Life
I was working on my monologue for auditions of "The Laramie Project" this weekend, and my friend Adam was asking me a lot of questions...
The scene I'm doing is from Diana Son's "Stop Kiss." Callie is talking to Sara whose in a coma at the hospital. And Adam asked me, "Who is it? When you're onstage talking, who is lying in that bed?"
A bit tongue in cheek, I answered, "Sara. Duh!" and laughed... But he looked at me seriously and repeated the question.
And honestly, I couldn't give him an answer.
I don't want to think about someone I love being brutally beaten and laying in a hospital bed in a coma.
So, I chose at that time to keep it at a distance. Keep my emotions at a distance. Because, as I confessed to Adam, that's what I'm doing right now.
I got really, REALLY emotional the other day, and I cannot stand when I do that. I don't like being overtaken with feelings. It makes me feel like I'm weak, like I'm fulfilling the stereotype of women as being irrational and not being able to control their emotions. So, whenever I catch myself doing that, I basically put myself in a little corner, a quiet, little unemotional corner and keep all my loved ones at a distance.
I know, that's not likely a healthy thing to do, but... yeah. It's what I do.
So here I am, trying to create this realistic portrayal of someone so heartbroken, so in love, so emotionally driven and I'm exactly the opposite.
Probably wasn't my best choice of monologue, eh?
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Monologue
Magic If
Stanislavski believed that the truth that occurred onstage was different than that of real life, but that a 'scenic truth' could be achieved onstage. A performance should be believable for an audience so that they may appear to the audience as truth. One of Stanislavski's methods for achieving the truthful pursuit of a character's emotion was his 'magic if.' Actors were required to ask many questions of their characters and themselves. Through the 'magic if,' actors were able to place themselves in their characters' positions of the plot. One of the first questions they had to ask was, "What if I were in the same situation as my character?" Another variation on this is "What would I do if I found myself in this (the character's) circumstance?"[6] The "magic if" allowed actors to transcend the confinements of realism by asking them what would occur "if" circumstances were different, or "if" the circumstances were to happen to them. By answering these questions as the character, the theatrical actions of the actors would be believable and therefore 'truthful.'
If something like this happened to me, I know I hate hospitals, and I would hate going in there... but I would do it. I would be there. Everyday for someone like this. I would be there, hold their hand, talk to them. Anything to bring them out of it.
If I loved someone the way Callie loves Sara, I would do it. I would do ANYTHING for them to make it right. That's what you do when you love someone.
Motivation
Through the use of system, an actor is required to analyze his or her character's motivations. Stanislavski believed that an actor was influenced by either heir mind or their emotion to stimulate their actions and the actor's motivation was their subconscious will to perform those actions. Therefore, motivation has been described as looking to the past actions of the character to determine why they completed physical actions in a script.
Callie is desperate. She is alone. There is so much happening around her; the world is spinning. And, she doesn't have Sara there to help her through it. She NEEDS Sara to be awake.
Callie needs normalcy. She banters because of her nervousness, her hatred of silence, her not wanting to be alone in this anymore...
The doctor told her that talking might help. The patients can't really hear you (though deep down, she feels like Sara can hear her), but in a way... who knows?
This wasn't exactly the way she wanted to meet Sara's parents. Callie's never been good at meeting the parents. She wants to be strong, SO strong for Sara. But after everything that's happened, she can't keep it a secret any more. It doesn't matter that they're Sara's parents. They aren't treating her right. And Callie doesn't know how to fully respond to it. This has never happened to her before. Not this way.
She didn't want everything to come out. She was perfectly happy keeping their feelings quiet. They were JUST taking their first steps towards being true to themselves and this happened. It's not exactly encouraging to Callie to be outted like this.
She feels betrayed. Everyone knows. And how will everyone react? She's had a little taste of it. She doesn't think she can take much more of it. She liked her life a anonymity. Now this?
When she received the letters from the women, of course there was sympathy for their attacks. There was remorse that this sort of thing ever had to happen. But at the same time, hearing that their girlfriends DIED... It can't help but make Callie reminded of Sara in the hospital in a coma. What if SHE dies? IS she going to die? What would Callie do?
Callie talking to Sara is a PLEA. "Don't die. I can't do this alone. I LOVE YOU. And we're out. And, I never really imagined life this way. But it's this way now. And I don't want to have to go through this without you."