an actor’s creative process in the preparation and
TRANSCRIPT
AN ACTOR’S CREATIVE PROCESS IN THE PREPARATION AND PERFORMANCE
OF JUDGE BRACK IN THE NEW MRS. TESMAN, A NEW INTERPRETATION OF
HEDDA GABLER BY HENRIK IBSEN, ADAPTED BY DR. MIKELL PINKNEY
BY ERNEST BRIGGS
A PROJECT IN LIEU OF THESIS
PRESENTED TO THE COLLEGE OF THE ARTS
OF THE UNIVERSITY OF FLORIDA
IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE
DEGREE OF MASTER OF FINE ARTS
UNIVERSITY OF FLORIDA
2017
Copyright © 2017 Ernest Briggs
All rights reserved.
Whatever character you play, remember they are always doing something. They are not just
talking. They are alive; going through a drama in which they will go through some sort of dramatic
human experience. Keywords: Alive and Experience. It is your job to make them become so.
Anything you do on stage or film has a direct relation to something you have experienced in one
form or another in real life. Use your imagination to exaggerate or lessen that sensation. Then,
disguise it in characterization and don't forget to make lots and lots of mistakes, and look like a
complete asshole. You'll do fine.
- Tom Hardy
TABLE OF CONTENTS
ABSTRACT 5
INTRODUCTION 7
SYNOPSIS 9
RESEARCH
Ibsen and Hedda Gabler 12
The New Mrs. Tesman Setting: 1950s Canada 14
CREATIVE PROCESS AND REHEARSAL
Script Analysis 15
Characterization Preparation 19
Vocal Work 23
Physical Explorations 26
The Director 30
Focal Points 31
PERFORMANCE 32
CONCLUSION 34
APPENDICES
A. Lessac Markings for Vocal Exploration 36
B. Character Dossier 37
C. Inspirational Photos 47
D. Production Photos 48
E. Promotional Marketing 51
F. Production Program 54
REFERENCES 59
BIOGRAPHICAL SKETCH 61
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Abstract of Project in Lieu of Thesis
Presented to the College of the Arts of the University of Florida
in Partial Fulfillment of the Requirements for the
Degree of Master of Fine Arts.
AN ACTOR’S CREATIVE PROCESS IN THE PREPARATION AND PERFORMANCE
OF JUDGE BRACK IN THE NEW MRS. TESMAN, A NEW INTERPRETATION OF
HEDDA GABLER BY HENRIK IBSEN, ADAPTED BY DR. MIKELL PINKNEY
By Ernest Briggs
May 2017
Chair: Christina Garland
Member: Tim Altmeyer
Major: Acting
In my final performance project for the MFA in Acting at the University of Florida, I
performed the character of Judge Brack in the play, The New Mrs. Tesman, a new interpretation
of Hedda Gabler by Henrik Ibsen, adapted and directed by Dr. Mikell Pinkney. The New Mrs.
Tesman ran September 23, 2016 – October 2, 2016 for 9 performances.
This paper explains my process for character exploration and development throughout the
rehearsal process for The New Mrs. Tesman. I expound on my approach and different techniques
I used to find my characterization of Judge Brack, among which included using the script as a
foundation to create a character’s backstory to which I added details of my own invention. I also
employed the use of a character “secret” and practices from David Mamet’s Practical Aesthetics.
I discuss how using Lessac vocal techniques aided in finding Judge Brack’s voice in order to
differentiate it from my own voice. I explain how Laban movement techniques and an animal
study helped to develop Judge Brack’s physical characterization, and how using Michael
Chekhov’s Focal Points during rehearsal brought greater emphasis to each scene. Then I reflect
on the production’s growth in performance. In conclusion, I reflect on my growth as an actor and
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the techniques learned in the MFA Acting program at the University of Florida that aided my
development of Judge Brack.
7
INTRODUCTION
While at the University of Florida, I was fortunate enough to perform roles such as Egeon
(Comedy of Errors), The Elderly Man (The Golden Dragon), the Herald (The House of Atreus),
and Ernie Mac (Puffs). I was thrilled at the opportunities and challenges each of these roles
provided me. However, these roles have one thing in common: they could be considered “nice
guy” roles.
Being typecast in “nice guy” roles has followed me throughout my career. This may be
due to my laid-back demeanor and jovial nature. I rarely have the opportunity to explore the
amoral side of humanity in my acting. A few of my professors commented about my casting in
“nice” roles and that they hoped to see me play a “darker” character. For that reason, I decided to
seek out a thesis role that would allow me to play “against type”. I wanted to use my talents to
display my darker side as a less than respectful antagonist.
When considering my thesis role options in the 2016-2017 season at the UF School of
Theatre and Dance, the play that jumped out at me was The New Mrs. Tesman, a modern
adaptation of Ibsen’s Hedda Gabler. I had read the Ibsen script before and enjoyed the
mysterious aspect of the story. The complex characters, specifically Hedda and villainous Judge
Brack, intrigued me and I wanted to know more about these two characters and their
motivations. I therefore focused my energies on getting the role of Brack in this new adaptation.
I sat down with the writer and director, Dr. Mikell Pinkney, and expressed my enthusiasm for the
role. Judge Brack, a character who projects a friendly and trustworthy demeanor, is actually an
unscrupulous and ethically questionable character that rivals the deceitful and amoral qualities of
the title character. Playing the role of Judge Brack would give me the opportunity to play a
character who tries to dominate everyone he meets, even his friend, Hedda Tesman. Thankfully,
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my lobbying efforts paid off. I was cast as Judge Brack, and I spent the summer preparing for a
role that would be a departure for me.
I hoped to show everyone that I can play antagonists and show the dark side of humanity
in my work. I welcomed the opportunity to create a role that can be seen as elegant, classy, nice
and intelligent, but, when you least suspect it, shows his true colors and shatters any expectation
you might have about him or his motivations. I wanted to showcase my talent for playing
complex, malicious, salacious characters. Judge Brack, a wolf in sheep’s clothing, is such a
character.
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SYNOPSIS
Dr. Mikell Pinkney’s adaptation of Ibsen’s Hedda Gabler updates the text to include
modern dialogue and events that reflect mid-twentieth century Canada. In Tesman, Pinkney
explores how racial undertones affect Hedda’s story, by making her the daughter of the first
minority parliament member of Canada.
Dr. George Tesman and his wife, Hedda, have arrived back from their 6-month
honeymoon. While away, George’s aunt, Miss Julia, and Judge Brack (a friend) help George
purchase a house he believes to be suitable for Hedda. George, who comes from a lower-middle
class family, is anticipating an appointment as a professor at the university that would fulfill
Hedda’s upper-middle class desires. Hedda is bored with her life and mocks the lifestyle in which
she now lives.
Thea Tremblay, Commissioner Tremblay’s wife, arrives unannounced at the Tesman’s
home. She has left her husband and followed Elliot Lambert, whom she loves, to the city from
the country. She informs George that Elliot Lambert is back in town after publishing a new book
and is worried that Lambert is drinking and partying again. Thea asks George to check on
Lambert; George sends a letter to Lambert inviting him to visit. Hedda finds out that Thea is in
love with Lambert, but does not know if Lambert feels the same about her. Judge Brack arrives
with information that George’s appointment as a professor has been postponed because Lambert
is now being considered for the position.
Later that afternoon, after George has gone to visit his aunts, Brack returns. Hedda
confesses to Brack that she does not love George. She married George for no other reason than
because he asked her. Hedda admits she does not even want the extravagant house that is a
financial burden for George to maintain. Upon George’s invitation Lambert arrives to get
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George’s opinion on his new manuscript then lets George know he does not want the
professorship. After some time, Brack announces it was time to leave for the George’s post
bachelor party, Brack then invites Lambert to a party for George; however, Lambert declines and
accepts Hedda’s dinner invitation instead. While Lambert and Hedda are alone, they discuss their
past relationship. She tells Lambert she never loved him, but only wanted to experience a
physical sexual relationship. Hedda admits to being a coward for not shooting Lambert the night
they ended their relationship as she had threatened. She tells Lambert that people, including
Thea, think he is not strong enough to control his drinking and partying. In response, Lambert
gets drunk and then decides not to stay and have dinner, but go to the party with George and
Brack. He says he will return at 10 o’clock to escort Thea back to her hotel.
The next morning, Thea is still at the Tesman’s house because Lambert did not return for
her. Hedda sends Thea to her bedroom to rest for a while because she had stayed up all night
waiting for Lambert. George arrives home and tells Hedda that Lambert read his manuscript to
him. George thinks the new manuscript is wonderful and he is jealous of Lambert’s writing.
George explains that he went for a walk to sober up and found Lambert’s manuscript on the
sidewalk. George did not give Lambert his manuscript back that night because of the agitated
and drunken state Lambert was in at the time. In order to get the manuscript, Hedda distracts
George by informing him that a letter arrived early that morning from his Aunt Julia. George
urgently reads the letter, which says that his Aunt Rina is dying so he leaves immediately to see
her. Hedda is left alone with the manuscript which she hides. Brack, then, arrives to speak with
Hedda. He explains that he followed Lambert after the party. Lambert went to a soirée that
ended with him accusing Mademoiselle Diana, a madam who runs a local brothel, of stealing his
wallet. Lambert was arrested for causing a fight with Diana. Brack informs Hedda they need to
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shun Lambert to avoid being associated with the scandal involving the local madam. Then
Lambert arrives and lies to Thea saying that he tore up the manuscript and she needs to return to
her husband. Thea storms out of the house. Lambert then confesses to Hedda that he was
ashamed that he lost the manuscript that he worked on and wrote with Thea’s help. Lambert
implies he will kill himself, and Hedda urges him to end his life beautifully. Before leaving,
Hedda gives Lambert one of her pistols. Hedda then takes out Lambert’s manuscript and burns
it.
George later returns and Hedda confirms that Lambert came by the house. Thea, enters
and repeats to George what Lambert told her, that he tore up his manuscript. George asks Hedda
if she gave Lambert the manuscript and Hedda says that she burned it, intimating she did it
because George was envious of the manuscript. George is initially upset, but Hedda changes the
subject and implies that they are expecting a baby. Then Brack arrives with news that Lambert
has shot himself and is dying. Thea is devastated. George wants to honor Lambert by recreating
his manuscript. Thea says she has all the notes. George pledges to put the notes back together to
honor Lambert and Thea will help. When George and Thea exit, Brack reveals to Hedda that he
lied about the facts of Lambert’s death for Thea’s sake. Lambert did not kill himself. His death
may have been an accident or murder, but not the beautiful suicide that Hedda had envisioned.
Brack also knows Hedda gave Lambert the pistol that killed him and pledges to keep his mouth
shut if she succumbs to his sexual desires in order to save Hedda from the scandal. Brack knows
that Hedda would not want to explain that she gave Lambert the pistol in order to kill himself. To
avoid living at the mercy of Judge Brack’s sexual advances, Hedda kills herself.
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RESEARCH
The New Mrs. Tesman is an adaptation of Henrik Ibsen’s Hedda Gabler, set in Ottawa,
Canada in the 1950s. To assist with character development, I first researched Ibsen and Hedda
Gabler to see if the source material or its playwright might give some insight into the role of
Judge Brack in The New Mrs. Tesman.
IBSEN AND HEDDA GABLER
In the nineteenth century, Norwegian playwright Henrik Ibsen became famous for writing
in a new style called Realism. The purpose was to show the unpleasant reality behind the
pristine facade of the middle class reputation. World audiences embraced Realism, and Ibsen
became known as the Father of Modern Drama with such plays as A Doll’s House, Ghosts, and
Hedda Gabler.
Hedda Gabler (1890) shows the glaring differences between the upper and lower middle
classes of Western society. In the same fashion, Pinkney examines class in his adaptation, The
New Mrs. Tesman. For example, in both plays Hedda enters her new home and immediately
sneers at a hat left in the parlor; she demands that the servant’s hat be removed from the room
knowing that the hat belongs to her new husband’s aunt. This seemingly small action clearly
demonstrates a separation between a privileged class and servants as well as hints at Hedda’s
disdain at a rising middle class. If the line between classes becomes less discernible, it could
threaten Hedda’s high social standing. When Judge Brack later mentions that George should
have been more frugal when purchasing a house, George states, “But that would never have
done, and you know it! Think of Hedda! You, who know her so well! I couldn’t possibly ask her
to put up with a shabby style of living” (Pinkney 25). In both versions, Hedda’s entitlement
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defines her, as it seems to define all those of the upper middle class. Judge Brack, as a member
of the upper middle class, shares that sense of entitlement; it justifies everything he does.
Throughout his career, Ibsen liked to examine societal ideals and the often grim results of
one’s actions in pursuit of those ideals. Ibsen created characters with which audiences could
sympathize, even if they did not agree with the character’s actions. With Hedda, Ibsen offered
his audiences a character who many could relate to because of her desire to improve her social
rank. However, Ibsen shows “that the single-minded desire to achieve an ideal life wreaks
destruction” (Gainor 198). Judge Brack’s desire to possess Hedda also lends to that theory, as his
manipulation leads to Hedda’s demise. I used this understanding about Ibsen’s work to create an
entitled character who is single-minded to a fault and obsessed with achieving his ideal life with
Hedda; all of my behavior as Brack would be in an effort to achieve that ideal.
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THE NEW MRS. TESMAN SETTING: 1950s CANADA
The New Mrs. Tesman is set in Ottawa, Canada in 1950s. Knowing that given
circumstances such as geographical location and time period influence and inform characters, I
researched what was happening historically and socially in 1950s Canada.
The 1950s saw changes throughout the world socially and economically. World War II
brought about innovations in technology that affected everyday life. Canada became less rural
with growing industrialization and urbanization. White-collar service industry jobs were creating
a new upper middle class. Since one of the themes in The New Mrs. Tesman is the difference
between the upper and lower middle classes, the change in Canadian society at that time is rather
important.
It was also during the late 1950s that the gender and racial make-up of Canada’s
parliament was changing; women, indigenous people (First Nations), and African Canadians
started to seek public office. It was during this period of history that Canada elected
parliament’s first indigenous person and African Canadian for government positions. These
changes in the social order are reflected in Pinkney’s adaptation. In The New Mrs. Tesman,
Hedda is the daughter of the first black Member of Parliament, and as such her newly found class
and status become an issue for her and others like Brack in the old-money, predominantly white
circle in which her father’s election has thrust her.
Understanding the historical and social climate of a play can directly and indirectly affect
the development of a character, and, as you will see, that was true in my development of Brack.
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CREATIVE PROCESS AND REHEARSAL
An actor’s creative process includes several tools that help create different aspects of a
character. I used script analysis, characterization preparation, vocal work, and physical
exploration to create my interpretation of Judge Brack.
SCRIPT ANALYSIS
Script analysis is important when working on a role because the text gives foundation to
character choices by providing a character description, relationship dynamics, and indications of
character behavior.
After reading Tesman, the first thing I did was note what the text specifically reveals
about Judge Brack, including physical descriptions, clues about personality and what the author
and other characters say about him (see Character Dossier, Appendix B). I also noted the
relationships Brack has with other characters and the roles he plays in the events of Tesman. The
playwright describes Brack as, “a man about forty-five years old; a heavier, but well-built man
with short black hair, and wears a suit too youthful for his age” (Pinkney 23-24). My
interpretation of Brack from the playwright’s physical description is a man who is struggling to
stay youthful and suave.
However, I found what other characters said of Brack more intriguing. Miss Tesman
says, “Judge Brack was good enough to see me right to my door” (Pinkney 4). George explains
that while the Tesmans were on their honeymoon, Brack arranged to purchase the Tesmans’
home. Brack even put up the funds to purchase the house. This might show that Brack is a good
friend to the Tesmans, but I saw other motivations behind Brack’s actions. He states, “All I
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require is a pleasant and intimate circle of friends, whom I can trust, where I can make myself
useful in every way, and into homes I may come and go as –a trusted friend. Frankly, of the
mistress first of all” (Pinkney 34). This statement by Brack seems to imply he wants more from
Hedda than just friendship. Interestingly, no one speaks ill of Brack except Hedda, and she does
so only once. When she tries to gain influence over Lambert by convincing him to drink, Hedda
hints at Brack’s duplicity, “I saw the way [Judge Brack] smiled and winked at Tesman when you
were afraid to join them at that wretched little party of his” (Pinkney 51). As there is little
mention of him in a negative light, I concluded that Brack hides his indiscretions carefully.
Judge Brack is a complex character with hidden motivations. I was obsessed with
discovering if Brack has feelings for Hedda, other than sexual lust, and if there is a deeper
connection between them. As I have already mentioned, Brack does speak to Hedda about
having a circle of friends whose homes he can enter and leave freely as a trusted friend.
Significantly, he states that in these cases, he is friendlier with the wives than the husbands. This
implies that Brack desires a relationship with Hedda that is more than just a friendship. Brack
asks Hedda why she married George if she does not love him, to which she replies, “it was more
than my other admirers were prepared to do, dear Judge” (Pinkney 34). He comments, “that I
have always entertained a – a certain respect for the institution of marriage – as an institution”
(Pinkney 34). However, I wondered whether Brack would consider marrying Hedda. In Act 2,
Brack and Hedda reveal that they understand each other’s desires for “lively and amusing
conversations on all sorts of topics…and [they are] interested in more than a single subject”
(Pinkney 35). The script also reveals that Hedda and Brack have a familiar relationship, in
which they share private conversations and confidences. When Hedda confesses it has been
17
awhile since their last chat, Brack clarifies, “You mean since our last confidential talk? Our last
‘tete-a-tete’?” (Pinkney 32).
Hedda says to Brack, “It seems like forever since we last had a little chat. Of course, I
don’t count last night or this morning” (Pinkney 32). This indicates that they often spend time
alone together talking intimately, giving justification to Judge Brack’s obsession with Hedda.
But Brack is careful not to overtly declare his desires for Hedda. Instead, he uses innuendo and
compliments to imply them. For example, in Act 2, Hedda and Brack are alone together waiting
for George to arrive. Hedda mentions they will have to sit and wait, and Brack responds that he
will just have to endure. This statement does not intend to imply a hardship, but with the light,
slow tone, I interpreted it as a flirtation. Later, Brack confesses to Hedda, “Not a day passed
without me wishing you were home again” (Pinkney 32). It is not until late in the play, when
Brack confronts Hedda about her involvement in Lambert’s death that we see Brack’s
deviousness as he corners Hedda into being his sexual object with a not-so-veiled threat of
blackmail stating, “Fortunately, there is no danger, as long as I say nothing” (Pinkney 90). It is
only at this point that we see Brack’s true, unfiltered intentions.
Judge Brack’s relationships with other characters (or lack thereof) were intriguing, too.
When Hedda introduces Lambert to Brack, Lambert interjects that he knows who Brack is,
“Judge Brack, I believe” (Pinkney 42). With a curt response, Brack confirms, “Correct. We—
met some years ago” (Pinkney 42). With this brief, awkward exchange and knowledge from
earlier conversations in the script a regarding their social interactions, I concluded that Lambert
and Judge Brack run in the same circles and possibility know each other’s indiscretions. Brack
also feels threatened by the attention Hedda shows to Lambert and how that might affect Brack’s
relationship with her. Brack confesses, “Yes! I confess it would be more than painful to me if
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this – interloper were to have free rein of your house…How deplorable it would be if he were to
force his way into…into the triangle?” (Pinkney 66).
Ultimately, script analysis led me to understand that Brack is a “smooth operator”—
respectful, charming and beyond reproach in public, but lustful, manipulative and cutthroat in
private.
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CHARACTERIZATION PREPARATION
In order to further my character development of Judge Brack, I leaned on techniques I
learned at the University of Florida. These techniques were “backstory” creation, creating a
“character secret”, and Practical Aesthetics.
I created a character backstory, or biography, for Judge Brack, which highlighted his
upbringing and his history with other characters in the play. In order to create it, I used
information from the text as a foundation and filled in the gaps with details I fabricated about the
character using my imagination. By doing this, it made my interactions with each character more
specific and stronger.
Dr. Pinkney would ask questions about my choices and force me to justify them by using
the play for support. By challenging my choices, I had to dig deeper to understand the role and
the motivations for all that Brack does in the play. For example, Dr. Pinkney asked why Judge
Brack calls Hedda “Mrs. Hedda” instead of “Mrs. Tesman”. This resulted in me going home and
writing about his relationship with Hedda, their time together, and the development of pet names
for one another. I found that social etiquette dictates behavior throughout The New Mrs. Tesman.
For example, Judge Brack refers to Hedda as either “Mrs. Tesman” or “Mrs. Hedda”, but never
just “Hedda”. Even referring to Hedda as Mrs. Hedda rather than Mrs. Tesman, implies a
familiarity with her while not fully respecting her marriage to Tesman. This show of formality
speaks volumes about a man who operates with the utmost propriety, and who knows how to
come across as polite while being subversive.
The cast was encouraged by the director to share information with each other so that we
might better understand our characters’ relationships. Dr. Pinkney and I talked about the possible
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relationship between Judge Brack and Hedda’s deceased father, an ever-present force whose
picture hangs over the fireplace. We talked about the possibility that, although not specifically
stated in the text, Judge Brack had seen Hedda grow up, and that the relationship had grown
close and intimate. This seemed to justify much of the play for me and soon became part of my
backstory. From this exercise, I decided that Judge Brack is an old friend of the Tesman family,
appointed to a judgeship by Hedda’s father, and that he did not care for Elliot Lambert. Hedda’s
interest in Lambert threatens Brack’s relationship with Hedda, which led to his dislike of
Lambert. Without clues from the text, I had “carte blanche” to invent Brack’s childhood and
family experiences. I decided that his mother died in childbirth and his father, who was
financially well off, sent him to England to be raised and educated. My decision to play Brack as
if his mother died in childbirth was justified by studies that find men who see women as objects
are more likely to have been raised without a mother. The play tells me that Brack is suave,
educated and sophisticated, and my character biography provided justification for his darker
behavior in the play—as did my invention of a powerful “character secret” for the judge.
A “character secret” is a secret that an actor creates that helps drive the character’s
motivation throughout the story. Creating a “character secret”, a tool I learned from my
professor, Dr. Judith Williams, colored every moment of my performance with greater need. For
Judge Brack, I decided his secret is that he is half-First Nations (specifically Ojibwe, an
indigenous people of Canada) and half-white European. His father worked at a boarding school
where he met his mother, a full-blooded Ojibwe woman, who died in childbirth. In addition, I
decided that after her death, his father determined that it was in Judge Brack’s best interest to
hide his ancestry from society and explain his dark complexion and dark hair with the lie that his
mother was of Italian ancestry, not First Nations. Finally, I determined that if Judge Brack’s
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secret should ever come out it would hinder his ascension in politics and his career in law. This
affected my behavior in different ways.
I used my “character secret” in moments interacting with Elliot Lambert. As I had
determined, from hints in the text and details that I created to fill gaps, Lambert and Brack run in
the same party circles and probably know each other’s secrets. If Lambert knows Brack’s secret,
Brack would want to make sure to keep Lambert away from the Tesmans.
The “secret” also heightened my relationship with Hedda. Since Brack is in his forties, it
would mean that he grew up during a time when minorities were neither government officials
nor members of the upper middle class. If Hedda’s family is one of the first minority families to
break the class barrier, Brack might justifiably feel a resentment that she is accepted for who she
is where he still feels he needs to hide his ancestry to keep his status—a resentment that leads to
a desire to possess and possibly punish her.
The final technique I used in character creation was Practical Aesthetics, a three-step
scene analysis method. Practical Aesthetics, developed by playwright David Mamet and actor
William H. Macy, combine elements from acting techniques by Constantine Stanislavsky and
Sanford Meisner. Practical Aesthetics involves identifying three specific aspects in each scene:
what the character is literally doing in the scene; what the essence of that character action is,
referred to as the “essential action”; and what that action is like to the actor, referred to as the “as
if”.
I applied this analysis to all of my scenes in Tesman. For example, in a scene in Act 2,
Judge Brack is literally having a conversation with Hedda Tesman while waiting for George to
arrive home, attempting to get her to enter into a sexual affair with him. My “essential action” in
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the scene involves trying “to get someone to lower her defenses.” It’s as if I am trying to get my
wife to forgive me for recent behavior so that I can be intimate with her. Mamet attempts to
clarify the “as if” step in his book stating, “These lovely dreams do not require ‘preparation’ –
we do not ‘believe’ we are meeting Mandela; we only act ‘as if’ we were” (Mamet 116).
Practical Aesthetics is a method to assist the actor in understanding what is going on in each
scene, what his objective is, and how he can relate to it. The most difficult part of working with
Practical Aesthetics was trying to find scenarios “as ifs” from my own life to personally connect
with Brack’s actions. When I could not identify an “as if” for a particular essential action, I
imagined a fictional relationship in my life to better connect with Brack’s behavior. By using
both ways of creating “as ifs”, I worked to understand and operate as Brack on a more personal,
empathetic level.
Understanding what is happening in the scene, the desires of the character in the scene,
the actions of the character, and how an actor can relate to those actions allows the actor to be
present within the scene. By doing these things, I became more in-the-moment in my scenes as
Brack, allowing me to listen more actively and respond more spontaneously as the character
because I always knew what I wanted and understood what those desires meant to me.
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VOCAL WORK
Another aspect of character discovery and development happens through vocal work. I
started my work on the vocal aspect of the character by examining the way Judge Brack
expresses himself. He chooses his words carefully and often uses economy of language to
express himself rather than using long diatribes and monologues. When interacting with other
characters, Brack uses quick statements and gets to the point very quickly. In short, his manner
of expression is formal and precise.
I also examined the structure of the language to discover how I might use the words to
build a sense of character and to get what I want as Brack. Under the tutelage of Yanci Bukovec,
I trained to work with language and to explore the various choices and opportunities provided by
the text with use of vowels and consonant sounds to create the role using the Lessac vocal
technique (see Appendix A for an example of Lessac marking in the script). Lessac uses
instruments from an orchestra to describe the sounds that the human voice can create. In
rehearsal and in my own time, I explored my choice that Judge Brack, as a precise
communicator, emphasizes his consonant sounds, including what Lessac refers to as the N
Violin, the M Viola, the NG Oboe, the L Saxophone and the S Sound effect. Playing the L in
words like “Well” and the S in words like “Yes,” words that Judge Brack used often, would
create a light, gentle and intelligently analytical quality of speech that seemed right for Brack.
An actor can find the consonant choices to play by finding the vocal and linguistic patterns the
character uses. In discussing the use of the S Sound Effect, Lessac writes:
The S sound effect is a light, soft, high-pitched sensation, like the
gentle escape of steam from a radiator. It induces an incisive quality
in words when it precedes other consonants […] the S will develop
into a clear, sharp, yet delicate sound and provide a lovely tonal
contrast to the melody strings and woodwinds and the staccato
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drumbeats; it will also be perfect for personal, stage, or microphone
speaking or singing (Lessac 81).
This same is true for the L Saxophone. He writes, “The L saxophone is a gentle, fluid
instrument. Although it asserts itself somewhat more when it precedes a vowel than when it
precedes consonant, it is a beautiful, melodious sound that adds clarity and richness to consonant
speech” (Lessac 95). In class, Yanci Bukovec discussed the parallels between the S Sound Effect
and L Saxophone; both are sustainable consonants, which provide the actor with the opportunity
to play the sounds longer but genuinely as a way of defining character and playing his action. As
these sounds occur often in the text of The New Mrs. Tesman, they offered me many
opportunities to use them to create a characterization that was intelligent, aristocratic and
effortlessly commanding.
I also chose to employ a British dialect in my portrayal. In my conception of the role,
Brack was raised and educated in England, which justified my use of a British dialect.
Furthermore, Canada’s main languages are English and French; however, Dr. Pinkney consulted
a native Canadian, who confirmed that people in Ottawa, Canada lean more towards British
speech patterns than French speech patterns.
Once I decided to use a standard British accent for Judge Brack, I researched aspects of
the dialect. I found that in the standard British accent certain sounds are impacted the most. For
example, U like in duty is pronounced like “ew” (you). In addition, R is not rolled and, if placed
after a vowel, is tapped. For example, in the word hurry, the R is not blended and sounds like
huh-ree. Enunciation of heavy consonant words is important, such as in duty where the T is
emphasized; the word ends up sounding like dew-tee instead of doo-dee. I also viewed video of
actors speaking with the accent, including George Sanders in All About Eve. On a suggestion by
25
the director, I used his speech pattern as a template for Judge Brack’s speech pattern, which
seemed right. Both Brack and Addison DeWitt (as played by Sanders) in All About Eve have an
easy aristocratic air about them and possess a strong sense of entitlement.
One challenge I faced when working in the University of Florida’s Black Box Theatre
was ensuring the audience understood what I was saying. During the early portion of the
rehearsal process, I found that my words were easily heard in the comfort of the rehearsal hall,
mostly because it was a small, enclosed space. I often engaged in a more conversational tone and
volume in my scenes. However, as I moved to the Black Box Theatre, my vocal performance
was weak due to the lack of articulation. Dr. Pinkney advised me to work on clarity and
articulation because the words were being lost. In order to resolve this challenge, I had to take
time before every act to over articulate my words. To warm up my voice and increase
enunciation and articulation, I would place my tongue in front of my lower gum ridge inside my
lips in order to not use it when speaking and then speak every one of my lines. When I could
speak my lines clearly and correctly without the use of my tongue, I knew my resonators and
articulators were appropriately prepared for performance.
I also adopted a daily vocal warm-up that included vowels calls, which elongate the
vowels in a series of words in order to promote ease throughout the vocal apparatus and to
warm-up and clear out the resonators of the voice, the throat, nose, sinuses, and mouth. An
example of a call exercise is, “No, Nay, Nill, Nurse, Nawl, Noise, Nor, Nair, Nook and Ned.” I
also warmed up using a classical text from Henry V. I then would begin going over Tesman
dialogue, paying attention to use proper vowel placement and playing my consonant and vowel
opportunities from Judge Brack’s lines. These adjustments and warm-ups gave me the vocal
clarity and precision I hoped they would to reach the back row of the theatre.
26
PHYSICAL EXPLORATION
Along with my vocal exploration of the character, I explored the physicality of the
character with methods of embodying the character and experimenting with how the character
might move. I used Laban movement elements and an animal study to help create a full
character.
In The New Mrs. Tesman, Pinkney describes Judge Brack as, “a man of forty-five; thick
set, but well-built and elastic in his movements. His face is roundish with an aristocratic profile.
His hair is short, still almost black, and carefully dressed. His eyebrows thick […] he wears a
well cut walking suit. A little too youthful for his age” (Pinkney 24). This description of Judge
Brack provided useful information regarding the physical aspects of the character, not only his
appearance, but also the way he moves and carries his body. However, I wanted to discover
greater physical life in my characterization of Brack through actual physical explorations.
One of the instructions we were given by the director was to go back to our training and
apply acting tools and techniques that worked for us and use them to develop our characters
outside of rehearsal. One of the techniques I used was Rudolph Laban’s Eight Effort Actions:
Laban breaks down the way we move using three different areas of
analysis: space, weight and time. Space can be either direct or
indirect. Weight can be strong or light. Time can be sudden or
sustained. When you put these all together, you end up with eight
efforts that classify styles of movement, as well as something of the
personality of the person making that movement” (Hopkin).
The Eight Effort Actions are: Float (Light, Sustained, Indirect), Punch (Strong, Sudden, Direct),
Glide (Light, Sustained, Direct), Slash (Strong, Sudden, Indirect), Dab (Light, Sudden, Direct),
Wring (Strong, Sustained, Indirect), Flick (Light, Sudden, Indirect) and Press (Strong, Sustained,
27
Direct). After some exploration, I found that Glide (Light, Sustained, Direct movement) and
Slash (Strong, Sudden, Indirect) Effort Actions seemed the most “right” for Judge Brack. Glide
worked well for his everyday interactions; for a man who seemed to “glide” through life with
ease and grace like an Olympic skater. However, when Judge Brack is challenged or on the
offensive, like when he confronts Hedda about her role in Lambert’s death, I used Slash
movements to attack my prey. For example, in Act 4, when Brack says to Hedda, “Elliot
Lambert did not shoot himself voluntarily,” I suddenly moved in front of Hedda, as I moved my
neck in an indirect sideways motion along with my right hand in a Slashing motion as if pointing
to a body. The sudden Slashing movement intimidated Hedda and put her on notice that he was
not to be crossed.
The other exploration I used to develop Brack’s physical life was an “animal study”. An
animal study is an exercise to study and replicate an animal’s movement with the purpose of
applying that animal’s movement to scene work. I viewed Judge Brack as a cunning predator, so
I made the choice to study the hyena, a mischievous creature who stalks its prey. I first began by
viewing several videos, photos and scientific skeletal photos of a hyena to learn how the animal
moves (Appendix C). I noticed that the hyena moves homolaterally; it moves its back left foot
first and then its front left foot before moving its right back foot and front right foot.
Interestingly, the hyena exhibits the same movement qualities I had chosen through Laban; while
it walks among its prey, the hyena “glides” until it is ready to attack, at which time it “slashes”.
Then, in an effort to capture the hyena’s specificity of movement, I articulated how the
animal moves, using terminology provided by my Movement instructor, Tiza Garland. I did this
by identifying the initiation of movement, sequencing the movement, citing the body use, and
describing the Effort in terms of Weight, Time, and Space.
28
There are four types of initiation to describe movement: core (movement starts from
center of the body); proximal (movement starts from shoulders or hips); mid-limb (movement
from elbows and knees); and distal (movement starts from hands or feet). Sequencing of the
movement can be defined as simultaneous (body parts at the same time); successive (adjacent
body parts move one after the other); or sequential (non-adjacent body parts move one after the
other). Basic body use can be classified as homologous (upper/lower), homolateral (body-half) or
contralateral (opposite sides of the body working together). Qualities of the Effort of Weight are
Light or Strong; the qualities of the Effort of Time are Sustained or Sudden; and the qualities of
Effort of Space are Indirect or Direct.
In my observations of the hyena’s movement, I noted that it initiates movement from its
proximal joint and typically travels using homolateral movement. It appears to have a lightness
to its Effort when walking. However, the hyena is aggressive when attacking its prey, which
demonstrates it as a force to be reckoned with. From this I used Light Weight Effort, as I
walked around the Tesmas’ home but when confronting Hedda about Lambert’s death, I was
aggressive and demonstrated that Brack, like a hyena, is a force to reckon with. Adapting these
qualities to my own movement fed my imagination as I continued to discover qualities about
Brack.
I began to capture the laid-back ease of the hyena’s movement, hiding a swagger under
the surface as I moved. When motionless, like the hyena, I tended to stand and stare others down.
When I aggressed, I “slashed” as a hyena does when attacking prey. This seemed right for
Judge Brack who appears to walk among his prey and sees himself as superior. This was best
reflected in my work in Act 4. Like a hyena stalking the Serengeti for prey, I surveyed the room
keeping an eye on my prey, Hedda, as I interrogated her regarding Lambert’s death. Utilizing an
29
animal study assisted me in discovering my character’s predatory mentality and thought
processes.
Choosing a hyena, known for the “laughing” noises it makes after catching its prey, also
allowed me to justify how much Judge Brack laughs in the play. He frequently laughs at
characters in odd moments, usually when he believes he has backed someone into a corner, like a
hyena traps its prey. As I continued to study the hyena, I started to naturally smile and laugh as
Brack more often throughout the play. I worried that my choice was excessive, but the director
informed me that he liked the addition; he felt it added something to the character that he had not
originally envisioned and felt it was extremely successful. The movement choices I made using
Laban and the animal study gradually grew more integrated into my characterization, giving the
director something to work with and sculpt into a full-bodied performance.
30
THE DIRECTOR
Dr. Mikell Pinkney, the adapter and director of The New Mrs. Tesman, wants actors to
have their “homework” done before coming to rehearsal, ready to make bold choices and “play”
with the material. For the first couple of weeks of rehearsal, Dr. Pinkney had the cast work in a
classroom, running lines and exploring character vocal and movement choices. This time
allowed us all to experiment with our choices—to test their effectiveness and validity.
During a rehearsal, I made a point to sit very deliberately in the chair that was Hedda’s
father’s chair; Dr. Pinkney asked why I made that choice. I explained that it is a scene in which
Brack is gaining the upper hand over Hedda, and by sitting in her father’s chair, it was a physical
representation of Brack taking control. The director approved.
It was Dr. Pinkney who encouraged me to look for inspiration from the performances of
actors in other roles for traits to use for Judge Brack. He suggested watching All About Eve and
Laura for the performances of George Sanders and Clifton Webb respectively. From Sanders’
performance, I found inspiration in his aloofness and an invincible quality that seems to
permeate out of his pores. As with Sander’s Addison DeWitt, Brack carries himself with an
invincible quality and aloofness, which makes him seem better than everyone else in the room.
From Webb’s performance in Laura, I found inspiration in his mischievousness; like Webb’s
Waldo Lydecker, Brack meddles and gossips to maintain power and battle his rivals, discrediting
Lambert and controlling Tesman with his sly intimations. Both portrayals served as suitable
models for elements of my own portrayal of Judge Brack.
31
FOCAL POINTS
In the rehearsal process, in an effort to find greater variety in performance, I also utilized
the concept of Focal Points from the Michael Chekhov Technique. Focal Points (FPs) are
divided into five classifications: self (1); other person (2); items in the immediate setting (3); a
memory or something not in present space (4); and the universe or greater being (5). I found that
changing FPs created a more nuanced performance. For example, at one point in Act 4, I drew
focus to Hedda by utilizing FP 2. I exclusively focused on her during the scene, despite George
and Thea being in the scene as well. I focused solely on Hedda to bring tension between us. In
Act 4, when Brack is confronting Hedda with what he knows of her involvement in Lambert’s
death, I utilized FP 3 as I slowly sat in Hedda’s father’s chair. As I mentioned earlier, this is the
moment in which Brack shows his true colors by stating he will not reveal what he knows to the
police as long as Hedda enters into a sexual relationship with him. Although the chair is not the
centerpiece of the scene, I used the symbolic nature of sitting in her father’s chair, someone
whom Hedda holds in high esteem, to take her power away. It also added to the tension and
dramatic reveal of Brack’s extortion of Hedda. Focal points allowed me to refine my
performance by making the objects of my concentration a specific choice, based on what I
wanted to achieve as Brack.
32
PERFORMANCE
The gradual evolution of The New Mrs. Tesman, from the first audition to closing night,
was an odyssey. After weeks of rehearsal and the first three performances, which felt like an
extended preview, we hit our stride as we worked throughout the week. This is not to say that my
performances were subpar or less than 100%, but it took the cast a great deal of time before we
gelled, closing the show in spectacular fashion.
I was amazed that my choices for Judge Brack became stronger in relation to my
characterization and objectives with specific characters from opening night through closing
night. As I continued to play the role, I was happy to discover the playfulness in my relationship
with George and Hedda Tesman and the level of enjoyment from interacting with them in the
moment. I was surprised how much my contempt for Elliot Lambert eventually turned into
outright hatred for him whenever I was in the room with him.
I discussed with Dr. Pinkney how I now understood why productions have previews
before an opening night. I believe our first three performances were “previews” in which we
were still developing our performances in front of an audience, finding out what was successful.
We were using these performances to figure out how to capture the tension in the story without
dropping tempo or losing its humor. As we moved into the middle of the week, we started to
have stronger performances collectively as an ensemble. We worked through all pacing and
tempo issues and started hitting our stride as a production. We discussed this with each other
after every performance. Dr. Pinkney reminded us not to chase what we had done the night
before, but to go back and “tell the story”; that if we remember to do that, the audience will
enjoy the production.
33
As we moved into our final weekend, many people remarked that, for a two-and half hour
performance, it was easy to watch. The best moment of the run came when an adjudicator,
representing Kennedy Center/American College Theatre Festival, said he found the performance
enjoyable, and if he could, he would watch the performance in three different parts of the round
to see all of the angles. He also said no one wasted a moment of their performances; our
entrances and exits from the stage during each scene were fun to watch. He even stated that at a
certain point he stopped taking notes just to watch the story because he did not want to miss
anything. Although the adjudicator did not give specifics, he singled out my four scenes with
Hedda as some of the most watchable parts of the play. I would find out later that he nominated
my performance as Judge Brack in The New Mrs. Tesman for an Irene Ryan Award. He said
that, as an ensemble, we seemed to get along and worked together as a group very well. We all
finished with a great final performance.
34
CONCLUSION
As I look back on my performance of Judge Brack in The New Mrs. Tesman, it was a
long journey that began its creation in April 2016 and concluded 5 months later in October. I
found that not only was this a journey to develop the character of Judge Brack, but a journey of
self-discovery; an opportunity to use the tools I have acquired in school to help build and sustain
characters in performance that are not only believable, but enjoyable to watch. My work method
has changed, and I have become a better actor and artist because of it. As I look back on this
performance, I recognize I am not the same person who set foot on this campus two and a half
years ago. Being a part of University of Florida School of Theatre and Dance Master of Fine Arts
in Acting program has provided me with acting, vocal, and movement training that I can utilize
in creating characters that I could not have created otherwise.
To portray the aristocratic antagonist Judge Brack, I utilized, among other things: text
analysis, character biography, the “character secret” Practical Aesthetics, Lessac vocal
principles, a rich understanding of language, Laban principles, a detailed animal study, and
Chekhov’s Focal Points. This process has taught me that the best thing an actor can do is be
prepared with thoughts about and ways of investigating one’s character, while remaining open to
discovery and ideas from the director.
A week after the production closed, I sat down with Dr. Pinkney to discuss the
production. Dr. Pinkney remarked that he was pleased with how I had grown as an actor and that
he enjoyed working with me. He remarked that he noticed an effortless quality in the way I
worked and that he was pleased to see me grow so much in the role and, in general, at the
University of Florida.
35
While I am pleased with my performance of Judge Brack in The New Mrs. Tesman, I am
more pleased with what I have gained while at the University of Florida. This program has
greatly exceeded my expectations in preparing me for a life in the theater and in film. When I
came to graduate school, I told everyone it was for training to become a better actor and artist;
something that would give me tools for the next seventy years of my life as an actor because I
plan to do this for a long time. If I am satisfied with one thing, it is that my performance as Judge
Brack has marked a dramatic leap forward for me as an actor and demonstrated I now have the
tools to work with other actors professionally. The University of Florida has aided my growth as
an actor, and I feel it in my artistry.
36
APPENDIX A: LESSAC MARKINGS FOR VOCAL EXPLORATION
37
APPENDIX B: CHARACTER DOSSIER
Character Dossier: The New Mrs. Tesman
What the author says… What my character says… What others say
about me…
Brack is a man of forty-five;
thick set, but well-built and
elastic in his movements. His
face is roundish with an
aristocratic profile. His hair is
short, still almost black, and
carefully dressed. His
eyebrows thick. His
moustache is also thick, with
short-cut ends. He wears a
well-cut walking-suit, a little
too youthful for his age. Page
23-24
To Thea: Ah – delighted. Page
24
Miss Tesman to George –
“Judge Brack was good enough
to see me right to my door.”
Page 4
Judge Brack enters by the
glass door. He carries a light
overcoat over his arm, a hat
and a walking cane or
umbrella. Page 30
To George: Nonsense, it’s
been a pleasure I assure you.
Page 24
George to Miss Tesman –
“Well, luckily Judge Brack
managed to get me a great deal
on the place. Hedda told me, he
said so in a letter she received
while we were in Austria.” Page
7
Hedda seats herself in the
corner of the sofa. Brack lays
his overcoat over the back of
the nearest chair, and sits
down, but keeps his hat in his
hand. A short silence. They
look at each other. Page 31
To George – “Indeed! I’m
sure Hedda’s idea of a new
carpet is more than a trifle my
friend.” Page 25
Miss Tesman to George – “Well
alright, don’t get excited about
it. It’s just a formality. Judge
Brack assured me of that. He
was kind enough to arrange the
whole affair for me. A mere
formality, he said; those were
his very words.” Page 7
38
Brack and Hedda exchange a
confidential smile. Page 35
To George:
Oh the money question is not
so very pressing for now.
Although, for that matter, I
wish you had been a little
more frugal at the start.
Page 25
Berta – “Excuse me, but Judge
Brack is here and asks if he may
pay his respects to madam and
the Doctor.” Page 23
Tesman and Brack go into the
inner glass room, seat
themselves, drink, smoke
cigarettes, and carry on a
lively conversation during
what follows. Page 45
To George:
Nothing exactly definite---
Oh, by the way, I have one
piece of news for you.
Page 25
Hedda – “Yes, ask Judge Brack
to come in.” Page 24
To Hedda:
In any case, Mrs. Tesman, it is
best that you should know
how things stand, I mean –
before you set out on a major
shopping spree, as I hear you
intend to do.
Page 28
Hedda – “You are a loyal friend
Judge.” Page 24
To Hedda & George:
Indeed! Then that’s your
business. Good-bye! Tesman,
I’ll stop by after my afternoon
walk to take you to my party.
You can drive us there.
Page 28
Hedda: What fun to be able to
look at you in the daylight,
Judge!
Brack: Ah, so how different do I
look?
Hedda: Only a little. A little
younger, I think.
Brack: Too Kind, Too Kind.
Page 24
39
To Hedda – “No, no, no.
Don’t aim that thing at me!”
Page 30
Hedda to George: Oh, do stop it
George. You ought to be
thanking the Judge for all the
trouble he’s been put through on
your behalf. Page 24
Brack has in the meantime
looked at his watch. He and
Tesman rise and come into the
drawing-room. Page 53
To Hedda –
I wish you would stop playing
the silly pranks!
Page 30
George to Brack: For sure we
can’t thank you enough. Page
24
To Hedda –
For God’s sake – haven’t you
grown tired of fooling around
with those things yet? What
are you shooting at?
Page 30
George & Brack:
Brack: Thanks, but just for a
moment. There is something I
need to talk to you about, dear
fellow.
George: Ah, I understand. After
the feast comes the reckoning.
Eh?
Page 25
Brack to Hedda:
Hedda – Well, we’ll just have
to sit here and wait. Tesman is
not likely to be back for a
while yet.
Brack – What a pity. I’ll have
to endure.
Page 31
George – “Good-bye Judge!
You must really excuse me…”
Page 28
To Hedda:
So, now we can have a cozy
little chat – Mrs. Hedda.
Page 31
Hedda & Brack:
Hedda: No. He rushed off to his
Auntie’s the moment he
finished eating lunch. I don’t
40
think he expected you to return
quite this early.
Brack: Ah, why didn’t I think of
that. How stupid of me!
Hedda: Why stupid?
Brack: Because if I had thought
of it, I would have come a little
– sooner.
Page 31
To Hedda –
You mean since our last
confidential talk? Our last
“tete-atete”?
Page 31
Hedda to Brack:
It seems like forever since we
lash had a little chat. Of course,
I don’t count last night or this
morning.
Page 31
Brack, Lambert, and Tesman
go out by the hall door. Page
54
To Hedda –
Not a day passed without me
wishing you were home again.
Page 31
Hedda to Brack –
Hedda: Me too.
Page 31
She goes to hide it in a secure
place. Tesman is in a flurry of
haste. Judge Brack enters from
the hall. Page 63
To Hedda – “Well, I can’t
answer for all the rest; but as
for myself, you know quite
well that I have always
entertained a – a certain
respect for the institution of
marriage – as an institution.”
Page 33
Hedda To Brack:
Hedda – It was more than my
other admirers were prepared to
do, my dear Judge.
Page 33
Judge Brack, with his hat in
his hand, is ushered in through
the hall door by Berta, now
wearing an apron over her
To Hedda – “All I require is a
pleasant and intimate circle of
friends, whom I can trust,
where I can make myself
useful in every way, and into
Hedda – Your interests seemed
to go off in a different direction
last summer too. Page 37
41
black dress. Brack looks grave
and bows in silence. Page 80
whose homes I may come and
go as – a trusted friend.”
Frankly – of the mistress first
of all. But of course of the
master too, in the second
place. Such a triangular
friendship – if I may call it so
–is really a great convenience
for all the parties concerned.
Page 34
A shot is heard within.
Tesman, Mrs. Tremblay and
Brack leap to their feet.
To Hedda:
Brack: But suppose a third
person were to jump in.
Hedda: Ah! That is quite
another matter!
Brack: A trusted, sympathetic
friend – someone who
understood?
Page 34
Hedda – “I am glad to see you,
Mr. Lambert. (With a motion of
her hand.) I don’t know whether
you two gentlemen…” Page 41
To Hedda – “How perfect.
The triangle is completed.”
Page 35
George – “Yes, think of that,
Elliot. Why shouldn’t you?
That’s a great idea, Judge!”
Page 43
To George – “I came in
through the garden.” Page 35
Lambert – People can say what
they like – for the present.
Mrs. Tremblay – Yes, let them!
Hedda – I saw it very clearly in
Judge Brack’s face a moment
ago.
Lambert – What did you see?
42
Hedda – His contemptuous
smile, when you were afraid to
go in there and drink with them.
Lambert – Afraid? How odd. I
simply choose to stay here and
talk with you.
Mrs. Tremblay – What could be
more natural, Hedda?
Hedda – But the Judge could
not guess that. I saw the wary he
smiled and winked at Tesman
when you were afraid to join
them at that wretched little party
of his.
Lambert – Afraid! Do you think
I’m afraid?
Hedda – I don’t think so. But
it’s clear that’s what Judge
Brack thinks.
Lambert – Well, let him.
Page 51
To Lambert – “Correct. We –
met some years ago.” Page 41
Hedda – “Don’t get excited!
That horrid Judge Brack is
watching you.” Page 52
To Lambert – “I must tell you,
Mr. Lambert – The truth is,
I’m giving a little post-
bachelor party this evening at
my house – in Tesman’s
honor, you know. “ Page 42
Hedda – “Hush! They are
looking at you.” Page 53
To Hedda – “Indeed yes, Mrs.
Hedda. As you can see, I’ve
George – “I’m not really sure.
No one was able to drive, so the
first to leave took taxi’s. So, the
last of us – we decided to walk
43
not even had a chance to
change my clothing.” Page 63
back to sober ourselves a bit.
We left in a group – the last of
us that is – all together. Brack
even came with us to get a
breath of fresh air. Well then,
we agreed to take Elliott home –
since he had more than he
probably should have.” Page 60
To Hedda – “I had reasons to
pay special attention to my
guests last night. Well certain
of my guests anyway.” Page
64
George – “Yes, so it would
appear. Brack, left us too.” Page
61
To Hedda – “Lambert and the
others had been invited earlier.
I knew all about it. But
Lambert had politely declined
the invitation; for as you
know, he has become a new
man.” Page 64
Berta – “Judge Brack is at the
door, and wishes to know if he
may come in.” Page 63
To Hedda – “Rather violent
inspiration. It’s easy to assume
that’s what altered his
purpose. You see, Mrs. Hedda,
we men folk are,
unfortunately, not always so
firm in our principals as we
ought to be.” Page 64
Hedda – “Oh, I am sure you’re
an exception, Judge Brack.”
Page 64
To Hedda – “From the police
themselves.” Page 65
Hedda – “How do you know all
this?” Page 65
To Hedda – “For one reason,
it very much concerns me if it
is revealed in the court records
that he came straight from a
party at my house.” Page 66
Hedda – “But tell me now,
Judge. What is your real reason
for tracking out Elliot Lambert’s
movements so carefully?” Page
66
44
To Hedda – “Nonetheless, I
thought that as a friend of the
family, it was my duty to
inform you and Tesman with a
full account of his – nocturnal
exploits.” Page 66
Hedda – “…into the triangle?”
Page 66
To Hedda – “Because I have a
shrewd suspicion that he
intends to use you as a sort of
shield and cover.” Page 66
Hedda – “I see. So you want to
be top dog – cock of the walk!
Is that it? Is that what you’re
saying, Judge?” Page 66
To Hedda – “Yes! I confess it
would be more than painful to
me if this – interloper were to
have free rein of your
house…How deplorable it
would be if he were to force
his way into…” Page 66
Hedda – “You’re a dangerous
person, aren’t you – when you
really want something?” Page
67
To Hedda – “Precisely. It
would simply mean that I’d
feel myself to be – homeless.”
Page 66
Hedda – “Oh my dear, Judge
Brack! That sounds a little like a
threat.” Page 67
To Hedda – “Yes, that is my
aim. And for that I will fight –
with every weapon I can
command.” Page 66
Hedda – “Yes, I gathered that
you had a really fund night at
Judge Brack’s.” Page 68
To Hedda – “Well, weel, Mrs.
Hedda – perhaps you’re right.
If I did, who knows what I
might be capable of?” Page 67
George – “Do you know what
you have done, Hedda? It’s
called appropriation of lost
property. You’ve broken the
law. Just ask Judge Brack, and
he’ll tell you.”
Hedda – “Then I advised you
not to speak a word about it.
Not to Judge Brack or to anyone
else.”
45
Page 77
To Hedda – “Oh, God no. Not
at all! I’m merely saying that a
triangle, if possible, should be
spontaneously constructed,
fortified and
defended…voluntarily.” Page
67
George – “But tell me, how
have you learned all this?” Page
82
To Hedda – “Quite so. I have
no objection to back ways.
Sometimes they can be the
most – intriguing.” Page 67
Hedda – “So now I’m in your
power, Judge Brack. You have
me at your beck and call, from
this time forward.”
Hedda – “I am in your power
none the less. Subject to your
will and your demands.”
Page 88
To George, Hedda and Thea –
“Yes. I came because it’s
rather imperative I should see
you this morning.” Page 80
To George – “Through one of
the police. A man I’ve known
for years.” Page 82
To Hedda – “I am sorry,
Hedda, but I’m going to have
to dispel your little romantic
fantasy.” Page 84
To Hedda – “Well, there’s no
need. I saw the pistol found in
Lambert’s pocket, and I knew
at once it was the one I had
seen yesterday – and in times
before, too.” Page 87
46
To George – “With the very
greatest of pleasure.” Page 89
To George – “Every blessed
evening, with all the pleasure
in life, Mrs. Tesman! We shall
get on capitally together, we
two!” Page 89
47
APPENDIX C: INSPIRITIONAL PHOTOS
Hyena Skelton for Animal Study.
Hyena used for movement inspiration.
48
APPENDIX D: PRODUCTION PHOTOS
Judge Brack, Act 2, talking with Hedda Tesman.
Judge Brack, Act 3, warning Hedda do not get involved with Elliot Lambert.
49
Judge Brack having drinks with George Tesman discussing philosophy.
Judge Brack convincing Hedda of his affection.
50
Judge Brack in Act 4 telling Hedda he knows the truth.
Judge Brack in Act 4 as he triumphs over Hedda Tesman.
51
APPENDIX E: PROMOTIONAL MARKETING
For Immediate Release:
Sept. 9, 2016
Media Contact:
Allison Alsup, Public Relations and Partnerships Specialist
College of the Arts, University of Florida
Office: 352.273.1489
The New Mrs. Tesman Hedda Gabler premieres at the
University of Florida Sept. 23 Oct. 2, 2016
Gainesville, Fla. Sept. 9, 2016 Everyone always wonders what goes on behind closed doors.
The University of Florida (UF) School of Theatre + Dance (SoTD) will be giving patrons an
intimate look behind closed doors with The New Mrs. Tesman, adapted and directed by
professor Mikell Pinkney. The New Mrs. plot follows Henrik landmark play,
Hedda Gabler, but sets it in the Canadian capital of Ottawa where title character Hedda is a
Performances will be
offered in the Black Box Theatre in the Nadine McGuire Theatre and Dance Pavilion Sept. 23
thru Oct. 2, 2016. Performance times are 7:30 p.m. Sept. 23-24, Sept. 27- Oct. 1, 2016 and 2
p.m. Sept. 25 and Oct. 2, 2016.
The New Mrs. Tesman will mark the first time in decades that the School of Theatre + Dance
has produced a play by Ibsen,
considered by many as the father of
modern drama, Pinkney said.
Pinkney, who teaches script analysis,
multicultural theatre and African
American theatre studies, and acting on
both the graduate and undergraduate
level, began working on the adaptation in
the spring semester of the 2016
academic year and went through several
revisions to get to where the script is.
akes the audie . It gives the
audience a chance to see what goes on behind closed doors as it unfolds onstage. The
original text does not address.
Actors Chelsi Stancil (left) and Ernest
Briggs in The New Mrs. Tesman
52
details, but I think that for both the actors and myself, it makes it that much easier to understand
Pinkney has graced the SoTD stages for many productions including: Gem of the Ocean, The
Cherry Orchard, The Man of Mode or Sir Fopling Flutter, Hamlet, The Ohio State Murders, The
Cornbread Man, Noises Off, The Mousetrap, and The Women. This past spring he directed
Honky, which was well received by both the public and student populations of Gainesville.
Tickets for the UF production are $18 for the general public, $15 for UF faculty/staff and seniors, and $13 for students. Season and group prices are also available. Tickets are available through the University Box Office located at Gate 3 of Ben Hill Griffin Stadium on Gale Lemerand Drive (next to the Heisman statues), by calling 352-392-1653 or at ticketmaster.com. The University Box Office is open Tuesday through Friday from 12-5:30 p.m. and Saturdays from 10 a.m. until 2 p.m. Tickets can also be purchased at the Constans Theatre Box Office starting 45 minutes prior to the performance.
The Nadine McGuire Theatre and Dance Pavilion is located at 687 McCarty Drive, Gainesville, FL 32611. On-campus parking is available at the Reitz Union garage and the Museum Road parking lot. Guests are strongly encouraged to pick up tickets early, as shows run the risk of being sold out.
About the School of Theatre + Dance
institutionally-accredited schools. Undergraduate students can pursue a Bachelor of Fine Arts degree in acting, dance, musical theatre, theatre production including costume design, lighting design and scenic design or a Bachelor of Arts degree in dance studies or general theatre. Minors are also offered in dance and theatre as well as certificates in arts in medicine and dance in healthcare. Student organizations, showcase programs and other intensives provide students with invaluable professional experiences. UF is home to three School of Theatre + Dance performance venues, including the Constans Theatre, Black Box Theatre and G-6 Studio. To learn more about the School of Theatre + Dance, including upcoming performance dates and ticket information, visit www.arts.ufl.edu/theatreanddance.
About the College of the Arts The College of the Arts is one of the 16 colleges and more than 150 research centers and institutes at the University of Florida in Gainesville, Florida. The College of the Arts offers
in its three institutionally-accredited schools the School of Art + Art History, School of Music and School of Theatre + Dance. The college
is home to the Center for Arts in Medicine, Center for Arts and Public Policy, Center for World Arts, Digital Worlds Institute, University Galleries and the New World School of the Arts in Miami. More than 100 faculty members and approximately than 1,200 students work together daily to engage, inspire and create. The college hosts more than 300 performances, exhibitions and events each year. Faculty and students also exhibit and perform at other local, national and international venues. To learn more, visit www.arts.ufl.edu.
# # #
53
54
APPENDIX F: PRODUCTION PROGRAM
55
56
57
58
59
REFERENCES
Albertini, Thomas. Canada in the 1950s. https://youtu.be/xmhThNyXTy0. Youtube. 31
May 2015. Web. 9 September 2016.
“All About Eve.” Directed by Joseph L. Mankiewicz, performances by Bette Davis, Anne
Baxter, George Sanders and Celest Holm. 20th Century Fox. 1950.
Arts Alive. Theatre Genres. http://artsalive.ca/en/thf/faire/genres.asp. 2016. Web. 3
October 2016.
Briggs, Ernest. Personal Acting Journal The New Mrs. Tesman. 2016.
Bruder, Melissa, et al. A Practical Handbook for the Actor. New York, Vintage Books.
1986. Print.
“Canada.” eDiplomat. www.ediplomat.com/np/cultural_etiquette/ce_ca.htm. 2016. Web.
9 September 2016.
Cash, Justin. Realism and Naturalism Theatre Conventions. The Drama Teacher:
Resources for Those Who Love Drama. www.thedramateacher.com/realism-and-
naturalism-theatre-conventions/ 3 March 2014. Web. 5 August 2016.
Chekhov, Michael. On the Technique of Acting, edited and with an Introduction by Mel
Gordon. New York: Harper. 1991. Print.
Cohen, Robert and James Calleri. Acting Professionally: Raw Facts about Careers in
Acting. 7th ed., Palgrave Macmillan. 2009. Print
Cross, Michael S. Social History. The Canadian Encyclopedia.
www.thecanadianencyclopedia.ca/en/article/social-history/ 7 February 2006. Web. 9
September 2016.
Drummond, Ian M. Economic History. The Canadian Encyclopedia.
www.thecanadianencyclopedia.ca/en/article/economic-history. 7 February 2006. Web. 9
September 2016.
Gainor, J. Ellen, Stanton B. Garner Jr. and Martin Puchner. The Norton Anthology of
Drama: volume 2: the Nineteenth Century to the Present. 2nd ed. New York, W.W.
Norton & Company. 2014. Print.
“Hedda Gabler.” Internet Broadway Database. The Broadway League, 2016.
https://www.ibdb.com/broadway-show/hedda-gabler-4290. Web. 2 September 2016.
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“Hedda Gabler.” The Internet Movie Database. IMDB.com, Inc - Internet Movie
Database, 2016. http://www.imdb.com/find?ref_=nv_sr_fn&q=hedda+gabler&s=all.
Web. 2 September 2016.
Hopkin, Ben. Laban’s Eight Efforts. Acting Without the Drama.
http://actingwithoutthedrama.blogspot.com/2010/03/labans-eight-efforts.html. 7 March
2010. Web. 4 September 2016.
Kennedy, Bobby. Hedda Gabler: The Influence of Ibsen.
www.writerstheatre.org/blog/hedda-gabler-influence-ibsen/. 29 January 2014. Web. 18
August 2016.
Kennedy, Bobby. The Father of Modern Drama.
http://www.writerstheatre.org/blog/fathCaser-modern-drama/. 2 January 2014. Web. 18
August 2016.
“Laura”. Directed by Otto Preminger, performances by Gene Tierney, Dana Andrews and
Clifton Webb. 20th Century Fox. 1944.
Lyons, Charles R. Hedda Gabler: Gender, Role and World. Boston, Twayne Publishers.
1991. Print.
Mamet, David. True and False: Heresy and Common Sense for the Actor. New York,
Vintage Book. 1997. Print.
Pinkney, Mikell. The New Mrs. Tesman: A New Interpretation of Henrik Ibsen’s Hedda
Gabler. 2016. Print.
Stepherd-Barr, Kirsten. Ibsen and Early Modernist Theatre, 1890-1900. West Port,
Connecticut, Greenwood Press. 1997. Print.
Wikipedia contributors. "Electoral firsts in Canada." Wikipedia, The Free Encyclopedia.
Wikipedia, The Free Encyclopedia, 2016. Web. 2 October. 2016.
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The Free Encyclopedia, 4 August 2016. Web. 3 September 2016.
Wikipedia contributors. “Television in Canada.” Wikipedia, The Free Encyclopedia.
Wikipedia, The Free Encyclopedia, 2016. Web. 14 September. 2016
61
BIOGRAPHICAL SKETCH
Ernest Briggs is an actor, writer, teacher and filmmaker. Originally from Minneapolis,
Minnesota, he received Bachelor of Arts degrees in both Secondary Education/Social Studies
and History from the University of St. Thomas in St. Paul, Minnesota in 2007. In 2010, he
moved to Los Angeles to attend the American Academy of Dramatic Arts, where he received an
Associate of Occupational Studies degree. Ernest received his MFA in Acting from the
University of Florida in 2017. Ernest has also received improv training from the Brave New
Workshop in Minneapolis. He has studied with a wide variety of accomplished artists including
Steve Busa, Miriam Must, Theresa Hayes, Judith Bohannon, Brenda Beck, Mary Bleier, Perry
Hart, Karen Hensel, Jamie Nichols, Sharon Jakubecy, Misako Tsuchiya, Linda Brennan, Scott
Reiniger, Carl Reggiardo, Timothy Landfield, Brian Danner, Debra Deliso, Michele Gossett,
Joanne Denaut, Hisa Takakuwa, Greg Atkins, Jill Newton, and Alex Billings.
Since 2007, Ernest has worked as an educator, academic advisor and teaching artist for
various companies in Minneapolis including the University of Minnesota, Minneapolis Public
Schools, Hamline University, Arts for Academic Achievement and New Native Theater working
with students ages 5-18. He has also participated in the Artists Teaching Artists: Red Eye
Tableau Teaching Institute. Ernest has been worked professionally as an actor and filmmaker in
the Twin Cities at such theatres as Mixed Blood Theatre, Teatro Del Pueblo, Children’s Theater
Co., Bloomington Civic Theatre, Nimbus Theater Company, Bridge Productions, The Minnesota
Short Play Festival, 20% Theater Company, Pillsbury Theatre, New Native Theatre, Minnesota
History Theatre, and the Playwrights’ Center. He has also appeared at the South Coast Repertory
Theatre and the Hollywood Fringe Festival in Los Angeles.
62
On camera, Ernest has appeared in numerous short and independent feature films,
including a supporting role in the independent web series Atarax. He has also appeared in
numerous industrial films and commercials. Ernest was a nominee for Best Special Effects in the
48 Hour Film Festival (Minneapolis) for Solitary in which he produced, wrote and starred.
During his tenure at the University of Florida, Ernest had the wonderful opportunity to
participate in five productions: The Comedy of Errors directed by Dr. Judith Williams, The
Golden Dragon directed by Dr. Ralf Remshardt, The House of Atreus directed by Yanci
Bukovec, Puffs or Seven Increasingly Eventful Years at a Certain School of Magic and Magic
directed by Kristen Parker, and The New Mrs. Tesman directed by Dr. Mikell Pinkney.