Unit 4 Section A and B Woyzeck
Episodes 5
The Shaving Episode
WOYZECK & CAPTAIN
In your script highlight KEY moments and who has the higher
status of the two men. Does the status change at all during the
scene?
Do this exercise again but note down who has the higher
MORAL status at key points in the scene. Did your answers
change at all from the previous activity? Why? Reasons? Do
you think Buchner was making any comments about
morality? Is this a directorial theme you might focus on if so?
STATUS
Status is pecking order. The person who is lower in status defers to the person who
is higher in status.
Status is party established by social position--e.g. boss and employee--but mainly by
the way you interact. If you interact in a way that says you are not to be trifled with,
the other person must adjust to you, then you are establishing high status. If you
interact in a way that says you are willing to go along, you don't want responsibility,
that's low status. A boss can play low status or high status. An employee can play
low status or high status.
Status is established in every line and gesture, and changes continuously. Status is
something that one character plays to another at a particular moment. If you convey
that the other person must not cross you on what you're saying now, then you are
playing high status to that person in that line. Your very next line might come out
low status, as you suggest willingness to defer about something else.
If you analyze your most successful scenes, it's likely they involved several status
changes between the players. Therefore, one path to great scenes is to intentionally
change status. You can raise or lower your own status, or the status of the other
player. The more subtly you can do this, the better the scene.
Unit 4 Section A and B Woyzeck
Status games for you as a director to explore with your cast during rehearsals. These
are all based on the work of Keith Johnstone.
“Impro: Improvisation and the Theatre”
“Impro for Storytellers”
Both books are in the department and make up a lot of our style of teaching.
Exercise 1: Firstly explore the basics of the scene using Peter
Brooks ‘Orghast’ nonsense language, or Keith Johnstone’s
‘Gibberish’ Basically, having fun with the scene without being put
off by the actual text. Performers need a basic understanding of
the scene, but then go off and experiment with reproducing the
scene though nonsense language rather than text, so more
attention goes onto sound, intonation of voice, pace, pause, pitch
etc for meaning. This may bring out different ideas never even
thought of before.
Exercise 2: Get your actors into pairs – give them a basic scenario,
hand them all a playing card and get them to stick it to their
forehead. They are to improvise the scenario in reaction to
whatever status number their partner has. Ace is low to King High.
As they act, they must obviously ‘read’ how their partner is reacting
to their ‘status number’ and react accordingly. Can they guess their
status number at the end of the scene?
Exercise 3: Working with your Captain and Woyzeck. Do the same
exercise with the playing cards but act out the scene instead of
improvising.
Exercise 4: Get your whole cast into pairs and explore this scene
purposely give different playing cards out to different pairs to illicit
different responses. Watch them back and discuss all the scenes
and what were created. Can you then take any of the ideas
explored and develop them further?
Exercise 5: Using your Captain and Woyzeck explore the status
behaviours on the next page.
Unit 4 Section A and B Woyzeck
Low Status Behaviours
High Status Behaviours
When walking, assuming that other people will
get out of your path.
Making eye contact while speaking.
Not checking the other person's eyes for a
reaction to what you said.
Having no visible reaction to what the other
person said. (Imagine saying something to a
When walking, moving out of other people's path.
Looking away from the other person's eyes.
Briefly checking the other person's eyes to see if
they reacted positively to what you said.
Speaking in halting, incomplete sentences. Trailing
off, editing your sentences as you got.
Sitting or standing uncomfortably in order to adjust
typical Clint Eastwood character. You say
to the other person and give them space. Pulling
something expecting a reaction, and you get--
inward to give the other person more room. If
nothing.)
you're tall, you might need to scrunch down a bit to
Speaking in complete sentences.
indicate that you're not going to use your height
Interrupting before you know what you are
against the other person.
going to say.
Looking up toward the other person (head tilted
Spreading out your body to full comfort. Taking
forward a bit to make this work), creating the
up a lot of space with your body.
feeling that you are a child talking to a parent.
Looking at the other person with your eyes
Dancing around your words (beating around the
somewhat down (head tilted back a bit to
bush) when talking about something that will
make this work), creating the feeling that you
displease the other person.
are a parent talking to a child.
Shouting as an attempt to intimidate the other
Talking matter-of-factly about things that the
person. This is low status because it suggests that
other person finds displeasing or offensive.
you expect resistance.
Letting your body be vulnerable, exposing your
Crouching your body as if to ward off a blow;
neck and torso to the other person.
protecting your face, neck, and torso.
Moving comfortably and gracefully.
Moving awkwardly or jerkily, with unnecessary
Keeping your hands away from your face.
movements.
Speaking authoritatively, with certainty.
Touching your face or head.
Making decisions for a group; taking
Avoiding making decisions for the group; avoiding
responsibility.
responsibility.
Giving or withholding permission.
Needing permission before you can act.
Unit 4 Section A and B Woyzeck
When working with your actors on this Episode try
exploring any of those status behaviours ideas and
see what is created – the results may affect the way
you then direct the episode.
Captain
Woyzeck
Making eye contact while speaking.
When walking, moving out of other people's
path.
Looking away from the other person's eyes.
Captain
Woyzeck
Spreading out your body to full comfort.
Taking up a lot of space with your body.
Crouching your body as if to ward off a blow;
protecting your face, neck, and torso.
Moving awkwardly or jerkily, with
unnecessary movements.
Try swapping them around
Captain
Woyzeck
Looking away from the other person's
Making eye contact while speaking.
eyes. Crouching your body as if to ward
Interrupting before you know what you
off a blow; protecting your face, neck, and
are going to say.
torso. Moving awkwardly or jerkily, with
unnecessary movements.
As a director Status is always a great rehearsal technique to explore – it’s amazing
what can come out of that exploration which can then be used in the final scene!