One of the problems I encounter when I embark upon characterization is that I tend to overcomplicate things. I also tend to fall into two types. I usually begin with a strong, angry woman, or a tortured, despondent woman. Now, there is nothing wrong with these types, though there are many more out there, but I begin the play and the scenes at a zenith already. I have nowhere to go, no growth to accomplish. This rehearsal tonight was a step away from that pitfall of mine, and into a much better way to work on character.
Occam's Razor is a philosophical idea or premise or whatever they call it, that roughly states that when faced with multiple explanations, the simplest answer is the best and most acceptable. I need to apply this thinking when I approach my characters. I clutter the lines with overwrought and complicated emotions, losing the main focus of the scene.
For example, one of the scenes we worked on today was the "wooing of Olivia" scene, where Viola, dressed as Cesario, and Olivia meet for the first time. When I auditioned and cold read this scene, I played it full of mournful sighs to the audience, completely wrapped up in the misery of Viola having to woo a woman for the man that she loves. My director thankfully stripped all that fluff away and gave me a very clear goal: Stick to the plan. Viola has written and memorized a nice speech and she is going to say it to Olivia come hell or high water. That is her goal, her motivation. She doesn't get her goal in end, but that's another story. My director's way of doing makes so much more sense then the way I originally approached it, because last night we had already established that Viola, far from being completely in love with Orsino by the end of Act One, is just beginning to admit her feelings for Orsino. Orsino has sent Viola to woo, and, for respect, friendship, and the beginnings of love, Viola has decided that she will woo with all her might.
With the new motivation, that scene, which I thought was going to be difficult is proving to be easier than I had imagined, though I shouldn't have worried, because I ran into a truly difficult scene during the last half-hour of rehearsal. It's in Act II scene iv, the first part only, where Feste is singing to Orsino and his court. I do not have any long and drawn out speeches, instead I have a few lines scattered throughout the scene. I've always find that scenes where I speak less are always more difficult that scenes where I speak more. Fewer lines means more work and thought for the actor, because the character doesn't have a speech or monologue to help clue us in to what they are feeling, they only have a few sentences, but in those few sentences they have to have a full character as if they were a soliloquy from Hamlet. It will be a good challenge for me.
My director said something to me tonight that not only helped me figure out II,iv, but will also impact everything I do with Viola. He told me that the hardest thing about Viola is not acting like she is concealing anything. He told me that I shouldn't show the audience that I'm concealing a gender secret, I should actually conceal it, totally and completely. I was showing the audience that I was concealing things, that was my whole idea behind Viola, that is what I did when I auditioned for her, and yet my director is having me go in a completely different direction. He wants a funnier, less despondent Viola. It makes me wonder why he picked me if my initial characterization was so far from what he wants...I don't know why, but I'm incredibly glad that he did. This is proving to be a most amazing show and an incredible learning experience.
Plus, it's a barrel-full of fun!
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