Leigh-Anne Gilbert - Assessment Blog 3

1. The ‘R’ phase of devising Porto focused on building characters, drawing upon the physical skills learnt in semester one. We began the ‘R’ phase with the visualisation exercise, which gave us the impulse to travel. From this, each person wrote a letter as his or her character explaining their personal reasons and intentions for leaving, and what they were taking with them. The content of these letters formed the foundations of our characters upon which physicality’s and emotions could be built.

Through the weeks we have sourced material from not only our own pallet of skills, but from the inspiration of outside influences such as the Jasmin Vardimon Company. Like the Jasmin Vardimon Company and how they use the “exposure of human experience” with “social relevance” (http://www.jasminvardimon.com/about.html) we draw upon our own life experiences to shape our characters as ‘extensions of ourselves’.

The creation of Porto has now moved onto the ‘S’ phase and as music is added, each character and interaction appears to have more emotional depth. Music has the ability to change how a person feels, or bring out overwhelming emotions that one would not normally show. The Richard Alston Dance Company state that “Music plays a vital part in the Company’s identity” (http://www.theplace.org.uk/461/welcome/richard-alston-dance-company.html) This can be said of individual characters in Porto, as when a music touches someone and a connection is made, they are far more able to express individuality.

2. Now that Porto is starting to be scored there is a clear narrative emerging. Each section has been progressing separately but now they are beginning to be put together to add structure to the overall piece. Music often creates images in peoples imaginations, and being put alongside physical gesture, it is easy to see that individual stories will be made in the eye of the spectator. In the end it is up to the audience to decode each element of performance and place upon it their own narrative: “…the audience constantly creates interpretations about what it is seeing… Everything the actor does is observed, and a meaning is constructed for the action.” (Marshall, L., 2002. p185) This can only be done if they are able to connect and relate to what is happening on stage.

The fact that Porto is a liminal space of completely separate characters, the audience can choose whom to follow. They can watch them interact and change, seeing their whole journey. As far as an overall narrative is concerned, I think that the music and the movement together will emphasise even more that everyone is individual and react different to different situations. This is mimicking real life, and should make the audience be able to relate easier when they recognise something of themselves.

3. As we have moved through the ‘R’ phase to the ‘S’ phase of the process, a new dimension has emerged within my character and her emotional intensity has been building. Since the addition of the music to our work I have found that, although my movements are not necessarily being influenced by the music, there is a deeper level of emotion that comes through. In the ‘R’ phase of the process we mainly worked on the physicality of the piece. The ‘S’ phase adds a new layer and gives way to internal feelings being communicated, perhaps involuntarily.

“The art of creating believable characters lies in never quite knowing who they are… You can only remain responsive to the possibilities of what they might be.” (Callery, D., 2001, p211)

Through the process of creating Porto I have never known how my character will react to others and the actions going on around her, and I believe this is what has made my character more tangible, particularly emotionally. At the beginning of the ‘R’ phase my character did not have the willingness to interact, but since the ‘S’ phase has begun and I have seen relationships develop through my characters eyes, there is now a desire to attach myself to someone just for the feeling of being wanted.



Bibliography:


Callery, D., (2001) Through the Body: A Practical Guide to Physical Theatre. London: Routledge

Marshall, L., Oida, Y., (2002) The Body Speaks. USA: Palgrave Macmillan


Jasmin Vardimon Company (About Us) [online]. [cited 31st March 2009] Available from:

The Place (Richard Alston Dance Company) [online]. [cited 30th March 2009] Available from: