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