Subtexting as a Tool
As we work on subtexting, let me spell out some uses for it:
Writing out a subtext for your monologue lines will help you
- invent a different interpretation of the character than what someone else is doing
- suggest character emotions (based on the subtext you write)
- guide you in figuring out "what to do with your hands" while you're speaking
The "between the lines" thoughts that you invent for your character push you toward expressing certain emotions ... which are expressed through facial expressions, gestures, body movement, posture, voice ... all the things you're tempted to worry about on stage.
If you work on the subtext first, your character will have depth and honesty. Your audience will begin to feel what the character is "feeling" because you're expressing that emotion with your body. Notice that the thoughts lead to the emotions -- not the other way around. (Real life is like that too ... our thoughts trigger emotions inside us.)
I'm not asking you to feel like your character feels! You can't force yourself to experience a particular emotion. You can't make yourself feel sad or happy or angry or afraid or frustrated on the inside.
But you CAN act "as if" you were sad or happy or angry or ....
and the audience will believe the illusion if you allow your body to express it.
PS. Go "people watching" this weekend and see how many different emotions you can determine just from people's actions.
Question:
Talk to me about the subtext you see in your monologue. What kind of thoughts have you imagined for your character? What emotions do they suggest to you?
posted by lorojoro @ 9/01/2005 09:36:00 PM
4 comments
4 Comments:
... Since I haven't read the whole play, I'm slightly unsure of portia's hm... motives? for wanting to know- for instance... does she want to know because she's curious .. or is it because she really does have Brutus's best intrest at heart... it's kind of hard for me to subtext if I don't know what kind of person she is throughout the play... and the play would give me some more insite as to who Shakespeare had in mind for Portia's character and values having... even though.. as the actor I have the "liberty" to decide what kind of wife I want her to be... I don't think it's entirely mine. I have to play the character Shakespeare left me with... and to do that.. I would need to subtext the whole play to get at the core of her character...- you can't just get morals from no where and try to make the play say them... you have to take them from the play. and then show them to the audience-
---I'm really unsure of my wording- thoughts would be appreciated
You're right that ultimately, you want to understand Portia's role in the entire play to understand her completely.
But for a small project like this, a basic overview will do. You can find good ones online at www.sparknotes.com (search for Julius Caesar).
Let me help a little:
Shakespeare doesn't say much about Portia, but all of her actions are noble. That tells us she's got good motives. The monologue you're doing is basically her only major speech in the play ... so you're working with the majority of the evidence.
Brutus always speaks very highly of his wife. He's so idealistic that he makes wrong choices, but that same idealism suggests that his faith in his wife's character is probably well-founded.
Hope that helps ...
Well, Kate seems angry and scolding in her monologue. But I can imagine her giggling inside. I'm not quite sure that Kate changes by the end of the play. She could appear to be submisive, when in reality she isn't. After all, she could have fun scolding her sister (and another woman) in front of people. However, I'm not sure how to show this to an audience...I'm not even sure I'm right :). Rebekah
my mono log is one of the first times that antony says more than 3 sentences together so it is a big part of who he is. he is mad at the fact that his friend caesar died but he is also trying to become the next ceasar so he is also trying to play off everybodys good side to get what he wants.
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