1953, Mar. 18 (Wed). "We have decided how sad it is for other people that they cannot appreciate our genius. But we hope the book will help them to do so a little, though no one could fully appreciate us."
~Pauline Parker diary entry
STOP explaining yourself. SHUT UP and act
An actor has to burn inside with an outer ease
I find myself fascinating
Acting is nothing more or less than playing. The idea is to humanize life
You spend all your life trying to do something they put people in asylums for.
It. Is. HER.
Cue for audio to start: after writing 'burns' look around the back of the chalkboard and then out to the audience. This is a visual cue for Charlotte to press play
Write developments, what’s changed from the first one?
Have diary as Pauline (maybe have it on audience member’s lap and snatch it up as I stand from chair) at the start and I can drop it before I say ‘I still do not wish to say why I killed my mother’ and it is in position for my first scene.
TO DO
Finish statement of intent using technique glossary in drama book
Download track onto ipod
cue sheet
Have diary as Pauline (maybe have it on audience member’s lap and snatch it up as I stand from chair) at the start and I can drop it before I say ‘I still do not wish to say why I killed my mother’ and it is in position for my first scene.
TO DO
Finish statement of intent using technique glossary in drama book
Download track onto ipod
cue sheet
Before Thursday
Costume - blacks
Time it (cut out final scene)
Run with audio
LIGHTING
Convert audio to iTunes or CD
Costume - blacks
Time it (cut out final scene)
Run with audio
LIGHTING
Convert audio to iTunes or CD
Sharp breaths as transitions to the board.
BURNS BRIGHT - (music at 10 seconds?)"Today Juliet and I found the key to the fourth world. We realise now that we have had it in our possession for about 6 months. *music fades* Everything was full of peace and bliss."
*Music volume increases* happy, delusional fantasy world. Laughing and spinning through signs on the floor. "It was wonderful returning with Juliet...it was as if she'd never been away." See Juliet in the audience, breathe go over to her for a bit. "I believe..."
Backing away "...I could truly...fall in love with Juliet."
*Music volume increases* happy, delusional fantasy world. Laughing and spinning through signs on the floor. "It was wonderful returning with Juliet...it was as if she'd never been away." See Juliet in the audience, breathe go over to her for a bit. "I believe..."
Backing away "...I could truly...fall in love with Juliet."
Signs: around stage random array. pick up signs one by one
- why could not mother die
- 45 discernible injuries
- who shall we spare? Insanity
- we do believe we are geniuses
- sentenced for murder- insanity plea rejected
Q. Who assaulted your mother?
A. I did.
Q. Why?
A. If you don't mind I won't answer that question.
Q. When did you make up your mind to kill your mother?
A. A few days ago.
Q. What did your mother say when you struck her?
A. I would rather not answer that.
Q. How often did you hit her?
A. I don’t know but a great many times I imagine.
Q. What did you use?
A. A half brick inside the foot of a stocking. I took them with me for the purpose. I had the brick in myshoulder bag. I wish to state that Juliet did not know of my intentions and she did not see me strike mymother. I took the chance to strike my mother when Juliet was away. I still do not wish to say why I did it.
Q. Did you tell Juliet that you killed your mother?
A. She knew nothing about it. As far as I know she believed what I told her, although she may have guessedwhat had happened, but I doubt it, as we were both so shaken that it probably did not occur to her.
Q. Why did Juliet tell the same story as you to the lady in the tea kiosk?
A. I think she simply copied what I said. She might have suspected what I had done and she would not havewished to believe it nor to have got me into trouble. As soon as I had started to strike my mother I regrettedit, but I could not stop
A. I did.
Q. Why?
A. If you don't mind I won't answer that question.
Q. When did you make up your mind to kill your mother?
A. A few days ago.
Q. What did your mother say when you struck her?
A. I would rather not answer that.
Q. How often did you hit her?
A. I don’t know but a great many times I imagine.
Q. What did you use?
A. A half brick inside the foot of a stocking. I took them with me for the purpose. I had the brick in myshoulder bag. I wish to state that Juliet did not know of my intentions and she did not see me strike mymother. I took the chance to strike my mother when Juliet was away. I still do not wish to say why I did it.
Q. Did you tell Juliet that you killed your mother?
A. She knew nothing about it. As far as I know she believed what I told her, although she may have guessedwhat had happened, but I doubt it, as we were both so shaken that it probably did not occur to her.
Q. Why did Juliet tell the same story as you to the lady in the tea kiosk?
A. I think she simply copied what I said. She might have suspected what I had done and she would not havewished to believe it nor to have got me into trouble. As soon as I had started to strike my mother I regrettedit, but I could not stop
"Just A Closer Walk With Thee" AUDIO BELOW
scene 5
scene 5
"Nightfall" AUDIO BELOW
scene 3
25th Sept
"I rose late and helped mother this morning" while writing HATRED. HATRED gone over twice, second time more viciously than the first.
walk to diary. Spoken thoughts, itch. Pick at stocking; idea forming.
"I feel very keyed up, as though I was planning a surprise party. Mother had fallen in with everything perfectly, and the happy event, shall take place, tomorrow afternoon."
Hitting/throwing diary on ground. Diary in stocking. Hitting diary as if it was the brick in the stocking. "So the next time I write in this diary, Mother will be dead. How odd, yet how pleasing."
Standing up. Thought process change; visualise the mother.
Stepping back "The next time I write in this diary, Mother will be dead. How odd, yet how pleasing."
"I rose late and helped mother this morning" while writing HATRED. HATRED gone over twice, second time more viciously than the first.
walk to diary. Spoken thoughts, itch. Pick at stocking; idea forming.
"I feel very keyed up, as though I was planning a surprise party. Mother had fallen in with everything perfectly, and the happy event, shall take place, tomorrow afternoon."
Hitting/throwing diary on ground. Diary in stocking. Hitting diary as if it was the brick in the stocking. "So the next time I write in this diary, Mother will be dead. How odd, yet how pleasing."
Standing up. Thought process change; visualise the mother.
Stepping back "The next time I write in this diary, Mother will be dead. How odd, yet how pleasing."
25th Sept
Convincing Juliet into the murder.
Transition: as if diary writing 'contemptuous and cruel' very involved with what I am writing. Get interrupted by the presence of Juliet (downstage left ish) sitting down. Go back to writing. Scene consisting of talking Juliet into the murder, behaviour reflecting the words being spelled out on the board
"I thought it was a good idea...one that you would like..." etc portraying a sulky element of Pauline in this moment.
Thought change into affectionate, move away from board towards Juliet "don't you want us to be happy...don't you want to be with me"
Snap to angry, back to board. "This is what we need...I didn't think YOU'D be scared."
"Are you upset? Are you upset that it wasn't you to come up with the idea of murder?"
Convincing Juliet into the murder.
Transition: as if diary writing 'contemptuous and cruel' very involved with what I am writing. Get interrupted by the presence of Juliet (downstage left ish) sitting down. Go back to writing. Scene consisting of talking Juliet into the murder, behaviour reflecting the words being spelled out on the board
"I thought it was a good idea...one that you would like..." etc portraying a sulky element of Pauline in this moment.
Thought change into affectionate, move away from board towards Juliet "don't you want us to be happy...don't you want to be with me"
Snap to angry, back to board. "This is what we need...I didn't think YOU'D be scared."
"Are you upset? Are you upset that it wasn't you to come up with the idea of murder?"
25th Sept
Fantasy, escape, fourth world, love, softness, happiness, gentle, exploratory.
Writing softly and romantically. Turning round to glimpse a new world, new discovery straight in front of the chalk board. Turn back to continue to write.
Smudge HATRED upon turning around.
Blow chalk dust of hand.
Positioned Geneva for today as a focus, which worked well in allowing me to capture a genuine feeling of someone's presence (Juliet) and idea of beauty.
Excitement, hesitance.
Exploring, discovering all things beauty before reaching a Juliet figure.
Need to source soundtrack
Fantasy, escape, fourth world, love, softness, happiness, gentle, exploratory.
Writing softly and romantically. Turning round to glimpse a new world, new discovery straight in front of the chalk board. Turn back to continue to write.
Smudge HATRED upon turning around.
Blow chalk dust of hand.
Positioned Geneva for today as a focus, which worked well in allowing me to capture a genuine feeling of someone's presence (Juliet) and idea of beauty.
Excitement, hesitance.
Exploring, discovering all things beauty before reaching a Juliet figure.
Need to source soundtrack
8th Oct
"Hatred burning bright in the brown eyes, with enemies for fuel,
Icy scorn glitters in the grey eyes, contemptuous and cruel."
22nd August-4th September
Created an scene outline. Linked key words to separate scenes as scene 'topics'
HATRED ---------> Stocking/brick/diary
BURNING BRIGHT -------> Fourth World
BROWN EYES-------> Meeting Juliet
GREY EYES-------> Getting separated from Juliet
CONTEMPTUOUS AND CRUEL -------> Convincing Juliet into murder
Created an scene outline. Linked key words to separate scenes as scene 'topics'
HATRED ---------> Stocking/brick/diary
BURNING BRIGHT -------> Fourth World
BROWN EYES-------> Meeting Juliet
GREY EYES-------> Getting separated from Juliet
CONTEMPTUOUS AND CRUEL -------> Convincing Juliet into murder
"Both sets of eyes, though different far, hold many mysteries strange.
Impassively they watch the race of man decay and change.
Hatred burning bright in the brown eyes, with enemies for fuel,
Icy scorn glitters in the grey eyes, contemptuous and cruel."
Impassively they watch the race of man decay and change.
Hatred burning bright in the brown eyes, with enemies for fuel,
Icy scorn glitters in the grey eyes, contemptuous and cruel."
19th August
Murder devising. Episodic structure.
Got given idea from Miss Richardson about how i could use props such as a brick in a stoking etc and had some structured ideas towards the end of the lesson
Murder devising. Episodic structure.
Got given idea from Miss Richardson about how i could use props such as a brick in a stoking etc and had some structured ideas towards the end of the lesson
- start in audience
- stocking, looking at it, stretching it
- narration as if Pauline was giving an interview
- the structure of my devised to follow the idea of the murder by break into snippets of the Court Case and getting separated from Juliet, The Fourth World and finally when Pauline meets Juliet. Between each of these individual scenes, my performance will return to the murder structure.
i7TH August
Focused on how to find motivation within a character's action; something very specific of Realism, particularly Stanislavski. Super objective of the scene; what is ultimately driving your character's motivations.
Practised everyday tasks eg making tea or washing hands whilst narrating every step to get used to WHY is your character doing things. Really understand the character you're playing:
Who Am I?
What time is it?
What surrounds me?
What are my given circumstances?
What are my relationships?
What is my objective?
What are my obstacles?
What is my action?
What is my super objective? (of a scene or beat in the text)
What is my through line of action?
12TH August
A defining moment of our character's life. What shaped their personality. For Pauline I chose the court case moment in which Juliet was announced to be at another prison than Pauline. An opposing moment to this was when Pauline first saw Juliet. After trying out ways to build that moment, I ended up depicting a moment where Pauline and Juliet entered in the Fourth World together. I based it on the scene from Heavenly Creatures when Juliet says "Come with me" before taking Pauline's hand. A pivotal moment in their relationship I think. However fictional this line may be, i would be interested in using it in my devised piece.
Focused on how to find motivation within a character's action; something very specific of Realism, particularly Stanislavski. Super objective of the scene; what is ultimately driving your character's motivations.
Practised everyday tasks eg making tea or washing hands whilst narrating every step to get used to WHY is your character doing things. Really understand the character you're playing:
Who Am I?
What time is it?
What surrounds me?
What are my given circumstances?
What are my relationships?
What is my objective?
What are my obstacles?
What is my action?
What is my super objective? (of a scene or beat in the text)
What is my through line of action?
12TH August
A defining moment of our character's life. What shaped their personality. For Pauline I chose the court case moment in which Juliet was announced to be at another prison than Pauline. An opposing moment to this was when Pauline first saw Juliet. After trying out ways to build that moment, I ended up depicting a moment where Pauline and Juliet entered in the Fourth World together. I based it on the scene from Heavenly Creatures when Juliet says "Come with me" before taking Pauline's hand. A pivotal moment in their relationship I think. However fictional this line may be, i would be interested in using it in my devised piece.