This is my costume idea for Julia. I like the subtle pattern with the flowers and the subdued green tones which hint at Julia's more sensible, kind, gentle nature which contrasts with Lydia's more extreme swings of emotion throughout the story.
Movement For Actors Response
Personal Reaction
After reading Part 4, I felt much better about having been challenged in class with moving in a period appropriate way and trying to read at the same time (it often proved too much for my brain). I enjoyed considering the perspective that dancing of the period a glimpse into the lifestyle of a specific time. The idea of working with opposites in Shakespeare plays reminded me very much of "The Rivals" because, as Jen has talked about in class, there is a definite dichotomy and opposition between the image characters try to maintain on the outside and the drives and frustrations that occasionally poke through the surface. The "Discovering Relationship through Action" exercise sounds like a lot of fun to do, especially with movement appropriate to the 1750's, and I think that the movements listed could be helpful in more climactic moments in some of our scenes. I thought the idea of energy coming up the front of the torso when I sit in my 'costume' was helpful because it kept my body lifted without as much effort.
Professional Reaction
My favorite quote from the chapter was near the beginning from William Wilson about "how to communicate to your partner with your body…actions speak louder than words." I liked keeping that in mind when I read over my scene because the dialogue seems sometimes excessively wordy but seeing more of the movement possibilities when I read made the scene much more dynamic and a give-and-take of power. I was struggling last week to make my period movement look more natural, because I knew it looked pretty forced when we started, and the book suggested that having "poised and natural dignity" and "inhabiting your own body" were important in that process of making movement more natural. I have not performed any Shakespeare since middle school, so I'm not familiar with what the experience of rehearsing and performing one of his plays is like, but I love reading Shakespeare. I think one reason his plays are so enjoyable to read is the movement possibility in them that the book mentioned and the beautiful, flowing use of the three centers of the body in his dialogue. Even though the language is a little tough to understand sometimes, the words come alive and are very indicative of the constant power struggles between characters.
I agree with Rod McLucas that the part that's the most fun in working with older plays is the exchange of power through the "aristocratic game" they all try to play (and don't always play too well). The idea of working too hard to impress or be witty was also brought up in the chapter and how the effort behind the humor makes it gouache and un-aristocratic. That appearance of exerting little to no effort related very much to the way we were learning to walk in class last week. I was surprised to read that women could rest their hands between their legs on the chair when they sat sometimes - it seems a bit too informal but it would certainly fit with the relaxed/at ease image. I practiced walking a bit more, trying to shift all my weight onto my front foot all at once and it helped make the movement of walking more energy efficient but it was harder to stay graceful.
