I don't have much to say at the moment. More than anything else, I'm stewing, letting it all mingle and simmer. Rehearsals for "Winter;" re-entry into my on-camera scene study with Neal A. Corl (the guy's a prince. If you're looking for training, don't hesitate to call him. His link is in the right column of this page;) preparing a proposal with Donald Drummond, a thoughtful and committed local director, to coproduce a show with CoHo; and, now, studying up for Shakespeare Boot Camp, in January.
Today, I signed up for the Month-Long Intensive Workshop conducted by Shakespeare & Company, in Lennox, MA (link at right). Four weeks, six days a week, 8 am to 10 pm, all Shakespeare, all the time. Alexander technique and Linkletter are mainstays of the program, both of which I'm now ready for.
This is a good time for me to do stage training with an emphasis on voice and movement. I've recently begun to understand how to work, but even more importantly, my interest and focus have shifted more to process--and all it's immediate gratifications--and away from anxiety about making career advancement (for one thing, I now see that career advancement takes care of itself, if you DO the work itself, rather than keep sniffing for lesser opportunities, always a Faustian bargain. Remember that, Lucinda, when envying the glitterati.)
Also, it's easier to be patient when I'm already scheduled--albeit tentatively--for two or three stage productions in 2006 and maybe a film, if my partner and I can get it together with the patience and sanity that we're both interested in applying to our work, now. Neither of us wants to fly off on adrenaline and crazed youthful dreams. We're in it for the long haul.
Feeling good. Nervous. Always walking the tightrope between poseur and worker bee. Also, there's a girl I like. Nice change of pace.
More, anon. I'm sure to freak out soon.