But really, he had no idea it would be so mortifying.
Acting Shakespeare, week 5. Off book (basically) with the Hamlet monologue, but as an actor I'm what a critic would call painfully self-conscious. Lotsa fuss with hands. Paralytically aware of the body. (If that seems self-contradictory, well...)
Can't seem to let the voice go, let it do the work of the speech; this may have something to do with how anger and sarcasm, in Tboy's world, get expressed in a flat, cool voice. "Size," in the vocal sense, is turning out to be something of a problem.
Short lab session this morning with just me and the professor; he had me walk around the room in circles, delivering the speech to a red plastic chair standing in for Rosencrantz and Guildenstern. Seemed to free things up a lot -- the emotion, startlingly enough, started to gather in a big knot in my chest, rather than between the temples, and at "this goodly frame, the earth," the momentum of the circling just built naturally into a big gesture that didn't seem nearly as awkward as even a half-hearted reach did when I was merely standing. Interesting.
Can't keep walking in circles in performance, though, of course. The trick, apparently, is to use this to get the speech in the body, to find its energy, and then figure out when it's OK to move and when it's OK to be still.
This is much harder than I remember from junior high.