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Moving Through the Collaborative Creation of the Role of Camille Claudel in the Asylum

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Moving Through the Collaborative Creation of the Role of Camille Claudel in the Asylum UNCOMMON CLAY: MOVING THROUGH THE COLLABORATIVE CREATION OF THE ROLE OF CAMILLE CLAUDEL IN THE ASYLUM A Thesis Presented in Partial Fulfillment ofthe Requirements for the Degree ofMaster ofFine Arts in the Graduate School ofThe Ohio State University By Naomi Ruth Hatsfelt, RA. ***** The Ohio State University 2002 Master's Examination Committee: Approved by Professor Jeanine Thompson, Adviser '" ~ . ~1' • Vi I '.11 / /\ 1 c: '. Professor John Giffin " . '. ."~,, .,,··I..,,·t,..··l·\...:\..g V'•• ...; .... i-- .' •. (...'-.... Adviser \ Professor Sue Ott Rowlands Department ofTheatre ABSTRACT This thesis is a documentation of my process in creating the role of Camille Claudel in the Ohio State University Department of Theatre's production of Uncommon Clay from November 7-11 and November 14-18, 2001. The production was devised and directed by Associate Professor, Jeanine Thompson of The Ohio State University Department of Theatre and presented in Thurber Theatre located in the Drake Performance and Event Center. The central challenge of my thesis project was to find a means by which to meld the diverse acting styles of Stanislavski, Viewpoints, Mime, Suzuki, and the Lessac approach to the voice in order to achieve an effective, cohesive performance in a highly stylized movement theatre piece. I was portraying an historical person, Camille Claudel, in a physically-based play that was trying to capture the essence of her life experience. This project gave me the opportunity to bring the training that I have received in the past two years into the rehearsal and creation process on a new script. ii I dedicate this to the memory ofmy beautiful sister, Michelle Janine Hatsfelt. Her courage and determination inspired me to finish my education. 111 1 ACKNOWLEDGMENTS I would like to offer up special thanks to Ronald E. Baker for his loving support throughout this process. I could not have made it through without him. I want to thank my mother for always being there for me, no matter what. I also wish to express my gratitude to the members of my committee: Professor Jeanine Thompson, Professor John Giffin and Professor Sue Ott Rowlands. Thank you for all the help and guidance. Finally, none ofthis would have been possible without Dr. Susan Kelso. Thank you for giving me a chance and for believing in me. IV VITA December 4, 1962 Bom - Oakdale, Louisiana 1999 B.A. Theatre, McNeese State University. 1999 - present Graduate Teaching Associate, The Ohio State University Department ofTheatre March - June 2001 Contract Teacher Columbus Children's Theatre Summer 2000 Contract Teacher 4-H Workshop Summer 2000 Contract Teacher Martin W. Essex School for the Gifted 1999 Student Workshop Presenter McNeese State University 1988 Teacher Margo Manning Studio, Dallas, Texas 1987-1988 Substitute Teacher Adam Roarke's Film Actor's Lab, Dallas, Texas 1988 Co-teacher Letot Center, Dallas, Texas v CREATIVE ACTIVITIES 1999 - 2002 Actor, The Ohio State University Columbus, Ohio Crone Camille, Uncommon Clay Aase, Peer Gynt with Columbus Symphony Orchestra Lady, Orpheus Descending Albert, The Singular Life OfAlbert Nobbs Older Welty/Sister, Mississippi Stories HannahlEthellDr. Henry/Bolshevik, Angels in America: Part II 1999 - 2002 Actor/CreatorlDirector The Ohio State University Columbus, Ohio CreatorlDirector, A Slice ofTrifle, Additional scene for Susan Glaspell's Trifles ChoreographerlDirector, Freeloadin', Dance Piece CreatorlPerformer, Jimmy's Room, Mime Piece CreatorlPerformer, The Key, Mime Piece CreatorlPerformer, Her Power, Suzuki Piece Co-CreatorlPerformer, Breaking Free, Viewpoints Piece Co-CreatorlPerformer, Because I'm Worth It, Laban Movement Duet Co-CreatorlPerformer, The Wrath ofMurg, Laban Movement Piece Performer/Creator, Decaf, Movement Piece 2001 Dialect Coach The Ohio State University Columbus, Ohio Alchemy OfDesire 2000 Director, The Ohio State University Columbus, Ohio Misreadings VI 1999 Actor/Creator, McNeese State University Lake Charles, Louisiana Writer and Performer, The Destruction ofa Myth Writer, Composer, Choreographer, and Company Member, The Flow ofLife 1999 Director, McNeese State University Lake Charles, Louisiana Eleemosynary Throwing Your Voice AmericanSaint 1997 - 1999 Actor, McNeese State University Lake Charles, Louisiana Annie Oakley, Annie Get Your Gun Beatrice, Beatrice Charlotte, Flesh and Blood Singer/Gino, A Day in HollywoodJA Night in the Ukraine Poet, A Dream Play 1997 Actor, Equity Guest Artist McNeese State University Lake Charles, Louisiana Witch, Into the Woods 1996 Singer, C & G Productions Celebrity Cruises M. V. Century Production Shows and Solo Opening Act 1993 - 1994 Singer, C & G Productions Fantasy Cruises S. S. Britanis Production Shows and Solo Cabaret Show 1993 : Actor, Survivor Productions New York, New York Mrs. Bridgenorth, A Glorious Day (World Premier) Vll 1992 Actor, Helloco Productions Theatre du Chatelet Paris, France Mrs. RoselUnderstudy Mrs. Molloy, Hello Dolly 1992 Actor, Casa Manana Theatre Fort Worth, Texas Jacqueline, La Cage Aux Folies 1991 Actor, Stage West Fort Worth, Texas Barbara, Romance/Romance 1991 Actor, Plaza Cabaret Dallas, Texas Angie Falcon, Mornin ' Dallas 1990 Actor, Theatre Three Dallas, Texas Company Member, Weill Women 1990 Actor, Addison Centre Theatre Dallas, Texas Company Member, Kurt Weill: A Musical Odyssey 1990 Actor, Arts District Theatre Dallas, Texas Singer, Elegies for Angels, Punks, and Raging Queens 1989 Actor, Grand Kempinski Dallas, Texas Naomi Sera, New Year's Eve Cole Porter Revue V111 1989 Actor, Theatre Three Dallas, Texas Tintinabula, A Funny Thing Happened on the Way to the Forum 1989 Actor, Dallas Repertory Theatre Dallas, Texas Clara, I'm Not Rappaport 1989 Actor, Theatre Garage Dallas, Texas Charlotte, Prospect 1985 - 1986 Actor, Pegasus Theatre Dallas, Texas Irish O'Flannagan, Times Square Angel Betty Green, The Coarse Acting Show Gertrude, H'mlet Company Member, The Zero Hour 1988 Actor, Greenville Ave. Pocket Sandwich Theatre Dallas, Texas Inez Serrano, No Exit Diane, The Dues & Don'ts ofDating PUBLICATIONS Naomi Hatsfelt, Book Review "Eight Women ofthe American Stage: Talking About Acting." Theatre Studies 45 (2001): 89-91. FIELDS OF STUDY Major Field: Theatre IX I ~---- TABLE OF CONTENTS Abstract.............................................................................. ................................................. Pag~ 11 Dedication iii Acknowledgments iv Vita v Introduction 1 Chapters: 1. Research 6 1.1 Playwright and Production History 7 1.2 Character Analysis 11 1.3 Mental Illness 34 1.4 World ofthe Play 42 1.5 Summary 53 2. Production Circumstances 54 3. Methodology/Script 59 3.1 Methodology and Terminology 59 3.2 Key to Scoring Terms and Abbreviations 71 3.3 Scored Script. 73 4. Rehearsal and Performance Log 129 4.1 Pre-production Preparation 129 4.2 Early Rehearsals 139 4.3 Working Rehearsals 148 4.4 Technical Rehearsals 156 4.5 Performance Log 158 4.6 Rehearsal and Performance Schedule 159 4.7 Summary 160 x 5. Evaluation and Conclusion 161 Bibliography 166 APPENDIX A: Interview with Camille ClaudeI1888 171 APPENDIX B: Important dates in France 175 APPENDIX C: Director's Concept 177 APPENDIX D: Program from Spring Showing 185 APPENDIX E: Program from Performance 190 APPENDIX F: Review from The Columbus Dispatch 199 APPENDIX G: Review from The Lantern 201 APPENDIX H: Review from German Village Gazette 203 APPENDIX I: Photographs ofthe production 205 Xl INTRODUCTION This thesis is a documentation ofmy performance and research process for the role ofCamille Claudel in Jeanine Thompson's original movement theatre piece, Uncommon Clay. The production was devised and directed by Associate Professor Jeanine Thompson ofThe Ohio State University Department ofTheatre and presented in Thurber Theatre located in the Drake Performance and Event Center, November 7-11 and November 14-18, 2001. Although this was not the largest role that I performed in my time with The Ohio State University's Department ofTheatre, it was in many ways the most challenging and unique. The path that led me to this challenging work is somewhat interesting in itself. Acting Background I began acting when I was fourteen years old. Prior to that I had always sung. My first role was in a production ofDamn Yankees with the Artists' Civic Theatre and Studio in Lake Charles, Louisiana in 1976. It changed my life. After that, I continued performing mostly in musical plays throughout high school as well as singing in the choir. In the middle ofmy senior year ofhigh school, I auditioned for Six Flags Over Texas, and was hired to sing in the production show at the Southern Palace Theatre at Six Flags. This began the development ofmy professional work ethic, as the management 1 was very demanding ofthe performers. Since I was only seventeen years old, and living away from my parents for the first time, I was forced to grow up very quickly. When my contract ended, I started the Stanislavski-based Bachelor ofFine Arts in Acting program at the University ofOklahoma. However, in my second year I decided to quit the program. I took a break that lasted about thirteen years, during which time I took part in many shows, mostly in Dallas, Texas, and earned my Actor's Equity Association membership. Perhaps the most significant show that I performed in while I was in Dallas was La Cage Aux FolIes because it was during this show that I met Lee Roy Reams. I knew that when the show closed he planned to direct a production ofHello Dolly in Paris, France. On closing night I told him how much I would love to work with him again. He invited me to fly to New York to audition for his show, with no guarantees, of course. I had to be there in two days. I did fly to New York, and was cast in the show. I spent three wonderful months in Paris performing at the Theatre du Chatelet. It was during my stay in Paris that I first heard ofCamille Claudel. I had visited all the major museums, and decided to see the Rodin Museum. I remember specifically being drawn to the work ofCamille Claudel. When I saw the onyx and bronze sculptures of The Gossips and The Wave, I remember having a physical reaction, felt in the pit of my stomach.
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