5/12/16-Single

Today we set the rest of 'Mother Courage'. These were scene 6,7,8,9 and 11. I only appear in scene I decided to work on sub-text within my characters. I think, so far, sub-text has helped me with my characterisation of my characters. Looking into their thoughts and feelings and understanding has really helped me embody them. I think this has also allowed me to move as the character, my movement has improved, especially with the Clerk. Even though he is sat down throughout the whole scene, I have picked up mannerisms and created them from embodying him as a character. The clerks body language is quite laid-back yet somewhat gutsy this contrasts to The Quartermaster who has a sensitive personality. I've only interpreted this based on what is said and how other characters react to what is said.

As the Farmer's son only appears the in one scene i need to make sure I bring him to life and make it seem like he's been here all along. I am going to use physicality for this. At points in scene 11, I feel as though I need to change the physicality of the character. At the start of scene 11 he is very resilient as he snaps back the solider, however straight after he becomes scared that they are going to kill his families cattle. I am going to try and change the physicality of The Farmer's son during this transition. For example, when The Farmers son becomes resilient I could perhaps use a stance to portray to the audience he is trying to protect his family. However as soon as he is attacked by the soldier I am going to change the physicality to him afraid/fearful etc. E.g. whimpering, . The only thing I do find challenging in physicality is the way the Farmer's son changes his physicality again towards the end of the scene. He helps Kattrin and tells her to keep drumming, I think I need to become more aggressive in my physicality towards Katrrin as he is trying to tell her to keep drumming but she is 'dumb girl' so she doesn't understand that well. So this will highlight the kind of language barrier, if you would call it that, between them.

So far I have focused a lot on voice in Mother Courage over all. I've mainly focused on The Farmer's son, this is attempting the somerset accent I set myself as a target a couple lessons back. I dont think the accent is going to work as I keep trying to do it but it either sounds really weird or i end up going back to my actual accent. I think I am going to have to ditch the accent and just use my own accent. None of my other characters have the same accent, so I am still able to make  sure that each character is distinguishable. I think my next skill for The Farmer's son I would like to develop would be projection. He uses A lot of projection in Scene 11 especially towards the end. However I am finding it challenging to get the right use of projection at the start on my line "Alright....Alright, Ill go with you". I am really quiet on this line and it doesn't portray the right emotion. I am suppose to be scared and panicky but at the projection i'm using at the moment just sounds like he's really shy and i dont want him to be shy. I am also going to explore pace, if i use pace effectively with my projection, it may help me portray the scared/agitated character The Farmer's son is.

So far in Mother Courage I am finding Brechtian techniques very challenging. I find it hard to make my characters funny. I think it is easier for the clerk as he has sass and I find it easier to be funny with sass . However my other characters have serious situations go on in their world and I am finding it difficult where to place the comedy in my lines. Like making everything over the top, kind of like pantomime over the top. I find this this is really challenging for me as an actor.