Discovering and overcoming

Description:
Again, this week we have continued to work on the school play building process. As the first scenes are already structured, we are working based on the existent scripts and following the outlines. I have been working on scene three during these weeks and I can tell there has been progress along it. 
We have a more consistent overview of it. Even though it is not perfect yet, it is a good first draft in which we try different proposals of the scene. As it is already structured, we are working on how to make it better and more entertaining since it is a really long scene and might get the audience bored if it is not developed correctly.

Analysis:
To start, I would like to state that I will separate this area according to the day of rehearsals: Tuesday, Thursday and Saturday. This is because this week has really been about working hard and putting all of our effort in it. I have discovered and learnt several things along it. I will focus on the challenges that have appeared and how I overcame them.

On Tuesday, I decided to concentrate on voice expression. This is because I am having a hard time doing a low pitch voice. In the scene, my character holds the low pitch as its normal voice until in one of her lines she changes her pitch to a much higher one. So the contrast between these pitches has been a little difficult for me since I tended to use my throat (which is not good because I could harm my vocal chords) or the sound wouldn't come out. So I faced two problems: the holding of the low pitch voice and the way to use the high pitch without harming my vocal chords. The low pitch was what worried me the most since I had to be able to hold it for the whole scene and if I didn't it would mean that my character's voice wasn't developed; and on stage people would notice a that I would be losing the pitch and the emphasis on the change between both of them wouldn't be so notorious. So I decided to look for a tutorial in order to make low and high pitch voices. They had in common breathing exercises and strengthening your diaphragm to take the sound from it. So after trying to practicing the low pitch voice I had improved. But while trying out the high pitch voice, I realised a change.
I found out that it didn't have to be exactly low or high pitch while my character said this one phrase but it could be both! I mean, of course there had to be a contrast so the change of mood shown in the voice would be notorious but, I realised that it could be progressive; the first words could denote a transformation of mood showing a low pitch but then it would start to get higher and it would give a much more entertaining effect, so there would be a combination according to the intention. As if the character aimed to be normal most of the time but had little glances of insanity were she was not in control and then came back to herself.

On Thursday, the body expression was my new challenge. As the building process continued, we had established a clear contrast between the mother (Micaela's character) and the aunt (my character). We have agreed to differ in several aspects in terms of voice and body expression. So, as I was saying the body expression is one of the main contrast between our characters. Starting by the posture: hers is all compressed while mine is elongated. They are totally opposite and contradictory. During this rehearsal it was a challenge to keep the elongated posture, it had to be obvious the contrast between both characters to create a more dynamic effect, so I tried to maintain it. Sometimes, due to the nosey lady stimulus I had, I unconsciously compressed a little bit to try hear the conversations, but then I recalled the opposite postures we were aiming to have and changed postures again.
Another challenge I faced was the overuse of face expression. I had started focusing on my face rather than on my body. This was good until certain extent, but I had to use my body as well so the audience would be able to see it, if not it wouldn't be notorious. I reacted and expressed only with my face which was too small and not exaggerated. 
Moreover I discovered other sides of my character. It changed to be more hypocrite as the scene progressed. This meant that I had to work on double intentions. For example, the way I said things had to sound believable but I had to transmit the feeling that I carried inside: when I express my worries about the man when he is leaving what I as well express is the happiness that the situation causes me. In this way, I managed to combine face and body expression to transmit a double intention along the scene.

On Saturday, as I had already worked on voice and body characterisation, I continued improving them but I focused on reacting to what the other characters said and exaggerating what I already had built. This meant that my body and face expression had to change as the other characters said their lines, I had to react to them. As German Expressionism is characterised by being exaggerated I tried to make all of my reactions exaggerated as well. For example, I started working on different face expressions and actions I could do while the other characters spoke; I found that moving my hands to fix my clothes could fit, before we all hear the man had arrived and a creepy smile while the father kicked the man out of the house. For the last one, I had a bigger challenge since there are different kinds of smiles and mine had to have a double intention, reflecting how hypocrite I was. It had to look creepy and it was a brand new element added to my character, so I was not sure of how to do it. So, I was given a visual stimulus for the smile: Wednesday Addams after she had been locked watching Disney movies. This stimulus helped me create a visual image, which meant that it wasn't supposed to be the same smile, but similar.

Wednesday Addams, visual stimulus of a creepy smile.
Creates a weird feeling of surprise in the audience.

As for other aspects regarding the play, my design task: scenery! This week Katty and I have been planning and brainstorming some ideas for the scenery in specific scenes. As we already acknowledge the materials that will predominate are wood and metal we have been thinking of some ideas. The tower was one of the main issues; it has to be rectangular in an Expressionist way (distorted shapes, angular, geometrically absurd), it has to be able to move and turn in order to change according to the scene and it it very essential since it is where the authority figure will stand in each scene. We are trying to figure out the different ways in which we can design the tower and place a ladder inside of it, since it will be empty on the inside. We concluded the characteristics of it are:

• It has to be mobile
• It has to have at least two designs according to the scenes
• It has to be empty in the inside
• We should figure a way to place a ladder on its insides...
• It has to be obviously in an Expressionist way

We have talked about thicknesses of the wood that would be used in the tower and some details in metal, but nothing is concrete yet. We want to transmit the idea of coldness by using metal but of warmth at sometimes by the appearance of wood. 

Beside the tower, we have a sketch for the first scene which shows a general view of it. It is not exactly accurate but it shows the factory.

We are working on the scenery as the scenes are progressing, so we could have a better idea of them physically. 

Connections:
For this week, since I have discovered different things along the rehearsals, I found as well some connections.
First of all I can link this week's rehearsals with all the characterisation processes I learnt last year in Miss Alicia's class. Even though this kind of theatre in not about characterising and creating a character but about portraying an emotion, I believe the different techniques we learned last year have been useful to my character's development. For example when we worked voice expression and postures in "The body in the bedroom", I remembered the voice and breathing exercises we used to make so I could achieve a low pitch voice and a more masculine posture. I used the exercises I learned last year in order to develop my voice and postures this time.

In addition, another connection I can make is with Nicole's character from "Split". This is in posture terms. I like how elongated and stylised movements she kept and how defined her postures were. She was an authority symbol but its power diminished as the conference didn't took place; just like my character, which is not the main authority symbol and its power diminishes when the father appears, but still reflects oppression. A serious woman with a foreigner accent, she was the only one who was trying to continue the conference; this is similar to my character since it is supposedly one of the most normal ones. Regarding the body expression it is the sort of effect I wan to create, of stiffness and hardness in movements and postures but being delicate. As well, with this play, I would like to highlight the importance of metal usage in terms of scenery; the podium and tables. The created a coldness effect in the audience as if the wanted us to feel in the setting which was jail.

As well, I found other connection with Saba's character in "A matter of dissection", the morgue guy. It gave the audience of a serious creepy guy which was senseless. It was creepy but somehow it was fun to watch as well. That is what I am aiming in terms of effect in the audience: the ability to look serious and creepy but to be fun to watch, to be entertaining. I liked how his monotone voice expression helped to catch the audiences' attention and create humour which I will try to do as well.

Finally, my last connection is in terms of scenery with "Miyuki y los 3 demonios". Even though the mentioned play had an important use of cloths in its scenery, the use of wood also predominated. That is the link that I am making. The scenery in "Miyuki y los 3 demonios" had wood pedestals and elements such as a hanavichi and the extension of the stage made of wood. Just like this year, one of the elements that will predominate  is wood. This means that we will also count with the extension of the stage and most of the scenery would be wood made. We will as well, create an effect of warmth in the audience by the usage of wood at sometimes in the play.

Reflections: 
Lastly, I would like to start my reflections by saying that I believe this week has been really an essential part in the process of the scene I'm working on. I have learnt how to use my background knowledge to improve the challenges I face today. I have learnt the kinds of effects I want to create in the audience by  improving my character. It has helped me in a big way to establish a contrast between my character and Micaela's character, I now know that we have to be opposites, think different, act contrasting. I learned that reactions in a scene are essential. I learned that the most important things in theatre are the ones that are not said, that we should be able to express through other factors such as body, face and voice. That I should take more in account the German Expressionist conventions and be more exaggerated and keep my eyes wide open and show an emotion; not only represent a character but to incarnate a feeling.
As I started acting this week, I realised that my last stimulus (thinking about a personal experience and trying to get the feeling from it) was not working anymore, at least not as before. So my goal this week is to find another way to incarnate an emotion without using personal experiences but by doing it as a playful thing or maybe finding another way. 
In terms of my design task, I have discovered that there is a wide range of elements we can build with the materials chosen. But we should already be thinking on the entrances and exits, the changes of scenes, the props, the ways of positioning things and taking them into account so we can design the scenery for other things and how could we use the metal in wood in them. These materials are used to create different effects in the audience. I know we are not going to use them for every single element in the play and that we are allowed to play with others, to explore textures and colours. Anyway, this makes me wonder, to what extent should we get with the usage of other materials that are not wood nor metal? Is there a limit? Should we use diverse materials to create more variety? Or should we stick to similar textures and colours?

Fixing Characters

Description:
This week we have kept working on the school play. As we have learnt on class, we are applying the conventions taught in order to develop the scenes. Now that we are creating scenes 1, 2 and 3, we are learning the dialogues and blocking different ways on doing it. We are focusing on building up specific scenes and creating dialogues to see what would fit better.

Micaela's character and mine appear on the same seen, so we were working on a contrast between them; in personalities, characteristics, voice and body expression.

Analysis:
We have assembled people by scenes and we are already set. I am working on "The family scene" as the serious aunt. This is a new thing for me since at first I was the nosey aunt which was always in for the latest gossip. But that's what it is about; being able to change without a problem, to accept mutations that will improve the play. Anyway, it is not about representing a character but to find the emotion inside of you and bring it out and represent it; not as something yours but as a universal emotion. That there helped me realise how to work on myself to bring out an emotion. This was was tough in terms of my character; it suffered different changes. I continued to believe I already had it, that it was developed at least 50%. Well, after every rehearsal I realise that I was completely wrong and that I need to keep up the effort to push myself to achieve what I want. So, linking the conventions with our characters is a challenge as well. We have to keep in mind what are they so we can express them. For example, the deformities, the wide eyes are things we have to take in account and never lose them while we are acting.
Moreover, when we had a more solid structure of the scene, we started acting and trying different proposals with our characters based on what we had been building over the last rehearsals. This meant we had to have a proposal for our characters already and to learn the lines as the scene progressed. As I already had a clear proposal of my character (nosey lady, low voice, squirrel-like posture) I started working on my intentions and how I was going to say things. I tried various ways of saying my lines as I learned them.

Visual image of the aunt I had in mind
Frankenweenie character

On this process I realised something that helped me improve my acting, it is not about finding traits and putting them together, not about acting like an aunt or creating; but it is about looking inside of you to find some kind of feeling or emotion and then make it trascend through you, which means to make it pass beyond yourself. To transmit and effect, to show the audience the emotion, to BE the emotion. And not a specify one, but a universal one. Something that people all around the world could feel and would feel identified to. In this way, I was interpreting an aunt, but I admit I was not doing my very best. I couldn't nail the right way to interpret this new figure of authority and seriousness. An example was given to me so I could create an intention while saying a line: to imagine the frustration I would feel if my parent wouldn't give me permission to go out. I imagined and felt the frustration while I was saying the line which helped me to improve. Later, I had to work on the voice and posture. My voice was being low but not low enough. It had to sound creepier, so I tried to do it but as well to alternate it with some higher pitches so it wouldn't be flat. I said one of my lines in an altered sound, but it didn't sound real until I tried it several times and used all my body to say it.
As for the body expression, it completely changed. What at first was a twisted position trying to look all deform changed to an elongated one. The idea of an old aunt, which was the authority was given to me; like one of those old ladies with big hair. So I had to take the inner authoritarian aunt that I had inside of me. This week I put effort in completing the tasks so my character would be almost ready for the next rehearsals; but I figured out it has a lot to improve and to keep on building and changing. Anyway, I believe I have improved my voice and my new body expression.

Aunt Josephine "A series of unfortunate events"
Visual stimuli for my interpretation

Connections:
I have found a couple of connections to this week's rehearsals. Firstly, I link it to "Confesiones de Ana Correa" but this time for a specific reason. I believe I now truly can feel what Ana felt during the process of creating her characters. I mean how she emotionally she attaches to them. I think that I'm doing it, not only because this kind of theatre demands it, but because it involves my real emotions and deep feelings while creating the character. "To grow as an actor, is to grow as a person", this phrase has come to life for me this week. I am trying to explore different emotions deep inside me, to get to know me better, to question why do I do the things I do.
El ultimo ensayo
As well, I can link these rehearsals with "El ultimo ensayo". This is in terms of how the characters in that play change without the audience noticing from one to another. In this case the changes have to be done in the character itself. I have to be able to change and mutate my character according to the situation, to the atmosphere. To be able to work on what I had created but as well to renovate it whenever necessary.

Reflections:

"You have to commit yourself to succeed. You need to sacrifice all you got, to get where you want to be."

During this week there are some remarkable things I learned. This quote here, represents very much them. I learned that as I was not doing my very best, I wasn't able to fulfil all I wanted to achieve this week. I was not connected completely during rehearsals which meant that I need to sacrifice in order to make my character complete. That changes in my character are not something I should reject, but something I should embrace to make the scene better. That I should BE the emotion not only try to act it out. I remember things that make me feel a certain way in order to interpret the emotion, based on experiences. I know that when people don't know me, they think I'm serious so I have tried to use my own seriousness to interpret it. But since it's something that only people that don't know me well can see I have to be able to transmit it through myself believing that everyone that watched me is someone that doesn't know me well.
I have learnt how as I am developing my character, I am learning new things about myself as well. Which ways would I rather act, why do I prefer them and why do I do the things I do. It makes me feel once again the emotions I am trying to interpret. As well, that I should work harder every rehearsal to achieve what my aim is. And that I shouldn't care if anyone's watching and let the emotion be. Liberating all of my energy. This leads me to the question is using our own experiences to remember or feel emotions again the most effective way of trascending emotionally? Or the only one?

Character's Challenges

Description:
This week's task has been to develop our characters even more. We continued with the exploration of techniques to see what would fit better to our character construction. The exploration of voice and body characterisation took place in these week's rehearsals too. As well, we were told which characters we were going to interpret in the play and in which scenes we were going to act. We tried to assemble some of our scenes knowing the people that were going to be in them.

Micaela's character and mine happened to be in the same scene, as part of the family; so we decided to create a scene together according to the existing outline.
In general, we joined with the people that are going to be in our scenes and started constructing the scene based on what we had developed from our characters.

Analysis:
I have found that the more I explore, the more I learn. For example, at first I naively believed that I had my character built up almost completely. After I had presented my ten-movement sequence, I thought I had done a good job and had most of my character. But it all changed when we had to work together and be able to turn those characteristics from the sequence to the scene.
I think this week was a bigger challenge to me than last one. This is because we had to start blocking, which means trying the scene in different ways.
In this new seen created by my partner and myself, we had an alternate dialogue addressing to the 'man'. It was characterised by the level of disappointment in both characters, the almost screaming voice    and the line we said together. Of course the wide-opened eyes and the voices we had developed before were also there. I believed the scene was pretty good according to the outline and the crescendo effect we were supposed to create. Anyway, I faced some bumps during the rehearsal; but they helped me improve my character.
The first one was that the screaming-like voice had no chance in the play; it was something that people didn't exactly liked on last year's play. So the first thing we did was explore different voice volumes and different ways of saying our lines which made us realise that there were better ways to do it. We used the stress in some syllables technique, to vary the ways we were saying things. This, being a basic exercise helped us know the change in the voice tone. Also, I was asked to stop blinking so much to take my time when saying my lines  and adding pauses to the scene. That was a problem for me, since I couldn't stop blinking and without noticing I did it several times.
As well, we were asked to start moving our articulations such as wrists and ankles while the other one was talking. This was done to add dynamism to the scene and some movement, since we had to be sitting all the time. We learned that we had to look deformed and exaggerated so we were in an uncomfortable position most of the time. This gives the audience a creepier idea of the characters.
The second one was that we were to change not only the voices but as well the tone we were saying it in. I mean, we said our lines in an angry and disappointed way; but we were told to say them in a nice way. This is where my challenge started. How was I supposed to say really negative lines in a nice way? It changed my whole perspective of the scene. I couldn't nail it. It was hard for me to change in such a quick way what we had been working with.
The third one was that since I couldn't figure it out, Renzo was asked to interpret a little, cute nephew which us, the loving and caring aunts were supposed to love. I say 'supposed' because this was a greater challenge for me. I am not exactly a child lover, but I had to find a way in which my lines could be said in a totally different way. I tried hard to pick an image I had from an aunt to be caring and nice to Renzo but it just didn't feel natural. As this didn't result, I had to find another way; I was asked to transport to the other extreme, instead of being nice I had to be evil.

I went to the complete opposite of what I was doing. I took the 'evil' inside of me to be able to do it in a different way. I started saying my lines in a different tone, voice and had different intentions. I was doing it in a meaner way. This was a little bit easier than the 'nice' character I was doing before. I felt much more free.
This whole process made me realise that we should challenge ourselves, but as well work with our strengths. That if something doesn't work on one way you should go the other way. You can be black or white. We should try to take advantages of the extremes and opposites and be able to link them to German Expressionism.

On the other side, the last rehearsal of the week showed me a different aspect of the play. I had to replace a person in one of the most depressive scenes of the play: the factory one. I realised how mechanic and routinely it was. I was able to experience from a closer view another aspect of the play. A more physical and automatic one. It taught me that even though we are all doing a German Expressionist play, there are different aspects of it along the scenes. By this I mean, that in the family scene, even though it is a black and white scene (depressive, sad, ugly, etc...) it is not as routinely and  mechanic as the factory scene.

Connections:
I believe there are some connections I did from this week's rehearsals to other Theatre things.
I can't help but link the rehearsals with 'Confesiones'. This is because I am experiencing the process Ana talks about during the whole play: the construction of the characters based on personal experiences and emotions. I feel that I base myself on thoughts and experiences and images whenever I explore different aspects of my character. I believe the link with this play will be a permanent one during rehearsals since we are constructing a character and getting involved with it emotionally and physically as the play refers.
Also, I can't avoid mentioning the last school play rehearsals. They all start with a basic outline and they start building up as we give ideas and construct the scenes. Of course there is a difference from the other ones in terms of production, since this year I am more involved in it; but they are similar in terms of the building up and rehearsals. They all require the exploration of different body, face, voice expression to try which way is better for our character and the scene.

Reflections:
Lastly, what have I learnt? During this week I realised it is not going to be easy. This process, the play as a whole. It will take a lot of time and effort. I noticed that I'm up for challenges, and that I will try as far as possible to fulfil the tasks. I have learnt the characters are not creates in a certain way. They can be mutated, changed, altered in order to achieve a better projection of the scene. We should aim and look for what's better for the scene and not for us. That we should be able to face the challenges, but as I already mentioned, to take advantage of our strengths. I learned that if something doesn't work one way, then we should find another one. To look for opposites, extremes. To be open-minded and watch the scene from different perspectives. To be able to be a child-lover when necessary. To change from one character to another. As well, that there are different branches and aspects of German Expressionism; that they are not all the same... This is showed by comparing and contrasting the scenes, watching how mechanic one is while the other one relies on the text and characterisation. Overall I have learnt that it is important to be able to change and switch characters without hesitating; that I should step outside of my comfort zone and accept the challenges demanded. That while creating a character you can face many bumps but you should explore the different possibilities and choose what is best for the scene.
Regarding the exploration side of this entry; in my case, I went to the extremes and opposites. I tried to make a 'nice' character at first but as it didn't work, so I went to the opposite side and acted an 'evil' character. I know these two traits are stereotypes, everything is relative according to each point of view, subjective. But, to what extent should we use the opposites? To what extent should we use the extremes? Should the aspects in our exploration only be black or white? Isn't there a grey area in the exploration, a middle point between the opposites? If we can't figure out a way of making one side work, should we instantly switch to the opposite? Or should we explore the middle points before jumping to the other extreme?

Ying Yang - a visual proposal of how evil and
good are sometimes mixed, even though they are opposites

Real Rehearsals

Description:
A couple of weeks ago, we have started rehearsing for the school play. This year's play is based on German Expressionism. The first rehearsals were basically games but the last ones have been aiming to start the play process.
As we have decided, we will focus on the acting more than on the production aspects of the play this year; so we have separated ourselves into smaller groups in order to start practicing. 
In these groups we have explored ways in which we could create characters through different  acting exercises. Each of us developed a character from the outside-in, making different movements to create several proposals for the character. We were asked to make a 10-movement sequence so we could know how our character would do some things: which we later had to perform.

Analysis:

Doña Coltilde - one of my 'nosey lady' stimulus

Doing the warm up and energy exercise helped us feel more relaxed and ready to work and feel the atmosphere. We were told to lay on the ground and feel the energy moving from our centre of energy which I believe it started at a different point for each of us and made it more personal. 
As the rehearsal progressed, we were able to start the creation of our characters by doing different movements and exploring diverse ways of walking. For example, I tried small steps first then bigger, or lighter and then heavier. This here helped us me realise which would help me more to build the character. 
The not knowing which characters we were already assigned for the play gave us the freedom of exploring ourselves without limitations or stereotypes. It allowed us to be the character and not only interpret it. Even though we didn't know them, we weren't allowed to create a subconscious idea of what are character would be and interpret it, but to be whatever character we were thinking of without restrictions.
To be more physically active, after exploring the different ways of walking and talking of the new characters, we were asked to say what was the idea of the character we were expressing: an age group and an adjective. As well as choosing an animal and a person stimuli. This helped me because I was able to inspire my character from these two visual images and ideas which made me more secure of in what direction I was going. And forced me to be and not to interpret.
While I was creating my 10-movement sequence I was asked to sit on a chair on top of a table. This at first made me think I was doing it wrong, but then I realised I was supposed to do my sequence sitting all the way. This changed totally the way I had the sequence planned but I was able to transform all the movements I did standing to sitting. Being on top of the table in a way immobilised me, so I couldn't do any further movements than from the chair and limited me in the physical or body expression. 
On the other hand, this made me work more and focus on my face expression, use of voice and upper body movements. I had to explore different voices to see which one would fit best to my idea of "nosey lady". I had to imagine a situation in which this character would be involved, and use my own ideas of how I thought she would react. For example, I portrayed my idea of how a nosey lady would react to gossip, I found out that I imagined this person enjoying it, as if it was her fuel, her reason of being. I thought of a situation that I had enjoyed such as getting good news or good grades, so I used this feelings to turn myself into the nosey lady enjoying the gossip. At last, we had to present our sequence and I realised I still have to improve and that we have a long way to go.

Squirrel - animal stimulus - I was guided by the posture
and by the fast movements

Connections:
Overall this rehearsals made me think of the previous rehearsals of the other school plays. On how we work every year in order to develop our own character. Of course this time it was a little different since we had to use our own emotions instead of just building a character and acting it out. Anyway, it reminds me of how different my characters have been on every school play. These rehearsals take me back to my first school play rehearsals and they are very contrastable. This time I see them from an IB perspective an it makes me more critical.

Also, I believe I can link this to all the theory we have been doing in class along these weeks. We have been studying German Expressionism, trying to have the conventions straight. This helped me to have background knowledge while building up my character with my own emotions. For example, I already knew that while acting I had to have wide-opened eyes and be exaggerated on every single movement I did: following the conventions of German Expressionism. I had the overall idea that it had to be creepy looking and Tim Burtonish.

Lastly, I can see a connection between the rehearsals and "Confesiones de Ana Correa". This is because they both involve the creation and discovery of a character. While Ana Correa narrates her OWN experiences of how she created her characters based on personal experiences and different people she knew; I can say that we are in that process she narrated of developing characters based on personal emotions but not on different people or characteristics. As she said on the play, 'to develop as an actress i to develop as a person' and I believe that this phrase applies on our rehearsals because were are now more mature and able to explore ourselves and push ourselves to the limit.

Reflections:
When the 'real rehearsals' started I can say that I have learnt that I should explore wider possibilities when building my characters. I say this because it took some time for me to get in the rehearsal mood. It had been a while since I wasn't involved in acting and I had to brake my barriers down. But once I had overcame this, it was much easier to develop my character.  As well, I was told that my new character was very similar to a 'Kabuki' one. This made me realise I had to make some changes, and that it wasn't wrong that they were similar in ways but that it had to differ. 
While rehearsing I was amazed at how at this time last year I was rehearsing to interpret a whole different character and learning how to do puppets; while this year I am gladly learning another style of acting completely different. I am just surprised at how each year we commit at making every single play so dissimilar to each other and with a contrastable style. This year we are learning an unusual style for us, and not familiar to the audience. We have our hopes up and we are putting a lot of effort so that the final product will be astonishing. We are deeply developing our characters so we have a well done result. This makes me wonder; is there a limit or boundary to which we should use our emotions in order to create a character? How far should we get? What are most important techniques during the process of developing characters that aim to be creepy? Was there any special occasion in German Expressionism in which the actors used other emotions than theirs? 

Doña Nelly - another 'nosey lady' stimulus