1) What is your hometown?
2) What is your dream role?
3) When was the last time you contributed to a campaign and how did it make you feel?
We then asked them to craft a little blog post about what brought them to The Seeing Place and why it means so much to them. We hope you enjoy getting to know our ensemble!
"DRAMATURGY- WHY ALL THE FUSS?" BY LOGAN KEELER
|Company Member Logan Keeler|
Call Daniel Day-Lewis neurotic, over-excited and extreme in his methodology. But you could never call him careless. You could never call him rash. You could never call him unprepared. He took the precautionary measures to learn- historically, mind you- how Abraham Lincoln spoke, how he walked, the clothes he wore, the shoes he wore, the health conditions he was subject to, the sleep he had or had not, the pressures put upon him by not only the Civil War at home but relations abroad, age, relations, everything of the time and everything of the man. Lincoln’s mother-in-law didn’t appear in the film but you know that he had an opinion on her!
I bring this up today, because as necessary work that the actor must do, dramaturgy should not only be seen as pivotal but yearned by the actor. What a profound opportunity to find oneself in, to bring a character off the page to life. As one might expect upon seeing our shows at The Seeing Place Theater, we have our standard four weeks of rehearsal preceding it. What’s not so known to the theatergoer is that this rehearsal period is itself preceded by three or so weeks of a dramaturgy period. This time is spent in round table discussion asking the pivotal questions of the who, what, where and why. Every story we tell exists in a world larger than the stage you see from the house and all this is taken into consideration. Each decision of the character is questioned and discussed and the story behind the story is collectively written before we even hit the rehearsal room.
|The Seeing Place ensemble find the humor in |
this lively dramaturgy session for OTHELLO
From my own personal experience, I can easily become trodden down by the tedium of research. This is different though. As objective as dramaturgy begins, naturally over time, I find, the character, without prompting, begins to flesh itself out. As Day-Lewis himself said, “Whilst you are learning you are not necessarily staying objecting.” The tedium is lost when we learn that dramaturgy is not about research at all, but discovery. We are not surveyors, we are archeologists.
1. Hometown: Falmouth, Maine
2. Dream Role: George from "Who's Afraid of Virginia Woolf"
3. Last time I gave: I dropped a few bucks to Doctors Without Borders. I generally am hesitant giving to individuals that I don't know personally know but the organization and their goals I respected. I knew that my contribution would go far.
The learn more about Logan, visit www.logankeeleractor.com.
To help create new work with Logan and The Seeing Place by contributing to our campaign, visit www.TheSeeingPlaceTheater.com