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