At the third acting workshop this week, light was the star.
We’d moved to a theater in downtown for our training, which is the venue we’ll using from now on. The blackbox we used yesterday is definitely much more equipped and spacious than the studio in Mohandiseen. I’d been moved to a new group, mostly all younger and the girls are more giggly, but they’re just as fun as the first ones I’d trained with. Fun to be with, and even more fun to watch (Yup, some scorn seeped into that last sentence there. I’m not good, I know!).
After the usual meditative and slow movement exercises, we started some light games. Trainer operated the light board, and along with the haunting music, he started switching on and off spots, increasing and decreasing the light intensity, asking us to pay attention to the light, interact with it, move around it, bask in it, watch the rays fall on our bodies and glare into our eyes, stop and talk to it in short sentences without over-acting or saying something that we didn’t actually feel at the time.
It was like a surreal dance as people moved slowly, ventured into the light, covered their eyes from it, explored the darkness around it, watched it, shouted at it, whispered to it, and on and so forth. Slow motion was key there, also keeping the concentration gained from meditation exercises was important. Moving around the room, you were supposed -through light and darkness and how your body felt as you moved- to explore the space you’re in. Feel it through moving in it.
You’re required to be in your head, in your body, aware, vigilant, yet honest and in touch with your feelings while keeping the calm and the transcendence that has been previously infused in you in previous exercises. At times I was struggling; I didn’t realize (until I started to attend these classes) how “scattered” I am.
It was like trying hard to contain your soul and mind, consciousness, within your body, as they keep slipping away. Anyone out there know how this feels? How difficult it is to be one?
It’s like when we stand in prayer sometimes and fight to enter our inner space while being aware of what we’re saying and doing, with eyes wide open. If anything, this validated my idea that living in the city corrupts. We can’t be still inside anymore, and it’s a constant struggle to be whole … complete, body, mind and soul.
You pull yourself together. You fall apart. You relax. Only to get tense in moments because of the smallest distraction. You enter that empty space in your mind. Then something pulls you out, a thought, a memory or a speech that goes on in your head between you and “the other” (the Voice?).
In brief moments, the light intoxicated me, and there’s something weird that happens when you finally look into the source of light in a dark room; it’s like looking into the face of God … you suddenly feel the desire to confess something, as if this artificial light at its most intense can see through you. As if the light already knows what’s being whispered inside your soul.
Poetic and melodramatic? Of course. My mind knocked itself out. It’s a drama class. And there was no better time to indulge in pseudo-philosophical thought.
The next exercise was based on improvisation again, and assuming characters. And it turned out to be much harder than I thought it would. Four chairs, one white and three black ones, were placed centre stage, light flooding them amid a patch of darkness. The white chair is occupied by one of us, a guy or girl, and the rest by members of the opposite sex. I was chosen twice for this one. In one scene, the guy occupying the chair was to play a boy who dated the three girls occupying the other chairs at certain junctures in his life. The situation preceding the meeting was not spelled out, but they were somehow trapped now into sitting together.
They all loved the boy while dating, he was selfish and nonchalant to their feelings, scornful of romance, in short a typical player. They were wounded and hurt, and now for some game of fate the girls are all friends. You’re not supposed to attack him, or touch directly on the issue, but instead use body-language and implicit references to get back at him.
It went horribly! (in my very humble opinion) The conversations were superficial, gestures exaggerated. You know how bad acting goes? Add to that uncreative, self-conscious improvisation and lack of experience, and you get the picture.
The opposite happened, and I was chosen for the white chair, the self-centered girl who played with the others’ feelings and now feels no remorse but almost amusement and a touch of embarrassment for running into people she used and abused emotionally.
What do you dig out in order to conjure up such feelings?
In my head, I couldn’t evoke one situation where the setting made sense. It made me wonder about the mental and dramaturgical powers that some might gain from being betrayed, heartbroken, from playing with people’s feelings and from manipulating, hurting and being hurt. Don’t get me wrong, I have no envy for those whose hearts were wrenched and minds blown apart in relationships. But suddenly, I appreciated certain human experiences, and how useful they could be in such professions.
Since we all went wrong, we were lectured for half an hour on why we did. Mostly, we couldn’t appreciate silence in such situations, and we couldn’t use the body and the eyes to communicate messages. And we should have.
The trainer said some words at the end, that sounded magical to my ears (simply because I agreed wholeheartedly): “People in the city have forgotten how to become silent. We’re flooded by so much noise that we always need the feel to speak out, to hear our voices. The intensity that comes with silence is sometimes much more powerful that the one that comes with speech and blabbering. Silence is a statement too.”