The Winterfood Diaries

The Winterfood Diaries

Wednesday, 26 October 1988

Macbeth: First Run


‘My Death’ – David Bowie



 

Today, a camouflage net, courtesy of TS1 student Nigel Cameron, has been wrapped around parts of the scaffolding tower.  This has certainly improved the visual effect of the structure.  I also painted a ‘traditional’ design for ‘Satan’ – or rather a horned god – on one of the ‘megaliths’, using water paints + Ultra Violet paints.  This is to draw the audience into the dark world of the witches, but also to signify the omnipresent sense of evil that runs throughout the play.

 

Justine came in today + we chatted, but very vaguely.  It was very inhibited and stifled.  At the moment it’s all secret, y’see, ‘us’.  I don’t want it to be secret, but I’ll go along with it for now.  She told me she had been thinking about me all day TUESDAY + I gave her a letter I’d written her.

 

This afternoon / evening, we did a complete run-through of the play. 

 

Duncan’s character really goes on a journey, from authoritative but afraid, powerful and fearsome, to cadaverous horror.  Overall, I have been pleased with Mr Goodgirl’s direction, [Creep! – Larry Goodgirl, late 1988] and of all the parts I might like to have played, I am very happy to be playing this one.  One technique I particularly enjoyed was Larry getting us to play the parts in our own words at first, letting the dialogue and our understanding of it arrive almost naturally.  My lines have only really ‘arrived’ within the last few days, but I now know exactly what’s being said and how to say it.  We could do with a lot more rehearsal, but I think I’m doing well.

 

During the run-through, however, I felt ill.  I have really begun to enliven the part and I think I was feeling the terror implicit in Duncan’s re-animated cadaver all too realistically + quite horribly.  Even though this aspect of the role is an enjoyable but considerable challenge, I began to feel what DUNCAN might feel.  I began to understand him.  Subsequently, I felt nauseous, and this probably has a lot to do with the way in which I’ve thrown myself into the part and the pressure I’ve been feeling over the set.

[Is this what Stanislavski called ‘feeling the part’? – Larry Goodgirl, late 1988]

 

Also today, the witches performed a scene over Radio Norfolk, live from the College Theatre, and any bumps + thuds you might hear on the broadcast is my body being dragged about and generally maltreated by Bianca White, Rhoda Baker + Natalie Palmer.  Could be worse.

 




 

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Next time: ‘Orinoco Flow…’

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