Proper Connections

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From the January 15 - 21 edition of BACK STAGE magazine (or newspaper), a lesson in Proper Connections, written by one Paul Cuneo (editorial@backstage.com). He's the guy in the pink over there. He's an actor an the creator of the Movemental Technique for performers, and a teacher at Stella Adler Studios, LA. This is a condensed version of his article from his column in BACK STAGE, The Craft.


(If you're ever in New York City, do me and yourself a favor and grab a copy of it. Grand Central station, little shop where they sell candy and magazines and newspapers, little cubby hole by the floor. BACK STAGE. If you find anything good, comment it on the blog somewhere and let me know.)


Emotional links to props can reveal compelling character behavior.

"Props can seem like little more than physical objects needed to create a sense of realism of fulfill an external action (drink, carry laundry, shoot). The deceptive simplicity of an author's stage directions, such as Pinter's "She goes to the mirror, combs her hair" in the final scene of Betrayal, can lead one to believe that a prop, such as a comb, is almost incidental. But by consciously developing the same powreful emotional connection to a prop that you subconsciously develop to your personal nostalgic treasures, you can increase your emotional availability; have a deeper, richer, more truthful stage experience; and discover the most compelling physical behavior for a scene."

... "In order for that [prop] to evoke something in you emotionally, you must invest yourself in the prop to such a degree that losing it would feel like losing a part of yourself, the way it would if you threw out [an] old sweater [grandpa had given you before he died]. The actor in you will know this is all imagined, but you will, as Mamet would say, accept this new reality and allow it to govern your physical behavior."

Cuneo's abbreviated list of connecting with a prop:

"Hold the prop and notice what you naturally like or dislike about it, without worrying about attaching any memories yet. Note all the details of the prop, how you hold it, what it looks like, what it feels like, any flaws in it, anything worth noticing and anything not worth noticing.

Now imagine how you, as your character, came to have this prop. Imagine specific memories - for example, the circumstances under which you came to recieve the prop. Why is the prop even remotely important to the character, what memories does looking at it and holding it evoke, no matter how mundane? When, where, why, how did this prop originally arrive to them? It must move you somehow, internally, externally, big change, little change, something must change.

Physically act out the events of your imagination in your space - you'll remember everything more vividly. Use the prop when you do this. You are building your connection to the prop, and when there is a connection, the actions are convincing."


There is more about bringing it into a scene, but I haven't had time to try it out for myself yet and I'm not sure how to word it. Cuneo used the comb in a scene of Betrayal as his example, but since I've never read Betrayal and you might not have either, I decided not to bother. Let me know what you think!

www.backstage.com/thecraft
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soodie beasley: John Thain: America's New Sun King

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Louis XIV (1638–1715), by Charles Le Brun

On July 18, 1668 in the gardens of Versailles, Louis XIV threw quite a fête for himself to celebrate his military victories. "Le Grand Divertissement royal," it was called, and cost one-third the yearly budget of Versailles. Royal parties were expensive. So Louis raised taxes -- relying heavily on the peasants -- and forced prosperous towns to pay homage of huge sums.

The Sun King was well known for his opulent extravagance. This is best exemplified by the construction of his palace at Versailles, his Hall of Mirrors and over the top baroque furnishings. Louis' motivation was not based just on his eye for luxury, but it was also a way of controlling the nobility, reducing their power and keeping a sharp eye for any potential rivals. Louis was flattered by all as much as he was feared. He insisted on his particular daily rituals, the Levee and the Coucher. Around 8:30 am the king, resting in his bed, would hear: “It is time, Sire”. The levee was a ceremonial rising just for him. Doctors, family and a few favored friends entered the king's bedroom where he was washed, combed, shaven and dressed. Then he slurped down a breakfast of broth with everyone standing around. It was estimated the attendants numbered one hundred, all male. At 11:30 pm, The Coucher, was performed -- a reverse, shortened version of the levee to celebrate Louis retiring to bed.

Skip to nearly four-and-a-half centuries later in America and I can’t help to see some similarities. John Thain’s task last year was to oversee the sale of Merrill Lynch to Bank of America Corporation and take over the bank's wealth management and corporate and investment banking divisions. He had to reduce expenses and fix the security firm. In order to get his wits about him, he needed to spend $1.2 million of the bank's money to lavishly redecorate his Merrill Lynch office while major layoffs were looming and the firm was going down in flames.

Thain hired (the fabulous) Michael Smith for $800,000 to create an environment where he could adequately think about this mess. Smith procured two area rugs for a total of $131,000, two guest chairs for $87,000, a nineteenth-century sideboard (mistakenly called a ‘credenza’) for $68,000, four pairs of drapes at $28,000, Roman shades for $11,000, a mahogany pedestal table at $25,000, a George IV Desk for $18,000, a sofa for $15,000; a custom coffee table for $16,000; Regency Chairs for $24,000 (personally, I question if they were period and designers out there: is this appropriate for a commercial application?); 40 yards of fabric for wall panels for $5,000, six wall sconces for $2,700, and a parchment covered trash can for $1,400.

In his private dining room he ordered six chairs for $37,000, a mirror for $5,000, and a chandelier for $13,000. And lastly, a $35,000 "commode on legs." (I assume this means a toilet and not a French dresser.)

Thain signed off on the purchases, as well as, "Labor to relamp the six wall sconces" for $3,000, and another payment of $30,000 to pay additional expenses Smith had incurred.

Michael Smith is being paid $100,000 to redecorate for the Obamas, which includes items from Target. (According to The Daily Beast), by the way.

We live in a society where an outrageous level of compensation is a justifiable reward for executives. Apparently, this level of extravagance is standard operating behavior. And apparently, high-profile CEO’s have the power, magnitude and all the glory of kings.

Are the rest of us mere peasants? According to the Bureau of Labor Statistics the national average salary is a little over $40,000, or in other words, approximately one thirtieth of Thain's expenses for the redecoration of his office.

Bank of America received $25 billion in bailout funds and then an additional $20 billion mid January while Thain spent $1.2 million to have his office redecorated out of the profits of the company as previous employers he axed were out of work. Merrill Lynch lost $56 billion from sub prime loans and the credit crisis, so what’s another $1.2 million, eh John? As Marie-Antoinette allegedly uttered a century later, “Let them eat cake?” – and we all know what happened to her.

Hey Thain, what principles were this great country founded upon?

(Thain resigned at the end of last month after being found out and has vowed to repay the funds. Must be a drop in the ocean from his end-of-the-year bonus.)

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