Sunday, we did another exploratory workshop, this time focusing on the first Caliban/Prospero/Miranda scene. Part of this involved “character interviews,” a technique we use a lot. One actor takes on the character, the rest interview him/her — no situation or objective, just a process of instinctive exploration that may go on from five minutes to an hour. Usually this is done in the process of writing new plays, but it’s adaptable to exploration of existing texts — not only as a means of deepening “backstory” but as a means of connecting the actor more viscerally to the character. And by doing this with multiple actors, you discover the many tonalities each individual face brings to it.

Inevitably, it brings up questions. Is such-and-such a response valid in relation to the text? Is this the most interesting premise? How do we resolve utter contradictions, or must we? What’s the difference in the view of key incidents in the play between that of the the literary analyst and of the character?

On Sunday we explored both Miranda and Caliban, with three actors embodying each. I’ll post a video of the Caliban interviews next week. We see them first encounter in Act 1 Scene 2, as Prospero brings along Miranda as he curses Caliban off to work. The crucial questions here: Why does he insist on Miranda’s presence here, much against her will? What in fact was the nature of Caliban’s seeking to “violate the honor” of Miranda? Does Miranda have feelings toward her father and toward Caliban that color what she expresses?

This video is a 9-minute condensation of a 20-minute interview. The actual Miranda will be embodied by a puppet; these actresses are simply exploring her soul.

Some ideas that emerged from this:
* Her own sense of guilt at the possible molestation, and sense of loss of a friendship that was preciosu to her.
* Her immense loneliness, and a longing for a mother.
* The terror of Prospero’s absolute power over her, yet great love. Is there an evolution in the play from this absolute dependency? In what ways does she embody the temperament of Prospero?
* Possibility that Prospero’s objective here is not to get firewood but to set up Miranda’s meeting with Ferdinand, making her deeply vulnerable emotionally by humiliating Caliban.
* Miranda’s explosive rant at Caliban is very much an echo of Prospero’s style, almost as if she’s speaking what he’s said many times. Editors have said it doesn’t sound like Miranda and have assigned it to Prospero, but that’s the whole point: she’s deeply conflicted about it and is internalizing Prospero’s condemnation.

That’s it for this week. Friday we open RASH ACTS, today packing four storage bins with puppets and starting to worry about over-population. And today listened to the Inauguration — first time in my life that I can remember seeing (and feeling) a surge of national pride and patriotism that wasn’t tied up in war-making or hollow chest-thumping. Feels good.
Peace & joy–
Conrad