Need partner for GlenGarry GlenRoss.

I decided to do the opening scene from Act I of David Mamet's GlenGarry GlenRoss, but I need a partner as it is a two-person scene. Warning - the following contains harsh language (I always wanted to say that in a blog).

Script Score

Scene Score Assignment

Score your scene with the following rubric. Notes should connect to the scene moment-to-moment. Remember that you want your work on the scene to put you in a state of readiness for action and discovery. Your notes should always be fluid and open to new insights and possibilities. Ask questions and list multiple choices where possible.

Given Circumstances: Identify places in the script where the G.C. have an influence, particularly the G.C. that launch you into the scene.

Environmental Dynamics: Define areas of the stage in terms of their effect or influence on your character. Where is it safe? Where is there danger? Where is escape? Comfort? Unease? 

Somatic Components: What's going on in your body? Where do you manifest stress? Joy? Etc..

Thought Cues: Identify the points at which the thoughts and responses are cued by another's words or actions.

Choices: Note choices made at new transactions: opportunities for intimacy, games, etc.

Existential Position: IOK/YOK; IOK/YNOK; INOK/YOK; INOK/YNOK. Note places where this is evident.

Ego State Changes: note changes (e.g. Child to Adult) and what triggers the changes. 

Actions/Objectives: Note changes in objective, accomplished or failed objectives. State strategic actions such as "to lull" "to frighten" etc.

Blocking: Note blocking and motivation (e.g. escape, confide, cajole, etc.)

Inner Life: Note inner monologues and subtext at key moments such as silences and beat changes. 

Extras: anything you find useful to note.

Day 17 & 18

Tuesday, March 25

Absent: Robert

Scenework: Chip & Kathlyn. Will remount a final run on April 8.

Thursday, March 27

Absent: Sarah

Scenework: Mitchell & Paige. Completed. Taylor & Katherine. Completed.

NOTE: Please arrive for your scene ready. We cannot take time in class for warm-ups, but warm-ups are important. I want you physically limber, vocally open, verbally articulate.

*Do not use the scene to warm up* 

One More Thing.

Reduce time period of awkward silence to 45 sec.-1 minute in opening of funeral scene (pg.95-8).

March 27th,

1) Mark areas where you should put emphasis on certain moods during periods when it's evident those moods should be expressed.
2) Mark standing positions.

Rubric Ideas

My ideas for the rubric are as follows:
1. Mark every time your character has a choice.
2. Mark when your character is taking or giving.
3. Mark states (Adult, Child, Parent) and mark when it changes.

Day 16

absent: Taylor (ex), Sarah, Paige

Scenework from Carly & Robert.
We discussed the ways in which Toby's drunkeness enables him rather than disables him. We saw how he hits his "zone" with verbal wit - "freeing" his angry inner child.
Celia snapping fingers at Toby, a useful parental gesture.
We worked the game play with C & T around the news of the forthcoming interview with "Plastic Brides."
In the Toby/Sylvie scene, we worked the initial encounter and the softening of Sylvie as Toby entertains her leading into a nice moment of intimacy.

Upcoming:
Tuesday, March 25: Chip & Kathlyn / Paige & Mitchell
Thursday, March 27: Taylor & Katherine
Tuesday, April 1: Virgina & Tyler / Virginia & Ari
Thursday, April 3: Sarah & Jeffrey / Sydney & Jacob.