Cyrano De bergerac

By Edmond Rostand. Sport for Jove
This was an exceptional production and a fantastic way to see out 2013.
Yalin was brilliant - a standout - and the ideas behind this amazing tragedy have never been so relevant and so poignant!
It was a fantastic play and I’m really glad I got the chance to see it.


The job of the actor, is to direct the role


Your style is a function of your limitations, more so than a function of your skills.


Being an Actor

Take the passion to become a complete person.

Negative interject (the inner critic) Melanie Klein. Let the internalised negative go.

Without something active you want to accomplish that’s a passive tragedy.

Your job is to fight for yourself.

The Bad news is: No one is coming to save you.

The Good news is: No one is coming to save you!

It’s an inside job, and if you wait for someone else to do it you are going to lose!

You need to understand your own psychology and understand what your creativity needs.

You need to have a profoundly good relationship with yourself.

you can’t get angry at yourself – learn the lesson and move on.

Just make the mistake and move on!


Commitment from Larry Moss Masterclass

Actors with longevity keep growing, keep working on different parts.

Get more hungry. Share your gift.

Bad actors can be general, life never is.

Commitment and Completion written large on the fridge.

Completion. Diligence. Dedication.

When you commit, the universe joins you in unexpected and miraculous ways.

Joy is more profound than sadness.

You have to ask in each rehearsal what did you learn?

It takes daily dedication to the grunt work.

It’s not tedious (repeating beats etc) it’s extrapolating the best of the timing, breathing.


Voice from Larry Moss Masterclass

One of the reasons actors need to work so hard on their voice – once you know the scene, you’ve prepared hard for it – the question becomes, ‘How many colours can you bring to the scene?’ You need to find the colours in your voice.

How much colour can you get into the vocal range?

Articulation exercise: Run lines, over-articulating to marry articulation with emotion.

Rhythm is the building blocks to be a storyteller.

Don’t separate sentences that destroy transmitting the image to the audience.

Know what you mean by that. Paint the imagery for the audience.

Take emotion through monologues daily.

Learn breath-marking. Breath mark timing in comedy.


Script analysis from Larry Moss Masterclass

You have to be challenged by the writing. You have to look at the context of the play, and why it was written.

The great thing about this scene is that they are both right and they are both wrong – with great theatre it’s never black and white.

Your goal in portraying any character is to make it hard for the audience to make a moral judgement.

You need to go through the play and ask ‘What am I doing?’ ‘What am I trying to get her to feel?’

Finding active intentions – choose an active verb you think is right for the specific moment in the scene then find all the synonyms in the thesaurus for that verb and try out the dialogue as you play the different possibilities.

Script analysis - a good actor is a good detective – they ferret.

What an actor brings to a play is telling a story with your body that Shaw or the writer doesn’t give you.

So if you don’t understand the play, HOW CAN YOU MAKE CHOICES? Meaning of objects.

Persons, places, objects, you can’t overlook anything. Investigate place. Object. Relationship with place, objects.


Listen like an animal in a forest - never know what is coming next!