1: There have been many different strategies used throughout our time working on Porto. The ‘clap’ technique is one I would strongly advise for anyone working in an ensemble to use; although it may be just a simple clap, to gain the ensembles attention; it is a quick and efficient way of sharing an idea without wasting valuable time in discussion. When working alone there is no limit as to how far you can experiment, whereas in an ensemble there is a tendency to hold back slightly. The use of ‘play’ is a strategy that challenges this, and I feel is extremely beneficial, to the individual characters and the ensemble, as we get a chance to discover other people characters and can build on connections on different levels to which we have done previously. The progression in the ensemble is noticeably higher compared to at our starting point in the devising process for Porto five weeks ago. As an inside eye there are points in which I cannot see, but just from using my peripheral vision and from feeling the intensity and energy the ensemble have been reached as the weeks go by it gives me a great sense of personal satisfaction and pride in Porto even at this unfinished stage.
2: When I first created my character in my letter I did not have a particularly clear idea of what I wanted her to be, because of this my character has grown greatly and is still to this day changing throughout the process of devising Porto. However, I do not regret my uncertainty at the start, as I believe it has assisted me to develop my character in a different way in which I would have originally, both physically and emotionally. This has kept me interested in her and I now look forward to discovering new elements to her and connections with other characters. “Wright suggests devising depends on relationships and chemistry between people” Oddey, A. (1996) P.66. Over the past five weeks my character has gone from wishing that she could fit in but does not know how to change to do so, to working out that she did not really want to change which is why she could not work out how to. “Have you ever felt like you don’t quite fit into your skin anymore?” (Mitra, R, 2009), that was exactly how my character was feeling until she developed the desire to help people who she thinks are sad, in hope that they would not judge her, the way others do. A certain level of confidence is developing within my character that she is hiding behind by protecting the people she ‘helps’ against the type of person she used to want to be.
3: My character is very introvert so I tend to have quite closed of body language. She tends to have her arms and legs crossed as often as possible, this shows that she is not comfortable with where she is, who she is with or even with herself. She relies very strongly on pedestrian movements and even when still she tries to blend and not be noticed. She very rarely stands up straight so often has a hunched spine, her head is often down, with arm crossed over her stomach and the other arm crossed over clutching the straps of her bag. She tends to distribute her weight to the left side of her body, She will stand with her right leg crossed in front of her left but not taking any weight. Her stance has not, at this point in the process, been in neutral, as she has not yet felt comfortable enough within herself to do so. As her confidence grows at certain points her weight shifts from the left side to slightly closer to central but her weight shifts to the inside of her feet and the back of her pelvis s she is still slightly cowering away as her confidence is just a front.
Bibliography
Mitra, R. (2009) Blog Spot
http://processandperformance200809.blogspot.com/
Oddey, A., (1996) Devising Theatre: A Practical and Theoretical Handbook, New York: Routledge
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