thee-connoisseur

[thee-connoisseur]

Illustration poster for Teatro Pinsuti’s 2024/25 season

http://instagram.com/lorenzodalessandro

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Uta Hagen

“Fuzzy intentions, fuzzy placement. Those drive me crazy. It’s one thing when I stop a scene in a class, when I’m presented with a failure of intention, but I can’t very well yell out out from my seat in a theatre. Perhaps I should. It’s amateur night, really, and it enrages me. Who are you? Why are you here? Where are you? Three basic questions that are asked of every actor investing every character, and I’m ashamed to tell you how many times I fail to see that basic investment on a stage. Is it laziness? Is it a lack of training, technique, experience? I don’t know, but I think it is grounds to shut down that show and take it out somewhere for repairs or euthanasia. Detail. Control. Intention. Things I don’t see much anymore. And long for.”

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King Lear performed in the fire-damaged ruins of Teatro Municipal de Lima (c. 1999), conceived by architect Luis de Longhi

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Uta Hagen's Six Steps To Creating A Living, Breathing Character.

Who Am I?

To know your character at a base level, you must define the character's identity. Everything possible from the script onto paper. Where the character was born, their name, their parents, their psychology, their moral compass, how they walk, how they talk, how they are socially, etc. Create a list of "I am" statements followed by adjectives that define your character.

2. What Are My Given Circumstances?

Define the character's current situation they are in. This is often their historical past that leads up to the start of the play, throughout the play, and their future. For example: Blanche DuBois' in "A Streetcar Named Desire", it includes: the recent loss of her family's plantation "Belle Reve" due to financial ruin, a troubled past marked by a failed marriage to a homosexual man who committed suicide, and a tendency towards alcoholism and promiscuity, which ultimately led to her being forced to leave her hometown in deep shame, and seek refuge with her younger sister Stella in New Orleans, only for it to be dug up and uncovered by the relentless Stanley.

As you can see, there is often a lot of hidden subtext within the play that is not seen in the first read of the script. Make sure to write this in first person, in as much detail as possible. The more detailed the better. Alongside the immediate circumstances, you will also have to know the date, time, and write down what surrounds you in much detail. If this is outdoors, describe the landscape, if it is indoors, describe the room that surrounds you from top to bottom.

3. What Are My Relationships?

Define what the “other(s)” want from you? Why do they want it from you? What do they expect from you? What are they fighting for and what does that have to do with you? What is their past relationship with you? What game are they playing? What is their image of themselves? How do they conceive of their relationship to you?

Think of their side. Put yourself in his or her shoes. What is your conflict with others in the scene/play? Why? Be sure to examine all characters and objects with which you come in contact in the scene. Include characters that are not in the scene, but are referred to often.

4. What Do I Want?

Define your objective, and super-objective throughout the play. Carefully analyze your character's lines and actions to understand what they fundamentally "want" from another character in each scene, formulating it as a specific, active goal that drives their behavior. Define an objective for each character you deal with in the scene or monologue. Finally, what will happen if you lose? Explain in detail.

Then define your super-objective through the same process. Your super-objective is your achieved happiness by the end of the play.

5. What Are My Obstacles?

List both the physical and psychological obstacles within the scene.

Physical Obstacles: There should be many! Beauty, ugliness, facial expressions or even a pimple that you see on the “other” can be a physical obstacle. It can be as simple as a raise of an eyebrow or a loving look from the “other”. Physical changes on the other hand often create tactical beat changes. Environmental sound, light, movement may be an obstacle. Remember the more obstacles in the scene, the more dramatic the scene is likely to be.

Psychological Obstacles: These are the obstacles in the head of your character. Your psychological obstacle may be what you perceive to be the thoughts of “the other”. Your physical perception of yourself may also be a psychological obstacle (in other words, your self-image – a crooked nose, a pimple, etc.) Feelings towards others, good or bad (e.g. trust or mistrust) are psychological obstacles. Remember status can also be a psychological obstacle.

6. What Do I Do To Get What I Want?

Finally, identify your TACTICS.

Tactics are the strategies used to achieve your objective. A character will use a certain tactic to get their objective. They switch tactics when they feel it is not working anymore or they win. Avoid using nouns, use ACTIVE PHYSICAL TRANSITIVE VERBS only.

Good Examples: To scold, to taunt, to cheer up, to bribe, to soothe, to flirt Bad Examples: To be angry, to convince, to feel, to explain, to listen (Bad examples are DEAD END tactics. Intransitive verbs swallow the energy of the character. There is a big difference between "I am angry at her." “And "I want to destroy her.")

For finding ACTIVE verbs, I highly recommend using the following book:

Actions: The Actors' Thesaurus (found on Amazon)

As a free alternative, you can easily use Thesaurus.com.

*It is important to note, this process is not a one-and-done deal. This character analysis should be a living, breathing document throughout the weeks of the rehearsal process. You should try to get the first draft done as quickly as possible, and then edit it whenever you, as the actor, make a new discovery throughout your subsequent reads of the script. Please continue to do this for each role you get. This process will get easier with each time you do it.

**On every step of this process, be sure to write in the first person "I". The reason is to keep yourself as connected to the character as possible.

[thee-connoisseur]

Uta Hagen's "Nine Questions"

If you want to make your character analysis using Uta Hagen’s “Nine Questions”, here’s the outline. Some actor’s only use this one; I personally find it extremely helpful and relatively short. Makes you think about all the right questions in detail.

Who am I? Character - Search for character’s life prior to play’s/scene’s beginning

Where am I? Environment - location, conditions

What surrounds me? Persons, objects, color, and texture

What time is it? Hour, minute, date, year, century, era

What are the given circumstances? Those events, facts, and conditions occurring before or during the play/scene that affect the character and/or action

What is my relationship? To all of the above and to other characters - solid or shifting

What do I want? Objective or intentions - includes the overall character objectives as well as more immediate beat-to-beat intentions

What’s in my way? Obstacle

What do I do to get what I want? Action - Verbs; physical, verbal, psychological

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Ballerinas standing on window sill in rehearsal room at George Balanchine’s School of American Ballet

Alfred Eisenstaedt, Life, 1936

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“We must overcome the notion that we must be regular. It robs you of the chance to be extraordinary and leads you to the mediocre.”

— Uta Hagen

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Taming of the Shrew pics, © Johan Persson

Paul Ready as Petruchio Melissa Riggall as Katharina Evelyn Miller as Bianca Jude Owusu as Baptista/Tailor Michelle Terry as Widow/Biondello Ryan Ellsworth as Hortensio Raymon Anum as Gremio/Vincentio Evelyn Miller as Bianca and James Northcote as Lucentio Evelyn Miller as Bianca

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Musicals based on history/true stories that aren’t Hamilton (and better, imo)

my personal faves are bolded

- lizzie: THIS FUCKING SHOW OKAY— 1. all women cast. 2. lesbians. 3. sickass rock score. based on the borden axe murders (tw for murder, sexual abuse, and animal abuse)

- assassins: i fucking love this show ok. if you’ve seen the politician, yes it’s a real sondheim show about (most of) the people who killed (or tried to kill) us presidents. (tw for murder obv, suicide, and the n-word is used once)

- six: if you’re on tiktok, you probably know about it. i always said it’s like if lady gaga wrote hamilton. based on the six wives of henry viii (tw for death and some sexual assault mention?)

- catch me if you can: two words: Aaron Tveit. based on the autobiography of frank abangale jr, a conman during the 60s (based on the movie!) oh also kerry butler and norbert leo butz r in it

- jesus christ superstar: okay hear me out. alw wrote this without the intention of religion, he wrote it to tell a story of someone who was in the right place at the right time. written in the 70s and full of absolute bangers. the recent nbc version featured John legend, Sara barrellies, Jason tam, and Brandon victor Dixon. tw for death obv

- evita: okay so there is a total whitewashing issue with this cast, but the music really does slap. alw back at it again and you can’t move an inch in any direction of the theatre fandom without knowing don’t cry for me Argentina exists. tw for death

- bloody bloody andrew jackson: so i haven’t finished listening to it, but this album slaps. rock musical about one of the shittiest presidents to this day (if trump doesn’t beat him to it)

- 1776: this is an older one, but my local library had the movie, so i watched it. Hamilton actually references this show (“sit down, John, you FAT MOTHER-“ is a reference to one of the best songs from the show, sit down John.) and the music vibes. it’s a pretty short soundtrack, so definitely recommend. there’s a weird song about slaves in there somewhere but they don’t say the n word or anything in it, I’ll have to listen actively if there is an issue.

feel free to add!

UPDATE: others that i love sm and totally forgot abt bc this is an old draft

- fun home: inspired by the book of the same name! tells the story of Alison bechdel; a lesbian cartoonist. first broadway musical with a lesbian protag, very gay, jenn colella and Caitlin kinunen (I cant spell it’s fine) were in a reading of it as Alison and medium Alison respectively. oh Michael Cerveris too. tw for death, a literal song about kids having fun in a funeral home, and suicide (mentioned multiple times, given a visual description and acted upon)

- Bonnie and Clyde: cmon. it’s Jeremy jordan and Laura osnes, need I say more? Oh also Louis Hobson from n2n is in it as the antagonist. not gay but it’s the 20s and the music slaps hard. also harmonies that could literally kill. tw for death, murder, guns, crime, I think that’s it?

- come from away: probably my favorite show on bway rn. absolutely gorgeous show about the planes rerouted to Newfoundland, Canada after 9/11. shows the impact on real life people in multiple situations, how minorities are impacted, etc. tw for Muslim hate, 9/11, death mentions, I think that’s it?

- parade: haven’t heard it all, but the one song I have heard is amazing. Based on the true story of a Jewish man being sentenced to death (I believe?) after a false accusation of him raping a young girl. tw for rape, death mention, probably some antisemitism (again, haven’t heard it all the way)

These two are more so period pieces inspired by true events but nonetheless

- ragtime: haven’t heard it but I’ve heard it’s really good. talks about three different groups in the early 20th century America (African Americans, Jewish Latvian immigrants, and an upper class family)

- miss Saigon: original production is kinda a big yikes but the music is good. they’ve noted some of the error of their ways and there is no more yellow face and there is actual Vietnamese rather than gibberish in the show now. About the Vietnam war. tw for death, war, prostitution

[thee-connoisseur]

“The dramatic writer ought to have an ear for dialogue, an ability to hear inside his head the speech rhythms and intonations of his characters, in just the same way a good mimic does.”

— Alexander Mackendrick (director/screenwriter)

[thee-connoisseur]

my constant anxiety is at the level of Tonight at Eight from She Loves Me and it’s fuckin exhausting.

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legally blonde icons. (so much better than before aka im reposting them after a mistake) ☆ like/reblog if you save/use

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types of musical theater titles: a non-comprehensive list

1. just the character’s name

examples: Anastasia, Annie, Evita, Hamilton, Oliver!, Pippin, Sweeney Todd

often seen when: the main character is either royalty or deeply socially disadvantaged; their struggles play out on an epic, mythic, and/or archetypical scale. The musical tracks the character’s rise/fall (or both).

2. the character’s title, but not their name

examples: The Hunchback of Notre Dame, Fiddler on the Roof, Miss Saigon, The Phantom of the Opera, Waitress

often seen when: the titular character is marginalized due to an aspect of their identity.

3. place name

examples: A Bronx Tale, Chicago, The Hunchback of Notre Dame, Memphis, West Side Story

often seen when: the story involves systemically disadvantaged characters.

4. metaphorical/double meaning

examples: Bare, Falsettos, Next to Normal, Rent, Spring Awakening

often seen when: focus is on complex relationships between characters. Drama is created not so much by external events, but by shifting dynamics between complicated people. The genre is usually tragedy.

5. includes but is not limited to main character’s name

examples: Dear Evan Hansen, Hello, Dolly!, Joseph and the Amazing Technicolor Dreamcoat, Natasha, Pierre, and the Great Comet of 1812, Sunday in the Park with George

often seen when: to a greater extent than usual, almost all the characters are brought together because of the main character’s actions. Supporting characters may be very well-developed, but their presence ultimately revolves around the main, who is often a deeply polarizing figure.

6. seems to refer to main character, but actually applies to multiple people

examples: Hamilton, The Lion King, Sunday in the Park with George, Waitress, Wicked

often seen when: supporting characters are well-developed and complex, holding almost as much weight as the leads. The story usually operates on a multi-generational timescale.

7. ridiculously long

examples: A Gentleman’s Guide to Love and Murder, Joseph and the Amazing Technicolor Dreamcoat, Natasha, Pierre, and the Great Comet of 1812, A Funny Thing Happened on the Way to the Forum

often seen when: adapting a classic story with a modern, often comedic twist.

8. numbers

examples: 13, 1776, 9 to 5, The 25th Annual Putnam County Spelling Bee

often seen when: the plot features a rich ensemble cast without a clear main character.

9. collective

examples: A Chorus Line, Les Misérables, The Producers

often seen when: the show makes a sweeping statement about a certain profession, social class, or way of life.

[thee-connoisseur]

Once Upon A Mattress 1964 - Shy

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Never be satisfied.

Never be satisfied with your current work. As an actor, you can always improve your craft. This can actually go for any kind of artwork. As an artist, you can always do better, and your goal is to compete and beat your past self. Take constructive criticism like it’s your rule book. Other people are much more capable of catching things in your work than you are. Always remember that you are your biggest critic though, and remember to not let that critic bully you. Love yourself and let’s keep on creating.

[thee-connoisseur]

What, you egg? [He stabs him.]

William Shakespeare’s Macbeth, 1606.

[thee-connoisseur]

How to Write Battle Scenes

How to Write Battle Scenes

by Vic Salinas

In my experience, writing battle scenes is a very dangerous endeavor. A writer has to walk a fine line between giving too much away and giving too little. While this is true of writing in general, it is especially true of combat.

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