Harold wrote:
<< Hello,Has anyone ever had to witdraw from a privately sponsored (not in
academia) opera workshop after it's already started? What usually are the
consequences for the other participants? Are replacements easy to find? >>
I guess the consequences are they don't have someone to do the scene with,
unless the scene is double cast. If your role is double cast, then that person
just gets to do the scene with both casts. Not a bad thing. But if it's not
double cast, it leaves the other folks in the lurch.
<<I've been doing this for about four weeks and we have another 2
1/2 months to go. I figure it's better to get out now rather than
wait 'till it's too late. I seem to have some kind of learning
disability in terms of movement. If I have a score in my hands and
I'm planted on the stage (oratorio, choral solos, etc.), I'm fine.
Having to sing lines that are memorized while dealing with stage
directions totally frustrate me! After the director arranges the
blocking, he tells us to to mark it in our scores and I simply can't
remember a thing, I don't know where to move or what to do. My mind
is a total blank. I've been marking gibberish in my score so I don't
look like a total fool while everyone sits there and adds the
directions to their scores. >>
Don't feel too bad. I'm the same way. When I took such a workshop, the
instructor (Richard Crittendon) also taught us how to notate blocking in our
scores. Did your instructor do this for you?
If not, I recommend meeting with him privately and asking for extra
instruction. There actually is a method to this madness. I remember that
Crittendon also taught us a method to memorize blocking, and a way to practice
it on our own. Among several things, it involved drawing a picture of the
stage with the set pieces, and then you can mark in where everyone (not just
you) is supposed to be at certain critical points.
Another thing you can do is get with your fellow cast members and practice the
scene together. Chances are, they'll have an idea of what you're supposed to
do and you can come up with a way to move in the scene. Even if what you do is
"wrong", you'll find it's easier to change to something else, because then
you'll have a frame of reference. Also, when you practice your blocking, do it
with the book - don't think you have to memorize everything at once.
<<The same problems seem to arise when I
ask for driving directions, everything turns into a mess and I can't
figure out what the person is trying to tell me. >>
We all learn differently. Some people do better with a map. I have a friend
that always draws maps for herself when given directions. Me, I don't like to
deal with maps, I need it in words - go straight, turn right, turn left, etc.
When I get a map, I convert it into words for myself.
<<The director says it's just "nerves" but I've been
down this road before. It's sheer agony standing around and not
knowing what to do. The director has tried to "push" me around in
our rehearsal space. I've also watched him renact my movements so I
can "memorize" them, but that isn't working either. I wonder if I should get
myself tested so I can figure what is going on. I'm totally frustrated and I
don't know what to do... >>
I can understand your frustration. There's probably as much a problem dealing
with the emotions of the frustration as there is dealing with the substance of
learning how you're supposed to move.
However, if you can find a way to learn your blocking, you'll be really glad
you put in the effort. Before you let your money go to waste, why not try and
play around with different ways of organizing your blocking for yourself.
For example, think about if you make up your own blocking for something, how
might you write it down so you can remember it, and how might you practice it?
If you're a visual learner (as it sounds like you might be), play around with
drawing pictures or making diagrams or maps for yourself.
Start with a small piece of a scene - to take on too big a chunk might be
frustrating. And figure out a way to do that little piece. Then add on the
next piece. It make take you longer than other people, and you may need to
spend more time at it, but I bet you'll find a way, and be the better for it.
Let us know how you do and what you decide. Good luck!
Peggy
---
Margaret Harrison, Alexandria, Virginia, USA
"Music for a While Shall All Your Cares Beguile"
mailto:peggyh@i...
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