The exit

In order to make a successful exit, we must understand that the life of the character who is leaving the stage is continuing off into the wings. It traces back to the idea that as human beings we are always coming and going somewhere. This is what Hagen refers to when she talks about "Destination" and it forms the core of her technique.

Therefore, we can't omit the importance of this idea.

A friend of mine and I recently viewed a performance of "Lucia di Lammermoor" from one of the top opera houses in the country. Following the baritone's first act aria, he exited the stage with a flourish of his cape. My friend and I laughed out loud at the ridiculousness of this stagey cliche much to the chagrin of those seated around us. He signaled to the entire audience that this was "the exit" - but in the meantime he had betrayed the truthfulness of the moment, and resorted to bad acting in the service of his ego.

During our last actions on stage, we know where we've come from, and what we're currently occupied with. But you also have to know what your next destination is, and what you WANT as you are exiting the stage. It has to be so specific and detailed that we will be mentally on the way off even as we are exiting. But be on guard that this is NOT just a checking off of fictional facts.

Like the aforementioned baritone, the opposite error can also be made when the self-conscious performer stops acting before leaving the stage. These singers simply "fade into the wings".

As Tosca is exiting in Act Two, she will be gathering her things (i.e. gloves, wrap, safe-conduct notice, etc.) but mentally she will be connecting with the waiting carriage outside and the journey from the Palazzo Farnese to Castel Sant'Angelo. She is already anticipating getting to Mario as quickly as possible so that she can give him the news of his reprieve.

Whatever your final destination is, the action is obviously incomplete until you are well off-stage.

Every exit is a new destination.