Here’s another actor profile from Measure for Measure. Click the Read More button in the bottom right corner to find out more about another of our student actors.

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Hello, Shakespeare enthusiasts (or hopefully you will call yourself this by the opening of Measure for Measure!) I am again updating you on where we are in the Measure for Measure rehearsal process.

Thus far, we have read through the script a dozen times or so and have not started any blocking yet, in order to better understand the intent of the text.  The actors have spent many hours already dissecting the words of the play, in order to continue to learn the full meaning of the play.

Other parts of the rehearsal process are physical and vocal warm-ups.  These have taken place at the start of each rehearsal for approximately the last two weeks.  They are intended to physically and mentally prepare the actors for the rehearsal process. I’d like to say that I think warm-up processes are often underestimated.  It is during these that actors can completely devote themselves to the work they are about to undertake.  Warm-ups help calm the mind and focus energy to where one wants to focus it.  It is also during warm-ups that you can try to let go of the stress of the day.  I think they allow everyone to be in the proper mindset and direction in which to start the table work.  I know many actors that rely on warm-ups to start to get into character properly.  Without a warm up process, or with a hasty one, they are thrown off and their character emotions are thrown off.

Some actors on and off the "grid" during warm-ups.

I think what is specifically interesting about the Measure for Measure warm-up process, is that Mark Lococo, the director, has recently been tinkering with movement and intent of movement on which to draw for the choreography of the production.  In the pictures below, the actors were instructed to either walk on a self-directed “grid, ” or walk around freely while playing with pace and direction.

After this exercise, many of the actors expressed feelings of feeling “closed” or “locked in” when they were on their “grid.”  While the actors were not on the “grid”, they felt much more free.

Personally, I think that all of these observations were very interesting, because I can see where Mark would want to put choreographed movement into the production to support the idea of Fascist peoples closing around the whole of the play.

That’s all for now.  Until I write again, you may want to try your own warm-ups to help focus your mind and direct your energy in a specific direction.  Try focusing on your breathing, in order to experience a calm like that from meditation. Maybe you could do these things before reading Measure for Measure.