Whelan Technique Used by Famous English Shakespeare Co.
Jeremy Whelan
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Hi to all, another milestone on the road to getting recognition for this
technique.
Andres, ya recibiste el libro, Actor Al Instante?
Jeremy
http://www.Jeremy-Whelan-Acting.com
Home page of New School Acting
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I would love to get this to your acting and directing teachers, if that
is possible.
Thank you for any effort you might make.
http://www.Jeremy-Whelan-Acting.com
Home page of New School Acting
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Date: Fri, 09 May 1997 14:04:40 -0500
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Subject: Famous English Shakespeare Co. uses Whelan Technique
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I hope you enjoy this and that it piques your curiosity.
*This article is reproduced with the permission of Total Theatre, the
UK umbrella organisation for Mime, Physical Theatre and Visual
Performance.
The English Shakespere Company are currently touring
A MIDSUMMERNIGHT'S DREAM directed by Phelim McDermott in
collaboration with designer, Julian Crouch. Performer Danny Scheinmann
wrote Total Theatre a diary of his experience as a member of the cast,
starting on the day of the auditon and going right through to the
opening night.
The Audition
I knew there was something unusual about Phelim McDermott and Julian
Crouch right from the start. The first thing I am told at the
Audition is "Read it badly. I don't want to see any good acting." What
a relief. I am there most of the day, first with the potential lovers
and then with the mechanicals because they can't make up their minds
whether I am a mechanical or a lover. As I watch actors come and go I
wonder what the hell Julian and Phelim are looking for. Some people
look good even though they are trying to be bad. Others were bad.
Were they really good at being bad or were they just bad? I couldn't
tell. The next day I am offered the part of a mechanical lover called
Flute. My stomach turns. It's the one part I had no inclination to
play.
The Rehearsal
Phelim explains his grand plan, namely that there is no plan - no
interpretation or blocking. There is also no set - nothing at all
except the idea of using sellotape. The actors will be instrumental
in how the show turns out. It sounds like an abdication of
responsibility but it's actually one of the bravest and riskiest ways
to work. Julian and Phelim insist that all design, set building,
costume making should take place under one roof so we could all feel
part of the process.
The first week is spent exploring Phelim's theatrical language. We
learn four movement qualities; MOULDING in which the actor moves as
if the air is thick, FLOATING - the air is light and supports the
body, FLYING -quick and with many changes of focus like a sparrow and
RADIATING where a feeling of heat from the chest radiates out into
the space. From now on everything must have a movement quality or must
change from one to another. Next we learn about ATMOSPHERES. We take
our movement quality into an atmosphere of doubt or reunion or
virtually anything. This doesn't mean we have to pretend to be mud or
to be doubtful, it's more that the air is filled with this quality
and you have to respond accordingly.
Game playing comes next. Games and movement qualities provide us with
the parameters within which we are to have total freedom to
improvise. According to the theory, so long as the actors enter into a
shared atmosphere and watch, listen and respond to each other
virtually anything will work.
The final thing we must know is that there are no mistakes. We must
respond to whatever happens as if it were meant to happen.
By now I realise that Phelim is an imp in human disguise. He wears
clothes which are the same size as his skin. It's as if they've been
painted on. Either that or he still shops at Mothercare. He wears big
shoes which, given his wiry frame, make him look like a stick insect
in concrete slippers.
Crouchy on the other hand is by his own definition "A fat thin bloke"
A man who at first sight looks like he lives on lager but actually on
closer inspection is a thin bloke with baggy skin. Well after all he
is the master of illusion. Here's a man who can give the Daily Mail a
soul by turning it into a puppet within a minute. Or create anything
you want out of sellotape. This show is to become one of Julian
Crouch's sticky dreams.
On day four we begin our warm up routine which is to delight some and
plague others throughout the rehearsal process. Nick Freeman takes an
hour's yoga warm up every day. This ain't just plain old yoga this is
power yoga. Knot practice for the body. I love it. I would also like
to do a vocal/verse equivalent but that never happens. A big
oversight.
Weeks 2 & 3
Phelim introduces us to Jeremy Whelan's Instant Acting Technique. It
allows the actor to rehearse without ever having a book in his hand.
It's a six step process:
1) The actors record a scene
onto an audio tape speaking clearly, simply and without emotion or
interpretation. The tape is then played back whilst the actors get on
their feet and "act out" the scene. In the first reading they only
make simple choices like whether to move to or away from another
character.
2) The actors record a second reading of the scene allowing it to be
affected by their impulses from the previous enactment. The scene is
played out to the tape but the actor is encouraged to make bigger
emotional choices.
3) The process is repeated again but this time all the actors copy
the actions of the speaker. This gives the effect of watching a shoal
of fish.
4) In this run the director can pause the tape when he sees something
interesting and the actor has to stick with the emotional choice he
has made and go further and further with it .
5) One more taping and enacting using everything learnt so far and
more.
6) The final stage where the text and action are married for the
first
time.
What is remarkable about this process is that by the time you come
to do the lines you virtually know them. Quite often you find
yourself not knowing what the text is but your body remembers to turn
to look at someone at a certain point which prompts your memory. We
use this technique for every scene in the play. During this time
there is no discussion about what any given scene is about. No
interpretation just constant play. I try using the technique to try
something completely different on each recording. But once a scene
has been done there is no feedback as to what was good and what was
bad so it's difficult to know what works. Phelim and Julian keep
reminding us that there is no good or bad at this stage because
rehearsals are about discovery. Phelim tells us that if he were to say
that something was good then we would be encouraged to do it again and
again. And this would stop us from remaining open, playful and
inventive. He will not block anything - ultimately it is the audience
who will tell us what works.
Week 4
Phelim gives us a list of questions which we may use as a guideline
for character work in our own time. They seem mainly to be based on
Stanislavski. Julian takes us through the design. Julian is a master
of instant design and has an eye for big imagery. A lot of people are
beginning to worry they don't know their lines. Taping has helped but
is not enough. And although Phelim tries to reassure people that it
will be fine and that they should not do private work on the text as
it will undermine the process, I know that several people are working
at home. Phelim is now using emotion cards, randomly selecting
emotions for a character to explore. He flashes a card at someone,
and
another at someone else, constantly changing them as the scene
progresses. It keeps us on our toes and never lets us settle in to
anything. Over the weeks wondrous moments have flickered before my
eyes and vanished before I could pin them down and try them again. I
feel I have no character because Flute is a different man every time
I play him. I am drowning in choices. I find myself trying pre-planned
ideas and for a week everything I do feels forced. I watch others who
have more experience than me and am in awe of how they make the
system work for them. I soon realise that nearly everyone has their
moment of panic. It's a vertiginous feeling to be a week from opening
and to have nothing whatsoever set.
The Technical Rehearsal
A four day tech may seem like a nightmare but it comes as a relief.
At last we are beginning to discover what this show is. With the set
in place we practice with the sellotape. Decisions are taken as to
when the fairies use stilts and how we use the wings to create animals
in the forest. Julian has given Pyramus and Thisbe wonderful outfits
made up of household basketry like place mats and plant holders. They
are funny in themselves and provide endless possibilities for play.
The tech takes longer than planned and we skip our dress rehearsal on
Monday night. Tuesday is a day from hell. Finish teching in the
morning, a dress rehearsal in the afternoon followed by a show in the
evening
First Night
Before an audience, the adrenaline makes me commit to the choices I
make and once more I feel confident. The next day the show works
really well. As this goes to press we have been running four weeks
and I can honestly say the show really is fresh every night. People
respond anew each night. In the first couple of weeks the show
fluctuated wildly but now it is settling down as people adopt
approaches which they are happy with. Does the technique work? Well
undoubtedly it keeps the show alive which is useful for a long run.
And as for me I didn't want to play Flute and have ended up loving
it.
The English Shakespere Company tour MIDSUMMER NIGHT'S DREAM to June
1997.
Total Theatre Magazine is published quarterly and is available on
subscription. For details please contact: Total Theatre, at The
Circus Space, Coronet St. London N1 6NU
Tel/Fax 171-729-7944 e-mail : magtota...@easynet.co.uk
I am thrilled at the courage of those who collaborated on this play
and gratified that the received the type of creative rewards one gets
from working this way. I look forward to having the opportunity to
thank Phelim and Julian for seeing the possibilities the tape
technique presents. I am also looking forward to meeting the brave
actors who participated, for as Danny said, " It's a vertiginous
feeling to be a week from opening and to have nothing whatsoever
set."
I think his description of how the technique is used, was of
necessity abbreviated some for the sake of the article, but the spirt
of it comes through beautifully. My thanks to the English Shakesphere
Company. The tape technique is presented in a step by step how to
format that is freely available from my home page. You will find it
in the sample chapters section of my book, New School Acting.
some other coments on this technique:
"The Whelan Tape Technique is helpful in bringing the necessary
battle between instinct and technique to a peaceful accord."
Kelsey Grammer,
Star of Frasier
" The Whelan Tape Technique gets to the core of the creative process
in record time. " Robert Yowell, Chair Of Theatre,
California State University
"Whelan's approach makes eminent sense and his book makes a good case
for its use. Highly recommended." Stage Directions Magazine,
reviewof INSTANT ACTING,(April, 1995)
" INSTANT ACTING advocates a rehearsal and classroom technique that
invites creative discovery as opposed to the execution of
predetermined results. Actors and directors should benefit from
taking up your challenge to redefine the rehearsal process." Mark
Majarian, Professor of Theatre , Cypress College, Circuit One
Coordinator, Region VIII, American Collegiate Theatre Federation
" The Whelan Tape Technique is superb in its simplicity and helpful
to the actor regardless of his or her level. " Stanley Wilson,
Producer, Covert Productions, Hollywood, Calif.
"The Whelan Tape Technique is a remarkable device for rapid
development of skills. Deceptively simple but extremely powerful, it
has the potential for turning a good actor into a great one, an
average actor into a good one and to give the appearance of talent to
someone who has none. Get this book." Gersh Morningstar, Editor,
The Florida Blue Sheet, Review of INSTANT ACTING (June, 1995)
" Jeremy Whelan's Tape Technique has unlimited potential. It works. "
Mel Shrawder, Head Of Performance, U. of Miami
"I have seen the future. The Whelan Tape Technique has really set my
classes on fire." Robert Christophe, Acting Instructor,
University of the Arts, Philadelphia, Pa.
" As we (the actors and I) became more familiar with how The Whelan
Tape Technique worked, we were very excited by the things we were
discovering. They experienced "being present" in the play in many
new and deeper ways. I look forward to a stronger understanding of
your work. I am excited by it. It is grand to find a new way to move
forward." Sharon M. Andrews, Visiting Professor,
North Carolina School of the Arts and Wake Forest University
" We accomplished worlds in our production, thanks in great part to
the Whelan Tape Technique." Steve Neal, Asst.Professor Of Theatre,
Barry University, Miami Shores, Fl.
" I was enormously impressed by the value of the Whelan Tape
Technique. " Dr. Frank Olley, Director of Theatre,
St. Joseph's University, Philadelphia, Pa.
"I think Jeremy Whelan's Tape Technique is a new, refeshing and
amazingly effective alternative. I advise other directors to give
The Whelan Tape Technique a chance, you will be very glad you did."
PaulCerra, Forest City Regional School Drama Director. Honored
nationally as "Rural Theatre Teacher of the Year 1995 "
"Thank you for an exciting new way of working. The Whelan Tape
Technique has changed my acting and teaching forever "
Barbara Beatty-Shrawder, Instructor Voice & Speech,
U.of Miami /Actress
" The Whelan Tape Technique is pure genius. Thanks for the gift of
challenge, change and confidence for my actors and thank you for
trying to drag the art of acting kicking and screaming into the 21st
century. " Marjorie A. Durmig, Associate Professor, Theatre Arts,
Eastern Illinois U.
" Your tape technique amazed my students. They found themselves
doing things they had never experienced before."
Dr. Roger Ellis, President Michigan Theatre Association
Associate Professor of Theatre, Grand Valley State U.
" I was extremely pleased with the results of working with The Whelan
Tape Technique. It makes such an excellent teaching tool. I and my
cast felt proud of our production and no small measure of thanks goes
to The Whelan Tape Technique." Sharon Kilarski, Ph.D. Candidate,
University of Missouri
"Dear Mr. Whelan:
Thank you for the wonderful rehearsal account. It's inspiring to
read about this work. It's also affirming, as we have evolved a
similar approach to our work here at the School for Contemporary Arts.
I would also add that I am familiar with your books and I have
employed the tape techniques in my studio classes. I consider the tape
work a wonderful innovation. The physical work of our actors has never
been better.
Your heretical work on emotions is also appreciated. In my case it
has crystallized my problems with method approaches, and shown me a
way out of that particular dilemma".
Marc Diamond, Professor of Theatre
School for the Contemporary Arts ,
Simon Fraser University
"I believe that Whelan's actor training method, as described, is
excellent. It incorporates the three basic learning domains of all
students, visual in reading scripts and watching the other learners
and actors, auditory in hearing the recorded script, and most
importantly kinesthetic in moving the body as a learning technique.
Whelan's method actually gets the actor's bodies to learn the roles
they are performing".
Thomas Klocke, Arts In Education Coordinator
Kansas Arts Commission
Thank you for the interest you've shown by reading this, I know if you
try this technique once, you will never go back to script in hand
rehearsing again. You will also find it an extremely powerful
rehearsal tool. You may also find some other ideas of interest on my
home page, I sincerely hope you visit.
Jeremy Whelan
http://www.Jeremy-Whelan-Acting.com
Home page of New School Acting
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