This idea of "destination"

In discussing Hagen's ideas in a systematic way, the work on "Destination" forms the backbone of her technique. Once I really understood destination, it forever changed my experience of being onstage.

The idea - in a nutshell - is that as human beings we always know where we are at any given moment in time. We know where we've come from, and where we are going. AND we know what specific objects are around us in addition to our RELATIONSHIP with them.
When I could break down my behavior in two minutes under normal circumstances (say, a homecoming) suddenly the reasons for my behavior become abundantly clear.

For example, in coming home from work there are a million different realities and needs as I walk through the front door - the need to make myself comfortable by removing my work clothes, the effect that the unwashed dishes in the sink have on me, glasses left out from drinking the night before, what's occurred at work, what I expect to happen later that evening.

All these simple little things would determine how I would behave in the circumstances. When I found that, I knew the realities that needed to be created for any role or scene that I would perform.

Uta's breakdown of an ENTRANCE into 3 steps is so simple - yet how many of us actually do the homework. Uta would say that you prepare for the FIRST MOMENT, and then you takeoff into the realities of the play (or opera).

Her steps are:
1) Where did I just come from and what was I doing there?
2) Where am I now and what am I doing here?
3) Where am I going and what do I want to do there?

When these three steps are active, we can really bring our life onto the stage. And when does our character's selected life begin? IT BEGINS IN THE WINGS.

To use an operatic example, let's take the entrance of Tosca in Act I of the opera. We can create the realities of the opera for ourselves by beginning to identify with the daily life of a prima donna in the early 1800s. Before she comes in, her answers may be:

1) Where did I just come from and what was I doing there?
I just came from the flower market where I bought flowers to bring to the Madonna. The weather is very hot for June, and I'm trying to keep cool in my linen dress. Mario has never seen me in it before. At the flower market they know me very well, and I always get the best bouquet from the vendor because I am a celebrated diva. The people congratulate me and I thank them for their kind words.

2) Where am I now and what am I doing here?
Right now I'm outside the Church of Sant'Andrea delle Valle. The morning has become warm, and the perspiration on my brow and neck are beginning to cause me some annoyance. Additionally, I have this overburden of flowers which are heavy. And now the chapel door is locked which is never the case. This suddenly makes me wonder if my boyfriend, Mario Cavaradossi is seeing someone. I can hear the sound of a dress, and the whispers from within.

3) Where am I headed next and what do I want to do there?
MY IMMEDIATE NEED IS THAT I want to get inside the church and see who's in there with Mario.

This VERY brief overview of ideas should begin the process of discovery in the life of the character and create an entrance that is TOTALLY in alignment with the character's wishes and realities. It gives you the proper springboard from which to launch Tosca into her life onstage. This work goes on for every role you take on.

I hope these ideas are interesting, and

Until next time....