Leaving Home, Of the Fields, Lately, and Salt-Water Moon: by David French PDF

By David French

David French's award-winning performs Leaving domestic, Of the Fields, in recent years and Salt-Water Moon can be found for the 1st time in a unique one-volume version, with an creation by way of Albert Schultz.

Set within the Nineteen Fifties, Leaving Home tells the tale of the Mercers, a Newfoundland relations who've emigrated to the mainland and misplaced all feel in their position on the planet.

In Of the Fields, Lately, the emotionally charged sequel to Leaving Home, younger Ben Mercer returns domestic after being long gone for 2 years and confronts the relations he left at the back of.

Salt-Water Moon used to be written later than the opposite performs yet tells the sooner tale of the courtship of Jacob and Mary Mercer in Newfoundland.

Leaving Home used to be named one of many "100 so much Influential Canadian Books" by means of the Literary evaluation of Canada. Of the Fields, Lately received the Chalmers Award in 1973, and Salt-Water Moon received the Canadian Authors organization Award for Drama, the Dora Mavor Moore Award for top New Play, and the Hollywood Drama-Logue Critics' Award.

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Additional info for Leaving Home, Of the Fields, Lately, and Salt-Water Moon: Three Mercer Plays

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Being free from unnecessary muscular tension is therefore one of the most important things for an actor. You cannot imagine how damaging muscular tension and physical tightness can be to the creative process. (Stanislavski 2008b: 120) 31 32 BASIC TRAINING Stanislavski understood the importance of muscular release, as he put it, learning to be onstage without stiffening, in fear, or from making an effort. The state of stiffening is counterproductive to the creative state, to actors’ ability to express themselves freely.

Stanislavski describes in My Life in Art how he had himself locked up in a deserted castle overnight in the attempt to find internal experience for the main character of Pushkin’s Miser Knight – an old man who lives in isolation in a castle. All that happened was that Stanislavski caught a cold (2008a: 95). What he found worked was that he could find the seeds for experiencing in the role by exploring his sense and emotion memories. The important thing is that our previous experience can give us the information we need to develop the character’s inner life, and emotion memory can be used to help us consider this.

So first of all sit comfortably and easily as though you were at home … Ninety-five per cent less tension! (2008b: 322) British actress Edith Evans said, ‘You only really begin to act when you leave off trying’ (Redgrave 1995: xiii). SENSE AND EMOTION MEMORY If the actor is in the creative state, is attentive and not in a state of tension or anxiety, then they are prepared for experiencing, bringing the role to life from within, which encapsulates what Stanislavski prioritised in the actor’s emotional expression – that it expresses what makes us human, the human experience.

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Leaving Home, Of the Fields, Lately, and Salt-Water Moon: Three Mercer Plays by David French


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