Inertia

Got up and cooked and packed a lunch (first time since I moved in) and as I was leaving, suddenly overcome with nausea, so called in sick.  Headache is finally starting to subside, possibly all the supplements I took this morning, possibly food poisoning.  Trying to feel well enough to go to class tonight, we have to work our scene.  I don't want to get behind, we won't have another opportunity to work it in class again for another week and a half.  And I'd like more feedback for our rehearsals.  Plus we need to get the okay on the cuts to the script.

Went to go get coffee to see if it would help (probable) and then sat at the lake and drank it, watching the birds chase each other around.  (I love this location, even if the more I look, the more filthy the house appears...amused about how much the landlord emphasized cleaning in the papers I signed.  It's not been cleaned in a very long time.)  Feeling a little guilty since I'd called in sick, really was sick though.  People near me discussing paddle-boating, and my realization that exercise has no appeal to me...maybe I'm just tired.  Somehow the only exercise I ever want to do is hiking, or maybe dancing. (And I'd definitely do that meditation thing again.)  Stopped by a Thai place for soup (which sometimes makes me feel better), but it wasn't on the lunch menu, so had noodles.  When I got ready to leave, cashier said another customer had already paid for my lunch.  He hadn't even made eye contact.  Appreciate the gesture though, kinda' made my morning.

Physical metaphor exercise was way more fun than I expected it to be (essentially, a wrestling match.)  And I'm stronger than I give myself credit for.  And I was thinking, that even though these scenes are "life and death" there has to be more dimension to the characters than just the seriousness, the flatness of straight anger or whatever.  There is a reason that makes it get to the point that any of these encounters happen at all.  There is a reason, any of the characters care at all, need this moment.  Also, works for realizing you can pursue your objective, even if you have to deal with the other person for a while, and even if you have to change tactics to get there...this exercise makes it so obvious.  (Taking the essential conflict for the character, what they want from other character, putting it into a physical form and then both partners going for it at the same time, while reciting the text.)

We didn't work our scene on it's feet, we talked about the characters, and why they are at this crisis, and we cut, cut, cut the script, and we're ending it early.  Have to schedule an outside time to work on it, which is fine, we could probably use more time to figure out the back story.  I finally left the house earlier and went to Bedlam, wrote four pages in 40 minutes of background and character development stuff (if I'm at home, I keep procrastinating, finding other things I "need" to futz around with.)  Still don't know what animal she'd be, though I think I have a song.

It's late and sweltering...a breeze is barely starting to make it's way through the window.  (But I'm not complaining, I like the amount of light that comes in.)

Crud.  Need to ask people for references.  Soon.  Earlier I thought of what I would explain about why I want to do this program, and what I have done so far, but of course, haven't written that yet.  I have to do it, I know these people, but it's been awhile, that would be the least of courtesies I could give them.

(I watched part of the movie version of Oleanna earlier today...I like my interpretation of Carol better.  Can I say that?  Sorry, but I do.  I didn't make her a cliche.  I don't think it should be so easy to choose sides.)