Elizabeth Payne Blog Task 2

1. “Devised theatre can start from anything” (Oddey 1996: 1) this is very true to the work that has been conducted in Porto. Simply starting by being told to write a letter and create a character surrounding the experience in the letter and the idea of a journey, Porto has developed considerably. Using devising techniques and “stretching the limits of established practices” (Govan 2007: 3) Porto has challenged the audience and the performers to create a purely new piece of theatre. Porto does not follow the lineal narrative structure that as the whole basis for the performance is being stuck in the passage of time between the beginnings and end of a journey and the unknown that maybe en counted. Devising concentrates greatly on the process and over they past five weeks the devising of the piece has taken place understanding that the

“Story is not prestablished for the performers as the start; it is, rather, discovered by the group throughout the rehearsal process. In devising, the creative focus is not on preconceived ideas or an existing text but on the group of actors making performance from their own experience.” (Dundjerovic 2000:26)

We still do not know how the story is going to end but the usage of various devising techniques has enabled us to begin to create new and full filling theatre.

2. From the beginning the character that was created in my letter was a happy and cheer full, being affected by her surroundings but still contented in life. As described by Robert Lepage when talking about his creation of character and story in his own work as “work in progress” (Lepage quoted by Dundjerovic 2007:27) my own character is work in progress. She has developed from a simple happy go lucky character to a deeper character with a hidden depth. Without this hidden depth my character would not have been able to develop to want love and longing for a companion to share her happiness. It is known within physical and devised theatre that drawing on your own experiences affects the character more and my own character is no different. She has become refined by a concentration by myself on my own wanting for others to be happy and contented as I am, but at the same time this can leave me isolated form the other characters that have been created. Confession on my part as the creator and actor is being undergone “performance and confession have always gone hand in hand. Seen in this way every show is a series of admissions or owning ups, not just to the things that one has actually done but to the things that one has wished for” (Etchells 1999: 219) my character is a for of myself and so in every performance I confess these things to my audience.

3. “The moves and imagery used will not exist solely to please eye and ear, but more profitably to please the intimate self, the mind” (Artaud 2001: 83) repeatedly moving on my toes and never really looking in one direction expels my signs of innocents and happiness. My character does not fear looking people in the eye or being in one place but would rather continuously move and look around to see what she can discover. My body moves freely within any space it chooses to conduct movement’s in. Any contact that is had with others around me starts and flows then stops and then moves on to another place. The character holds herself her spine her head and muscles with ease not feeling any restraints from her inner fears or unknowns. Only when surrounded by others who are less contented and who express there deeper fears does she become agitated and more grounded. On occasions the smaller gestures and the stiller movements express more for the character as she likes to be able to view others slight hand movements followed by bold complete body movements express her outer and inner feelings towards others.

Bibliography

Artaud A 2001, The Theatre And Its Double Calder Publications: London

Dundjerovic A, 2007, The Theatricality of Robert Lepage McGill-Queen’s Press MQUP.

Etchells T, 1999, Certain Fragments: Contemporary Performance and Forced Entertainment Routledge: London

Govan, E, Nicholson H & Normington K, 2007, Making a Performance: Devising Histories and Contemporary Practices Routledge London

Oddey A, 1996, Devising Theatre: A Practical and Theoretical Handbook Routledge: London