1.
When devising any form of theatre a structure is needed, in the case of Porto we have worked on the RSVP system. The first two letters stand for Research and Scoring, the research part can be the exploration of ones bodies in the physical genre. As research is partly the creation of the given circumstances it is something that will continue throughout the process as our characters are forever changing and everyday experiences may become a stimulus for new ideas.
‘By given circumstances we mean time, place, characters, situation, décor, music, costumes and props etc.’… ‘If one changes only one of the given circumstances, the entire story is changed.’ (Newlove, 1993. p118/9)
How ever it is clear when in rehearsals that the scoring has become the prime phase. The piece is forming into a more linear structure but this does not mean that the sections will not change, like Newlove states any one thing could change the entire piece and its meaning. If you take the research as the back bone of the performance e.g. the idea Blake can’t leave then the score would be the relationships in which his character devolves and the journey he goes on making the body to the back bone.
2.
As the scoring has progressed there is less need for research in the form of play as each character has more of an objective. Not only is this so for each character but it is also the case for the whole ensemble. Each character is trapped between two points and the narrative is the journeys and friendships created from one point to the next. The depth of these relationships and journeys are so encoded that although the performer and as an ensemble have their own meanings behind each movement the audience could decode it in a more metophical way.
‘It is impossible for any theatre piece not to convey meaning – intended or otherwise – thought the bodies of the actors. As spectators we construct meaning through all the senses even in a conventional play.’ … ‘The conventions of realism and naturalism… all make a highly significant contribution to the audiences understanding of both the particularities of characters and the overall narrative of the piece.’ (Murray and Keefe, 2007. p92)
Scoring the performance with so many different characters involved mean that there will be lots of narratives and perhaps some running at the same time as others, so at this stage it would be hard to give a straight forward answer to a narrative and the structure is always at risk of changing.
3.
When starting the research I had a clear idea of whom my character would be and the journey she would try to achieve. This mainly came from the first session of Porto when we were told to envision a bag and an item I knew then that I wanted my character to be attached to the item in her bag. The first week devising Porto I had an empty envelope in my bag, my character had no urgency to keep this bag on her person so the next week I put something in the envelope that personally I wouldn’t want anyone to see. By taking this risk I gained a greater understanding of how my character would be and it gave each action more of a purpose. Like I mentioned before this to me is the back bone of my character, the relationship my character has developed with Mikeys character is the body of my piece it is through scoring this relationship that my character has become more apparent.
‘…Practices involve an initial period of the creative development of ideas first in the studio, improvisation of some for is that part of the devising process.’ (Heddon and Milling. 2006. p9)
The Heddon and Milling quote underlines the initial stages of process, the fact that my character is now so much more developed suggests that I am passed stage ‘R’ and now scoring.
Bibliography
Heddon, D and Milling, J. (2006) Devising Performances A Critical History. Hampshire: Palgrave Macmillian.
Murray, S and Keefe, J. (2007) Physical Theatres: A Critical Introduction. Oxon: Routledge.
Newlove, J. (1993) Laban for Actors and Dancers. London: Nick Hern Books.
Tuesday 31 March 2009
Wednesday 11 March 2009
Blog 2.
1.The main technique used when creating Porto is the one of impulse and response. Each characters movements and gestures are all created through impulses, ‘all of us are in a constant state of impulse and response’ (Marshall, L., 2001, pg32) . The creation of Porto has helped the performers in ‘discovering their somatic impulses, and developing a physical articulation of the imagination’ (Callery, D., 2001, pg163). One key strategy used in terms of development of a character is the neutral roll. First, stood in a neutral stance, one rolls their body down to the floor and then slowly rolls it back up each vertebrate at a time, gradually exposing their characters physicality. Now the performers are completely absorbed by their characters, physically and mentally, they are given the chance to interact and respond on impulse with the other characters in the space. This technique being ‘contact improvisation’, used by theatre companies such as DV8. Contact improvisation is effective due to it allowing the performers to give the piece narrative through creating a language controlled by movements and physicality, as appose to verbally. This technique has been a vital part in Porto’s development in terms of creating relationships within the ensemble, giving the piece structure and inspiration.
2.My personal character has grown a considerable amount since the beginning of the devising process. My character is based on feelings rather than an actual person so it was difficult to show mental feelings through the body. My character is not yet completely refined as it is constantly changing after every session. Anne Dennis explains ‘comprehension of a character must begin from an understanding of his everyday life. Its development will depend on where the character, in the piece, is heading.’ (Dennis A., 2002, pg47). Beginning to understand the everyday life of my character helped me to create its physicality and retain it. As the weeks pass I find myself exaggerating my movements a lot more and making them larger. When first starting Porto my character felt very enclosed and isolated, which was shown through my gesture and facial expression at a naturalistic level. After every session I have found my character still showing that emotion but on a different scale, I have now taken that naturalism and enlarged it, allowing it to be more clear and obvious towards an audience. My character has also developed a kind of relationship with a quite dismissive character leaving her to sometimes feel a little alone, which is truly fitting to my characters feelings at this time.
3.‘ If your body does not truly reflect the world of the performance and the complexity of the people and ideas in that world, the audience cannot experience it.’ (Marshall, L. 2001, pg9) My characters body language is introverted. I show this by my arms always being close to my body and often gripping each other. My posture is slouched slightly, shoulders forward and raised up towards my neck. My head often facing down, as if gravity is taking over the whole of my upper body. This gives the impression of insecurity and loneliness to an audience. My character has a tendency to avoid eye contact with other characters in case of confrontation. My weight constantly shifting from one foot to another, showing the instability of my character. My right hand repeatedly feels the back of my neck giving a slight impression of frustration and embarrassment. The pace in which I move varies, if I can avoid moving I will. This is because my character simply doesn’t know where to go, she doesn’t fit in with anyone, she has no confidence to speak to anyone and she’s afraid of rejection, so the most safest thing to do for her is to stay in one place.
Bibliography
Callery D. (2001) Through the body: A Practical Guide to Physical Theatre. London: Nick Hern Books Ltd.
Dennis A. (2002) The Articulate Body: The Physical Training of the Actor. London: Nick Hern Books Ltd.
Marshall L. (2001) The Body Speaks. London: Methuen Publishing Ltd.
2.My personal character has grown a considerable amount since the beginning of the devising process. My character is based on feelings rather than an actual person so it was difficult to show mental feelings through the body. My character is not yet completely refined as it is constantly changing after every session. Anne Dennis explains ‘comprehension of a character must begin from an understanding of his everyday life. Its development will depend on where the character, in the piece, is heading.’ (Dennis A., 2002, pg47). Beginning to understand the everyday life of my character helped me to create its physicality and retain it. As the weeks pass I find myself exaggerating my movements a lot more and making them larger. When first starting Porto my character felt very enclosed and isolated, which was shown through my gesture and facial expression at a naturalistic level. After every session I have found my character still showing that emotion but on a different scale, I have now taken that naturalism and enlarged it, allowing it to be more clear and obvious towards an audience. My character has also developed a kind of relationship with a quite dismissive character leaving her to sometimes feel a little alone, which is truly fitting to my characters feelings at this time.
3.‘ If your body does not truly reflect the world of the performance and the complexity of the people and ideas in that world, the audience cannot experience it.’ (Marshall, L. 2001, pg9) My characters body language is introverted. I show this by my arms always being close to my body and often gripping each other. My posture is slouched slightly, shoulders forward and raised up towards my neck. My head often facing down, as if gravity is taking over the whole of my upper body. This gives the impression of insecurity and loneliness to an audience. My character has a tendency to avoid eye contact with other characters in case of confrontation. My weight constantly shifting from one foot to another, showing the instability of my character. My right hand repeatedly feels the back of my neck giving a slight impression of frustration and embarrassment. The pace in which I move varies, if I can avoid moving I will. This is because my character simply doesn’t know where to go, she doesn’t fit in with anyone, she has no confidence to speak to anyone and she’s afraid of rejection, so the most safest thing to do for her is to stay in one place.
Bibliography
Callery D. (2001) Through the body: A Practical Guide to Physical Theatre. London: Nick Hern Books Ltd.
Dennis A. (2002) The Articulate Body: The Physical Training of the Actor. London: Nick Hern Books Ltd.
Marshall L. (2001) The Body Speaks. London: Methuen Publishing Ltd.
Nicols Wilson Blog Asessment 2
1. With our mouths closed, the voice redundant, many would have been incredulous in thinking that any work could be devised at all. However, one of the key elements to our creative process is what Dymphna Callery states as ‘discovering their somatic impulses and developing a physical articulation of the imagination.’ (2001, pg 163) We create work through play, listening and responding to what the body is organically wanting to communicate. Although, as mentioned in the book ‘The Invisible Actor’, ‘listening to the body requires training since it isn’t the same as ‘doing whatever you want’. As an ensemble we have antecedent ‘training’ which has built up a shared physical vocabulary within the whole group meaning that in the last five weeks we have been producing work very quickly. This collective training has in no way stifled our individuality though and for Porto, even though each action may be the same during the ensemble piece, the emotional context and story behind the gesticulation inevitably varies from character to character. The training just gave the fundamentals, it is up to the individual to give it that emotional layer and allow their character to grow through the physical improvisation sessions.
2. ‘The character I want to contribute to Porto is someone who is in a massive state of distress in the current place she’s in and just wants to leave straight away.’ This is how it started, with these exact words. Through developing this character, I think it was important to note and not shy away from the real extent of how distressed she was feeling. This quote, ‘the basis of the actor’s craft is to reflect through his physicality all that is happening inside: to make the invisible visible’ (2002, pg 19) relates to my character, that her painful emotions on the inside had to become real through raw physical movement on the outside. During this process, I really began to feel what Yoshi Oida talks about when he says ‘you begin noticing how even tiny physical changes can affect your inner states.’ The fact that my face is covered means that it is only my body that I have to convey what I feel. Everything felt like a struggle for my character anyway, so by taking away her sight and even small things like covering up her hands, affects her inner state even more so. She’s still working through that inner state now and is likely to d so throughout the entirety of Porto.
3. ‘A character’s physicality is not merely a question of a walk or how the arms are dangled. It is not enough to give the character a limp or other physical change. The actor must recreate the physical feeling of his character’s specific [limp], which is the result of a specific body under specific social and emotional circumstances.’ This is a quote from Anne Dennis, The Articulate Body and is very relevant my character. To find my physicality I had look at what emotional and social circumstances were in place. By doing this, the emotional burden I was carrying became a physical one. I made it difficult for this character to walk, having the spine completely bent over so it became a struggle to lift my legs. Due to the character’s distressed circumstance, the body is in a constant state of motion, swaying, grabbing at clothes, clenched fists hitting the bag or hitting one’s self until she becomes exhausted of her emotional state. This filters through the entire body, leaving her weak, her physicality is now more like a dead weight, lifeless. As Lorna Marshall states ‘It is not enough to mentally comprehend a character or situation, we must embody it.’ (2001, pg 163)
Bibliography
Callery, D., 2001. Through The Body: A Practical Guide To Physical Theatre, London: Nick Hern Books Limited
Dennis, A., 2002. The Articulate Body: The Physical Training of the Actor. London: Nick Hern Books Limited
Marshall, L., 2001. The Body Speaks: Performance and Expression, London: Methuen
Oida, Y & Marshall, L., 1997. The Invisible Actor, London: Methuen
2. ‘The character I want to contribute to Porto is someone who is in a massive state of distress in the current place she’s in and just wants to leave straight away.’ This is how it started, with these exact words. Through developing this character, I think it was important to note and not shy away from the real extent of how distressed she was feeling. This quote, ‘the basis of the actor’s craft is to reflect through his physicality all that is happening inside: to make the invisible visible’ (2002, pg 19) relates to my character, that her painful emotions on the inside had to become real through raw physical movement on the outside. During this process, I really began to feel what Yoshi Oida talks about when he says ‘you begin noticing how even tiny physical changes can affect your inner states.’ The fact that my face is covered means that it is only my body that I have to convey what I feel. Everything felt like a struggle for my character anyway, so by taking away her sight and even small things like covering up her hands, affects her inner state even more so. She’s still working through that inner state now and is likely to d so throughout the entirety of Porto.
3. ‘A character’s physicality is not merely a question of a walk or how the arms are dangled. It is not enough to give the character a limp or other physical change. The actor must recreate the physical feeling of his character’s specific [limp], which is the result of a specific body under specific social and emotional circumstances.’ This is a quote from Anne Dennis, The Articulate Body and is very relevant my character. To find my physicality I had look at what emotional and social circumstances were in place. By doing this, the emotional burden I was carrying became a physical one. I made it difficult for this character to walk, having the spine completely bent over so it became a struggle to lift my legs. Due to the character’s distressed circumstance, the body is in a constant state of motion, swaying, grabbing at clothes, clenched fists hitting the bag or hitting one’s self until she becomes exhausted of her emotional state. This filters through the entire body, leaving her weak, her physicality is now more like a dead weight, lifeless. As Lorna Marshall states ‘It is not enough to mentally comprehend a character or situation, we must embody it.’ (2001, pg 163)
Bibliography
Callery, D., 2001. Through The Body: A Practical Guide To Physical Theatre, London: Nick Hern Books Limited
Dennis, A., 2002. The Articulate Body: The Physical Training of the Actor. London: Nick Hern Books Limited
Marshall, L., 2001. The Body Speaks: Performance and Expression, London: Methuen
Oida, Y & Marshall, L., 1997. The Invisible Actor, London: Methuen
Gavin Thatcher - Blog Task 2
1.
The devising strategies used in creation of Porto so far are all collaborative in
nature. The ensemble take responsibility for the material that is created.
“The function of training and improvisation is to set in motion the creativity of actors so they not only improve themselves as performers but also make their own work.” (2001, Pg. 163)
Callery comments on the idea of training and improvisation being a symbiotic
relationship that forms an essential aspect of physical theatre. This is a concept
that is explored in Porto. The ensemble were trained through a series of technique
sessions and then introduced to improvisation and play. It is in these play sessions
that organic impulses are explored and interactions are allowed to take place and
develop.
After these sessions, through body memory, the interactions are revisited and
certain moments are pinned down and developed. This act of pinning down and
developing is done by the ensemble themselves but also by the ‘outside eyes’.
Another strategy that has been used throughout the creation process is the ‘clap’
method. The ‘clap’ method is used primarily for ensemble movement sequences.
This allows the ensemble to develop impulses from the prior given movement. This
keeps the work dynamic and interesting.
2.
The characters were first introduced during the visualisation session. Initially the
character that I was playing was an extension of myself. This was due largely to the
fact that the ensemble were lead into the visualisation blind, as it were. That is to
say, it was ourselves that were put into situations.
As the process has continued a character has developed. This has been achieved
through using the visualisation as an emotional starting point and building physical
layers on top.
“The actor’s body exists within the unique space of the theatre, and it needs to ‘expand’ in order to fill it. As well as being aware of your skin and bones...” (2000, Pg. 19)
Through the body, as an ensemble we have experimented with the physical embodiment of a character. The process taken during this experimentation has been to go from a neutral stand into a spinal role and come up with a different physicality. This has vague similarities with the neutral work of Lecoq, in the sense that there are conscious physical choices and differences made to create a character. Once the physical character has been created alongside with the emotional character, the interactions become more dynamic and interesting as relationships are made and broken. These relationships also help the ‘finding’ of a character.
3.
“The study of human anatomy enabled me to develop an analytical method of physical preparation, directed towards expressivity and bringing into play each part of the body...” (1997, Pg. 69)
As Lecoq states the study of the performer’s anatomical features can prove helpful in the development of physical characterisation. My character’s spine is slightly curved to allow the shoulders to hunch as the neck and head almost become isolated from the rest of the body. The character’s body does not take up vast space, instead arms and legs are close to the trunk while the head is free to move on top, although often tucks in behind the hunched shoulders. The way the character’s body moves around the space is awkward yet balanced, he is able to change his movement or location quickly if he feels that there is a situation arising that he wants no part of.
My character has a repetitive gesture of tapping. The tapping signifies the uncomfortable nature of the character and also links in with his item (a music book). That is to say he always has a rhythm or beat in his head, this he uses as a retreat when things in the external world of Porto are making him feel awkward.
Callery, D. (2001) Through the Body: A Practical Guide to Physical Theatre London : Nick Hern Books Ltd
Marshall, L., Oida, Y. (2002) The Body Speaks USA : Palgrave Macmillan
Lecoq, J. (2000) The Moving Body London : Methuen Publishing Ltd
The devising strategies used in creation of Porto so far are all collaborative in
nature. The ensemble take responsibility for the material that is created.
“The function of training and improvisation is to set in motion the creativity of actors so they not only improve themselves as performers but also make their own work.” (2001, Pg. 163)
Callery comments on the idea of training and improvisation being a symbiotic
relationship that forms an essential aspect of physical theatre. This is a concept
that is explored in Porto. The ensemble were trained through a series of technique
sessions and then introduced to improvisation and play. It is in these play sessions
that organic impulses are explored and interactions are allowed to take place and
develop.
After these sessions, through body memory, the interactions are revisited and
certain moments are pinned down and developed. This act of pinning down and
developing is done by the ensemble themselves but also by the ‘outside eyes’.
Another strategy that has been used throughout the creation process is the ‘clap’
method. The ‘clap’ method is used primarily for ensemble movement sequences.
This allows the ensemble to develop impulses from the prior given movement. This
keeps the work dynamic and interesting.
2.
The characters were first introduced during the visualisation session. Initially the
character that I was playing was an extension of myself. This was due largely to the
fact that the ensemble were lead into the visualisation blind, as it were. That is to
say, it was ourselves that were put into situations.
As the process has continued a character has developed. This has been achieved
through using the visualisation as an emotional starting point and building physical
layers on top.
“The actor’s body exists within the unique space of the theatre, and it needs to ‘expand’ in order to fill it. As well as being aware of your skin and bones...” (2000, Pg. 19)
Through the body, as an ensemble we have experimented with the physical embodiment of a character. The process taken during this experimentation has been to go from a neutral stand into a spinal role and come up with a different physicality. This has vague similarities with the neutral work of Lecoq, in the sense that there are conscious physical choices and differences made to create a character. Once the physical character has been created alongside with the emotional character, the interactions become more dynamic and interesting as relationships are made and broken. These relationships also help the ‘finding’ of a character.
3.
“The study of human anatomy enabled me to develop an analytical method of physical preparation, directed towards expressivity and bringing into play each part of the body...” (1997, Pg. 69)
As Lecoq states the study of the performer’s anatomical features can prove helpful in the development of physical characterisation. My character’s spine is slightly curved to allow the shoulders to hunch as the neck and head almost become isolated from the rest of the body. The character’s body does not take up vast space, instead arms and legs are close to the trunk while the head is free to move on top, although often tucks in behind the hunched shoulders. The way the character’s body moves around the space is awkward yet balanced, he is able to change his movement or location quickly if he feels that there is a situation arising that he wants no part of.
My character has a repetitive gesture of tapping. The tapping signifies the uncomfortable nature of the character and also links in with his item (a music book). That is to say he always has a rhythm or beat in his head, this he uses as a retreat when things in the external world of Porto are making him feel awkward.
Callery, D. (2001) Through the Body: A Practical Guide to Physical Theatre London : Nick Hern Books Ltd
Marshall, L., Oida, Y. (2002) The Body Speaks USA : Palgrave Macmillan
Lecoq, J. (2000) The Moving Body London : Methuen Publishing Ltd
Anna Efthymiou Blog 2
1: There have been many different strategies used throughout our time working on Porto. The ‘clap’ technique is one I would strongly advise for anyone working in an ensemble to use; although it may be just a simple clap, to gain the ensembles attention; it is a quick and efficient way of sharing an idea without wasting valuable time in discussion. When working alone there is no limit as to how far you can experiment, whereas in an ensemble there is a tendency to hold back slightly. The use of ‘play’ is a strategy that challenges this, and I feel is extremely beneficial, to the individual characters and the ensemble, as we get a chance to discover other people characters and can build on connections on different levels to which we have done previously. The progression in the ensemble is noticeably higher compared to at our starting point in the devising process for Porto five weeks ago. As an inside eye there are points in which I cannot see, but just from using my peripheral vision and from feeling the intensity and energy the ensemble have been reached as the weeks go by it gives me a great sense of personal satisfaction and pride in Porto even at this unfinished stage.
2: When I first created my character in my letter I did not have a particularly clear idea of what I wanted her to be, because of this my character has grown greatly and is still to this day changing throughout the process of devising Porto. However, I do not regret my uncertainty at the start, as I believe it has assisted me to develop my character in a different way in which I would have originally, both physically and emotionally. This has kept me interested in her and I now look forward to discovering new elements to her and connections with other characters. “Wright suggests devising depends on relationships and chemistry between people” Oddey, A. (1996) P.66. Over the past five weeks my character has gone from wishing that she could fit in but does not know how to change to do so, to working out that she did not really want to change which is why she could not work out how to. “Have you ever felt like you don’t quite fit into your skin anymore?” (Mitra, R, 2009), that was exactly how my character was feeling until she developed the desire to help people who she thinks are sad, in hope that they would not judge her, the way others do. A certain level of confidence is developing within my character that she is hiding behind by protecting the people she ‘helps’ against the type of person she used to want to be.
3: My character is very introvert so I tend to have quite closed of body language. She tends to have her arms and legs crossed as often as possible, this shows that she is not comfortable with where she is, who she is with or even with herself. She relies very strongly on pedestrian movements and even when still she tries to blend and not be noticed. She very rarely stands up straight so often has a hunched spine, her head is often down, with arm crossed over her stomach and the other arm crossed over clutching the straps of her bag. She tends to distribute her weight to the left side of her body, She will stand with her right leg crossed in front of her left but not taking any weight. Her stance has not, at this point in the process, been in neutral, as she has not yet felt comfortable enough within herself to do so. As her confidence grows at certain points her weight shifts from the left side to slightly closer to central but her weight shifts to the inside of her feet and the back of her pelvis s she is still slightly cowering away as her confidence is just a front.
Bibliography
Mitra, R. (2009) Blog Spot
http://processandperformance200809.blogspot.com/
Oddey, A., (1996) Devising Theatre: A Practical and Theoretical Handbook, New York: Routledge
Leigh-Anne Gilbert - Assessment Blog 2
1. From the concept of Porto as a starting point we began to use somatic improvisation, adopting the ‘play’ technique to produce material. We have worked collaboratively sharing ideas, movements and research – a method favoured by many devising theatre companies and practitioners such as DV8, Theatre Workshop and Etienne Decroux who believed it should be the actors that “take control of the creative process.” (Callery, D., 2001, p159) Since there is no outright director, we as performers create our own work, and have the freedom to draw upon personal experiences and emotions.
Individually through the weeks, we have each attached a physicality to our characters. We have done this by beginning in the neutral stand, going into the spinal roll then when coming back up, adjusting our position muscle by muscle. This has not only helped shape our characters, but also enhanced the use of body memory as the muscles remember how they felt each week.
When creating ensemble routines we have used the ‘clap’ method, which gives the opportunity for any one person to demonstrate an action for the group to follow. This has proved very successful in intensifying everyone’s focus, and strengthening the company.
Devising a piece of theatre is very process orientated. The focus remains in the present as Oddey suggests that from the beginning it is an open-ended process of which the end product is not known until the very end.
2. Throughout the first 5 weeks of creating Porto my character has gone through a number of changes. I began my journey as a very introvert character who didn’t want to interact with anyone. There was something holding me back, I felt self-conscious, isolated and had an innate fear of rejection.
The week where we were put into smaller groups and began to ‘play’, there were two people who tried to get me to come out of my shell. The first character intimidated me and confirmed my feeling small, but the second (Piotr’s character) got my attention initially by mirroring my movements. As we improvised, my character began to trust him and I allowed myself to interact and even depend on him (using him as a table). However as the session continued, his character became intrigued by my suitcase and he tried to open it. As he got closer to the object inside it was as though he was getting too close to me so I instinctively backed off and reverted back to how I started.
Since Nicola’s character has been introduced, there seems to be a new emotion in my character – the longing for the closeness that she has (welcome or not) with other characters. Although my character feels her trust has been broken once already, there is a more determined feeling to let go of insecurities and try again, however hard it might be.
3. My character is very introverted and self-conscious and when standing still my weight is shifted onto one leg, and my spine bent so that my posture is slightly slouched with my shoulders forward and my head down. I fold one arm across my body with the other resting on it by the elbow – this hand is usually up by my mouth, or covering part of my face, I don’t want people looking at me. I rarely have open palms, my hands are closed in a loose fist, never entirely relaxed, and if I’m not gripping my suitcase a repetitive gesture I make is pulling my sleeves down over my hands.
My character was drawn to a chair facing upstage, which means my back is to the audience. For a lot of the time I don’t actually look at the audience, much like I try to avoid eye contact with other characters. Gravity plays a big part in how my character moves. Most of the time I keep low to the ground, if I stand on a chair for example, the openness of that position is quickly suppressed by the feeling of vulnerability and I return to the floor, or a far more closed position.
Body language says so much more than words could ever say, and my interaction (or avoidance of interaction) with other characters shows my fear and uncertainty whether I can truly trust anyone enough to let them into my world.
Bibliography:
Callery, D., (2001) Through the Body: A Practical Guide to Physical Theatre. London: Nick Hern Books Ltd
Marshall, L., Oida, Y., (2002) The Body Speaks. USA: Palgrave Macmillan
Oddey, A., (1996) Devising Theatre: A Practical and Theoretical Handbook. New York: Routledge
DV8 Physical Theatre (Artistic Policy page) [online]. http://www.dv8.co.uk/about.dv8/artistic.policy.html
Theatre Workshop (Values page) [online]. http://www.theatre-workshop.com/aboutus.asp?page_id=3
Leigh-Anne Gilbert
Individually through the weeks, we have each attached a physicality to our characters. We have done this by beginning in the neutral stand, going into the spinal roll then when coming back up, adjusting our position muscle by muscle. This has not only helped shape our characters, but also enhanced the use of body memory as the muscles remember how they felt each week.
When creating ensemble routines we have used the ‘clap’ method, which gives the opportunity for any one person to demonstrate an action for the group to follow. This has proved very successful in intensifying everyone’s focus, and strengthening the company.
Devising a piece of theatre is very process orientated. The focus remains in the present as Oddey suggests that from the beginning it is an open-ended process of which the end product is not known until the very end.
2. Throughout the first 5 weeks of creating Porto my character has gone through a number of changes. I began my journey as a very introvert character who didn’t want to interact with anyone. There was something holding me back, I felt self-conscious, isolated and had an innate fear of rejection.
The week where we were put into smaller groups and began to ‘play’, there were two people who tried to get me to come out of my shell. The first character intimidated me and confirmed my feeling small, but the second (Piotr’s character) got my attention initially by mirroring my movements. As we improvised, my character began to trust him and I allowed myself to interact and even depend on him (using him as a table). However as the session continued, his character became intrigued by my suitcase and he tried to open it. As he got closer to the object inside it was as though he was getting too close to me so I instinctively backed off and reverted back to how I started.
Since Nicola’s character has been introduced, there seems to be a new emotion in my character – the longing for the closeness that she has (welcome or not) with other characters. Although my character feels her trust has been broken once already, there is a more determined feeling to let go of insecurities and try again, however hard it might be.
3. My character is very introverted and self-conscious and when standing still my weight is shifted onto one leg, and my spine bent so that my posture is slightly slouched with my shoulders forward and my head down. I fold one arm across my body with the other resting on it by the elbow – this hand is usually up by my mouth, or covering part of my face, I don’t want people looking at me. I rarely have open palms, my hands are closed in a loose fist, never entirely relaxed, and if I’m not gripping my suitcase a repetitive gesture I make is pulling my sleeves down over my hands.
My character was drawn to a chair facing upstage, which means my back is to the audience. For a lot of the time I don’t actually look at the audience, much like I try to avoid eye contact with other characters. Gravity plays a big part in how my character moves. Most of the time I keep low to the ground, if I stand on a chair for example, the openness of that position is quickly suppressed by the feeling of vulnerability and I return to the floor, or a far more closed position.
Body language says so much more than words could ever say, and my interaction (or avoidance of interaction) with other characters shows my fear and uncertainty whether I can truly trust anyone enough to let them into my world.
Bibliography:
Callery, D., (2001) Through the Body: A Practical Guide to Physical Theatre. London: Nick Hern Books Ltd
Marshall, L., Oida, Y., (2002) The Body Speaks. USA: Palgrave Macmillan
Oddey, A., (1996) Devising Theatre: A Practical and Theoretical Handbook. New York: Routledge
DV8 Physical Theatre (Artistic Policy page) [online]. http://www.dv8.co.uk/about.dv8/artistic.policy.html
Theatre Workshop (Values page) [online]. http://www.theatre-workshop.com/aboutus.asp?page_id=3
Leigh-Anne Gilbert
Tuesday 10 March 2009
Ellen Marshall Blog Task 2
1.
Through out the process several methods of devising have been from as simple as several people choosing a movement each then as a collective narrowing those moves down to a combination of 5 movements. Then ranging from a more complex approach where a stimulus was given to work around for example the use of chairs some facing in different directions. Just having to pick a chair was a statement about your character - those who picked one facing away automatically isolated their characters.
‘It could be a detailed discussion time being purposefully planned by the group.’ (Oddey, 1994, p.167)
At the end of each session talking about what we have learnt, what had worked well and what had been a disaster can help prepare us for the next session so we do not have to make the same mistakes again.
‘…this might mean a pen and notebook to jot down observations and thoughts during initial sessions.’ (Oddey, 1994, p.167)
This can refer to the sessions facilitator’s observations of interaction in the group and from that starting points and ideas can be fed into the ensemble for their interpretation.
2.
At the beginning I was very sure of my character and the type of path she would lead through the piece. Reflecting back I think my biggest growth so far is finding it in me to let go of any premature ideas of my character and let other things around me shape my characters journey. By interacting with two different characters two sides start to appear in mine. I start to show a more vulnerable and scared person which I could have never anticipated happening so early in the process. Someone coming to comfort me stimulated this side of my character and it just felt natural to accept this comfort. Where as the other side of my character is playful and protective of her bag so it did not feel so natural to react in such an open way which makes her actions a lot more ridged and awkward.
‘When actors are aware of their own habitual ways of moving, and have a grasp of general phenomena, such as the image created by transferring weight, or pushing the pelvis forward or backwards, then they can depart from their own characteristic movements and embody others.’ (Callery, 2001, p.72)
3.
From a neutral stand my character shifts part of her body weight on to one side with that leg slightly bent the side of the slant would depend on the side the bag is being carried. This represents the emotional heaviness of the contents of the bag dragging me down. As one side of my pelvis is lowered that affects the movement of the spine and also makes the head slightly tilt. My character will often be clasping onto something with her hands whether that be the bag, another person or herself but the clasp is a strong one causing the knuckles to turn white, this can be encoded as not being able to let go or share something it is also a repetitive action which enhances its meaning. When playing my character I keep my posture as straight as possible even when the bags pulling me down as a straight spine often makes a person look taller and confident, which is completely contrasted to the other moves but how my character wishes to come across. As these gestures are still very pedestrian there is a lot of room for them to become more abstract as the character develops and the repetition can also increase.
Bibliography
Callery, D. (2001) Through The Body A Practical Guide To Physical Theatre.
London: Nick Hern Books.
Oddey, A. (1994) Devising Theatre A Practical and Theoretical Handbook. London: Routledge.
Through out the process several methods of devising have been from as simple as several people choosing a movement each then as a collective narrowing those moves down to a combination of 5 movements. Then ranging from a more complex approach where a stimulus was given to work around for example the use of chairs some facing in different directions. Just having to pick a chair was a statement about your character - those who picked one facing away automatically isolated their characters.
‘It could be a detailed discussion time being purposefully planned by the group.’ (Oddey, 1994, p.167)
At the end of each session talking about what we have learnt, what had worked well and what had been a disaster can help prepare us for the next session so we do not have to make the same mistakes again.
‘…this might mean a pen and notebook to jot down observations and thoughts during initial sessions.’ (Oddey, 1994, p.167)
This can refer to the sessions facilitator’s observations of interaction in the group and from that starting points and ideas can be fed into the ensemble for their interpretation.
2.
At the beginning I was very sure of my character and the type of path she would lead through the piece. Reflecting back I think my biggest growth so far is finding it in me to let go of any premature ideas of my character and let other things around me shape my characters journey. By interacting with two different characters two sides start to appear in mine. I start to show a more vulnerable and scared person which I could have never anticipated happening so early in the process. Someone coming to comfort me stimulated this side of my character and it just felt natural to accept this comfort. Where as the other side of my character is playful and protective of her bag so it did not feel so natural to react in such an open way which makes her actions a lot more ridged and awkward.
‘When actors are aware of their own habitual ways of moving, and have a grasp of general phenomena, such as the image created by transferring weight, or pushing the pelvis forward or backwards, then they can depart from their own characteristic movements and embody others.’ (Callery, 2001, p.72)
3.
From a neutral stand my character shifts part of her body weight on to one side with that leg slightly bent the side of the slant would depend on the side the bag is being carried. This represents the emotional heaviness of the contents of the bag dragging me down. As one side of my pelvis is lowered that affects the movement of the spine and also makes the head slightly tilt. My character will often be clasping onto something with her hands whether that be the bag, another person or herself but the clasp is a strong one causing the knuckles to turn white, this can be encoded as not being able to let go or share something it is also a repetitive action which enhances its meaning. When playing my character I keep my posture as straight as possible even when the bags pulling me down as a straight spine often makes a person look taller and confident, which is completely contrasted to the other moves but how my character wishes to come across. As these gestures are still very pedestrian there is a lot of room for them to become more abstract as the character develops and the repetition can also increase.
Bibliography
Callery, D. (2001) Through The Body A Practical Guide To Physical Theatre.
London: Nick Hern Books.
Oddey, A. (1994) Devising Theatre A Practical and Theoretical Handbook. London: Routledge.
Elizabeth Payne Blog Task 2
1. “Devised theatre can start from anything” (Oddey 1996: 1) this is very true to the work that has been conducted in Porto. Simply starting by being told to write a letter and create a character surrounding the experience in the letter and the idea of a journey, Porto has developed considerably. Using devising techniques and “stretching the limits of established practices” (Govan 2007: 3) Porto has challenged the audience and the performers to create a purely new piece of theatre. Porto does not follow the lineal narrative structure that as the whole basis for the performance is being stuck in the passage of time between the beginnings and end of a journey and the unknown that maybe en counted. Devising concentrates greatly on the process and over they past five weeks the devising of the piece has taken place understanding that the
“Story is not prestablished for the performers as the start; it is, rather, discovered by the group throughout the rehearsal process. In devising, the creative focus is not on preconceived ideas or an existing text but on the group of actors making performance from their own experience.” (Dundjerovic 2000:26)
We still do not know how the story is going to end but the usage of various devising techniques has enabled us to begin to create new and full filling theatre.
2. From the beginning the character that was created in my letter was a happy and cheer full, being affected by her surroundings but still contented in life. As described by Robert Lepage when talking about his creation of character and story in his own work as “work in progress” (Lepage quoted by Dundjerovic 2007:27) my own character is work in progress. She has developed from a simple happy go lucky character to a deeper character with a hidden depth. Without this hidden depth my character would not have been able to develop to want love and longing for a companion to share her happiness. It is known within physical and devised theatre that drawing on your own experiences affects the character more and my own character is no different. She has become refined by a concentration by myself on my own wanting for others to be happy and contented as I am, but at the same time this can leave me isolated form the other characters that have been created. Confession on my part as the creator and actor is being undergone “performance and confession have always gone hand in hand. Seen in this way every show is a series of admissions or owning ups, not just to the things that one has actually done but to the things that one has wished for” (Etchells 1999: 219) my character is a for of myself and so in every performance I confess these things to my audience.
3. “The moves and imagery used will not exist solely to please eye and ear, but more profitably to please the intimate self, the mind” (Artaud 2001: 83) repeatedly moving on my toes and never really looking in one direction expels my signs of innocents and happiness. My character does not fear looking people in the eye or being in one place but would rather continuously move and look around to see what she can discover. My body moves freely within any space it chooses to conduct movement’s in. Any contact that is had with others around me starts and flows then stops and then moves on to another place. The character holds herself her spine her head and muscles with ease not feeling any restraints from her inner fears or unknowns. Only when surrounded by others who are less contented and who express there deeper fears does she become agitated and more grounded. On occasions the smaller gestures and the stiller movements express more for the character as she likes to be able to view others slight hand movements followed by bold complete body movements express her outer and inner feelings towards others.
Bibliography
Artaud A 2001, The Theatre And Its Double Calder Publications: London
Dundjerovic A, 2007, The Theatricality of Robert Lepage McGill-Queen’s Press MQUP.
Etchells T, 1999, Certain Fragments: Contemporary Performance and Forced Entertainment Routledge: London
Govan, E, Nicholson H & Normington K, 2007, Making a Performance: Devising Histories and Contemporary Practices Routledge London
Oddey A, 1996, Devising Theatre: A Practical and Theoretical Handbook Routledge: London
“Story is not prestablished for the performers as the start; it is, rather, discovered by the group throughout the rehearsal process. In devising, the creative focus is not on preconceived ideas or an existing text but on the group of actors making performance from their own experience.” (Dundjerovic 2000:26)
We still do not know how the story is going to end but the usage of various devising techniques has enabled us to begin to create new and full filling theatre.
2. From the beginning the character that was created in my letter was a happy and cheer full, being affected by her surroundings but still contented in life. As described by Robert Lepage when talking about his creation of character and story in his own work as “work in progress” (Lepage quoted by Dundjerovic 2007:27) my own character is work in progress. She has developed from a simple happy go lucky character to a deeper character with a hidden depth. Without this hidden depth my character would not have been able to develop to want love and longing for a companion to share her happiness. It is known within physical and devised theatre that drawing on your own experiences affects the character more and my own character is no different. She has become refined by a concentration by myself on my own wanting for others to be happy and contented as I am, but at the same time this can leave me isolated form the other characters that have been created. Confession on my part as the creator and actor is being undergone “performance and confession have always gone hand in hand. Seen in this way every show is a series of admissions or owning ups, not just to the things that one has actually done but to the things that one has wished for” (Etchells 1999: 219) my character is a for of myself and so in every performance I confess these things to my audience.
3. “The moves and imagery used will not exist solely to please eye and ear, but more profitably to please the intimate self, the mind” (Artaud 2001: 83) repeatedly moving on my toes and never really looking in one direction expels my signs of innocents and happiness. My character does not fear looking people in the eye or being in one place but would rather continuously move and look around to see what she can discover. My body moves freely within any space it chooses to conduct movement’s in. Any contact that is had with others around me starts and flows then stops and then moves on to another place. The character holds herself her spine her head and muscles with ease not feeling any restraints from her inner fears or unknowns. Only when surrounded by others who are less contented and who express there deeper fears does she become agitated and more grounded. On occasions the smaller gestures and the stiller movements express more for the character as she likes to be able to view others slight hand movements followed by bold complete body movements express her outer and inner feelings towards others.
Bibliography
Artaud A 2001, The Theatre And Its Double Calder Publications: London
Dundjerovic A, 2007, The Theatricality of Robert Lepage McGill-Queen’s Press MQUP.
Etchells T, 1999, Certain Fragments: Contemporary Performance and Forced Entertainment Routledge: London
Govan, E, Nicholson H & Normington K, 2007, Making a Performance: Devising Histories and Contemporary Practices Routledge London
Oddey A, 1996, Devising Theatre: A Practical and Theoretical Handbook Routledge: London
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