Monthly Archives: September 2012

Hamlet-spotting

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One of the perks of my profession is that I get to sit in on a vast array of different classes.  Some of these are my own classes designed to be taught to myself and my colleagues, some are classes which I am assisting in some capacity and thereby are designed to be taught to those slightly lower on the intellectual hierarchy.

And because I do get to sit in on this wide array of classes, when I notice a pattern it’s generally something fairly universally applicable (as universally applicable as anything truly can be).

So, for the past few weeks, a pattern has come to my attention and it’s really beginning to sit funny under my skin.  In all of my classes, at least once but generally multiple times a class session, Hamlet has been brought up not just as the iconographic English-language play, but the iconographic play of the entire modern Western theatre canon.

By “sit funny” I don’t mean “sit wrongly” or “feel badly”, I just mean that it’s come up so very frequently that I can’t help but be astounded by it.  Obviously my man Will is a deeply influential force in my life, but the fact that he’s mentioned so often in these classes implies something that I’ve always assumed, but have only rarely paused to examine deeply.

iconic shot of Sarah Bernhardt as Hamlet

In the paper I am currently working on for ASTR, I argue that the creation of Hamlet as an icon is deeply wrapped in the creation of David Garrick’s career.  David Garrick was eighteenth century London’s (arguably) most famous actor, and if not actor then certainly most famous Shakespearean.  Garrick had a penchant for Hamlet (and, for that matter, Hamlet) and had many professional interactions with the role and the text that worked to cement both in the eighteenth century consciousness (I’m being purposefully vague here, while I’m happy to bat around general concepts, I’m not comfortable publishing my research notes on the internet).  In my opinion, this is truly the beginning of the ruff-wearing, skull-holding, brooding prince as an icon of the theatre.

The continuance of this icon and its permeation into the college classroom tells me several things:

1) It is a fairly wide-reaching trope.  The fact that a professor, striving to explain a concept to a roomful of undergrads, can reach for Hamlet as a cardinal example and expect the entire room to understand what he is saying, uncovers certain societal expectations of the people sitting in that classroom.  Both undergraduate classes which I’m sitting in on are taught via the theatre department, but only one of them is an “upper-level” course (i.e.: has prerequisites).  Thereby, while these students are expected to have a passing interest in theatre, they are not all expected to have proficiency with theatre.  Thereby, the expectation that the modern, educated young person will understand Hamlet as an icon is an expectation that can be carried into the real world.  Educated people know Hamlet, even if they aren’t educated in the theatre per say.

2) It is an accepted trope.  Not once have any of the students disputed the idea that Hamlet is a go-to for archetypical modern Western theatre.  In fact, utilizing Shakespeare (and, particularly, Hamlet) as an authority is a tradition almost as old as Shakespeare himself (another topic I’m grappling with in my paper, but this is going to become its own project imminently).

3) It is a wide-ranging trope.  Again, I live in the Theatre Department, so that certainly limits my sample size.  Outside of that limit, I feel as though I’ve heard the trope repeated enough that I can say with some surety that it’s not just theatre people who do this.  How often have we seen the aforementioned image in advertising, cartoons, popular culture?  The ruff and skull image seem to be shorthand for “theatre” just as “Band-Aid” is shorthand for “sticky bandage with sterile pad for small wound”.

ll of this leads me to the conclusion that the Hamlet connection is a true societal meme;

Hanging with Hamlet in Stratford-upon-Avon

passed down from one generation to another in a self-perpetuating state of self-referentiality.  I plan to keep an eye on the Hamlet meme in hopes that it will spark something deeper, but for the moment my brain space has only enough room for pattern recognition.

So keep an eye out.  I’m thinking of making Hamlet-spotting a sport.

(Rosalind update: As You is looking great!  We go into tech Sunday and open for an invited dress next Thursday before real opening night Friday.  EXCITED!)

The Rosalind Diaries: Entry Seven; Putting it Together

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Last night, for the first time, we ran the entire show.  We stopped for a five-minute intermission, but other than that we just kept going.

And last night, for the first time, it really felt like it worked.

We didn’t have the full set, we didn’t have lights, and most people didn’t use their

Touchstone finds Rosalind reading Orlando’s poems in the forest

costumes (I did to try and make sure my changes work – they should; though my quick-change at the end is going to be a bit of a bitch).  But we did it.

Coming off the heels of a rehearsal in which I felt like nothing worked, it was pretty spectacular to leave last night feeling like something fell into place.  I wasn’t word perfect, and I know that the other actors weren’t either.  There were some few calm calls for line, but I know I could have fought through them if I had wanted to.  The pace still needs to be picked up before performance.  But those things aside, we did it.  We stumbled through.

And let me tell you, it can only go up from here, and it’s really going to be good.

Orlando and I have been in deep conversation about how to make 3.2 work.  We’ve been trying to feed things in; ideas, notions, impulses, anything to get a different reading than just something flat.  Last night, for the first time, we had a spark of something.  We were engaged with each other, we listened, and something worked.

I also owe a debt of gratitude to my dear friend Angelo who took time out of his busy schedule to run lines with me and coach me through this scene particularly when we realized how much it wasn’t working.  With his help, and with the support of my fellow cast-mates, something happened.

So; what worked?

I kept coming back to the idea that this was Rosalind’s first time really speaking with Orlando at any length.  Her disguise, the mask she wears in the forest, really frees her to say whatever she wants without consequence.  Her honor is only at stake if he discovers that she’s a woman, so so long as she can continue the charade of being Ganymede everything else will sort itself.  This scene is a desperate attempt to engage Orlando, an attempt to find a way to spend time with him in a situation that’s mediated and in which she makes the rules.  If she is teaching him courtship, then she has all the power (a situation which never would have been allowed at court).  Rosalind is a woman completely abandoned and betrayed by all the men in her life; her father was exiled, her uncle then exiles her; it makes sense that she would be wary around the guy she wishes would become her husband.  By making the rules herself, she takes a hand in her own fate and so setting up the Ganymede/Rosalind role-play concession is a vital step in ensuring a strong future for herself.

So what does a girl who likes a guy but is dressed like a guy say to that guy when she knows he kinda likes her back but she can’t reveal that she’s the one he’s in love with?

The answer is: she has a really hard time coming up with things to say.

Rosalind is a master of wit and she’s extremely good at entertaining people with it.  But when she sees Orlando in the forest and decides to speak with him, the best thing she can come up with to say is “What time is it?”

….stupid, stupid, stupid.

Once I was able to feed that nervous energy into the scene, it gave us somewhere to

Rosalind and Celia come upon Orlando carving Rosalind’s name into the poor trees of Arden

bounce from.  Orlando had to figure out why I could sometimes engage with him and sometimes not, which meant he was interested in what I was saying.  But I can’t let him get too physically close to me because, if I do, he may recognize me.  But at the same time, his eyes are really pretty and I really want to touch him, but it’s probably a bad idea.

The rubber-band action gives us something to play with, and makes sure that we keep moving (a MUST on a proscenium stage).

Another thing which really helped was a suggestion by our director to “earn the touch”.  There’s no way that Rosalind would touch Orlando casually (even if casual touching is something that I do rather frequently).  Every touch should be important, magical, and something we work up to.  Once we were able to emphasize the importance of the touch, we were able to really plug into the “I want to, but I can’t”, which in turn fed that nervous energy which the entire scene hinges upon.

So we did some solid work last night.  It’s only going to get better as we build, grow, and prepare because we open in a scant nine days (and it’s only eight days before our invited dress with talk-back).

Curious about seeing us in our full glory?  Tickets available here!

The Rosalind Diaries: Entry Six; Climbing Uphill

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Yesterday, our director busted out the words that strike terror into the casts of shows the world over; “We open two weeks from tomorrow”.

Ensue panic.  I’m not ready.  I’m barely off book, definitely not word perfect, some scenes are working but some scenes definitely aren’t, we don’t have a set yet, we don’t have all our costumes yet, I’ve not rehearsed with some of my more important props, I’m not really feeling it yet, nothing’s sliding into place, oh my god why is this happening and why don’t we have more rehearsal time this show is going to suck why did I encourage my friends to come see it?!

….whoa.  Slow down there, cowgirl.

First things first: up until this week, things were going peachy keen and dandy.  You were happy with the progress.  You were excited about the potential.  There’s a reason you told your friends to come see the show.  You believe in the talent around you.  You believe that this is worth seeing.

Next:  I know it’s been a long time since you’ve been in a show, self, but remember: this is natural.  Panic time always happens last minute.  Always.  There’s never enough rehearsal time.  There’s always something to work on.  You are making art and art is a process, not a product.  No matter how much time you have, there will always be something more you want to do or add to make a show better.  This stage of the game is developmentally appropriate.

Next: Yes, I know you’re coming down to the wire, but you still have some time.  A lot can

Cast lounging on our skeletal set during a line-through the other day

happen in two weeks.  You don’t want the show to peak before its prime and if things were going perfectly right now, chances are some monkey wrench would have completely thrown it off in two weeks for your opening.  Take a breath and analyze what you need to do to make what’s not working work.

Next: This, remember, is why you aren’t a full-time professional actor.  This part of the process.  The sheer terror being blocked up emotionally.  The idea that an entire production rests on your shoulders and, should you give a less-than-stellar performance, you would be letting everyone down and all this hard work would have been for nothing.  Doing things that scare you build character and there’s a reason you came out of retirement to perform this part.  Despite your insecurities, you know you can do this.  You’ve been waiting a long time to do this.  You’ve been storing up those life experiences so that you have the emotional dexterity to do this.  So buck up, face down your demons, and prove to yourself that you’re capable of what you know you can do.  Nobody said it was going to be easy, but the ability to overcome those obstacles which seem largest and darkest is what makes you a better human being in the end.  And, by the way, a better actor.

Next: While Rosalind is one of the folks who has the most lines in the show (and, by the way, one of the most blathering characters in the canon – she’s the largest of Shakespeare’s female roles with a total of 685 lines, also putting her at the seventeenth largest role in the canon, but it’s hard to compete with Hamlet who has 1506 lines.  Statistically, Rosalind speaks 23.7% of the play as the show consists of some 2,884 lines while Hamlet speaks 37% of the play since Hamlet is a massive 4,070 lines) that doesn’t mean that I’m alone onstage.  I have a wonderful cast of actors to help me along – my Celia, Touchstone, and Orlando are solid (and, as I’ve found out, there’s not a single scene where I’m onstage without one of these three people).  They are there to play with me, to help me, and to carry the show with me.  Yes, I talk a lot, but that doesn’t mean that it’s a one-woman show.  Trust your fellow actors and let them help you because they are good at what they do.

Rosalind from the waist down. Those pants are the most comfortable thing I’ve ever worn and I love them. They’re so giant!

Also, you have one of the greatest coaches you can think of helping you out.  Aforementioned gay best friend has really busted butt to make sure I’m good to go, and has generously offered to continue helping me work through these last minute difficulties.  He’s awesome and I can’t imagine going through this process without him.

Next: You’re doing this because you love telling a story, you love Shakespeare’s words, and you love theatre.  Remember what you love about these things, take a deep breath, and go have fun.  It’s called a “play” for a reason.

Suffice to say, I’m going to be working my fingers to the bone getting ready for this show.  I think it’ll pay off in the end, and I really hope that you’ll be able to come see it.

Despite my massive issues with stage fright which compound themselves when there are people I know in the audience.

Come see it anyway.  It’ll at least be worth a good hard laugh at my expense.

Tickets here!

Office Hours, the TA, and you

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Over the years, I have come to a certain conclusion: you never know how to do something until you have already done it.

For some things, this is less problematic.  For example: I didn’t figure out how to write a college level paper until the last semester of my Senior year of undergrad.  While it meant that I struggled through writing them for most of my career as an undergrad, it also meant that I had plenty of opportunity to perfect the style in my Master’s and I’m still learning things about how to write a paper (and look forward to continuing this learning throughout the course of my career as an academic).  Things that you, inevitably, will be forced to repeat have an acceptable learning curve.  Your first anything is going to be the sacrificial lamb which dies upon the altar of experience.

Unfortunately, some things you really can’t go back and re-do.

As part of my job, I am required to hold office hours.  While this sounds horribly official, what it truly means is that I make a promise to the students that I will be in a given place (i.e. my office) at a given time (i.e. my hours) and at their disposal to answer any questions they may have about the class, their work, their grades, or the universe in general.

So far, none of the students have taken advantage of this.  I go, I sit, I wait, I bring work

A grading session from my Master’s. Yes, sometimes it really is that bad.

which inevitably doesn’t get done because I share the office with many colleagues who tend to want to talk and visit (which, don’t get me wrong, I do as well), and I mark time until I can go home and actually get some work done.

And I wonder, why am I sitting there alone when this is a golden opportunity for some undergrad to grill me about all of the questions I know they should be asking especially if they intend to go on to graduate school?  Why can’t they see that this is a gift, a precious commodity of connection which they could be cashing in on in order to better edify and prepare themselves for the life to come?

And then I remember: when I was an undergrad, I never went to office hours.  In fact, I think I can count on one hand the number of out-of-class interactions I had with professors who were not my advisor (even the professors who had the most profound impact on my academic career and/or personal development).  This is not to take into account that I’m not even a professor; I’m a TA.  I never even spoke to the TAs when I was an undergrad.  They were like some sort of weird mutant minion creature that the professor had cooked up in vats to do his bidding because he was too busy working on his latest book project to grade our finals.  They didn’t warrant making eye contact with much less speaking to.

Ah, the certainty of youth.

Alright, let’s set the record straight: a TA is a teaching assistant.  It’s an individuals hired by the department to help make the professor’s life easier.  This individual knows the subject matter, but perhaps doesn’t have as much in-class teaching experience as a tenured professor (but then again, who does?).  That doesn’t necessarily mean that this individual isn’t smart, capable, and desperate to answer your questions.  In fact, it probably means that the individual ischamping at the bit to get a chance to pass on something valuable.  A TAship is often the first in a long series of steps towards becoming a real professor.  We all serve our time observing, working in a supervised environment, and doing a bit of grunt labor so that we too, someday, can have the coveted job of molding young minds.

The TA’s office hours can be extremely helpful if you find yourself struggling with your writing, understanding an assignment, understanding the course material, or even the college experience in general.  Think of the TA like a friendly neighborhood spiderman: the TA is closer to the undergraduate experience and so is more likely to remember what it’s like, the TA knows the library resources really well because she spends her days digging through them, the TA is excited about whatever it is that you’re studying and would love an opportunity to pass on some wisdom, knowledge, or advice, and the TA works closely with your professor and so knows what is expected of you/the class in general.

Think about the possibilities for a moment.  Instead of turning in a paper that you think may be what the professor wants, with a little advances planning you have someone to ask!  You can better understand course expectations!  You can learn what a comma splice is and why people keep writing in the margins that you’re making them!  You can improve your grades with better communication, pointed questions, and a little bit of diligence!  The TA is there to help, not laugh maniacally while marking down your work for something you did but didn’t think to ask about, so think to ask about it.  How can you use this person to your advantage?  This MVP can bat for your team if only you would take the time to ask her.

So love your TA.  Embrace your TA.  Don’t worry about being bitten by your TA and turned into a radioactive creature of the night… unless your TA actually does glow in the dark and has weird freakish horns, green skin, and eyes without pupils, then you might want to worry.

 

The Rosalind Diaries; Entry Five: Suit the Action to the Word

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Ah yes, now we’re into the thick of it.

At this point in the rehearsal process, we are, mostly, off book.  Which means that it’s time to start doing some real acting.  Which also means that it’s time to draw forth from those deep emotional wells, make choices, enact them, and shape our performance into something that looks a lot more like a finished product.

Basically, this is the hard part.

As a young actor, this is what I had the most trouble with (and still, by the by, plagues me

Me in “The Laramie Project” circa 2003

to this day).  I think a lot.  In fact, it’s my job to think.  As a result, when I’m acting, I tend to be “in my head” (which is a fancy way of saying that I’m trying too hard and not doing enough).  Having been through the extensive training that I have been through, I’ve picked up tricks along to way.  I’ve uncovered ways to express through the text things which don’t require actual emotion but can trick a casual viewer into thinking I’m feeling something.  It’s a good way to color the text, and a good adjunct strategy, but can’t bear the full weight of a performance.  At the end of the day, it doesn’t amount to anything genuine.  And I’m a firm believer that, if theatre is to be effective, it has to have a kernel of truth.

The problem with feeling emotion is that it’s messy.  Acting is a hideous, horrible profession that will destroy you emotionally and physically if you let it.  An actor is paid to get up onstage eight times a week and reveal the deepest, darkest, scariest parts of himself to an audience of strangers who will then pass judgment on the depths of that actor’s soul.

In my opinion, nobody gets paid enough to do that.

So why do we do it?

Because it feels good.  Because being connected to one’s own humanity in that way, and by extension the humanity of one’s audience, makes one feel whole.  Like a cog in the universal machine.  It makes one feel potent; like one can actually effect (and, by the by, affect) something.  Like a catalyst.  Like one has a true meaning and purpose in the giant planet earth that we live in and, larger than that, the human experience.

“Rosalind, Celia, and Touchstone: 2.3” engraving by Henry William Bunbury; 1792

But it’s hard, and it takes it’s toll.  As You Like it is a comedy and still there are days when I find myself feeling raw after rehearsal.  Particularly tough for me is 1.3.  At the top of the scene, Rosalind is giddy in love having just met and exchanged words with Orlando for the first time.  It’s a high; a rush; and if I hit it right I wind up giggley and soaring.  Halfway through the scene, Duke Frederick enters to banish Rosalind from the court.  He tears away everything she has ever known and says that she must leave, on pain of death.  If we hit that right, the bottom drops out of my stomach and the gravity of the situation weighs heavily on my shoulders.  My heart grays and it’s almost as though a cloud has come to darken my little section of the world.  Even if Rosalind fights back (which, by the by, she does as much as she can), I’m still left feeling bitter and angry.  Then, after Frederick’s exit, Celia devises the plan to go to the woods and dress as beggars.  Rosalind and Celia expound upon this plan and Rosalind bounces back up from the devastation of her banishment into the possibility of their retreat to Arden.  Arden; where her father is, where she can dress as a man and have the freedom not allotted her in the court, where a whole new life awaits her and her best friend.  It’s not the same unerring giddiness that the top of the scene brings, but it’s definitely a step up from the scene’s middle.

It’s an emotional roller coaster, and one that I have to ride in the span of a few minutes.  In performance it’s devastating enough, but consider that in rehearsal we hash and re-hash these scenes over and over again.  In a single night I could do this three or four times; bouncing wildly from top to bottom and all across the spectrum of emotions.

It’s no wonder rehearsals make me tired and hungry.

Last night, we did some work on 4.3 and 3.4; both scenes that begin with Rosalind waiting for Orlando who is late to meet Rosalind (dressed as Ganymede).  3.4 especially requires an emotional investment in the roller coaster that inevitably comes with “he likes me, he likes me not” since it opens with Rosalind bouncing around the stage wondering what it means that Orlando didn’t come when he said he would and Celia making sly commentary on her state.  If I don’t put in the emotional investment, then Celia is stuck being snarky for no reason.  Up, down, up, down, it’s enough to make a girl dizzy.  4.3 also requires some of that kind of work, but the majority of the scene is taken up by Oliver’s description of his encounter with Orlando in the woods and the battle with the lion, so much of my acting is nonverbal (easier, by the by, since I don’t have to then worry about the impulse to speak and what’s coming out of my mouth).  Still, there has to be enough of an investment from me that my faint at the scene’s end is justified, comical, and makes sense.

So I’ve been coming home tired a lot, and I’ve had to do a great deal of emotional housekeeping.  This has mostly involved the copious watching of Disney films and My Little Ponies because, really, who can be distraught while belting “I use antlers in all of my decorating!”?

Next week we’re into runs (first act runs, then full-show runs).  This should prove slightly less taxing since I get to take a much larger chunk of the journey far fewer times in a night; but we’ll see.  I’ll still have the emergency princess stash queued and ready to go.

Pumping Iron

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Yesterday, in a rush of Hermione-esque academic over-achievement, I completed the first research project of the year.

About a week ago, I was given the syllabus to our class in Popular Entertainment and Iconography.  As such, I was also presented with this assignment.

As an exercise, the professor presented us with a list of 68 quasi-random items.  These items were presented simply as they were without any further explanation; just a list of words.  Upon further examination, it became evident that these items ran the theatrical gamut: some were people, some were phrases, some were theatrical devices, some were plays or the titles of variety acts, etc.  The assignment was simple: find out what each of these things were, their relative cultural importance, and cite a reliable print source for each item.

And so began the great academic scavenger hunt.

This assignment has easily been the most useful thing that I’ve been asked to do in my entire graduate career.  It required me to acquaint myself with library resources (some of which I knew we had available, some of which I did not); it demanded that I utilize lateral thinking to uncover what I didn’t know about a topic from what I knew (“I know this has something to do with popular theatre, likely vaudeville or circuses, maybe in the late eighteenth century… why is it on this list?”); and it prompted me to really think about how I research and how to research most efficiently (where would be the easiest place to look for this information?  What will yield the best answer in the least amount of time?).

The word “exercise” has also become important in this enterprise. To call something an “exercise” implies a repeated action which makes you stronger.  It implies that you’re going to sweat, struggle, and do things that scare you.  It implies that you will do these things until they come more easily.  You’re working out a muscle and, by doing so, making that muscle stronger.  Thinking of this assignment in that way made the assignment not only make sense, but also hold a great degree of import.  Doing things like this will, in the long run, improve me and my work.  This notion also positions my professor as a sort of coach; shouting at me to do one more set of pushups even though I don’t think I can get through the set I’m currently on, assigning me new creative ways to do things which will improve my game, and always always making me hurt so that so that I will emerge stronger.

Research methodologies are something one develops throughout one’s career and, often, not something that can be taught.  Certainly I can be shown where to find databases via my library’s website, or what archives may be useful to me, but how I document and catalogue the information I find is a system which is extremely personal to me, and one that I have cultivated through my years within academia.  Research is also rather personal; while we may talk about the things that we’re actually researching, we don’t tend to talk about the ways in which we process these things.  Often times, the processing portion is unable to be articulated.  How do you deal with information?  How do you change raw data into something that is useful to your project and presentable to a reader?

The research process is one that is rapidly changing.  When I was first introduced to a

the view from my chair in the library last night.

library, I was told to write every fact down on an index card with a citation on the back of each card.  In this way, my research was portable, traceable, and easily manipulated.  Now, I just take my netbook to the library (on the rare occasion when I need to even set foot in the library) and work almost exclusively out of word documents.  My iPad is also a valuable resource since, once I compile my information into a large word document, I can then keep my outline available while I’m writing.  Because of these changes in technology, research becomes both easier and more difficult.  While information is more readily available at my fingertips 24/7, it also means that I’m expected to know more and go deeper with this research.  Anyone can do a Wikipedia search; it takes a researcher to understand where the wiki article is wrong and why it’s not credible.

I’m not going to say that this weight-lifting session wasn’t stressful.  It was extremely time-consuming and, being the slightly obsessive creature that I am, that meant that it was life-consuming.  I had a moment of weakness in which, after I had pulled out every trick in the book to try and uncover a credible source for the origin of the word/concept of “pastie” (that would be the burlesque accoutrement, not the yummy snack) and still came up empty, I began to devolve into an unraveled ball of perceived academic failure.  How could I call myself a scholar if I couldn’t even uncover this simple fact?  What was I doing with my life?  Why were pasties eluding me?

And it was at that moment when I had to lean back in my chair, and laugh.  I was stressed out over pasties.  I couldn’t measure my success in my career by a set of nipple shields.  It was time for a break.

Valuable lesson here: zoom in close enough and everything becomes daunting.  When this happens, take a few steps back, walk away from the computer for a couple hours, and remember why you’re doing this and what you’re gaining from it.  If that doesn’t work, make yourself some tea and hit the gym for a while.  If that doesn’t work, it may be quitting time for the day.

So here I am, my efforts boiled down to 15 pages of notes to myself and a list of citations as long as my forearm, and I can’t be more proud of my efforts.  I did it.  I conquered it.  There were only a few minor freak-outs along the way, and I even managed to have fun during the process.

This exercise has gotten me pumped for the semester.  Research, especially target and stalk research, is like a treasure hunt.  Each successful finding was a new chance to feel accomplished, a new chance to learn something, and a new chance to feel like, despite any misgivings that may crop into the recesses of my mind, I can accomplish.

So take that, semester.  I’m onto your tricks.  You had best watch your back.

Hey, Hey and Away we Go

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Well, that was a long day.  Thursdays, it turns out, are going to be doozies for a while.

I begin with Directing (the class I TA).  After an hour and a half, I have approximately an hour to myself.  An hour, by the by, turns out to be just enough time that it makes you feel like you should be doing something, but not long enough to truly accomplish anything.  In other words, just long enough to make you anxious without the substance to do anything about this anxiety.  Today, my netbook proved angry at me for failing to turn it on more than once this summer.  It is a small bit of technology with a small brain and, for a cheap computer, rather advanced in years, so I can’t say that I blame it for wanting more attention; it figures that it would be today of all days that the darn thing decided to act up.

After this time, I whisk my way down to my own class (Theory).  Today was particularly

yup. My job.

exciting because it was the first class of my semester that I am actually taking.  This also meant that I got to meet the new crop of first years.

We had a veritable deluge of first years this year.  There are a lot of new faces, new voices, and new people about the department.  Since the department is very small, this means a lot of new things to get used to.  What it also means is that class sizes are larger.  This year, our classes cap out at seventeen.  Last year, my largest class had ten.  These seemingly similar numbers are in actuality vastly different in the context of discussion-based courses (especially those held in small seminar rooms).  It feels different; rather than a round-table, we feel like a motley hoard.  I’m going to be interested to see what this hoard shapes up to in terms of actual class discussion.

Unfortunately, my experience with larger classes is that the strong voices remain strong and the weak fade into the background.  Those who are aggressive fight, those who are more inclined to sit back and let thing wash over them have the security to do so.  This makes the conversation imbalanced and, often, repetitive.  I look forward to seeing how the professors (whom I have the utmost respect for) solve this particular teaching dilemma and help to retain order within the seminar room.

One of the most exciting things about meeting the first years is understanding the new classroom dynamic.  Who is going to speak with a loud voice?  What will be the timbre of that voice?  What opinions do these people have, how hard are they willing to fight, and how are they going to bring their vast array of different knowledges/experiences to the table?

One of my favorite parts about academia is the argument.  One of my colleagues made the apt observation just the other day that “it’s always a fight with you”.  Preparing for class, for me, is donning armor and honing my blade.  Having a roomful of new opponents is the most tantalizing thing I could be presented with.  I was hard pressed not to lick my lips with a knowing grin as we went around introducing ourselves; lots of new and different specialties.  Plenty of fodder.  Let the bloodbath begin.

I rounded out my day at rehearsal.  We’re really getting into the thick of things now and

I also nearly finished the sock I was working on while at rehearsal today!

we’re at that point where most folks are mostly off book.  I myself am off book (though, again, I do need to call “LINE!” particularly when I get caught up in something).  This is a weird place to be.  While the words are in your head, you haven’t quite gotten them in your body yet.  You reach and strive for them and, though some layering comes naturally, often the most intense moments are still evasive.  For me, today, tackling 3.2 proved extremely frustrating.  This is the first scene in which Rosalind speaks with Orlando at any length, and she does so under the guise of Ganymede.  It’s almost specifically in prose (a challenge in itself) and I spend the scene giving speeches which mostly consist of lists.  As if that weren’t enough, capturing some sense of genuine emotion is a roller coaster.  The scene begins, for me, giddy in love and playing around with Celia and Touchstone about Orlando’s bad poetry.  After being ribbed good and hard, I have a few moments with Celia before I have to don the guise of Ganymede and play real, serious, and convincing.

The rhetoric bounces wildly, the mood changes drastically, and I’m still trying to remember all the gosh darn lists that Rosalind uses.

Suffice to say I didn’t quite hit the emotion that we need to drive this scene tonight.  But I have hope.  My scene partners, luckily, are fantastic.  With some more work, I have confidence that we can get there.

…and now, officially, to tackle my real job: reading.  I think I was sorely mistaken when I held the belief that second year would be easier than first year.

Ah, well, back into the fray.

FIRST DAY OF SCHOOL! FIRST DAY OF SCHOOL!

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Every year, inevitably, I wake up on the first day of school with the sultry sounds of an over-hyper clown fish whispering at the back out my head (“FIRST DAY OF SCHOOL!  FIRST DAY OF SCHOOL!”).  There’s an anxiety that comes with day one; will I like my classes?  Will I produce good work?  What’s the reading load going to be like?  Good god, will I survive the semester?

This year, my first day of school was slightly different.  Today, first thing, I had the first session of the class which I’m TAing this semester (Directing I).  Being a TA is a new and interesting experience for me.  I’ve been a grader, I’ve been a co-instructor, I’ve been a production lab overseer, but I’ve never before had this particular job title.

The TA’s job is to make the professor’s job easier.  I’m there to run interference on

that’s our syllabus, my folder, and our “classroom”

workload which means I’ll be doing a lot of grading, a lot of fielding “tier one” questions (“When is this due?”, “How do I do this assignment?”, “Am I missing anything completely obvious that I shouldn’t be missing?”), and a lot of listening.  I’m also there to learn to do my job.

Academia is one of the last professions which still truly employs the apprenticeship system.  As I learn and expand, write papers, and produce my own original research, I also have the golden opportunity to observe an old pro in the field, on his feet, and doing the job that I hope to one day be doing.  I get to see how he interacts with students, how he handles the tough situations which inevitably arise, and on the whole the strategies he uses to perform the duties expected of him which will (I hope) one day be expected of me.

So yes, I sit in class and listen.  But more importantly than that, I’m dissecting and trying to understand the point behind every little exercise the professor puts forth to his class.  Why is this question important?  What are the students getting out of this?  What is the professor getting out of this?  How does the professor best utilize the class time allotted to him to most effectively convey the information he wishes to?

Even after day one, I’m already seeing a few tips and trends (to be digested and applied as the semester continues; I’m not quite ready to stick them here for all the world to view).  I’m extremely excited to continue into the semester, and extremely appreciative that I have the opportunity to work with this particular professor.

Another neat thing about this class is that it meets in the theatre.  At Tufts, our mainstage is the Balch Arena Theatre; a theatre in the round (though often a section of seats is removed for productions making it a three-quarter space).  Just being in the space brings a vibrant energy to the class.  So often, especially at the undergrad level, we are extremely far removed from what we are studying.  To be able to practice something within a space reserved specifically for it brings an immediacy and relevancy to the work and truly validates the experience.  THIS is why we are here.  THIS is where it all begins and ends.

It’s all very Peter Brooks.

Also: pro tip passed on to me by a dear friend that, in my experience, works every time.  If you want to feel smarter, wear argyle.  It’s the best disguise I can think of for an understated “I know and see all” vibe.  I often double-dip on the argyle since I have a weakness for argyle knee socks under boots.

soggy hellophant

As an aside, I learned today where the package room is at Tufts.  Of course, since the package room at any university is tucked away from all semblance of civility or society, my discovery  involved an adventure on the downhill side of campus walking around in the weepy rain of today’s gray dreariness and spelunking buildings I had never before been into.  Ultimately, my findings were somewhat of a disappointment as the “VITAL PACKAGE” waiting for me was only my commuter parking sticker for the year.  Ah well.  Eat your heart out, Indie.