A blog about drama / theatre and my experiences in the same.
|Posted by deepakmorris on June 17, 2015 at 4:40 PM||comments (0)|
Film-makers work in a different world. They see things through a viewfinder. Their vision is narrow.
Theatre is vastly different. It doesn't have the luxury of a retake. It can't rely on editing to make a scene interesting. Either the actor makes the scene interesting or it just dies.
If a film-maker ever says you suck, take it as a compliment, for he has no idea what you do.
|Posted by deepakmorris on June 13, 2015 at 4:10 PM||comments (0)|
I use the word "accent" here to mean the Indian equivalent of "dialect", as in, "Swamy has a South Indian accent" (when you mean Swamy speaks in a South Indian dialect).
When is it right and when wrong to use dialect?
There is a very simple test to apply; "Does the dialect help tell the story more effectively?"
If everyone in a Welsh play speaks in a Welsh dialect and you're the odd Indian playing a Welshman, you darn well learn the Welsh dialect. If you're playing a lone Indian in a Welsh play, be Indian!
Similarly in an Indian play featuring various communities, each with their own dialect, what value does the dialect add? If it's just giggles, you're in the wrong production. You're just a wannabee who hasn't made it to TV. Johny Lever managed it but if it were that easy, every one of you who can imitate a dialect would be a star.
Use dialect effectively, not for dubious effect!
|Posted by deepakmorris on June 19, 2014 at 2:55 PM||comments (2)|
Very often a student or performer is asked to encapsulate a Shakespearean play in a few paragraphs. Having searched high and low and found only really LONG synopses (not really the fault of the writers, Shakespeare is notoriously difficult to summarise), I have decided to make my own short summaries of Shakespeare's plays, beginning with The Merchant of Venice.
Bassanio is a young man in Venice who loves Portia, a rich heiress. Bassanio is poor and thinks he must present himself to Portia in suitable clothes and pomp. He decides to borrow 3,000 ducats. He approaches his good friend Antonio, who is a wealthy merchant. However, Antonio has no ready cash, since he has put his money into his trading ships. Antonio approaches Shylock, a Jewish moneylender, to borrow the money for Bassanio. Shylock is jealous of the Christian Antonio because he lends money without interest. Seeing a chance to trap Antonio, Shylock makes him sign an agreement that if the money and interest is not paid on the due date, Shylock can cut a pound of flesh from Antonio’s body. Antonio is confident that his ships will return in time with money from his trade, so he agrees and signs the agreement.
Bassanio travels to Portia’s house. Portia’s late father has made a will that anyone who wants to marry Portia must solve a riddle to open the box that contains her portrait. Many have tried before and failed but Portia gives Bassanio a hint and he chooses the right box. Bassanio and Portia marry.
Bassanio comes to know that Antonio’s ships have not returned and may have sunk at sea. The due date for the loan has passed and Shylock is demanding the pound of flesh from Antonio’s body. Portia sends Bassanio to the Duke’s court to offer Shylock much more than the amount due to him if he drops the case.
After Bassanio leaves, Portia and her maid Nerissa disguise themselves as a male lawyer and his male clerk and go to the Duke’s court themselves. The Duke allows Portia to argue on behalf of Antonio.
Portia successfully argues that the agreement is for a pound of flesh only. No blood may be shed in the taking of the flesh. Shylock is trapped and loses the case, since he cannot take a pound of flesh without shedding blood. He is punished by having his property taken from him and given to his daughter, who has eloped with a Christian. Shylock himself is forced to convert to Christianity.
Antonio’s ships finally come in and everyone is happy except the ruined Shylock.
|Posted by deepakmorris on June 14, 2014 at 1:35 PM||comments (0)|
Teaching is fun but coming up with mime scenes for my students is even more fun. One scene that has received rave reviews from examiners:
Lost In The Forest:
A young girl wanders into a forest. She sees monkeys chattering and frolicking in the trees and watches for a while. Then she happens to look away and spots a pretty flower. She crosses to the flower, plucks it, smells it and puts it in her hair.
Then she spots something interesting opposite the flower bush. She crosses to look at it closely. It turns out to be a butterfly (this was ably shown by my student) and she watches as it flies up and flutters off the stage.
Right next to this bush is another bush with a flower that holds another insect. The girl peers into this flower as well. However, the insect turns out to be a bee and the girl reacts in near panic, trying to shoo away the bee.
Once the bee is gone, the girl looks around and realises she is lost. She runs in one direction. She hears a roar and stops. She rushes in the opposite direction. She hears another roar and freezes.
Finally, she hears a friend call from upstage. She shows her relief at being found and rushes to meet her friend.
|Posted by deepakmorris on November 18, 2013 at 11:10 AM||comments (0)|
Movement brings a scene alive in theatre!
In movies, camera angles and shots can make sedentary scenes, such as people gathered around a hospital bed talking to a patient, quite alive with trolley shots, over the shoulder shots, zoom ins, zoom outs, etc.
Live Theatre doesn't have that luxury so teachers and starting directors often wonder how movement can be added in a scene. It's a difficult thing but with a little effort and stagecraft, movement can be added even into the most sedentary scene.
Here are some steps to help add movement to a scene:
|Posted by deepakmorris on August 28, 2013 at 1:45 PM||comments (0)|
There is a myth that creativity is some mysterious thing that very few people can do.
The truth is that anyone can be creative. Once they allow themselves to be creative, that is.
Just do something differently and see the difference! Find a different way to tie your shoelaces! Permit yourself to be fidderent!
|Posted by deepakmorris on May 28, 2013 at 12:45 AM||comments (0)|
I am often asked why I focus almost exclusively on drama in English and not other languages.
"Is that not rather elitist?" some ask.
My answer to that is that there is plenty being done in drama in regional languages. Maharashtra is alive with Marathi theatre, Bengali theatre thrives in Bengal and nearby states, Hindi theatre is alive, well and growing all over India, other regional theatre is doing pretty well too.
English theatre often gets short shrift. There are no state or even regional initiatives to encourage theatre in English. I am fluent in Marathi (my second script was written in Marathi) and can probably write a pretty engaging play in Marathi that'll do well at the Box Office but then I'd just be buying into the already thriving industry.
English is not an alien language in India. It is very much an Indian language. It is also a language that can connect very many Indians to non-Indians. Ask any rickshaw-wallah in Koregaon Park.
|Posted by deepakmorris on May 11, 2013 at 1:40 PM||comments (0)|
Many people contact me, asking to help them become actors - on stage, in films, or in serials.
That's not a problem. I'm always willing to help someone become an actor.
However, their attitude always seems to suggest that acting is not so much an art or a science but simply being in the right place at the right time. They are not looking for training in acting, they are looking for some miraculous opportunity that will catapult them to fame.
Scientists study hard and long and some still don't make it big.
That's acting. Study hard and long and there's still no guarantee you'll make it big.
|Posted by deepakmorris on February 10, 2013 at 3:30 PM||comments (0)|
Working with my student on "The Merchant Of Venice".
"Everyone just hated the Jews, right?" she said when we tackled the parts where Shylock came in.
"Everyone needs someone to hate", I replied, "Shakespeare made that someone a Jew. Whom do we hate now?"
She paused. The pause grew longer.
"Muslims?" she asked tentatively.
I kept quiet.
"Radical Hindus?" she asked again.
I kept quiet.
"Fundamental Christians?" she asked before lapsing into complete silence.
Finally, "Shakespeare was saying we can find reason to hate anyone!"
|Posted by deepakmorris on January 14, 2013 at 10:40 AM||comments (0)|