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Page 63 text:
mf Highlighting his potential as an upcoming prolessional
Dam' Anas 'emamed on stage almost me actor, Jeff Reese holds his own during the "Caretaker".
"The first scene in the play brings in the charac-
ters and the exposition. It tells the audience what's
going on, and it develops conflicts between the
characters," said Arias.
He has learned that it is an actor's responsibility
to inform the audience at the beginning of each
scene where he has come from and why and for
what reasons he is there.
The devaluation of Riley's Notebook is not fore-
seen by Arias, who anticipates using his character
and situational scene notes as possible research
material for future roles.
Aside from experiencing an effective directional
method under which he can work competently,
Arias has developed his own philosophical theory on
"There are no holidays in the theater - just small
- David Arias
Page 62 text:
EUUIEYUS Niki' Ll 'l:ZI:13tf 00 OK4
By Vanessa Finan
Illustrated by lohn Rosenfield
A standing ovation performance warrants an ex-
planation of the factors which added up to its
The Theater Arts Departments first major produc-
tion of the year, "The Caretaker," by Harold Pinter,
stands out as a production which cannot dissolve to
mere memory. Even though the sets, props, and
backdrops may never be used again, the material
strongbox of the play's riches lingers on for probable
recycling in the enigma of Patrick Riley's Notebook.
Patrick Riley, associate professor of theater arts,
directed "The Caretaker," utilizing the method of a
production notebook. It was as fundamental a tool
to the cast as their early education in reading,
writing, and arithmetic.
At the time David Arias experienced playing "The
Caretaker's" Davies, he found Riley's Notebook to
be the most effective directional method he had
ever encountered. "The whole point of the note-
book is having an order to what you do," explained
The notebook's primary organs included getting to
know your fellow actor, character analysis, and
"The method of Riley's Notebook, first goes about
by studying one's fellow actor and knowing him as a
human being." Arias started by watching his two
fellow actors, jeff Reese and john Walker. He
observed the way they sat and talked and their
reactions to things. He proceeded to feed his
characterization with data concerning the most
effective devices he could use to arouse a favorable
or a derogatory reaction from his fellow thespians.
Knowing their personal likes and dislikes aided him
in the process.
The Character section demanded the creation of a
plausible and believable interpretation of the char-
acter. The actors had to compile a character history
from as far back as baptism and reaching to future
goals and aspirations.
Arias defines the purpose of a scene as being a
tool used for the passage of time or location
John Walker electrified the audience each time he
appeared on stage.
Page 64 text:
.. .Kg if
Synthesizing the creases, wrinkles, bumps, and bags
ol old age, actor Ted Samuels prepares for his portrayal
of Mr. De Pinna in the Valley College production of
"You Can't Take lt With You." Samuels creates three-
dimensional skin shadows with white and brown Pan-Stik,
while sharper tones are painted on with theatrical eye
liner. De Pinna's characterization requires Samuels
to hide his tull head of hair under a skull cap fastened
and blended with a latex adhesive. Moustache and
beard are grayed by a tooth brush application of
powdered hair whitener.
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