Day Before Tomorrow' is a scene of extreme contrasts. The scene begins with both characters in high spirits, preparing for the forthcoming wedding. Trish is an irreverent and funny character. She talks to kettles and toasters and finds great amusement in the preparation of coffee. Amy enjoys her company - they are close. Who better for Amy to share the time with before the wedding day? Rehearsing the scene might possibly commence with an exploration of Trish and Amy's relationship. The two are very close friends. They give each other the space to be carefree and abandoned. They are joyous and express this by being playful. They have fun by dancing and cavorting around the living room. There is also a quieter moment in the scene where Amy expresses her love for Trish. She seems to brush off the 'mushy stuff' as she calls it but we know she is touched by Amy's affection. For the actor playing Amy it is important to build a strong connection to the unseen character of Steve; and for Trish, the unseen character of Dave - Steve's friend who makes the call. Having clear and specific images of these relationships and personalities will help the actors achieve the level of emotion required when the news comes. Reacting to a phone call or any introduced stimuli that interrupts the flow, is an acting challenge in anyone's book. One suggestion in rehearsal is for the actors, to let the news affect them when it comes and not work for any of what they 'think' it should be. End-gaining is deadly at any stage of the process; actors playing in this scene may feel hugely obligated to achieve strong emotional states. The more the obligation is forced the harder it will be to achieve. Therefore the recommendation is to breathe and receive the stimuli. The news might be substituted with a sense memory or an imagined situation or a combination of both. Whatever the actor uses to achieve a believable emotional state, it is highly recommended to allow the process to take affect without forcing result. |