Written by Maya Graser | Instagram: @thisismedisappearing
When I worked with Jo on Kate’s monologue, she asked me to translate each verse into my native language (German) before saying it in English. It really got me thinking: what am I saying? Jo observed that the way I delivered the monologue in German was way different than in English. That was because I felt way closer to the words I was saying. Also, when I repeated the verse in English, I started looking into another direction which I didn’t notice until Jo told me. I looked into the same direction when I gave it another go, which worked better with keeping up the same energy. That excercise was a really helpful tool and so surprising to observe it work.
Written by Gaia van Langerak | Instagram: @gaia.van.langerak
For the summer intensive we had to choose a monologue written by Shakespeare, outside of the play that we would be working on. For this I had chosen a monologue from Blanche from King John. While working on this monologue with Jo I kept getting into my head and not playing in the moment. To combat this, I got the exercise wherein I could not say my next line until she had snapped her fingers. This challenged me to fill the gaps she’d create and forced me to be in the moment, because I couldn’t anticipate anymore. It gave me a lot of freedom in this monologue and also helped me through the rest of the week with staying out of my head. It is also an exercise that I’ll definitely take with me for future plays.
Written by Janna van Leeuwen | Instagram: @jannavanleeuwen
With Intensive focusing on Katherina’s speech and my chosen monologue of Queen Titania, she of A Midsummer Night’s Dream, my summer was primarily occupied by characters who have to stand their ground. I experienced this as rather heavy, lonely even. The power they possess, I felt, was one they had to summon from the earth. And for me, being a person more drawn to moving a lot, it felt as if I had to keep pulling myself to the earth instead of gravity doing the job for me. Luckily, Jo knows me and paired me up with two characters who seemed to have rolled straight out of Commedia Dell’Arte: Tranio and Biondello. Though not being able to play the dynamic between the two zanni, me portraying both parts, they allowed me to focus on movement and comedic timing. And as with Katherina and Titania, putting urgency and truthfulness in every word. This Summer I learned what challenges me, what comforts me, and allowed me to work on my range, from earth to air