Too much lip smack, sibilance, plosives, and background noise. Good reading skills though.
P.S. - needs more kick drum.
I really feel that, towards the very end, Macbeth was really showing his desire (or lack thereof) for life on Earth. I was trying to encompass that. Any ideas on what I should do?
) Thanks!
Lots of folks who post here and say , "What do you think of my . . . " are looking for compliments rather than critiques. I commend you for your open-mindedness. Honestly, it's a nice change!
I did have that in mind.
Well, with all due respect, I don't think you could. Acting is a complex craft that takes considerable training. Talent isn't necessary to be a competent actor, but craft is (I speak from experience -- I wasn't particularly talented, but I had learned the craft and so I was able to work professionally).
It's not a question of "adding dynamics," but of creating the emotional reality through the actors tools of substitution and back-story, and then defining actions (and I don't mean physical actions) that are sufficiently important to you, and then combine all of that with a coherent subtextual arc. When I used to teach acting, my students once bought me a sweat shirt with the phrase, "The lines mean shit!" (because I said it all the time). No single line has a specific emotional/active meaning that will be the same for every actor, and there is no inherent line-reading that it must be given. If you're really interested in this stuff, I'd recommend an acting class or two, though I'd also recommend that you research, thoroughly, the professor who is teaching it -- again in my experience, very, very few of the professors that I encountered in academe had any understanding of professional technique (one exception was a brilliant former professional actor who turned to teaching after he injured his knees in a motorcycle accident). When I was teaching professionally in LA, all of my beginners who were fresh out of university drama departments didn't have the slightest idea of how all this is done, whereas there are very, very few professional acting teachers and professional actors who don't.
What does TV Viewing encompass? I might have done a little of that through MCOM.Lots of folks who post here and say , "What do you think of my . . . " are looking for compliments rather than critiques. I commend you for your open-mindedness. Honestly, it's a nice change!
I did have that in mind.
Well, with all due respect, I don't think you could. Acting is a complex craft that takes considerable training. Talent isn't necessary to be a competent actor, but craft is (I speak from experience -- I wasn't particularly talented, but I had learned the craft and so I was able to work professionally).
It's not a question of "adding dynamics," but of creating the emotional reality through the actors tools of substitution and back-story, and then defining actions (and I don't mean physical actions) that are sufficiently important to you, and then combine all of that with a coherent subtextual arc. When I used to teach acting, my students once bought me a sweat shirt with the phrase, "The lines mean shit!" (because I said it all the time). No single line has a specific emotional/active meaning that will be the same for every actor, and there is no inherent line-reading that it must be given. If you're really interested in this stuff, I'd recommend an acting class or two, though I'd also recommend that you research, thoroughly, the professor who is teaching it -- again in my experience, very, very few of the professors that I encountered in academe had any understanding of professional technique (one exception was a brilliant former professional actor who turned to teaching after he injured his knees in a motorcycle accident). When I was teaching professionally in LA, all of my beginners who were fresh out of university drama departments didn't have the slightest idea of how all this is done, whereas there are very, very few professional acting teachers and professional actors who don't.
If all you want to know is what it means read, Stanislavski's "An Actor Prepares" and Uta Hagen's "Respect for Acting." Note that the creation of an emotional reality is only half the battle. Without actions, it's nothing more than masturbation on stage.
Any old time.
I took it down as I figured all the newer comments would say the same thing, but I'll gladly put it up if ya'll want. I had actually intended it to be radio play.
lol
Well, I'll try.
