REAL-LIFE POLARITY: NATALIE KERN

Polarity is a term that has been used again and again throughout this process. While I have not been a student of the Michael Chekhov Technique for long, my understanding is that usually we are using this word to help give dynamics and depth to a scene, a moment, or a gesture. Bringing to mind the active idea of being pulled, in multiple directions - or crafting a scene with contrasting tempos, atmospheres, etc. - living at both extremes simultaneously and seeing what that generates.

Polarity for myself and my character has been an interesting journey. As we find ourselves attempting our first full run of the show, two weeks from opening, I can feel myself pulled in multiple directions, both in and out of the play. Perhaps due to the extended process, or the collective trust in our ensemble, I have been feeling more confident in my own abilities than I remember feeling in past productions. At the same, time I feel plunged into self doubt and uncertainty when faced with adding new production or rehearsal elements to our process (I.e. rehearsal costume pieces, fight choreography, scenic transitions, etc). Each of these polar swings have been informing elements of Dabby’s journey as well. What I find beautiful about this experience is that the grace and support of the ensemble is always there to center me once again.

While we’ve been getting to know these characters and developing a story together for the past 10 months, I still find myself wishing I had more time. The two weeks ahead of us feel both too soon and far away. Echoes of polarity continue to surprise me with the depth they bring to this work.