they reveal Romeo’s hiding place. This made it clear that we were not there by accident, but rather to engage in a confrontation. I came to realize that exercises like this help actors get into the right mindset for arguing or fighting. It also aids in their ability to transition from their own lives into playing the role of a hyperactive 16-17 year old primed for a brawl. Vocal awareness was also addressed. Both of us learned from Fran how to warm up our voices and project without harming them.
We practiced a breathing exercise where we took a deep breath in and then hummed for the duration of our breath. This exercise helped us maximize our vocal abilities and taught us how long our breath can last. It prepared me to use my voice before performing, and now I use this skill before engaging in activities like going on rollercoaster rides or watching horror movies to avoid straining my voice. This has improved my performance and understanding of the play, allowing me to perform better without harming my voice.
I used high pitch and low pitch for each character and if I thought my voice would strain, I used this technique quietly so as not to bother anyone. Characterisation of Romeo and Juliet in the social, cultural, historical, and political contexts: We performed the scene where Mercutio and Tybalt fought each other, but we made it an abstract scene. Three people played Mercutio and three people played Tybalt. This was effective because it was interesting to see how it turned out and how we all managed to work together to build the tension. We struggled with portraying the aggression and male testosterone, as well as maintaining our characterisation.
Despite their youth and wealth, these teenagers were frequently indulged and had a sense of entitlement. The primary cause of discord among them stemmed from the fact that they belonged to rival families. Although they held the same social standing, their society greatly differed from ours. In present times, carrying a weapon capable of inflicting harm would lead to instant arrest. However, during the era portrayed in this narrative, it was entirely commonplace to bear a sword and partake in duels using them.
For the creation of the set design for the play “Streetcar Named Desire,” my partner Fran and I incorporated visual, aural, and spatial elements. We considered our knowledge of the play and Tennessee William’s attention to detail. Through planning and constructing the scene, we gained a better understanding of how colors can affect mood and effectively evoke emotions. This set design allows me to envision the props surrounding me during a performance of a scene from the play.
In a similar manner, our teacher assigned us with interpreting “Romeo and Juliet.” Individually, we wrote down key events from the play and collectively determined who would direct each frozen picture depicting these events.
I directed Tybalt to kill Mercutio, making me responsible for his death. In response to the practitioner’s question, William Shakespeare was born on April 23rd, 1564 in Stratford-upon-Avon, Warwickshire, which is about 100 miles northwest of London. He died on his birthday 52 years later. His children include Susanna and twins named Hamnet and Judith.
