Blog 2.

1.The main technique used when creating Porto is the one of impulse and response. Each characters movements and gestures are all created through impulses, ‘all of us are in a constant state of impulse and response’ (Marshall, L., 2001, pg32) . The creation of Porto has helped the performers in ‘discovering their somatic impulses, and developing a physical articulation of the imagination’ (Callery, D., 2001, pg163). One key strategy used in terms of development of a character is the neutral roll. First, stood in a neutral stance, one rolls their body down to the floor and then slowly rolls it back up each vertebrate at a time, gradually exposing their characters physicality. Now the performers are completely absorbed by their characters, physically and mentally, they are given the chance to interact and respond on impulse with the other characters in the space. This technique being ‘contact improvisation’, used by theatre companies such as DV8. Contact improvisation is effective due to it allowing the performers to give the piece narrative through creating a language controlled by movements and physicality, as appose to verbally. This technique has been a vital part in Porto’s development in terms of creating relationships within the ensemble, giving the piece structure and inspiration.

2.My personal character has grown a considerable amount since the beginning of the devising process. My character is based on feelings rather than an actual person so it was difficult to show mental feelings through the body. My character is not yet completely refined as it is constantly changing after every session. Anne Dennis explains ‘comprehension of a character must begin from an understanding of his everyday life. Its development will depend on where the character, in the piece, is heading.’ (Dennis A., 2002, pg47). Beginning to understand the everyday life of my character helped me to create its physicality and retain it. As the weeks pass I find myself exaggerating my movements a lot more and making them larger. When first starting Porto my character felt very enclosed and isolated, which was shown through my gesture and facial expression at a naturalistic level. After every session I have found my character still showing that emotion but on a different scale, I have now taken that naturalism and enlarged it, allowing it to be more clear and obvious towards an audience. My character has also developed a kind of relationship with a quite dismissive character leaving her to sometimes feel a little alone, which is truly fitting to my characters feelings at this time.

3.‘ If your body does not truly reflect the world of the performance and the complexity of the people and ideas in that world, the audience cannot experience it.’ (Marshall, L. 2001, pg9) My characters body language is introverted. I show this by my arms always being close to my body and often gripping each other. My posture is slouched slightly, shoulders forward and raised up towards my neck. My head often facing down, as if gravity is taking over the whole of my upper body. This gives the impression of insecurity and loneliness to an audience. My character has a tendency to avoid eye contact with other characters in case of confrontation. My weight constantly shifting from one foot to another, showing the instability of my character. My right hand repeatedly feels the back of my neck giving a slight impression of frustration and embarrassment. The pace in which I move varies, if I can avoid moving I will. This is because my character simply doesn’t know where to go, she doesn’t fit in with anyone, she has no confidence to speak to anyone and she’s afraid of rejection, so the most safest thing to do for her is to stay in one place.

Bibliography

Callery D. (2001) Through the body: A Practical Guide to Physical Theatre. London: Nick Hern Books Ltd.

Dennis A. (2002) The Articulate Body: The Physical Training of the Actor. London: Nick Hern Books Ltd.

Marshall L. (2001) The Body Speaks. London: Methuen Publishing Ltd.