1. A huge communal theme within Porto was that of waiting. Each individual character was ’stuck in limbo’, as such, for their own individual reasons which we see unfold during the entirety of the performance. There is no clear escape for these characters out of Porto therefore they are forced to sit and wait. The first individual movements within the ensemble communicate to the audience a sense of eccentricity and independence within the group, but as the ensembles movements become synchronised the audience begin to see the frustration and the anxiety of which having to wait in Porto brings upon these characters. One of the main reasons for why these characters are left in Porto is one to do with their baggage. Everyone carried some sort of emotional baggage with them through Porto. What this baggage stands for is dependant on each character alone but the fact that they all have it binds together this community. The opening ensemble screams chaos and confusion towards an audience through the sharp repetitive movements layered by music with an unsteady tempo. We see the transition between complete pandemonium and tranquillity as the performance progresses. The reprise of the first ensemble reminds the audience of a sense of similarity as the piece had mainly focused on the individual narratives up until this point. The chairs new positions were chosen purely by the characters in Porto alone therefore the audience can clearly see which relationships had been made or broken, which still gives the community a sense of individuality but the repetitive nature of the movements in this ensemble brings the focus back to that of waiting. Curiosity seems to be apart of everyone’s characteristics within Porto, this becomes apparent during the entrance of Nicola’s character, it is also shown again through the unveiling of Nicola’s character at the end of the piece where the community become curious of what Nicola’s character is, once again.
2. After spending weeks transforming the ‘empty space’ into that of Porto the rehearsal room became Porto’s home. When moving into the Arena it was almost like entering that ’empty space’ once again, which in effect helped in the opening of Porto when each character walks into the ’unknown’ space, as it became more realistic and organic. The space around the periphery seemed somewhat more confined at moments, especially up stage left opposite the stairs. ‘[…] actors might be severely restricted in time and training space’ (Zarrilli, P. 1995: 92) As a whole the periphery was a much larger area than that of the rehearsal room, which worked to both an advantage and a disadvantage to the piece. People had rehearsed their periphery movements in a tight, cramped space for weeks, so when having to expand this it had the potential to confuse a variety of cast members. In the first two runs the periphery became very cramped by the stairs towards the end of the piece due to people not using space efficiently. Not only did the cast now have to concentrate on ‘filling the space’ and listening to their bodies to tell them where they should be, but also to become even more aware of ‘the space’. Objects such as lanterns invaded the performance space so people had to adapt some of their movements to accommodate for these small inconveniences. New objects such as stairs, bars and pillars also became apart of Porto, giving more flexibility to the space. These objects in particular helped the performers to develop their characters further in terms of movement, and experimentation. ‘Commanding the stage demands a control of the space. […] the actor has to read the space. But in order to do this s/he has first to really ‘see’ it, to create parallels of attention so that the whole space becomes their field of vision.’ (Callery, D. 2001: 79) A major weakness within the ensemble was that of ‘visibility awareness’. It seemed difficult for everyone to grasp the concept of not taking their movements beyond a certain point due to not being visible by the audience. This took up a substantial amount of time, and the bad organisation of chairs was due to bad communication within the ensemble, but collectively the technical aspects and the newly refined characters came together to once again transform the ‘empty space’ into Porto’s realm.
3.The RSVP method was most definitely a continuous process through out the whole of Porto’s journey. Entering an entire new space allows this process to continue by allowing one’s character to explore itself further and discover new things about itself that may not have been initially realised. Adding new technical aspects, such as the waiting in neutral at the beginning instead of leaving the stage, and various different stage directions to the score at such a late stage, allows the validation process to be on going. This is necessary for a piece to reach its true potential. For my character this continuous method of RSVP helped her to develop. After the rehearsals and the first show my character became more possessive towards Gavin and interacted with Sarah a lot more in the periphery. I found myself and Gavin using more ‘extra daily movements’ rather than just pedestrian. As me and Gavin completely improvised our movements in the periphery it varied every show, keeping them organic and lead purely by impulse. ‘Sometimes the chemistry of performers and how they play together enables them to work purely from play’ (Callery D. 2001: 169) Having an audience present meant my character was mentally focused as well as physically, this allowed me to listen to by body more rather than getting provoked by the music. ‘by tuning into the body, performers are able to find the exact and authentic response to the situation. Then they follow it onto unfettered action, enabling real dramatic truth to manifest itself’ (Marshall, L. 2002: 33) Over the entirety of the 3 shows the emotional level of the whole ensemble escalated to reach its peak on the very last show. This was partly because having an audience present to decode a performance makes it complete therefore it becomes more intense and focused. The first performance was almost lacking in energy and was a little static around the periphery where as the second performance was much more energetic and involved. After completing the show with an audience it allowed the characters to get more involved with what Porto actually was, and what it actually meant for each individual. After being there once, one gets more emotionally attached to the space. By the third show the frustration of ones character just waiting in Porto was really communicated successfully due to the fact that people had already been in Porto and had experienced that frustration and that emotion so many times before that those emotions and tears were real. For me personally this was definitely the situation. Having those raw emotions and those real characters dealing with real life every day issues in today’s society communicates a sense of realism to an audience, which briefly reflects the works of Jasmin Vardimon, ‘Jasmin’s characters are real people who, although usually somehow on the edges of society, represent aspects of what it is to be a human being right now’. Each character is an extension of oneself therefore it is real and alive, this is what made the last show extremely emotional, intense and controlled.
Bibliography
Callery, D. (2001); Through The Body: A Practical Guide to Physical Theatre.
London: Neil Hern Books Ltd.
Marshall, L. (2002); The Body Speaks: Performance and Expression. Revised Ed.
London: Palgrave Macmillan Ltd.
Zarrilli, P. (1995); Acting (re)considered: Theories and Practices.
London: Routledge.
Other sources
Jasmin Vardimon Website. Accessed: 14/05/09http://www.jasminvardimon.com/testimonials.html
Sunday 17 May 2009
Friday 15 May 2009
Leigh-Anne Gilbert - Assessment Blog 4
1. Being a part of Porto was like being suspended in a place of limbo; stuck between the past and the future, the known and the unknown. Every person who entered the space of Porto had this in common – the state of being ‘in-between’. As the creative process moved from the validation stage to the performance stage however, other themes emerged that linked the whole community together. We all entered Porto as individuals coming into and unknown space, but there was a common element of uncertainty amongst us all, and also curiosity. Whether people were fearful of Blake or Nicola’s characters, or sympathetic to them, we were all curious and intrigued by their presence and explored this in different ways.
On some level everybody wanted or needed something. Some characters wanted someone else’s property, for example Richard’s character wanted Mikey’s juggling balls. Some people wanted the attention of others like Amy James always trying to get the attention of Gavin; while other characters needed somebody e.g. Nicola’s character needed Jay, and Amy Hodgkiss’ character needed to help Blake, which in a way was also needed to help herself.
On some level everybody wanted or needed something. Some characters wanted someone else’s property, for example Richard’s character wanted Mikey’s juggling balls. Some people wanted the attention of others like Amy James always trying to get the attention of Gavin; while other characters needed somebody e.g. Nicola’s character needed Jay, and Amy Hodgkiss’ character needed to help Blake, which in a way was also needed to help herself.
I think a major theme that came through was that of the constant need for reassurance. The fact that we were all entering this place alone and were faced with 37 strangers was daunting. Everybody in their own way had the desire to fit in and this was represented by the ensemble sequences. At the start of the piece, after each person’s individual movements, the majority of the group began doing the same moves – already a sense of unity was being created. The small group of people facing different ways at first resisted being the same, but eventually all conformed to the ways of the community. As the show went on it became clear that even the people who resisted interacting to begin with (myself included), came to realise that to survive in this place you needed the reassurance of someone.
2. As we moved from the drama studio’s to the Arena theatre we were faced with new challenges that we had to overcome. The main issue was with the amount of space. Although there was more floor space in the Arena, we were used to being rather close to one another, particularly in the periphery. With the larger space to work in, it gave us more freedom in our interactions. However, this then posed the problem of the peripheral work becoming too dynamic and detracting focus from the main action. It took some time to adjust to this and to get the balance right. Motionhouse Dance Theatre say that they are “…constantly experimenting with the performance environment” (http://www.motionhouse.co.uk/about.htm) and to an extent this is what we had to do when we got into the Arena Theatre. We were able to explore the space during the technical rehearsals, discovering new ways of moving, using the pillars, the stairs, the bars and even having to avoid the lanterns. The studio was merely a rehearsal room, but when we moved into the theatre, the space became Porto, and this became our world. In an interview, Declan Donnellan speaks of the way performances change when put in different spaces:
“It’s the superficial things that tend to change… the essence stays the same. You see through the banality and you start to discover bit by bit about what is essential.
…you get a clearer idea of what might be ‘true’ […] by seeing it in different spaces.” (Delgado, Maria M., Heritage, P., 1997, p84)
It became apparent once in the theatre that everything could be seen, there was no hiding place and it was obvious what was ‘true’ to each character, and easy to see when focus lapsed. The more we rehearsed in the space, the more we stripped away what wasn’t essential and kept what was, and the intentions of characters became purer and more clear.
“It’s the superficial things that tend to change… the essence stays the same. You see through the banality and you start to discover bit by bit about what is essential.
…you get a clearer idea of what might be ‘true’ […] by seeing it in different spaces.” (Delgado, Maria M., Heritage, P., 1997, p84)
It became apparent once in the theatre that everything could be seen, there was no hiding place and it was obvious what was ‘true’ to each character, and easy to see when focus lapsed. The more we rehearsed in the space, the more we stripped away what wasn’t essential and kept what was, and the intentions of characters became purer and more clear.
While we were getting used to the new space in the technical run-throughs, we encountered difficulties with the placements of the chairs between sections, and the boundaries where we could work up to. I don’t believe there were any weaknesses in the transition from studio to theatre however; it was the right time to do so. The only problem was some people’s lack of focus and finding crucial technical rehearsals tedious. But as we got nearer the performances the lack of focus subsided and I believe we all pulled together to make a fantastic show.
3. Each performance of Porto felt very different to be a part of. I think the presence of an audience made everybody more focused, but it also altered the space, giving it another dimension, and more of a reason to escape. There was also a far stronger sense of community and conforming to the actions of the ensemble as the shows went on.
Over the three shows, the emotional content and people’s individual needs, desires and struggles became far more extreme. Things that were encountered in previous rehearsals seemed to come back in the final performances, and I think even through the shows the ‘R’ and ‘V’ stages continued. “When everything comes from the actors, what happens in performance is determined by what happens in rehearsal, and accidental discoveries are part of that”. (Callery, D., 2001, p164)
For me, there was one rehearsal when Nicola’s character reached out and I touched her hand. I had never done this before, but where I was at this point in my journey, and how I felt towards Piotr, it felt right. We brought this into the three performances, but each time the connection was more intense. In the first show she held my hand and wouldn’t let go, but by the third show she was desperately grabbing at my arm, pulling me towards her, needing my support. I felt a sort of empathy towards Nicola and it felt good to comfort her for that short time. But when she unexpectedly began hanging on to me this way, I was being drawn in against my will and was afraid, and I felt like I’d made a mistake trying to help. I wasn’t strong enough for somebody to depend on me, I needed to depend on someone else and the whole Nicola incident made me realise I needed Piotr’s character more than I initially considered. I wanted him to love and protect me, and this then made it far more hurtful when he betrayed me. In the first performance when Piotr went to open my suitcase I found it very difficult – like he was getting too close. But by the time of the third performance, with everything else that had happened, it was as though his undoing of the suitcase was the undoing of me. It was both emotionally and physically distressing, and felt as though I was unravelling.
Over the three shows, the emotional content and people’s individual needs, desires and struggles became far more extreme. Things that were encountered in previous rehearsals seemed to come back in the final performances, and I think even through the shows the ‘R’ and ‘V’ stages continued. “When everything comes from the actors, what happens in performance is determined by what happens in rehearsal, and accidental discoveries are part of that”. (Callery, D., 2001, p164)
For me, there was one rehearsal when Nicola’s character reached out and I touched her hand. I had never done this before, but where I was at this point in my journey, and how I felt towards Piotr, it felt right. We brought this into the three performances, but each time the connection was more intense. In the first show she held my hand and wouldn’t let go, but by the third show she was desperately grabbing at my arm, pulling me towards her, needing my support. I felt a sort of empathy towards Nicola and it felt good to comfort her for that short time. But when she unexpectedly began hanging on to me this way, I was being drawn in against my will and was afraid, and I felt like I’d made a mistake trying to help. I wasn’t strong enough for somebody to depend on me, I needed to depend on someone else and the whole Nicola incident made me realise I needed Piotr’s character more than I initially considered. I wanted him to love and protect me, and this then made it far more hurtful when he betrayed me. In the first performance when Piotr went to open my suitcase I found it very difficult – like he was getting too close. But by the time of the third performance, with everything else that had happened, it was as though his undoing of the suitcase was the undoing of me. It was both emotionally and physically distressing, and felt as though I was unravelling.
The third and final show was very emotional for many people, whether it was because it was the last performance, or because by now characters were at their most intense. Personally for me it was a combination of both. When we exited the space for the very last time, I was overcome with a mixture of emotions: relief and happiness to finally be free, but also sadness for leaving the familiar space that had been our world for such a long time. Throughout Porto I had fought so hard against letting someone in (particularly when Piotr tried to get into my suitcase) that by the end I felt exhausted. So at the final moment when I accepted Piotr, it was a huge release for me to finally let go of the fight, putting my insecurities and uncertainties behind me. I had pushed through my personal boundaries and given myself completely to him, and the feeling was overwhelming.
Bibliography:
Callery, D., (2001) Through The Body: A Practical Guide to Physical Theatre. London: Nick Hern Books
Donnellan, D. in Delgado, M. M., Heritage, P., (1997) In Contact With The Gods?: Directors Talk Theatre. Manchester: University Press
Motionhouse Dance Theatre (About Motionhouse page) [online]. <>
Callery, D., (2001) Through The Body: A Practical Guide to Physical Theatre. London: Nick Hern Books
Donnellan, D. in Delgado, M. M., Heritage, P., (1997) In Contact With The Gods?: Directors Talk Theatre. Manchester: University Press
Motionhouse Dance Theatre (About Motionhouse page) [online]. <>
Gavin Thatcher Blog Task 4
1/ As the creative process turned from the 'V' stage to the 'P' stage of devising, and Porto started to come together as one cohesive performance, what were the common themes and issues that were beginning to emerge through the basic fabric of the piece? Despite the individual journeys, what shared experiences tied the community together apart from their state of liminality? Discuss with clear and succinct examples. (300 words)
The ensemble all shared the state of liminiality, however there were other themes and issues that developed throughout the piece. In particular all individual characters had a sense of journey. The journeys that existed were all in different phases. Some characters were merely beginning others were coming to an end. The idea of a journey ending was a key element of Nicola’s character who by the end of the piece would end her journey within the confines of Porto. This is antithetical of mine and Sarah’s journey which was a fairly new interaction that had the potential to develop beyond the world of Porto.There was also a sense of history that accompanied all of the characters. This was addressed scenographically through the signifier of the bags that the ensemble carried them. The actions of the characters also suggested that there was a history to the individual as their reactions were affected by that sense.The ensemble, although made up of individual characters did still engage with each other as a whole throughout the piece. The first key moment that this occurred was during Nicola’s entrance. The ensemble had a mutual reaction (although notably reactions were not the same, there was still reaction in some form). This created sub-groups and other interactions. It directly commented on how people interact with each other in certain environments and situations.Another moment where the ensemble were tied together through events that took place within Porto was after the ensemble section reprise where Leyna’s character tried to take a photo of Jay and Nicola. As this action from Leyna’s character had developed throughout the piece, the ensemble collectively objected to this action and became complicit in trying to obstruct Leyna who became more frenetic in her actions as she tried to take more photos, but to little avail.
2/Critically evaluate the transition of Porto as the ensemble moved from the studio into the theatre space. What were the strengths and weaknesses of this phase and process? (400 words)
As the ensemble moved in to the theatre space from the studio there were further developments in the piece. Initially there were logistical problems of the chairs. Due to the differences in spatial dimensions of the theatre space, the chairs had to be slightly reconfigured in order to use the entire space. The chairs also caused logistical problems throughout certain sections of the piece in regards to lighting cues. Repositioning was required so that the action on stage could be lit and subsequently seen by the audience. While at times this logistical element could be considered frustrating, the change in placements allowed new things to be discovered by the performers as a means of problem solving.The greatest difference after moving to the theatre space was the full realisation of the periphery work. Concerns of the periphery work being too distracting when in the studio space dissipated somewhat with access to the larger space. During this shift in space the periphery work did develop in itself. This largely due to the the performers interacting with their new surroundings. In particularly the back stairs, pillars and bars at the back of the performance space.There were certain disadvantages during the transfer to the theatre space. Most of these were technical related. For example, performers had to become more spatially aware of their surroundings due to lanterns being on stage left and stage right at foot and head height. This meant that on occasions the lanterns were knocked by performers and were subsequently out of focus for other moments within the performance.With the dimensions of the performance space being different to that of the studio, sight lines were slightly altered at certain moments of the performance to what the ensemble were used to. This required the performers on stage to be constantly aware of the sight lines and lead to some slight reworking of material. This was particularly crucial to floor work that took place. If it took place too far down stage then certain members of the raked audience would be unable to see the material.
“Physical discoveries made in an initial session cannot possibly hold true given the momentous shifts and discoveries that occur” (Graham, Hoggett - Pg.36)
The advantage of this phase of the process was that all of the work developed further still. With a new space and newly configured moments on the periphery, new interactions were discovered and developed that may not have emerged during the studio research and scoring phase.
3/Critically evaluate the growth of the performance over the three shows, with particular emphasis on your own role within the piece. Did the RSVP model continue to apply even at this final stage of the performance piece? Discuss with concrete examples. (500 words)
“Once the structure and content of the work is set and rehearsed, we go on tour to test it out, gathering feedback along the way. Charlotte spends the first leg of any tour tweaking and re-rehearsing the work, to ensure it is the best it can be” (2009 - Company Information & FAQs)
While the performance was not drastically changed there were new elements that emerged and aspects of the performance that were reworked. The pre-set was a large element that was reworked from a performer and technical point after the initial matinee performance.
“these were those unique minutes between entering the performance space and the start of the performance proper. These minutes are there for the taking...” (Graham, Hoggett - Pg. 21)
As Graham and Hoggett suggest, the pre-set is a theatrical device in itself. It was used in Porto to establish that the audience had entered a liminal space and were intrinsically linked with the performers’ personal journey. However, the problem emerged that the audience had entered and settled quicker than anticipated. This therefore meant that the audience sat watching the entrances as if it was the actual performance. This caused issues with pacing for the audience. Performance wise, the performers were encouraged slightly speed up the entrances. From a technical standing, the house lights, which were initially very dim, were increased in intensity. This being a typical theatrical signifier that the audience can engage with to realise that the actual performance hadn’t begun.Interactions and organic development continued across all three performances. This was particularly notable in the periphery work. In the case of Sarah, Amy and myself; we never had any set choreography for the periphery work. The work was different every performance. This allowed for a more organic interaction development as it was driven by character impulses. With our interactions being different every performance the relationships were never a victim of stagnation. They retained a freshness and truth to them. At certain moments throughout the performances due to the nature of mine and Amy’s interaction I felt physically sick because of the stress that Amy caused my character. This visceral response allowed my character to develop both emotionally and physically. The stress culminated to the point of our main section where it was effectively released.There were also moments relating to the ensemble that were different over the three performances. When Blake is sat on the chair with his suitcase and the ensemble are gradually bout in to join Michaela and Marie’s walk towards him, although the blocking is always the same, the ensemble is never bought into the sequence in the same order. Due to individual interactions throughout the piece certain characters may react differently to the ensemble sequence and get pulled in at different points in different performances.This was also the case during the final moments of the piece. The ensembles reaction to Leyna’s attempt to take a photograph of Jay and Nicola was always the same internally, however, physically the ensemble efforts to stop her doing so were different each time. This was crucial at this moment of the performance as the audience needed to believe and engage with Leyna’s desperation to get out of the space. The organic nature of the genre allows a sense of freshness to exist within the performance which is constantly changing and developing.
Graham, S, Hoggett, S. (2009) The Frantic Assembly Book of Devising Theatre Oxon :
Routledge
Vincent Dance Theatre (2008) [online] [Sheffield] http://www.vincentdt.com/faq.html [accessed 14/05/09]
The ensemble all shared the state of liminiality, however there were other themes and issues that developed throughout the piece. In particular all individual characters had a sense of journey. The journeys that existed were all in different phases. Some characters were merely beginning others were coming to an end. The idea of a journey ending was a key element of Nicola’s character who by the end of the piece would end her journey within the confines of Porto. This is antithetical of mine and Sarah’s journey which was a fairly new interaction that had the potential to develop beyond the world of Porto.There was also a sense of history that accompanied all of the characters. This was addressed scenographically through the signifier of the bags that the ensemble carried them. The actions of the characters also suggested that there was a history to the individual as their reactions were affected by that sense.The ensemble, although made up of individual characters did still engage with each other as a whole throughout the piece. The first key moment that this occurred was during Nicola’s entrance. The ensemble had a mutual reaction (although notably reactions were not the same, there was still reaction in some form). This created sub-groups and other interactions. It directly commented on how people interact with each other in certain environments and situations.Another moment where the ensemble were tied together through events that took place within Porto was after the ensemble section reprise where Leyna’s character tried to take a photo of Jay and Nicola. As this action from Leyna’s character had developed throughout the piece, the ensemble collectively objected to this action and became complicit in trying to obstruct Leyna who became more frenetic in her actions as she tried to take more photos, but to little avail.
2/Critically evaluate the transition of Porto as the ensemble moved from the studio into the theatre space. What were the strengths and weaknesses of this phase and process? (400 words)
As the ensemble moved in to the theatre space from the studio there were further developments in the piece. Initially there were logistical problems of the chairs. Due to the differences in spatial dimensions of the theatre space, the chairs had to be slightly reconfigured in order to use the entire space. The chairs also caused logistical problems throughout certain sections of the piece in regards to lighting cues. Repositioning was required so that the action on stage could be lit and subsequently seen by the audience. While at times this logistical element could be considered frustrating, the change in placements allowed new things to be discovered by the performers as a means of problem solving.The greatest difference after moving to the theatre space was the full realisation of the periphery work. Concerns of the periphery work being too distracting when in the studio space dissipated somewhat with access to the larger space. During this shift in space the periphery work did develop in itself. This largely due to the the performers interacting with their new surroundings. In particularly the back stairs, pillars and bars at the back of the performance space.There were certain disadvantages during the transfer to the theatre space. Most of these were technical related. For example, performers had to become more spatially aware of their surroundings due to lanterns being on stage left and stage right at foot and head height. This meant that on occasions the lanterns were knocked by performers and were subsequently out of focus for other moments within the performance.With the dimensions of the performance space being different to that of the studio, sight lines were slightly altered at certain moments of the performance to what the ensemble were used to. This required the performers on stage to be constantly aware of the sight lines and lead to some slight reworking of material. This was particularly crucial to floor work that took place. If it took place too far down stage then certain members of the raked audience would be unable to see the material.
“Physical discoveries made in an initial session cannot possibly hold true given the momentous shifts and discoveries that occur” (Graham, Hoggett - Pg.36)
The advantage of this phase of the process was that all of the work developed further still. With a new space and newly configured moments on the periphery, new interactions were discovered and developed that may not have emerged during the studio research and scoring phase.
3/Critically evaluate the growth of the performance over the three shows, with particular emphasis on your own role within the piece. Did the RSVP model continue to apply even at this final stage of the performance piece? Discuss with concrete examples. (500 words)
“Once the structure and content of the work is set and rehearsed, we go on tour to test it out, gathering feedback along the way. Charlotte spends the first leg of any tour tweaking and re-rehearsing the work, to ensure it is the best it can be” (2009 - Company Information & FAQs)
While the performance was not drastically changed there were new elements that emerged and aspects of the performance that were reworked. The pre-set was a large element that was reworked from a performer and technical point after the initial matinee performance.
“these were those unique minutes between entering the performance space and the start of the performance proper. These minutes are there for the taking...” (Graham, Hoggett - Pg. 21)
As Graham and Hoggett suggest, the pre-set is a theatrical device in itself. It was used in Porto to establish that the audience had entered a liminal space and were intrinsically linked with the performers’ personal journey. However, the problem emerged that the audience had entered and settled quicker than anticipated. This therefore meant that the audience sat watching the entrances as if it was the actual performance. This caused issues with pacing for the audience. Performance wise, the performers were encouraged slightly speed up the entrances. From a technical standing, the house lights, which were initially very dim, were increased in intensity. This being a typical theatrical signifier that the audience can engage with to realise that the actual performance hadn’t begun.Interactions and organic development continued across all three performances. This was particularly notable in the periphery work. In the case of Sarah, Amy and myself; we never had any set choreography for the periphery work. The work was different every performance. This allowed for a more organic interaction development as it was driven by character impulses. With our interactions being different every performance the relationships were never a victim of stagnation. They retained a freshness and truth to them. At certain moments throughout the performances due to the nature of mine and Amy’s interaction I felt physically sick because of the stress that Amy caused my character. This visceral response allowed my character to develop both emotionally and physically. The stress culminated to the point of our main section where it was effectively released.There were also moments relating to the ensemble that were different over the three performances. When Blake is sat on the chair with his suitcase and the ensemble are gradually bout in to join Michaela and Marie’s walk towards him, although the blocking is always the same, the ensemble is never bought into the sequence in the same order. Due to individual interactions throughout the piece certain characters may react differently to the ensemble sequence and get pulled in at different points in different performances.This was also the case during the final moments of the piece. The ensembles reaction to Leyna’s attempt to take a photograph of Jay and Nicola was always the same internally, however, physically the ensemble efforts to stop her doing so were different each time. This was crucial at this moment of the performance as the audience needed to believe and engage with Leyna’s desperation to get out of the space. The organic nature of the genre allows a sense of freshness to exist within the performance which is constantly changing and developing.
Graham, S, Hoggett, S. (2009) The Frantic Assembly Book of Devising Theatre Oxon :
Routledge
Vincent Dance Theatre (2008) [online] [Sheffield] http://www.vincentdt.com/faq.html [accessed 14/05/09]
Final Blog Assessment - Task 4, Nicola Wilson
1. Every character in Porto had their individual journey but there were certain instances where the community came together. The first moment when the community were unified was in entering the space. All characters wanted to enter the space, claim their territory, no one had the desire to leave straight away. The characters of Porto were by no means passive in this liminal environment. They all wanted something, hence their reason for staying, so they could perhaps figure out what they wanted whilst they were there, whether it was love, help, freedom or something else. General human relationships are a core theme in Porto, which many practitioners in this genre like to explore such as Pina Bausch, Lloyd Newson, and Jasmin Vardimon. Another moment that unified the community was with Blake’s character fighting to let go of his bag. It was a moment that everyone couldn’t ignore, everyone was involved in a ‘…a typical ‘Bausch-Reigen’ in which the whole ensemble moves one after the other across the stage performing identical movements…’ (1999:26) Even the characters that stayed on the periphery were still locked into the moment of what was happening.
Another shared experience the group had was finally witnessing the face of the hooded character. ‘A European approach to dance making - the performers on stage are developed flesh and blood characters rather than neutral bodies that are used in a sculptural abstract way. Jasmin’s characters are real people who, although usually somehow on the edges of society, represent aspects of what it is to be a human being right now.’ (http://www.jasminvardimon.com/testimonials.html) This quote relates to Porto because these characters were all humans, with real human emotions and real human behaviour. These characters reacted just like people would in the real world, if a child at school always hid their face, there would always be someone trying to uncover them or at the very least be very intrigued that day when eventually the hood would come off.
2. ‘Bausch has broken with traditions and conventions wherever she can. Thus she has not used conventional décor. Usually the whole stage is completely empty and the brick walls are visible.’ (1999: 26) Like Bausch’s works, this was the space we had to inhabit; very different from the studio the ensemble was comfortable with. We had worked in that studio for months. That is where our relationships developed, that is where our characters were born and began to evolve. The new space meant that relationships evolved again, characters finding new areas and new people to interact with, especially within the periphery. For example, where I was situated in the arena, there was a wall. My character had never encountered a wall before, and my body started to react instinctively towards it. That was a strength of the whole group, their ability to adapt to a space, knowing what their characters would do in this new environment. Jay for example, using the podium to watch over me, he could have sat n the floor, or on a chair but he was using the new space to what best suited the character. Also, Amy J’s character used the stairs to show the distance between her character and Gavin and Sarah, which was symbolic of the emotional journeys of those characters even though they had never encorporated stairs in any rehearsals previous.
One of our weaknesses as a group perhaps was that sometimes individual perceptions of being in a theatre (that had nothing to with their character of Porto) infiltrated this transitional process and people were not seeing it as a character in a space, like it should have been, they were seeing it as themselves performing at the arena and bringing with them all the attitudes that that carries. ‘…the actor has to read the space. But in order to do this s/he has first to really ‘see’ it,’ (2001: 79) What Dymphna has stated here is a metaphor for what the space really is, there was an obvious line which separated the wings from the stage, and it was important to not let the mind take control and think ‘I have to perform on the stage, not be hidden in the wings.’ This can link in with the ensemble reprise at the end when the stage often became crowded because people were not seeing the space for what it needed to be at that moment.
3. With my head permanently inside a hood, it is not always easy to literally ‘see’ the growth of the performances, it almost became a task of ‘feeling’ it. Much like the exercise of feeling when the ensemble is going to stop walking, and then start again, I had to become aware of everyone’s energy in the space and if movements were full of precision and sharpness or if the whole piece was lethargic and dragging – which it wasn’t by the performance stage, the energy of the ensemble seemed to grow from show to show. In terms of my own character, it was never a case of just ‘going through the moves’ as the topic was very personal to me, but by the last performance something did change, which Lloyd Newson from DV8 comments on: ‘…I chose to examine these themes through physically challenging movement. However when we made ‘Strange Fish’ (1992), the risk was not so much about physical danger, but whether dance can deal with complex emotional narrative, and whether tragi-comic theatre can in fact be created through dance alone. You can take risks without always being physical.’ (http://www.dv8.co.uk/about.dv8/LN_butterworth.html ) What he says here about whether dance alone can deal with complex emotional narrative really does resonate with how my character felt during the final performance. Even though her body was exuding emotional qualities, it wasn’t enough. Throughout all rehearsals, throughout all mock runs she had never made a sound, never cried, never screamed. For the first time in the final performance, using her body just was not enough and although I had never practiced or used an aural element before, it felt right to do so. So, when it came to repeatedly punching the bag for the last time, using all my energy to take out my feelings on this baggage I had been carrying, this sound came out. A sound that reflected what my body was doing and what my mind was feeling. In terms of the RSVP model, it was most likely happening constantly but at an accelerated rate. Because the research period was so extensive and thought out, it meant that the scoring and validation process almost happened instantaneously in my head, confident that I knew the character well enough to trust that it would work in performance state.
‘Before starting rehearsal she has a concept, but she changes it all the time (even after the dress rehearsal or the first night).’ (1999:26) This is one of Pina Bausch’s philosophies, and is something Porto also adhered to. Even a couple of days before the first show, things were being added all the time such as Jay’s character, throwing the chairs everywhere, Amy H’s character saying ‘Shhh’ to calm herself down, and Amy J and Gavin’s piece changing from Amy slowly rolling off to Gavin throwing her off, which conjured up a lighting concept in which Amy was lit separately to Gavin and Sarah, never thought of before. Finally, Pina Bausch’s quote ‘It is not how people move, but what moves them’ (2002: 57) can relate to all characters in Porto. No performance was the same because different things moved people at different times each night. It really was a liminal space where the journey was different every time.
Bibliography
Bremser, M., 1999., Fifty Contemporary Choreographers, London: Routledge
Callery, D., 2001, Through The Body, London: Nick Hern Books Limited
Huxley, M., 2002, The Twentieth Century Performance Reader, s.l., Routledge
Spalding, A., Testimonials For Jasmin Vardimon Company (Internet) Available at: http://www.jasminvardimon.com/testimonials.html [accessed 14/5/09]
Newson, L., 2004, Conversation with Jo Butterworth (Internet) Available at: http://www.dv8.co.uk/about.dv8/LN_butterworth.html [accessed 14/5/09]
Another shared experience the group had was finally witnessing the face of the hooded character. ‘A European approach to dance making - the performers on stage are developed flesh and blood characters rather than neutral bodies that are used in a sculptural abstract way. Jasmin’s characters are real people who, although usually somehow on the edges of society, represent aspects of what it is to be a human being right now.’ (http://www.jasminvardimon.com/testimonials.html) This quote relates to Porto because these characters were all humans, with real human emotions and real human behaviour. These characters reacted just like people would in the real world, if a child at school always hid their face, there would always be someone trying to uncover them or at the very least be very intrigued that day when eventually the hood would come off.
2. ‘Bausch has broken with traditions and conventions wherever she can. Thus she has not used conventional décor. Usually the whole stage is completely empty and the brick walls are visible.’ (1999: 26) Like Bausch’s works, this was the space we had to inhabit; very different from the studio the ensemble was comfortable with. We had worked in that studio for months. That is where our relationships developed, that is where our characters were born and began to evolve. The new space meant that relationships evolved again, characters finding new areas and new people to interact with, especially within the periphery. For example, where I was situated in the arena, there was a wall. My character had never encountered a wall before, and my body started to react instinctively towards it. That was a strength of the whole group, their ability to adapt to a space, knowing what their characters would do in this new environment. Jay for example, using the podium to watch over me, he could have sat n the floor, or on a chair but he was using the new space to what best suited the character. Also, Amy J’s character used the stairs to show the distance between her character and Gavin and Sarah, which was symbolic of the emotional journeys of those characters even though they had never encorporated stairs in any rehearsals previous.
One of our weaknesses as a group perhaps was that sometimes individual perceptions of being in a theatre (that had nothing to with their character of Porto) infiltrated this transitional process and people were not seeing it as a character in a space, like it should have been, they were seeing it as themselves performing at the arena and bringing with them all the attitudes that that carries. ‘…the actor has to read the space. But in order to do this s/he has first to really ‘see’ it,’ (2001: 79) What Dymphna has stated here is a metaphor for what the space really is, there was an obvious line which separated the wings from the stage, and it was important to not let the mind take control and think ‘I have to perform on the stage, not be hidden in the wings.’ This can link in with the ensemble reprise at the end when the stage often became crowded because people were not seeing the space for what it needed to be at that moment.
3. With my head permanently inside a hood, it is not always easy to literally ‘see’ the growth of the performances, it almost became a task of ‘feeling’ it. Much like the exercise of feeling when the ensemble is going to stop walking, and then start again, I had to become aware of everyone’s energy in the space and if movements were full of precision and sharpness or if the whole piece was lethargic and dragging – which it wasn’t by the performance stage, the energy of the ensemble seemed to grow from show to show. In terms of my own character, it was never a case of just ‘going through the moves’ as the topic was very personal to me, but by the last performance something did change, which Lloyd Newson from DV8 comments on: ‘…I chose to examine these themes through physically challenging movement. However when we made ‘Strange Fish’ (1992), the risk was not so much about physical danger, but whether dance can deal with complex emotional narrative, and whether tragi-comic theatre can in fact be created through dance alone. You can take risks without always being physical.’ (http://www.dv8.co.uk/about.dv8/LN_butterworth.html ) What he says here about whether dance alone can deal with complex emotional narrative really does resonate with how my character felt during the final performance. Even though her body was exuding emotional qualities, it wasn’t enough. Throughout all rehearsals, throughout all mock runs she had never made a sound, never cried, never screamed. For the first time in the final performance, using her body just was not enough and although I had never practiced or used an aural element before, it felt right to do so. So, when it came to repeatedly punching the bag for the last time, using all my energy to take out my feelings on this baggage I had been carrying, this sound came out. A sound that reflected what my body was doing and what my mind was feeling. In terms of the RSVP model, it was most likely happening constantly but at an accelerated rate. Because the research period was so extensive and thought out, it meant that the scoring and validation process almost happened instantaneously in my head, confident that I knew the character well enough to trust that it would work in performance state.
‘Before starting rehearsal she has a concept, but she changes it all the time (even after the dress rehearsal or the first night).’ (1999:26) This is one of Pina Bausch’s philosophies, and is something Porto also adhered to. Even a couple of days before the first show, things were being added all the time such as Jay’s character, throwing the chairs everywhere, Amy H’s character saying ‘Shhh’ to calm herself down, and Amy J and Gavin’s piece changing from Amy slowly rolling off to Gavin throwing her off, which conjured up a lighting concept in which Amy was lit separately to Gavin and Sarah, never thought of before. Finally, Pina Bausch’s quote ‘It is not how people move, but what moves them’ (2002: 57) can relate to all characters in Porto. No performance was the same because different things moved people at different times each night. It really was a liminal space where the journey was different every time.
Bibliography
Bremser, M., 1999., Fifty Contemporary Choreographers, London: Routledge
Callery, D., 2001, Through The Body, London: Nick Hern Books Limited
Huxley, M., 2002, The Twentieth Century Performance Reader, s.l., Routledge
Spalding, A., Testimonials For Jasmin Vardimon Company (Internet) Available at: http://www.jasminvardimon.com/testimonials.html [accessed 14/5/09]
Newson, L., 2004, Conversation with Jo Butterworth (Internet) Available at: http://www.dv8.co.uk/about.dv8/LN_butterworth.html [accessed 14/5/09]
Thursday 14 May 2009
Ellen Marshall FINAL blog task.
1)
As went came to the final performing stage of RSVP as a member of the company I had last seen each individual sections when we were still scoring, therefore they could all have changed however the community as a whole stayed consistent with themes and issues. Entering the space at the beginning of the performance to find Blake’s character already there started a theme of entrapment. After the black out every one tried to express their own individual characters but then suddenly became sucked into the same routine making them also a slave to Porto. Those characters with the chairs facing in the other direction managed to resist joining in but instead of escaping it they got drawn into a routine just for being different until they gave in to be accepted with the rest. The community through out had signs of trying to belong in a hostile place and finding conclusions before they could move forward. Of what I know of the subgroups a lot was based on male female relationships:
‘[To Pina Bausch] Do you have themes? Specific themes? Or does this change? [Pina Bausch reply] Well, I’d say they sort of move in a circle. It’s always the same thing or similar things. Actually the themes are always to do with man-woman relationships, the way we behave or our longing or our inability, only sometimes the colour changes.’ (Michael, H and Witts, N. 1996. P.54.)
Every character wanted to leave the space but couldn’t which relates to what Pina Bausch said on ‘longing’ and ‘inability.’ It would also appear that there was at least one villain, one victim, one hero or all three in each part. Nicola seemed to be all three as some people in the community were scared by her, some wanted to help her and some would be helped by her. We all entered the space alone but all left together and as Nicola was left behind it gave the impression that the same thing had happened to Blake and Porto would always be occupied but the residents would always change.
2)
Porto is about a community in a space between places although a lot of it is metaphorical I personally believe that the space of Porto soon got associated with the drama studios we had been working in. Because of this when we had to move into a new performing space it felt like we had left Porto to come into an unfamiliar place. Although the initial confusion may have set us a few steps back as a group, emotionally it woke up the performance. When we were still in the drama studios we had become so aware of everything our body memories took over so much so that even when Nicola had a hood over her face and no vision she still knew her way around.
‘Body memory is a term, originating in dance, that describes the body’s ability to “remember” movement as an embedded resonance. A totally non-thinking process, it is intimately related, as we shall see, to the entire aspect of physical awareness.’ (Zinder, D. 2002. P.134)
As a result of such a high recall of body memory a purpose behind each movement began to disappear and emotions in the movements started to lack. By being in the new space the company could now have a true sense of being in the unknown. It was impossible to say if a chair would not be put in the right place or if there were too many so we all had to adapt to that and solve it in character. The space had also changed in size and shape we had more areas to work with people who we were working with in the peripheries in the studio could now be on the other side of the space. At first is was a weakness of ours as we were so set in our ways that we didn’t use the new free spaces available to us but the company soon started to explore even more. By having more space it gave more freedom to develop the characters even in this late stage of RSVP.
3)
Over the 3 final shows there was still scope for change although it would have been unrealistic to create a whole new performance it was still possible to make slight changes.
‘ Training should remain free-form for as long as possible, devoid of anything “concrete”.’ (Zinder, D. 2002. P.8)
The quote above relates to the way in which we approached things through all the RSVP stages. For example in the first show I decided to open the letter I had as my item on stage. I’d never before done this as it was something my character was quite protective over so, by doing this was just a huge progression from the start of the process. I realised in the 3 shows I became less and less attached to my bag and more protective of my character I think this was due to the change in emotion I felt towards Mikeys character. He was no longer my protector and more of a representation of being hurt and controlled. When I changed these feelings it impacted Mikey to the point where his character was getting upset. This was not a reaction I was expecting and caused implications as it made my character feel bad and nasty – something that my character was not. It almost became impossible for my character to source the emotions I needed for our section. Performing for the last time seemed to make something click which enabled us to get the right balance of actions to reactions that heightened my characters perpous.
The last time my character walked off stage I felt a relief -my characters journey had been consistent all year then it really intensified in the last few shows. My character had gained real emotion, real fear, real satisfaction and real exhaustion and it only seemed to appear for the first time in the actual shows. This seemed to be the case for the rest of the company, which allowed us to all feed off each other. Given the change in location and addition of an audience the atmosphere altered greatly this in turn made everyone more focused. In rehearsals the company had an element of working separately and increasing with each one of the shows the company became a whole. As a performer the ensemble pieces all felt like we were thinking in time, the tempo and pace fell into place quickly there were no hesitations.
‘The process cannot be reduced to a series of predictable episodes of a fixed scenario. An effectively structured dramatic process will achieve development, articulation and significance while avoiding the repetition of a carefully prearranged sequence, the transformation of process into superficial product, and the destruction of the spontaneity that is at the heart of the work.’ (O’Neill, C. 1995. P.xviii)
None of the three shows were the same, which makes this genre so unique if each performance was exact for each movement and each emotion, and then chances of it being superficial are high. Although the above quote relates mainly to the beginning process that process does not stop until the final performance is over as we are constantly developing.
Bibliography
Michael, H and Witts, N. (1996) The Twentieth- Century Performance Reader. London: Routledge.
O’Neill, C. (1995) Drama Worlds a Framework for Process Drama. Portsmouth: Heinemann.
Zinder, D. (2002) Body Voice Imagination a Training for The Actor. New York: Routledge.
As went came to the final performing stage of RSVP as a member of the company I had last seen each individual sections when we were still scoring, therefore they could all have changed however the community as a whole stayed consistent with themes and issues. Entering the space at the beginning of the performance to find Blake’s character already there started a theme of entrapment. After the black out every one tried to express their own individual characters but then suddenly became sucked into the same routine making them also a slave to Porto. Those characters with the chairs facing in the other direction managed to resist joining in but instead of escaping it they got drawn into a routine just for being different until they gave in to be accepted with the rest. The community through out had signs of trying to belong in a hostile place and finding conclusions before they could move forward. Of what I know of the subgroups a lot was based on male female relationships:
‘[To Pina Bausch] Do you have themes? Specific themes? Or does this change? [Pina Bausch reply] Well, I’d say they sort of move in a circle. It’s always the same thing or similar things. Actually the themes are always to do with man-woman relationships, the way we behave or our longing or our inability, only sometimes the colour changes.’ (Michael, H and Witts, N. 1996. P.54.)
Every character wanted to leave the space but couldn’t which relates to what Pina Bausch said on ‘longing’ and ‘inability.’ It would also appear that there was at least one villain, one victim, one hero or all three in each part. Nicola seemed to be all three as some people in the community were scared by her, some wanted to help her and some would be helped by her. We all entered the space alone but all left together and as Nicola was left behind it gave the impression that the same thing had happened to Blake and Porto would always be occupied but the residents would always change.
2)
Porto is about a community in a space between places although a lot of it is metaphorical I personally believe that the space of Porto soon got associated with the drama studios we had been working in. Because of this when we had to move into a new performing space it felt like we had left Porto to come into an unfamiliar place. Although the initial confusion may have set us a few steps back as a group, emotionally it woke up the performance. When we were still in the drama studios we had become so aware of everything our body memories took over so much so that even when Nicola had a hood over her face and no vision she still knew her way around.
‘Body memory is a term, originating in dance, that describes the body’s ability to “remember” movement as an embedded resonance. A totally non-thinking process, it is intimately related, as we shall see, to the entire aspect of physical awareness.’ (Zinder, D. 2002. P.134)
As a result of such a high recall of body memory a purpose behind each movement began to disappear and emotions in the movements started to lack. By being in the new space the company could now have a true sense of being in the unknown. It was impossible to say if a chair would not be put in the right place or if there were too many so we all had to adapt to that and solve it in character. The space had also changed in size and shape we had more areas to work with people who we were working with in the peripheries in the studio could now be on the other side of the space. At first is was a weakness of ours as we were so set in our ways that we didn’t use the new free spaces available to us but the company soon started to explore even more. By having more space it gave more freedom to develop the characters even in this late stage of RSVP.
3)
Over the 3 final shows there was still scope for change although it would have been unrealistic to create a whole new performance it was still possible to make slight changes.
‘ Training should remain free-form for as long as possible, devoid of anything “concrete”.’ (Zinder, D. 2002. P.8)
The quote above relates to the way in which we approached things through all the RSVP stages. For example in the first show I decided to open the letter I had as my item on stage. I’d never before done this as it was something my character was quite protective over so, by doing this was just a huge progression from the start of the process. I realised in the 3 shows I became less and less attached to my bag and more protective of my character I think this was due to the change in emotion I felt towards Mikeys character. He was no longer my protector and more of a representation of being hurt and controlled. When I changed these feelings it impacted Mikey to the point where his character was getting upset. This was not a reaction I was expecting and caused implications as it made my character feel bad and nasty – something that my character was not. It almost became impossible for my character to source the emotions I needed for our section. Performing for the last time seemed to make something click which enabled us to get the right balance of actions to reactions that heightened my characters perpous.
The last time my character walked off stage I felt a relief -my characters journey had been consistent all year then it really intensified in the last few shows. My character had gained real emotion, real fear, real satisfaction and real exhaustion and it only seemed to appear for the first time in the actual shows. This seemed to be the case for the rest of the company, which allowed us to all feed off each other. Given the change in location and addition of an audience the atmosphere altered greatly this in turn made everyone more focused. In rehearsals the company had an element of working separately and increasing with each one of the shows the company became a whole. As a performer the ensemble pieces all felt like we were thinking in time, the tempo and pace fell into place quickly there were no hesitations.
‘The process cannot be reduced to a series of predictable episodes of a fixed scenario. An effectively structured dramatic process will achieve development, articulation and significance while avoiding the repetition of a carefully prearranged sequence, the transformation of process into superficial product, and the destruction of the spontaneity that is at the heart of the work.’ (O’Neill, C. 1995. P.xviii)
None of the three shows were the same, which makes this genre so unique if each performance was exact for each movement and each emotion, and then chances of it being superficial are high. Although the above quote relates mainly to the beginning process that process does not stop until the final performance is over as we are constantly developing.
Bibliography
Michael, H and Witts, N. (1996) The Twentieth- Century Performance Reader. London: Routledge.
O’Neill, C. (1995) Drama Worlds a Framework for Process Drama. Portsmouth: Heinemann.
Zinder, D. (2002) Body Voice Imagination a Training for The Actor. New York: Routledge.
Elizabeth Payne Final Blog Post
1. From the Validation stage to Performance the whole community started to group and come together as an ensemble. Common themes began to emerge such as longing for love, Sarah Evens’ character and Gavin as well as Amy in the love triangle and the wanting they all had for the same thing, for love of Gavin and his attention. Wanting what someone else has was also a common theme that occurred in smaller groups and dominantly in the shape of Lauren going around different characters looking in their bags or taking their clothing and using it as her own such as David’s’ tie and bible. The space of Porto was alien to us all when we began our journeys and so these longings became a part of all our characters, to form relationships so we where no longer alone and for protection from the curious characters of Nicola and Blake. This theme we all shared in the format of the ensemble work and the community that became around this fear and longing for protection from them. The ensemble united in movements at the beginning even when a smaller group where not part of the larger group they slowly became incorporated with the larger group so that they where the same. Shared Experience use the ensemble to express the common themes in their performances,
‘building a common language and close-knit ensemble where they could be open and daring, able to take risks and play in the moment’ (Callery: 12)
The united community happened again but slower when Nicola and Jay had a larger interaction towards the end of the performance, this common theme of belonging and being scared of the unknown gave a bed rock for the performance and so gave us the chance to all interact together with our created language around this theme.
2. Working within the studio for so long gave us a comfort zone and a home for Porto. We worked for 6 months in the same space, knowing our outer limits in relation to size but also to the distance of an audience. Moving into the theatre changed all of these variables. In the Arena the depth was now greater by a considerable amount meaning the chairs for the opening sequence and the peripheral work needed to be pushed much further back then what we where used to working with. The distance of the audience also was a issue, when working in the studio whenever there was a audience watching they where very close and could see the simplest and smallest of movements, however the new space gave us a much larger space and consequently the movements had to be pushed onto a new level so that all the audience could witness the movements right down to the facial expressions that where to small to begin with.
It became difficult for some to get used to the technical elements of working within the theatre. Having lanterns so close to the performance at head and foot level was difficult as on occasions Jay would swing Nicola and come close to hitting one and on another moment when the ensemble are moving together, as a performer concentrating on the movements, knocking into the floor level lantern happened. All of this occurred in initial rehearsals though by the performance a second sense of the technical elements that surrounded the stage was acquired by the ensemble. Physically the characters began to develop, interacting more successfully and fluidly instead of forcing the movements; the fresh new space gave the characters the opportunity to explore new depths and came at the right time for my character and others. A lot of company’s such as Motionhouse Dance theatre, Vincent Dance theatre, Forced Entertainment all have a base and then tour; these companies also come across developing performers when they reach new spaces in an interview with Kevin Finnan artistic director of Motionhouse states:
‘Another thing that is guaranteed to happen every time, is that as soon as I get a show on the road, as soon as its made, I start seeing all of the things that I wish I had done with it.’(Finnan)
Unlike Motionhouse we where able to change and develop our characters to feel this new desire and emotion that was being created by the new space that was given to us in the Arena theatre.
3. ‘Every movement within the choreography has to have a reason to be, rather than the choreography simply being the reason itself” (Finnan)
This was a policy of producing Porto from the very start and until the very end. Over final three shows my character developed greatly, she became deeper and the connections I made became stronger. When working with Luke our connections developed through the last 2 play sessions more then they had through the other rehearsals in the studio. We developed movements of touching our toes to bring me off the chair and being embarrassed by being so close became more emphasised by the delicate touches we now developed together. We where adding to the score that we had already created in the performance, and so Validated and Performed them. This just showed how the RSVP model was still present in force especially for my character even at such a later stage in the whole performance.
In another way my character also developed through the final performances in relation to the main partnerships I had with the two ‘Super men’ Richard and Alex. The three of us grew together in our reactions to people coming into our space over on stage right and also our energy throughout the overall sections of our peripheral work and during the train scene where much higher. Having this heightened energy we where able to express our childishness and united front against others much more effectively. Emotionally and physically my character began to change. I was much more attached to Alex and Richard I wanted to be physically near them so we lay across each other or just hugged, emotionally I would be thinking about them even when I was distracted by something else because I would want them to see what I could see which would excite my character.
This depth I only found once the first show was being prepared for in the warm up and slight play that was conducted. Like these changes at the last minute is similar to Charlotte Vincent from Vincent Dance theatre
‘spends the first leg of any tour tweaking and re-rehearsing the work, to ensure it is the best it can be, and that it is somehow ‘saying’ what it is she wanted to say’
Saying what I want to say with my own character was very important and so these revelations of emotion and physicality where very important even at the end of the shows. As a whole the company went from strength to strength as every character within the ensemble grew and became more comfortable with expressing their characters personal journey to the live audience. Every character had their own personal journey from the writing of the letter to the last three shows, at every point the RSVP model was being used with the build up of our body’s’ physical knowledge from the research stage that benefitted the changes that happened over the final shows, each stage was needed to be reflected on right until the end.
Bibliography
Callery D, (2001) Through the body: a practical guide to physical theatre Nick Hern Books:London
Finnan K, Motionhouse Dance Theatre (2009) [online] [Warwickshire] http://www.motionhouse.co.uk/documents/studentpack_003.pdf [accessed 14/05/09]
Finnan K, Motionhouse Dance Theatre (2009) [online] [Warwickshire] http://www.motionhouse.co.uk/documents/SyndicatedinterviewwithKevinFinnan_002.pdf [accessed 14/05/09]
Vincent Dance Theatre (2008) [online] [Sheffield] http://www.vincentdt.com/faq.html [accessed 14/05/09]
‘building a common language and close-knit ensemble where they could be open and daring, able to take risks and play in the moment’ (Callery: 12)
The united community happened again but slower when Nicola and Jay had a larger interaction towards the end of the performance, this common theme of belonging and being scared of the unknown gave a bed rock for the performance and so gave us the chance to all interact together with our created language around this theme.
2. Working within the studio for so long gave us a comfort zone and a home for Porto. We worked for 6 months in the same space, knowing our outer limits in relation to size but also to the distance of an audience. Moving into the theatre changed all of these variables. In the Arena the depth was now greater by a considerable amount meaning the chairs for the opening sequence and the peripheral work needed to be pushed much further back then what we where used to working with. The distance of the audience also was a issue, when working in the studio whenever there was a audience watching they where very close and could see the simplest and smallest of movements, however the new space gave us a much larger space and consequently the movements had to be pushed onto a new level so that all the audience could witness the movements right down to the facial expressions that where to small to begin with.
It became difficult for some to get used to the technical elements of working within the theatre. Having lanterns so close to the performance at head and foot level was difficult as on occasions Jay would swing Nicola and come close to hitting one and on another moment when the ensemble are moving together, as a performer concentrating on the movements, knocking into the floor level lantern happened. All of this occurred in initial rehearsals though by the performance a second sense of the technical elements that surrounded the stage was acquired by the ensemble. Physically the characters began to develop, interacting more successfully and fluidly instead of forcing the movements; the fresh new space gave the characters the opportunity to explore new depths and came at the right time for my character and others. A lot of company’s such as Motionhouse Dance theatre, Vincent Dance theatre, Forced Entertainment all have a base and then tour; these companies also come across developing performers when they reach new spaces in an interview with Kevin Finnan artistic director of Motionhouse states:
‘Another thing that is guaranteed to happen every time, is that as soon as I get a show on the road, as soon as its made, I start seeing all of the things that I wish I had done with it.’(Finnan)
Unlike Motionhouse we where able to change and develop our characters to feel this new desire and emotion that was being created by the new space that was given to us in the Arena theatre.
3. ‘Every movement within the choreography has to have a reason to be, rather than the choreography simply being the reason itself” (Finnan)
This was a policy of producing Porto from the very start and until the very end. Over final three shows my character developed greatly, she became deeper and the connections I made became stronger. When working with Luke our connections developed through the last 2 play sessions more then they had through the other rehearsals in the studio. We developed movements of touching our toes to bring me off the chair and being embarrassed by being so close became more emphasised by the delicate touches we now developed together. We where adding to the score that we had already created in the performance, and so Validated and Performed them. This just showed how the RSVP model was still present in force especially for my character even at such a later stage in the whole performance.
In another way my character also developed through the final performances in relation to the main partnerships I had with the two ‘Super men’ Richard and Alex. The three of us grew together in our reactions to people coming into our space over on stage right and also our energy throughout the overall sections of our peripheral work and during the train scene where much higher. Having this heightened energy we where able to express our childishness and united front against others much more effectively. Emotionally and physically my character began to change. I was much more attached to Alex and Richard I wanted to be physically near them so we lay across each other or just hugged, emotionally I would be thinking about them even when I was distracted by something else because I would want them to see what I could see which would excite my character.
This depth I only found once the first show was being prepared for in the warm up and slight play that was conducted. Like these changes at the last minute is similar to Charlotte Vincent from Vincent Dance theatre
‘spends the first leg of any tour tweaking and re-rehearsing the work, to ensure it is the best it can be, and that it is somehow ‘saying’ what it is she wanted to say’
Saying what I want to say with my own character was very important and so these revelations of emotion and physicality where very important even at the end of the shows. As a whole the company went from strength to strength as every character within the ensemble grew and became more comfortable with expressing their characters personal journey to the live audience. Every character had their own personal journey from the writing of the letter to the last three shows, at every point the RSVP model was being used with the build up of our body’s’ physical knowledge from the research stage that benefitted the changes that happened over the final shows, each stage was needed to be reflected on right until the end.
Bibliography
Callery D, (2001) Through the body: a practical guide to physical theatre Nick Hern Books:London
Finnan K, Motionhouse Dance Theatre (2009) [online] [Warwickshire] http://www.motionhouse.co.uk/documents/studentpack_003.pdf [accessed 14/05/09]
Finnan K, Motionhouse Dance Theatre (2009) [online] [Warwickshire] http://www.motionhouse.co.uk/documents/SyndicatedinterviewwithKevinFinnan_002.pdf [accessed 14/05/09]
Vincent Dance Theatre (2008) [online] [Sheffield] http://www.vincentdt.com/faq.html [accessed 14/05/09]
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