The other night I had the opportunity to work with a large cast of actors in a crazy, little-known Elizabethan play called The Knight of the Burning Pestle. The play is a satire on Elizabethan theatre, written in the same time period. A couple of rowdy “audience members” interrupt the action constantly, insert their own apprentice as an actor into the proceedings, and in general spin the whole thing into chaos. It’s great fun.
Because the actors are all playing, well, actors, who are in turn playing broad stock characters, it’s a great opportunity to find larger-than-life physicality and use it to develop the character. I find that when you connect an actor to their breath, and then through their breath, to their bodies, the movement becomes very intuitive and clear – and the body connects to the voice, as well, creating the projection and voice you want.
We loosened up, moved all our joints around, found our feet under us. We walked around the room and moved our awareness to different parts of ourselves, seeing what it felt like to be pulled around by the head, chest, belly, hips, knees, toes. We explored gait: how far apart are the character’s feet? Do they walk heavily or lightly, on their toes or their heels, with big steps or little ones?
Then we put on some music and they walked around in the body-characters they’d found, stopping when the music stopped in a still posture that they could use when they were onstage and not moving. It was hilarious, and also helped them figure out how to be onstage: so much of acting is knowing what to do when you’re not doing anything.
I love working with actors and seeing them discover things, open up to possibilities, and stretch themselves. Getting them to connect with their bodies is such a rapid and excellent way to make it happen, too, and I love watching them light up as they get it.
If you want to work with me as an actor, check out my Body-Centered Performance Coaching page, and get in touch.