Aria Wiedmann

After are preview on Friday, Kela and I jotted down everything that you guys said you thought was powerful, where there were laughs, what we needed to improve on and where/how we could build on to what we already have. So here are some obstacles that we have been working with as well as how we are trying to work on how to fix/make more appealing to the eye... 

1.)Pacing: During our preview, I think because of jitters, we went a little fast through our scene. Rebecca gave us the note that we weren't really in it and we agree. Once we took her note about just taking our time and really listening to each other, it made a HUGE difference. Not only were we more in tuned with our characters but we felt more grounded and had better kinesthetic response. 

2.)Space: There are times in the scene when the characters Catherine and Claire get in an intense argument and when this happens Kela and I always have a tendency to move closer to each other so that we are yelling at each other right in the face. However, on a stage, this inhibits us from moving too much and opening up to the audience. We solved this problem by spreading out our set as well as picking one moment where we can be loud and close and then making all of the other moments when we raise our voices father apart. Therefore, adding more variety to our scene. Through this we also found that there shouldn't be too many moments when we are in each others faces because where can you go from there? Over the next few rehearsals one of our goals is to try and find a time when the scene builds and where is its highest point. 

3.)Beats: After our first preview, I think Kela and I both found new beats that we didn't know existed before which is very exciting. So for the next few rehearsals we also plan to dive deeper into why we think there is a beat there and maybe go over some inner monologues that the character might be having in that moment. 

4.)The underlying grief of our father: I think this idea will come a lot easier now that we are slowing down the pacing of our scene. However, how does this idea also come into context with every word that we say to one another? Together, we have talked about when the thought of our dad pops into our heads the most and when it the thought of our dad is substituted for other ideas. I think the idea of telling each other our inner monologues may be an interesting idea for us to work with. For example, when one of us wants to know what the other is thinking we can stop and ask each other or when one of us wants to say what our character is thinking, we can stop the scene there as well.