1.Our main devising method we are using for Porto is RSVP. We began the devising process of Porto at the ‘R’ phase - this stands for research/resource. During this time we learnt the necessities and key techniques that we would need to apply whilst creating a piece of physical theatre. These are varied greatly from skills such as safety and stamina to achieving neutrality, finding our centre and using body memory. We were then introduced to the idea of Porto. I feel this was a good time to introduce the idea to us as if we knew at an earlier stage it may have effected our development as a company and ability to work equally as an ensemble, as characters would have been created to look aesthetically pleasing rather then having a reason behind movements and choices. The research for Porto was highly dependent on open ‘play’ sessions; these enabled us to discover our characters in different ways. The gave us the chance to experiment and find connections with other characters, however there are some characters who do not feel it would be right for them to interact with other characters. The developments throughout the ‘R’ phase were drastic in individual characters, small groups and the ensemble; this became increasingly apparent during the ‘S’ phase. The ‘S’ stands for scoring, this is where all of the ‘research’ created during the first stage begins to take shape and the ‘play’ scenes become more structured. I feel the ‘S’ phase was introduced at an appropriate time for the company and the change in devising methods added another level for us to develop from which was what we needed at that stage.
2.
3. At the beginning of the ‘R’ phase in the devising process I felt that my character would not feel comfortable approaching or confronting another character we spent many hours in ‘play’ developing our characters and discovering any connections. After one of the sessions I realised the reason that I had been struggling, I was thinking what I thought was my characters needs and would want rather then what my character wants, the only way I could discover that would be to allow my character to develop freely without controlling her. Once I had identified that problem I became more willing to let my characters path change slightly, however, it was not until the scoring phase that I began to develop my emotions on a new level and for them to actually start effecting me rather then just my character. I began to want to protect people who seemed timid or scared, it was my characters way of hiding her own upsets, this is what drew me to Laurens character. Once the trio connection between myself Lauren and Edward was discovered I was excited to enter the ‘S’ phase where we would be able to structure the work we had devised so we could begin to work on the emotional intensity with our characters. We have now reached the stage where we have finished structuring it and each time we perform it the emotions change slightly, which I like as it keeps it fresh and will stop us getting into a routine and losing our connections with each other and our own characters.
Wednesday 1 April 2009
Amy L James Blog task 3
1.
The phase of ‘research and resource’ was the first part of the journey into creating Porto. The research enabling the performers to involve themselves in the production, by firstly being shown a series of images of a variety of different spaces in which the key word of travel was incorporated enabled the performers to grasp the concept of the piece. After doing a character was able to start developing. In order to entirely connect with this character one must research the depth of the character. ‘One must never be lazy about detail. In the end, it will define the essence of the character’ (Dennis, A., 1995: 31) The research stage is a continuous process through-out the creation of Porto as a character is constantly adapting and developing, giving new rich subtle meanings to the piece.
We have gradually progressed into the ‘scoring’ stage of devising, meaning to structure the piece, much like the term used in music for instance. The technique of improvisational play, a key feature of the genre helped to develop character relationship within the piece, relationships that are still developing as we speak, nothing is ever set in concrete. It is important to note that both these phases will be a continuous process through out the whole of Porto’s journey.
2.
The piece itself will not have an over all narrative as the art of physical theatre rarely has an overall narrative as piece’s within this genre mostly rely on ‘themes’. Our theme concentrates on ‘the liminal space’ and the idea of journeys, baggage and being stuck in limbo as such. The narrative is often left open to the audience’s perspective, to give them the opportunity to use their imagination on how they would perceive the narrative to be. D. Callery explains that the actors are their to engage the audience with the piece by allowing them to use their imagination, ‘ the actor is like the driver of the car that transports the audience somewhere else, somewhere extraordinary’ (Callery, D., 2001: 103) However through out the creation of Porto we do actually see that it does in actual fact convey individual narratives within the piece rather than a whole. Each character has there own story and this is conveyed through their newly developed relationships with others. We now see Porto deal with many situations people are often faced with in every day life, such as rejection, love, and betrayal. The performer’s physicality and use of extra daily movements enabled the piece to portray these more clearly.
3.
My character has grown a substantial amount through the transition of research and resource and the scoring phase as my character is now, although not completely, more defined than when first developed. When developing my character it was all abit vague in terms of what my character strives for and wants. By researching it I came up with the basic skeleton for my character and I thought I knew where I was going with it, but when starting the scoring phase this changed. I learnt new characteristics and physicality’s through the technique of improvisational play. Yoshi Oida and Lorna Marshall explain how you think your character is being open to the audience when in actual fact you find yourself seated with your legs crossed and you arms folded, actually making your character very introverted. It was small physicality’s such as this, that made me aware of my characters feelings and emotions. Through interacting with other characters I started to develop a relationship with one particular character, much like myself. Thos relationship is about rejection and longing to be wanted as such. I really feel the emotion and distress this character is going through, I feel my character is forever progressing and becoming more obvious to an audience.
Bibliography
Callery, D.(2001) Through the body: A Practical Guide to Physical Theatre London: Nick Hern Books Ltd.
Marshall, L. (2001) The Body Speaks: Performance and Expression London: Methuen Publishing Ltd.
Oida, Y. and Marshall, L. (1997) The Invisible Actor London: Methuen Publishing Ltd.
The phase of ‘research and resource’ was the first part of the journey into creating Porto. The research enabling the performers to involve themselves in the production, by firstly being shown a series of images of a variety of different spaces in which the key word of travel was incorporated enabled the performers to grasp the concept of the piece. After doing a character was able to start developing. In order to entirely connect with this character one must research the depth of the character. ‘One must never be lazy about detail. In the end, it will define the essence of the character’ (Dennis, A., 1995: 31) The research stage is a continuous process through-out the creation of Porto as a character is constantly adapting and developing, giving new rich subtle meanings to the piece.
We have gradually progressed into the ‘scoring’ stage of devising, meaning to structure the piece, much like the term used in music for instance. The technique of improvisational play, a key feature of the genre helped to develop character relationship within the piece, relationships that are still developing as we speak, nothing is ever set in concrete. It is important to note that both these phases will be a continuous process through out the whole of Porto’s journey.
2.
The piece itself will not have an over all narrative as the art of physical theatre rarely has an overall narrative as piece’s within this genre mostly rely on ‘themes’. Our theme concentrates on ‘the liminal space’ and the idea of journeys, baggage and being stuck in limbo as such. The narrative is often left open to the audience’s perspective, to give them the opportunity to use their imagination on how they would perceive the narrative to be. D. Callery explains that the actors are their to engage the audience with the piece by allowing them to use their imagination, ‘ the actor is like the driver of the car that transports the audience somewhere else, somewhere extraordinary’ (Callery, D., 2001: 103) However through out the creation of Porto we do actually see that it does in actual fact convey individual narratives within the piece rather than a whole. Each character has there own story and this is conveyed through their newly developed relationships with others. We now see Porto deal with many situations people are often faced with in every day life, such as rejection, love, and betrayal. The performer’s physicality and use of extra daily movements enabled the piece to portray these more clearly.
3.
My character has grown a substantial amount through the transition of research and resource and the scoring phase as my character is now, although not completely, more defined than when first developed. When developing my character it was all abit vague in terms of what my character strives for and wants. By researching it I came up with the basic skeleton for my character and I thought I knew where I was going with it, but when starting the scoring phase this changed. I learnt new characteristics and physicality’s through the technique of improvisational play. Yoshi Oida and Lorna Marshall explain how you think your character is being open to the audience when in actual fact you find yourself seated with your legs crossed and you arms folded, actually making your character very introverted. It was small physicality’s such as this, that made me aware of my characters feelings and emotions. Through interacting with other characters I started to develop a relationship with one particular character, much like myself. Thos relationship is about rejection and longing to be wanted as such. I really feel the emotion and distress this character is going through, I feel my character is forever progressing and becoming more obvious to an audience.
Bibliography
Callery, D.(2001) Through the body: A Practical Guide to Physical Theatre London: Nick Hern Books Ltd.
Marshall, L. (2001) The Body Speaks: Performance and Expression London: Methuen Publishing Ltd.
Oida, Y. and Marshall, L. (1997) The Invisible Actor London: Methuen Publishing Ltd.
Leigh-Anne Gilbert - Assessment Blog 3
1. The ‘R’ phase of devising Porto focused on building characters, drawing upon the physical skills learnt in semester one. We began the ‘R’ phase with the visualisation exercise, which gave us the impulse to travel. From this, each person wrote a letter as his or her character explaining their personal reasons and intentions for leaving, and what they were taking with them. The content of these letters formed the foundations of our characters upon which physicality’s and emotions could be built.
Through the weeks we have sourced material from not only our own pallet of skills, but from the inspiration of outside influences such as the Jasmin Vardimon Company. Like the Jasmin Vardimon Company and how they use the “exposure of human experience” with “social relevance” (http://www.jasminvardimon.com/about.html) we draw upon our own life experiences to shape our characters as ‘extensions of ourselves’.
The creation of Porto has now moved onto the ‘S’ phase and as music is added, each character and interaction appears to have more emotional depth. Music has the ability to change how a person feels, or bring out overwhelming emotions that one would not normally show. The Richard Alston Dance Company state that “Music plays a vital part in the Company’s identity” (http://www.theplace.org.uk/461/welcome/richard-alston-dance-company.html) This can be said of individual characters in Porto, as when a music touches someone and a connection is made, they are far more able to express individuality.
2. Now that Porto is starting to be scored there is a clear narrative emerging. Each section has been progressing separately but now they are beginning to be put together to add structure to the overall piece. Music often creates images in peoples imaginations, and being put alongside physical gesture, it is easy to see that individual stories will be made in the eye of the spectator. In the end it is up to the audience to decode each element of performance and place upon it their own narrative: “…the audience constantly creates interpretations about what it is seeing… Everything the actor does is observed, and a meaning is constructed for the action.” (Marshall, L., 2002. p185) This can only be done if they are able to connect and relate to what is happening on stage.
The fact that Porto is a liminal space of completely separate characters, the audience can choose whom to follow. They can watch them interact and change, seeing their whole journey. As far as an overall narrative is concerned, I think that the music and the movement together will emphasise even more that everyone is individual and react different to different situations. This is mimicking real life, and should make the audience be able to relate easier when they recognise something of themselves.
3. As we have moved through the ‘R’ phase to the ‘S’ phase of the process, a new dimension has emerged within my character and her emotional intensity has been building. Since the addition of the music to our work I have found that, although my movements are not necessarily being influenced by the music, there is a deeper level of emotion that comes through. In the ‘R’ phase of the process we mainly worked on the physicality of the piece. The ‘S’ phase adds a new layer and gives way to internal feelings being communicated, perhaps involuntarily.
“The art of creating believable characters lies in never quite knowing who they are… You can only remain responsive to the possibilities of what they might be.” (Callery, D., 2001, p211)
Through the process of creating Porto I have never known how my character will react to others and the actions going on around her, and I believe this is what has made my character more tangible, particularly emotionally. At the beginning of the ‘R’ phase my character did not have the willingness to interact, but since the ‘S’ phase has begun and I have seen relationships develop through my characters eyes, there is now a desire to attach myself to someone just for the feeling of being wanted.
Bibliography:
Callery, D., (2001) Through the Body: A Practical Guide to Physical Theatre. London: Routledge
Marshall, L., Oida, Y., (2002) The Body Speaks. USA: Palgrave Macmillan
Jasmin Vardimon Company (About Us) [online]. [cited 31st March 2009] Available from:
The Place (Richard Alston Dance Company) [online]. [cited 30th March 2009] Available from:
Through the weeks we have sourced material from not only our own pallet of skills, but from the inspiration of outside influences such as the Jasmin Vardimon Company. Like the Jasmin Vardimon Company and how they use the “exposure of human experience” with “social relevance” (http://www.jasminvardimon.com/about.html) we draw upon our own life experiences to shape our characters as ‘extensions of ourselves’.
The creation of Porto has now moved onto the ‘S’ phase and as music is added, each character and interaction appears to have more emotional depth. Music has the ability to change how a person feels, or bring out overwhelming emotions that one would not normally show. The Richard Alston Dance Company state that “Music plays a vital part in the Company’s identity” (http://www.theplace.org.uk/461/welcome/richard-alston-dance-company.html) This can be said of individual characters in Porto, as when a music touches someone and a connection is made, they are far more able to express individuality.
2. Now that Porto is starting to be scored there is a clear narrative emerging. Each section has been progressing separately but now they are beginning to be put together to add structure to the overall piece. Music often creates images in peoples imaginations, and being put alongside physical gesture, it is easy to see that individual stories will be made in the eye of the spectator. In the end it is up to the audience to decode each element of performance and place upon it their own narrative: “…the audience constantly creates interpretations about what it is seeing… Everything the actor does is observed, and a meaning is constructed for the action.” (Marshall, L., 2002. p185) This can only be done if they are able to connect and relate to what is happening on stage.
The fact that Porto is a liminal space of completely separate characters, the audience can choose whom to follow. They can watch them interact and change, seeing their whole journey. As far as an overall narrative is concerned, I think that the music and the movement together will emphasise even more that everyone is individual and react different to different situations. This is mimicking real life, and should make the audience be able to relate easier when they recognise something of themselves.
3. As we have moved through the ‘R’ phase to the ‘S’ phase of the process, a new dimension has emerged within my character and her emotional intensity has been building. Since the addition of the music to our work I have found that, although my movements are not necessarily being influenced by the music, there is a deeper level of emotion that comes through. In the ‘R’ phase of the process we mainly worked on the physicality of the piece. The ‘S’ phase adds a new layer and gives way to internal feelings being communicated, perhaps involuntarily.
“The art of creating believable characters lies in never quite knowing who they are… You can only remain responsive to the possibilities of what they might be.” (Callery, D., 2001, p211)
Through the process of creating Porto I have never known how my character will react to others and the actions going on around her, and I believe this is what has made my character more tangible, particularly emotionally. At the beginning of the ‘R’ phase my character did not have the willingness to interact, but since the ‘S’ phase has begun and I have seen relationships develop through my characters eyes, there is now a desire to attach myself to someone just for the feeling of being wanted.
Bibliography:
Callery, D., (2001) Through the Body: A Practical Guide to Physical Theatre. London: Routledge
Marshall, L., Oida, Y., (2002) The Body Speaks. USA: Palgrave Macmillan
Jasmin Vardimon Company (About Us) [online]. [cited 31st March 2009] Available from:
The Place (Richard Alston Dance Company) [online]. [cited 30th March 2009] Available from:
Elizabeth Payne - Blog Task 3
1. Rules are needed to create any form of theatre be it scripted or devised. They help structure and create not necessarily restrict what is developing. For Porto the scheme of RSVP has been used which is Research, Score, Validate and Performance
’ Central to the devising process is the creation of performance personas who will inhabit the stage world and give rise to its action’ (Oddey: 1996: 92)
This is in essence the research stage of the creation of Porto. Each performer as now created their character using their bodies and arsenal of techniques that where learnt, and now occupies the world of the stage and Porto in their own way. Each character has developed relationships with other characters as well as each performer discovering more depth about their character. As rehearsals have continues Porto is entering and developing the score stage of the process. This scoring can now only happen as all of the performers have found a comfortable existence and relationships with others in the world. Scoring is the editing and ordering of the sections that have been created. To do this less play will happen amongst the characters, even though there is always room for development and change, but more structuring of the performance.
2. Now the scoring process has begun and all of the material has been created for Porto, even though some may still change, it is evident that some individual stories that have developed are now being arranged into a narrative.
‘Story is the raw material of the events, narration is the way those events are organised’ (Callery: 2001: 185)
Though they are not necessarily lineal and do not relate to each other the obvious narratives of Nicola and Jay and Blake and Amy do express the underlying idea behind Porto of it being the place between the beginning and end of journey an that we are all stuck. To concentrate on one, Nicola and Jay’s relationship; Nicola struggles with herself and Jay attempts to protect her from anyone else such as Gavin who gets pushed away when he rests his head on her. Later we see Jay attempting to free Nicola from her hood by pulling it down only for her to be stared at by the other performers, to this Jay’s impulse is to protect her again. This then leads to the ending of the performance and the escape from Porto. There are many other narratives being conducted in Porto, each of which can be decoded by the audience as they please and with scoring these smaller narratives will become greater in the environment of Porto.
3. My own character has changed and developed considerably, most of which has happened towards the end of the research phase of the work. My character still relates to the item in her bag but is no longer alone. For the majority of the development of Porto she was alone until other happy characters emerged from the group. She felt like she could not relate or create a relationship with the sad characters as she didn’t have the impulse to help or care just to watch from a distance and stay away from situations even though she is very curious. From the outset my character was curios as to what was out there but did not fear it. This comes from the initial letter writing task. Physically my character has become more dependant on my two friends, as they are seen, Alex and Richard. We lean on each other and are dedicated to being within the three and when this is threatened of being split, with my character going away with Luke, she gets dragged back into the group. Only with scoring Porto has a narrative for my character developed, she now has and feels a close relationship that she didn’t have through most of the process.
Bibliography
Oddey, A, 1996 Devising Theatre: A Practical and Theoretical Handbook Routledge; London
Callery D 2001 Through The Body Nick Hern Books: London
’ Central to the devising process is the creation of performance personas who will inhabit the stage world and give rise to its action’ (Oddey: 1996: 92)
This is in essence the research stage of the creation of Porto. Each performer as now created their character using their bodies and arsenal of techniques that where learnt, and now occupies the world of the stage and Porto in their own way. Each character has developed relationships with other characters as well as each performer discovering more depth about their character. As rehearsals have continues Porto is entering and developing the score stage of the process. This scoring can now only happen as all of the performers have found a comfortable existence and relationships with others in the world. Scoring is the editing and ordering of the sections that have been created. To do this less play will happen amongst the characters, even though there is always room for development and change, but more structuring of the performance.
2. Now the scoring process has begun and all of the material has been created for Porto, even though some may still change, it is evident that some individual stories that have developed are now being arranged into a narrative.
‘Story is the raw material of the events, narration is the way those events are organised’ (Callery: 2001: 185)
Though they are not necessarily lineal and do not relate to each other the obvious narratives of Nicola and Jay and Blake and Amy do express the underlying idea behind Porto of it being the place between the beginning and end of journey an that we are all stuck. To concentrate on one, Nicola and Jay’s relationship; Nicola struggles with herself and Jay attempts to protect her from anyone else such as Gavin who gets pushed away when he rests his head on her. Later we see Jay attempting to free Nicola from her hood by pulling it down only for her to be stared at by the other performers, to this Jay’s impulse is to protect her again. This then leads to the ending of the performance and the escape from Porto. There are many other narratives being conducted in Porto, each of which can be decoded by the audience as they please and with scoring these smaller narratives will become greater in the environment of Porto.
3. My own character has changed and developed considerably, most of which has happened towards the end of the research phase of the work. My character still relates to the item in her bag but is no longer alone. For the majority of the development of Porto she was alone until other happy characters emerged from the group. She felt like she could not relate or create a relationship with the sad characters as she didn’t have the impulse to help or care just to watch from a distance and stay away from situations even though she is very curious. From the outset my character was curios as to what was out there but did not fear it. This comes from the initial letter writing task. Physically my character has become more dependant on my two friends, as they are seen, Alex and Richard. We lean on each other and are dedicated to being within the three and when this is threatened of being split, with my character going away with Luke, she gets dragged back into the group. Only with scoring Porto has a narrative for my character developed, she now has and feels a close relationship that she didn’t have through most of the process.
Bibliography
Oddey, A, 1996 Devising Theatre: A Practical and Theoretical Handbook Routledge; London
Callery D 2001 Through The Body Nick Hern Books: London
Gavin Thatcher - Blog Task 3
1.
The research/resource phase of the devising process is the component that allows performers to explore interactions with each other. It is a reductive process which begins with open play. The open play is a time where connections are made within the ensemble and the foundations of relationships are formed. Those interactions are then developed during more focused play sessions and choices are made. As is the nature of the work, all interactions are developed out of emotional impulse.
The scoring phase is similar to a musical score in the sense that it is a structuring of material. Interactions and moments are layered and sectioned to construct the shape of the piece in it’s entirety. The scoring is mostly lead by the outside eyes who collate the material. It is important to note that at this phase of the process the structure is subject to change.
The research phase of Porto has now developed into the score stage. The play sessions have become more structured as the interactions are pinned down. The rehearsal sessions have also changed in their structure. The ensemble are now beginning to rehearse collectively and working the through the skeletal ensemble journey, with the smaller sections slowly being introduced.
2.
“Then the audience takes over. Out of what we offer them, they create meaning and interpretation.” (Marshall, L. - Pg 209)
Porto is a liminal space which individuals are forced to share with each other. The work having been developed from organic play means that it was not constructed with a set narrative as in text based theatre. However, the nature of the concept invited this new community to interact (or not as the case may be) in some way. As Marshall suggests, as performers and performance-makers we create performance offerings for an audience to engage with. The narratives that are interpreted by the audience are subject to their contextual background. With the ensemble inhabiting the stage for the full length of the performance this allows the audience to select which characters to follow. This could mean that besides contextual elements, the way the audience engage with the different characters will irrevocably mean that different audience members will take away different narratives.
There is, however, a clearly defined and linear structure. It could be argued that Porto is in itself a durational performance as the audience are also in a liminal space (in this case The Arena) where they will encounter things that will effect them and possibly change them in some way before they leave, paralleling the way that the performers exist in and are effected in the space.
3.
“You can make a choice with a story, a scenario, a scene, a situation, or even a single action.” (Wright, J. - Pg 163)
Although John Wright is not necessarily from the same area of physical theatre as Porto the method he uses to generate material is through play and impulses which are then refined and structured.
My character has undergone various changes throughout the devising process, specifically between the shift from the ‘R’ into the ‘S’ phase. The research element of the process allowed me to explore a range of physical impulses for the character. Now that choices are being made I have been able to develop character motifs and make the character’s physicality more identifiable to the audience.
The development in physicality has not only been restricted to the character as an isolated entity. Instead it has effected the physical interplay between the two other characters that I engage with. There is now a clear physical difference between the two relationships.
Aside from these conscious decisions, the ankle injury that I sustained proved to have some positive impact on the character. It allowed me to experience the frustration of not being able to engage with the work for a week. I was able to transpose these feelings and physical manifestations to the relationship that had developed between Amy and myself. This development in relationship with Amy has had almost a symbiotic effect on the relationship with Sarah. The liberation I experience when I encounter Sarah’s character and she frees me from my unwanted ties with Amy’s character.
Marshall, L. (2008) The Body Speaks London : Methuen Drama
Wright, J. (2006) Why Is That So Funny London : Nick Hern Books Limited
The research/resource phase of the devising process is the component that allows performers to explore interactions with each other. It is a reductive process which begins with open play. The open play is a time where connections are made within the ensemble and the foundations of relationships are formed. Those interactions are then developed during more focused play sessions and choices are made. As is the nature of the work, all interactions are developed out of emotional impulse.
The scoring phase is similar to a musical score in the sense that it is a structuring of material. Interactions and moments are layered and sectioned to construct the shape of the piece in it’s entirety. The scoring is mostly lead by the outside eyes who collate the material. It is important to note that at this phase of the process the structure is subject to change.
The research phase of Porto has now developed into the score stage. The play sessions have become more structured as the interactions are pinned down. The rehearsal sessions have also changed in their structure. The ensemble are now beginning to rehearse collectively and working the through the skeletal ensemble journey, with the smaller sections slowly being introduced.
2.
“Then the audience takes over. Out of what we offer them, they create meaning and interpretation.” (Marshall, L. - Pg 209)
Porto is a liminal space which individuals are forced to share with each other. The work having been developed from organic play means that it was not constructed with a set narrative as in text based theatre. However, the nature of the concept invited this new community to interact (or not as the case may be) in some way. As Marshall suggests, as performers and performance-makers we create performance offerings for an audience to engage with. The narratives that are interpreted by the audience are subject to their contextual background. With the ensemble inhabiting the stage for the full length of the performance this allows the audience to select which characters to follow. This could mean that besides contextual elements, the way the audience engage with the different characters will irrevocably mean that different audience members will take away different narratives.
There is, however, a clearly defined and linear structure. It could be argued that Porto is in itself a durational performance as the audience are also in a liminal space (in this case The Arena) where they will encounter things that will effect them and possibly change them in some way before they leave, paralleling the way that the performers exist in and are effected in the space.
3.
“You can make a choice with a story, a scenario, a scene, a situation, or even a single action.” (Wright, J. - Pg 163)
Although John Wright is not necessarily from the same area of physical theatre as Porto the method he uses to generate material is through play and impulses which are then refined and structured.
My character has undergone various changes throughout the devising process, specifically between the shift from the ‘R’ into the ‘S’ phase. The research element of the process allowed me to explore a range of physical impulses for the character. Now that choices are being made I have been able to develop character motifs and make the character’s physicality more identifiable to the audience.
The development in physicality has not only been restricted to the character as an isolated entity. Instead it has effected the physical interplay between the two other characters that I engage with. There is now a clear physical difference between the two relationships.
Aside from these conscious decisions, the ankle injury that I sustained proved to have some positive impact on the character. It allowed me to experience the frustration of not being able to engage with the work for a week. I was able to transpose these feelings and physical manifestations to the relationship that had developed between Amy and myself. This development in relationship with Amy has had almost a symbiotic effect on the relationship with Sarah. The liberation I experience when I encounter Sarah’s character and she frees me from my unwanted ties with Amy’s character.
Marshall, L. (2008) The Body Speaks London : Methuen Drama
Wright, J. (2006) Why Is That So Funny London : Nick Hern Books Limited
Nicola Wilson - Online Task 3
1. In the beginning we were a group of what Etienne Decroux calls ‘living immobilities’. We were neutral bodies, ready to act and play, ready to make the theatre space come alive, about to start ‘a creative partnership in authoring the emergent theatre piece in question.’ (2007: 17) During the research and resource phase the emphasis was on creating material, experimenting with the given concept and developing your character. Dymphna Callery states ‘the process begins with generating visual material: characters, action, images, all from physical improvisation.’ (2001: 172) However, it soon became apparent that these physical improvisations needed documenting. It became an important to distinguish between useful somatic impulses that could be used as a potential narrative to those that although organic, could not relate to the desired plot. Physical Theatres: A Critical Introduction further comments ‘It follows that as soon as a good moment is found or inspired, and then repeated or used again, it is no longer improvised – it has taken on a degree of being ‘fixed’.’(2007: 180) Rehearsals for Porto slowly moved away from play and experimentation into being ‘fixed’ (scored) and although it is possible for something still to change, as the story is ‘fixed’ so are the physical movements that created it.
2. With forty very different characters occupying the space, there becomes a vast amount of intricate narratives happening simultaneously, but one binding narrative is that all these individualities are in the same liminal space at the same time. Our narrative is very similar to Pina Bausch’s Café Müller. Emphasis in this piece lies on ‘…how they enter and take or do not take the space and each other in this ubiquitous deserted café. Though populated by these characters, it appears deserted because it seems like these shadowy figures are figments of the imagination. They seem to populate an after hours space, to meet and unravel their own plots amongst themselves.’ (2002: 123) This statement carries veracity to the ensemble in Porto, although our space is far more equivocal than that of the café in Bausch’s piece. The plots that have begun to unravel vary from silent arguments over possessions to deep, emotional connections that lie within a photograph. Aside from this unit of people seem to be two people who are secernate, one who feels they have to leave the space and one that feels they have to stay. These two characters disrupt the ensemble, usually in a disturbing manner to which each character gives their appropriate response.
3. Yoshi Oida talks about finding the ‘details’ for your character, those extra elements that really embody the emotions you want to portray. He says you have to be ‘very exact and honest about what you feel. It is no good finding the body position that feels ‘sort of’ correct. You must find the precise physical detail that is clearly and strongly linked to the emotion of the moment. Once you have found all the essential shapes, you can link them to form a kind of ‘map’ of the emotional journey. But you need to take the time to find the right details, in order to create the right ‘map’.’ (1997: 70) By using this paradigm for transition, it is the tiny added details such as well how are my hands distressed? How is my spine coping with this pressure, how is my torso, my head? This provided the tangibility for my character, heightening the physical and emotional content of her journey. The research phase took her through being reticent, scared, exhausted, angry and now that her narrative is being scored, there is sense of embodying all of these to finalise her personality for Porto.
Bibliography
Callery, D., 2001. Through The Body: A Practical Guide To Physical Theatre, London: Nick Hern Books Limited
Keefe, J & S Murray., 2007. Physical Theatres: A Critical Introduction, London: Routledge
Keefe, J & S Murray., 2007, Physical Theatres: A Critical Reader, London: Routledge
Mulrooney, D., 2002. Orientalism, Orientation, and the Nomadic Work of Pina Bausch, Berlin: Peter Lang
Oida, Y & Marshall, L., 1997. The Invisible Actor, London: Methuen
2. With forty very different characters occupying the space, there becomes a vast amount of intricate narratives happening simultaneously, but one binding narrative is that all these individualities are in the same liminal space at the same time. Our narrative is very similar to Pina Bausch’s Café Müller. Emphasis in this piece lies on ‘…how they enter and take or do not take the space and each other in this ubiquitous deserted café. Though populated by these characters, it appears deserted because it seems like these shadowy figures are figments of the imagination. They seem to populate an after hours space, to meet and unravel their own plots amongst themselves.’ (2002: 123) This statement carries veracity to the ensemble in Porto, although our space is far more equivocal than that of the café in Bausch’s piece. The plots that have begun to unravel vary from silent arguments over possessions to deep, emotional connections that lie within a photograph. Aside from this unit of people seem to be two people who are secernate, one who feels they have to leave the space and one that feels they have to stay. These two characters disrupt the ensemble, usually in a disturbing manner to which each character gives their appropriate response.
3. Yoshi Oida talks about finding the ‘details’ for your character, those extra elements that really embody the emotions you want to portray. He says you have to be ‘very exact and honest about what you feel. It is no good finding the body position that feels ‘sort of’ correct. You must find the precise physical detail that is clearly and strongly linked to the emotion of the moment. Once you have found all the essential shapes, you can link them to form a kind of ‘map’ of the emotional journey. But you need to take the time to find the right details, in order to create the right ‘map’.’ (1997: 70) By using this paradigm for transition, it is the tiny added details such as well how are my hands distressed? How is my spine coping with this pressure, how is my torso, my head? This provided the tangibility for my character, heightening the physical and emotional content of her journey. The research phase took her through being reticent, scared, exhausted, angry and now that her narrative is being scored, there is sense of embodying all of these to finalise her personality for Porto.
Bibliography
Callery, D., 2001. Through The Body: A Practical Guide To Physical Theatre, London: Nick Hern Books Limited
Keefe, J & S Murray., 2007. Physical Theatres: A Critical Introduction, London: Routledge
Keefe, J & S Murray., 2007, Physical Theatres: A Critical Reader, London: Routledge
Mulrooney, D., 2002. Orientalism, Orientation, and the Nomadic Work of Pina Bausch, Berlin: Peter Lang
Oida, Y & Marshall, L., 1997. The Invisible Actor, London: Methuen
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