The Senior Capstone Project Journal of Aaron J. Holt

Journal Entry #8

​I just received an email today from the teaching assistant of the senior seminar. My project proposal has been approved! This is great news! And I didn't even have to modify it, which makes this accomplishment even better.

​One theatrical method that I've yet to explore is the Margolis Method, which just happens to be Kym's favorite method. How could I not have considered this prior to this point? Simply put, the Margolis Method deals with the laws of physics and sensing change within the character, dealing with energy that requires me to be constantly engaged in the moment at hand. When I'm portraying a character on the stage, I'm emitting energy that the other characters as well as the audience can sense. The posture of my character can indicate what kind of energy I have. If I lead with my chest, I have a very proud sense, a very positive flow of energy. On the other hand, if I lead with my hips and not stand straight, I emit a more negative flow of energy.

​A great example of when I used the Margolis Method was just last year, when I was playing Scar in The Lion King. When Paul aka Mufasa and I were standing side by side in the rehearsal room, the director asked each of us in turn how we thought our characters should move. Paul walked with his chest out and his posture straight, which gave an air of a confident ruler. Then, when I walked, I led more with my hips and hunched over a little. The result was a stark contrast to Paul, for I gave the sense of a scheming villain. The director told us that the way we move can inform the audience of how we are feeling, what our intentions are and so on. The movement and position of our bodies radiated energy, energy that the cast and the audience could both sense.

​When on stage, I'm either sending out energy or receiving energy. Just by staring intently at someone, I'm sending energy through my posture and facial expressions. It doesn't have to be so subtle, however. I can make a sharp gesture and send energy out in a great burst. Or I can raise my voice to emit energy.

​I also receive energy, from the other characters as well as the audience. When a character is talking to me or gesturing to me, they're sending out energy, positive or negative depending on what the situation is calling for. As an actor, I need to receive that energy, recognize it and react to it. That's basically what acting is, me reacting to events happening on stage. The energy from the audience is also a huge factor. If they are enjoying the show, the energy they give off can be energizing. Or if they don't like it, it can be draining. Regardless of how the audience feels, I need to stay focused on the here and now and use my abilities the best I can.

​The most recent Margolis Method-based class that I took here at the university was Kym's yoga BAM session. Though I don't do it as much as I used to, I still incorporate a few yoga poses into my warm-ups, such as child pose, cobra, plank and downward facing dog. As an actor, you need to be aware of how your entire body is feeling and how your energy is flowing through your bodies. The chakras need to flow in order for you to function properly. Start with the toes, registering how you're feeling. Are you feeling sleepy? Energized? Moving each part of the body in turn until you reach the crown of the head, you need to be aware of how you feel. An actor can't do much if he or she isn't completely focused.

​All in all, the Margolis Method seems key to accomplish a performance of a character. I've looked up some of the exercises on YouTube, and it still seems as bizarre as ever. Imagining holding a ball of energy, tossing it into the air, having it drop down into your stomach, then sending it out and having it sent right back to you? It's weird, but admittedly, effective.