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.