For me, embodiment of character does not have one best way or one right way- not one set entrance point. I have discovered through this overarching project that as an actor I have to be malleable and fluid, knowing what tools work best for me and how to apply them within a specific process. Regardless of malleability though, I realized through All the Light that in order to achieve full embodiment of a character it is important for my process to keep an open investigation, constantly reflect, and ask questions about my character. I had my biggest discoveries during exercises and scenes that explored the physical and the mental at the same time. Exercises like guided memory, gesture exploration, contact improv, and levels of tension connected my character’s mind to my actor’s body and allowed them to convene to create my personal version of my character.

When I think about experiencing joy in a theatrical process I think about failure. I think about how failure, in our case during On The Nose this happened frequently, can sometimes be the inspiration or basis for some of the best parts of a show, no matter what the content. I know to come into the rehearsal space mentally present, possibly bringing with me a chosen positive mentality for the day, and ready to play with my ensemble. It’s important in my personal practice to not focus too heavily on the outcome of the performance, but what I learn from rehearsal. In this way, I can protect myself from getting too in my head and worrying about the final product. Rehearsal for discovery’s sake and education’s sake, rather than rehearsal for the sake of the outcome.

This will depend on the process I’m in. My obvious overarching finding from this project has been that actors have to be able to mold and adapt to the process of whatever project they are working on. In the instance of this project, all three case studies required vastly different amounts of discipline, focus, and reflection. Those differences were highlighted throughout this paper, and include how On The Nose had the least amount of reflection because the process required me to constantly be on stage, making physical changes quickly rather than tracking them on paper. The Pillowman required an exorbitant amount of note taking due to being alone during the process and having to articulate my findings to my director via rehearsal report. In all, it’s all about finding the correct balance of what is required rigour during a project, and finding what works best for you to connect with the character. I want to continue to actively reflect within processes and to be able to articulate the feelings and journeys my characters experience. For me, this project emphasized the importance of regimen, follow-through, and accountability within an actor’s process.

My curiosity is leading me to continue honing my practice and constantly analyze what works best for me as an actor. I am curious about working within longer runs of shows and how the process changes in order to keep a character feeling alive after, say, an 8 month run. Through chasing an answer to my research question, I found that miraculously I always just end up with more questions. I am excited to continue nurturing a sustainable practice and process in my career even when not working on projects. I hope to bring these findings and questions- I want to bring a curiosity of deeper meaning- into all my projects and reflect on how the process changes for me because of investigation.

If this entire project has shown me one thing, it’s that an actor’s process needs to be malleable and ever-changing. Going with the flow of the production it is serving, while upholding the actor with training and tools that will serve them best. The tools I found best suited through this project were threefold. An actor continuously seeking full embodiment can develop and grow a deeply useful connection to their character through holistic practice. An actor always searching for joy in their process can embrace the process and openly experience the feelings that breathe life into their character. An actor adhering to the necessary rigour can find and maintain the core of their character, no matter how challenging the circumstances. This leads back to my question:

How do reflective practice, methodology, and action research come together to help create/embody a character while working in collaborative processes?

The answer to this question is deceptively simple: they come together through the actor’s varied use of embodiment, joy, and rigour to bring a character to life in the collaborative process. Embodiment - finding and embracing the connection to character and situation. Joy - embracing the fun and delight that make character creation such a fulfilling process. Rigour - adhering to the standards and demands necessary to turn a character from an idea to a living, breathing experience for actor and audience both.