2 hours ago
This is the former location of the blog of the Mother of Invention Acting School in Los Angeles and San Francisco. The blog is now located at http://utteracting.com/blog. This old location has been left in place as an archive.
Yet the monologue stints on illumination; the light it sheds pours through nothing larger than a pinhole. In the end, it feels a rather ordinary, single-dimension exercise in navel-gazing.
Seattle has seen Eno's Thom Pain (based on nothing) at the Seattle Rep, and now TRAGEDY: a tragedy—getting cute with capitalization is always a bad sign—by new-to-Seattle company Satori Group. Not so much Beckett as bumptious, Eno writes loping, postmodern laments about the emptiness, alienation, and shit-slog that is modern living. Like an adolescent poet, Eno can't see past his own ennui.
...I use the term super objective as smaller and confined within the boundaries of the scene, so that the immediate objectives correspond to the super objective. Think of the overall objective as the spine, throughline or mainline of intent in the scene. Here's an example: You're an actor reading for a producer who is casting a part. But before that, you have to give a great reading, you want to handle the interview well and make a personal connection. Those are smaller objectives that lead you to the overall objective. The overall objective is the thing that really drives us. It can change within the course of the scene, depending on the information you learn, For example, that same producer calls you back and says "By the way, this project is non-union, there is no pay, and there is nudity." Your overall objective may have changed very quickly. So, depending on what happens in the script, your objective can change.