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In My Mind's Eye with Janna Rosenkranz and Saray Stark

This week: Sarah Stark and Janna Rosenkranz are on the docket for Love’s Labour’s Lost.

How do you typically go about preparing a Shakespearean character?

Sarah: The beauty of Shakespeare is that the character is fully fleshed out already for you; it just simply is veiled at first sight by the text. What I feel I need to do is dig; to constantly engage the text until it reveals to me the full spectrum, from the overt circumstances to subtle nuances concerning character and emotion. The process is similar to the experience of trying to master a foreign language.

I begin by reading the play multiple times. Next I create a foundation by defining the given circumstances. At this point I also begin a backstory based on those facts and continue to add to it until performance time. I find it is one of the most effective tools for stimulating imagination and imbuing a sense of connection to the role. Then I examine the framework of the text, or how thoughts and arguments are carved out by punctuation, scansion, grammatical structure, etc. I enjoy using lexicons to explore all possible meanings inherent in operative words. As I progress I layer on technique, one of my favorites being Laban Effort Actions. All of this work is individual, and it is in the rehearsal process that I am able to amend or experiment based on the influence and work of my colleagues.

In the end it is my hope that I understand the character as fully as Shakespeare created them and that I may articulate their story in a specific and enjoyable manner.

Janna: Shakespeare’s characters are, for the most part, archetypes. The very first thing I do is decide which archetype I’m dealing with. Then I work on figuring out what that archetype says to me, as a 21st century individual. During my MFA training at Sarah Lawrence College we worked on being part of the collaboration of creating character. Actors work with characters, with the words (hence the playwright), the other actors, director, designers, and audience to create the event of the performance. As I’m doing all of this I research the character, look to previous performances, scholarly work on the play, and of course, the words, which are the most important resource actors have – directly from Shakespeare himself.

What, thus far, in rehearsal has been helpful?

Sarah: The insights and clever work of my colleagues. I strongly agree that two heads are better than one, and many heads even better. Such plentitude can be discovered in the honest feedback of an outside eye or by merely listening and reacting to a partner within a scene.

Janna: I always find feedback from other actors extremely helpful, especially when we are in an ensemble directed productions.

What do you like to do for fun outside of theatre?

Sarah: Spend time with family & friends, travel, ballroom dancing, running, reading & writing plays and poetry, acrylic painting and charcoal sketching.

Janna: Watch bad (and sometimes) good TV – I am a pop culture aficionado, expert and addict.

What is your day job? What do you want to BE your day job?

Sarah: Currently I have two. I am a waitress and a door lady. If I could support myself as a professional actress, with time on the side to write and workshop my plays or poetry, that would be ideal.

Janna: I am currently attending GVSU’s Graduate Teacher Certification program, and begin student teaching in the fall. I have been teaching English, Writing and Speaking at Baker College, Muskegon for the last two years.

What do you plan to do after this show?

Sarah: Prepare to audition for M.F.A. graduate school programs this winter and begin work this Fall on my next show, Psycho, the Musical by Joel L. Schindlbeck in which I will be acting and choreographing.

Janna: We’re already in rehearsal for Antony and Cleopatra in which I am playing Octavia, et al (lots of doubling!). I am taking classes and looking forward to my student teaching experience.

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