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Day 3: eyes of your comrade

I was away in Dorset over the weekend, and spent a few hours each day working on the text in a totally secluded bank by an estuary where I could make a whole host of ugly noises, bellowing to my hearts' content, and not be heard by another soul.

During this, I made a few discoveries about Alsemero.

One) He appears to not be the best in a crisis, 'Enter my closet.'

Two) Similarly, whenever Beatrice shows a hint of negative emotion, it appears he squirms.

Three) Also, it dawned on me through this exploration that Alsemero and Jasperino's business is probably trading potions, a couple of early-modern 'street pharmacists' perhaps? Beatrice says 'men of art (medicine) make much of poison.' This somewhat legitimizes Alsemero's detailed knowledge and collection of drugs for me, making him less of an obsessive hobbyist / borderline psycho in my mind. But having said that, he could still be all those things and more. We'll find out...

Today we continued our exploration of our bodies in the space, and began the process of building a connection as an ensemble. Through this exploration, in addition to walking what must have been 10,000 steps around the room - filling space, observing my castmates - I discovered that the most vital form of communication when attempting to keep a cohesive shape, rhythm and sense of complicité, is eye contact. There is far more to be read in the eyes of your comrade than in the feet, or even the upper body. Those other parts do give their own useful cues too, but not as much as the eyes.

In the afternoon we got a glimpse of the set of our play. The colours and textures of the furniture that was brought into the room, and what was presented in miniature form in the model box, crystalised the three worlds in my head and made me incredibly excited to get to interact and play in them.

We finished the day talking through the images of inspiration that we all brought in. The session evolved into a super stimulating group discussion about the themes of the play and a dissection of characters. I was able to share some of my discoveries I'd made over the weekend in Dorset, and the other castmates brought a whole host of terrific insights into other moments in the play. We all ended up delving into important, brave discussions about Deflores' undoing of Beatrice and her true feelings towards him, realising that modern morality standards might not actually prove too useful as detective tools in figuring out just what's at the heart of these two and their actions.

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