Ending: 4, 6 (there’s a pattern – together, breakdown)
Punctuation: 10, 0, 0, 0
finishing line | completing line
unfinished line | incomplete line
Juliane – Cleopatra
Lengths: 15, 6, 1 (22)
Ending: 8, 14
Punctuation: 11, 5, 6, 0
Lengths: 2, 4, 2 (8)
Ending: 8, 0, 0, 0
Punctuation: 8, 0, 0, 0
Lengths: 1, 2, 1 (4)
Ending: 4, 0
Punctuation: 4, 0, 0, 0
Decisions, builds, lists, knows what’s going to happen or not?
Lengths: 20, 3, 2 (25)
Ending: 9, 16
Punctuation: 12, 13, 0, 0
Antony here vs. Antony there?
Work on Syllables
Regular versus irregular
Siick out words
Carry on through
Specificity: Suit the word to the action, the action to the word
Thought – look at the size of the thought; make sure you know the whole thought
Break your speeches down into beats.
Look for discoveries
Look for decisions: start to incorporate them into your playing.
Alliteration: 1. The commencement of adjacent or closely connected words with the same sound or letter; an instance of this; spec. (in Old and Middle English and other Germanic poetry) the commencement of certain accented syllables of a verse with the same consonant or consonantal group, or with any vowel sounds.
Assonance: 1. Resemblance or correspondence of sound between two words or syllables. 2.a) Prosody. The correspondence or rhyming of one word with another in the accented vowel and those which follow, but not in the consonants, as used in the versification of Old French, Spanish, Celtic, and other languages.
Consonance: 1. Correspondence of sounds in words or syllables; recurrence of the same or like sounds, e.g. in a verse,
Scene choices: 1 approved Zoe and Amy are doing As You Like It.
Check-in consent to touch
Clear the room
Grounding: Group Grounding
Space Substance: (5 min)
Large group (no audience necessary).
Move around the stage, giving substance to space as they go.
They are not to feel or present space as though it were a known material (water, mud, molasses, etc.) but are to explore it as a totally new and unknown substance.
Move through the substance and make contact with it.
Don’t give it a name – it is what it is!
Use your whole body to make contact! Feel it against your cheeks! Your nose! Your knees! Your hips! Let it (space) feel you!
If players tend to use hand only, have them keep their arms close to their bodies so as to move as a single mass.
Push the substance around.
You never felt it before.
Make a tunnel!
Move back into the space your body has shaped.
Shake it up!
Make the substance fly.
Stir it up!
Make it ripple.
SUPPORT AND EFFORT
Let the space substance support you.
Lean on it.
Rest on it.
Let it hold your head.
Your upper lip, etc. 
After the players are in motion and responding to the problem, give a new understanding to the space substance they are contacting.
SIDE COACHING: You are holding yourself up. You would fly into a thousand pieces if you quit holding yourself up. You are hanging on to your arms. Your mouth. Your forehead. (Call out the various parts of the body that the students hold rigid.) Now have the students go back to having the space substance “support” them. Change back and forth until the student actors obviously feel the difference. While calling out parts of the body, help the students to release the muscle holds. (One student who customarily had a tight expression on his face that gave him what might be called a “mean” look first became aware of his rigidity through this exercise.
To players: how did you feel when space was supporting you? When you were your own support?
To audience: did you notice a difference between support and no support in the way the players walked and looked.
POINTS OF OBSERVATION:
When players hold themselves together, are their own gravity line, so to speak, some shrink up, some seem to be afraid of falling, while others appear anxious, lonely, and still others look aggressive. In fact, many “character qualities” appear. When, on the other hand, the players lean on space, an expansion and fullness can be noted as they move through the environment. Smiling faces, peacefulness, and an air of gentleness appear. It is as if they know the environment will support them if they allow it to.
“Put your signature in space” is a good side-coaching remark to place the player in the environment. The object is for the player to leave a mark in space – a footprint, the outline of his head, etc. – and then see that mark.
TOUCH AND BE TOUCHED/SEE AND BE SEEN
Allow the space to flow through you and you flow through the space.
Allow your mind to flow through your brain.
Allow your sight to flow through your eye.
Allow the space to flow through you and your fellow player.
Take a ride on your own body and view the scenery around you.
Touch an object in the pace – a tree, a cup, a piece of clothing, a chair.
When you touch the object, fell it, allow it to touch (feel) you! (vary objects).
Touch a fellow player and allow your fellow player to touch you. Touch and be touched! (vary players).
Flow through the space and allow the space to flow through you and your fellow players. See an object. The moment you really see it, allow the object to see you! (vary objects).
See a fellow player. Allow the fellow player to see you.
Look full face at your fellow player and occlude: do not see him or let yourself be seen.
Change! See and be seen.
Repeat several times. Vary players.
POINTS OF OBSERVATION:
Remember to keep players moving and to allow time between each side coaching. Was it difficult to allow yourself to be touched… to be seen? Avoid analysis.
Walk into your character based on how much lighter, heavier, more direct, more indirect, more sudden or more sustained they are than you.
Apart from exploring any rhythms which are alien to you and working with the emotions, as suggested above, it is a good idea to play with all the rhythms regularly so that it becomes easy to access them and to switch from one to another.
When you are playing with rhythms it is important to go back to the chart and check the weight, flow and focus so that you know the rhythms are precise.
Here is my suggestion for a regular rhythm workout.
Take each rhythm and begin to move in that rhythm, ensuring that the weight, flow and focus are accurate. Have the chart on hand so you can easily check.
Work with your whole body committing to the rhythm you are exploring completely and with great ease.
Once you have worked on each rhythm individually then alternate between them.
Alternate slowly at first so that you are sure that you are getting accurate shifts of weight, flow and focus.
Then, speed up so that you can change swiftly between the rhythms without losing accuracy.
Working in this way will give you a great deal of flexibility – physically, mentally and vocally – and it will help you access those characters whose rhythms are radically different from yours.
Exaggerate or Extend – make it bigger
Minimize – make it smaller
Elongate – make it last longer
Shorten – make it slower
Heavy, Sustained, and Direct.
Action: press against a wall, table, or other surface.
Derivative Actions: crush, cut, squeeze.
Note the qualities: its weight, the fact that you can do it continuously without interruption, that your focus is direct.
Heavy, Sudden, and Direct
Gateway Actions: as if punching a punching bag, shadow boxing.
Derivative Actions: shove, kick, poke.
Notice the qualities: its weight, the fact that you must stop and start again with each movement, that your focus is direct.
Heavy, Sustained, and Indirect.
Gateway Actions: wringing your hands, wringing water out of wet laundry, twisting your body or limbs
Derivative Actions: pull, pluck, stretch.
Note the qualities: its weight, the fact that you can do it continuously without interruption, that your focus is scattered or less direct.
Heavy, Sudden, and Indirect
Gateway Actions: slashing repeatedly to the side first with one arm then the next, as if defending from an attack; using your arms to splash water on people.
Derivative Actions: beat, throw, whip.
Notice the qualities: its weight, the fact that you must stop and start again with each movement, that your focus is scattered or less direct.
Light, Sustained, and Direct.
Gateway Actions: stretch your arms out to each side, shoulder level, shoulder blades relaxed, and move like a gliding plane, or as if skating in long strides.
Derivative Actions: smooth, smear, smudge.
Notice the qualities: its lightness, the fact that you can do it continuously without interruption, that your focus is direct.
Light, Sudden, and Direct
Gateway Actions: as if dabbing a stain on your favourite shirt or carpet, dabbing paint on a canvas, cleaning a very delicate piece of crystal
Derivative Actions: pat, tap, shake.
Notice the qualities: its lightness, the fact that you must stop and start again with each movement, that your focus is direct.
Light, Sustained, and Indirect.
Gateway Actions: as if you’re a piece of paper, a leaf, or a plastic bag delicately blown around by the wind.
Derivative Actions: strew, stir, stroke.
Note the qualities: its lightness, the fact that you can do it continuously without interruption, that your focus is scattered or less direct.
Light, Sudden, and Indirect
Gateway Actions: as if flicking Crokinole pieces, or a fly off the rim of your wine glass, or lint or fluff off your favourite sweater.
Derivative Actions: flip, flap, jerk.
Notice the qualities: its lightness, the fact that you must stop and start again with each movement, that your focus is scattered or less direct.
EXPLORING YOUR CHARACTER’S RHYTHMS PHYSICALLY
This stage allows you to take the rhythm work further by physically exploring the rhythms you have chosen for your character and what clues they give you about the character’s external and internal movement.
Start by taking each of the character rhythms individually and exploring it physically, ensuring that you are committing fully to the specific combination of weight, flow, and focus of that rhythm.
Then, move between the different character rhythms exploring how they work together.
Rest for a while and consider what you have learnt about the character and the way he/she moves, thinks, feels, etc. Make notes or draw images if that is helpful to you.
Then, return to the strong physical exploration of these three rhythms and begin to speak the text, shifting from one rhythm to the next as feels instinctively appropriate.
Always keep the choice of which rhythm you use for which part of the text free, rather than setting it in any way. You are simply exploring possibilities: “What if these were the rhythms I used?”
Working with rhythms is particularly useful when you have to play more than one character.
First, establish the rhythms for each character.
Then, look for the main differences in rhythm between each of the characters you are playing.
Focus on these differences and explore them physically.
Then, still working physically, practice switching from one character to another, slightly exaggerating the rhythmic differences.
As always, this is exploratory work, which you then allow to take care of itself once you are back in rehearsals and performance.
Jordan (Soliloquy: audience)
Urgency: to make a decision
Problem worked through
Variation of thought length; longest at the end
Variation mostly in stresses
Support for argument
Alyssa (Soliloquy: day, night, audience)
Day is personified
Night is personified
Quite regular except for the runaways eyes line which could be 10-12
Almost all things become regular if Ro in Romeo is indulged.
Beating heart, ticking clock? Galloping hoofs?
A few midline thoughts, breaking down in parts?
Thoughts are a mix of length
Long thought is the orgasmic one
Underlying Action: Waiting
Mackenzie (Speech; King, Court, the gods or all, or Apollo possibly)
Even regularity vs irregularity
Mostly medium length but short and long
One long, “I am barred like one infectious. My third comfort”
Breaking down after the long thoughts (exhaustion)
Matthew C. (Speech: Duke, et al.)
Improvisation, selling and idea
2 part structure
Metaphor, Simile, Imagery
Irregularity early on, later less so
Thoughts become midline after the first one until the end
His acts being seven ages. At first the infant
Jealous in honour Sudden and quick in quarrel
In fair round belly with good capon lined
Is second childishness and mere oblivion
Miranda T. (Speech/Soliloquy: Nurse, Romeo, Audience, Tears, Nurse)
Figuring out her feelings
Assonance and consonance, with possible emotional stage directions
Romeo is banished: to speak that word / Is father mother, Tybalt, Romeo, Juliet
It starts to break out at the realizations, when she lets herself go
Mid line also begins as she gets closer to the ends.
Toght length medium and short. Longest is “Or if sour woe…might have mov’d?”
Miranda M. (Speech: Desdemona)
Prose for first thought
Then verse: why? (tonal difference)
Examples of faults, we have a right to revenge (emotional)