Nicola Wilson - Online Task 3

1. In the beginning we were a group of what Etienne Decroux calls ‘living immobilities’. We were neutral bodies, ready to act and play, ready to make the theatre space come alive, about to start ‘a creative partnership in authoring the emergent theatre piece in question.’ (2007: 17) During the research and resource phase the emphasis was on creating material, experimenting with the given concept and developing your character. Dymphna Callery states ‘the process begins with generating visual material: characters, action, images, all from physical improvisation.’ (2001: 172) However, it soon became apparent that these physical improvisations needed documenting. It became an important to distinguish between useful somatic impulses that could be used as a potential narrative to those that although organic, could not relate to the desired plot. Physical Theatres: A Critical Introduction further comments ‘It follows that as soon as a good moment is found or inspired, and then repeated or used again, it is no longer improvised – it has taken on a degree of being ‘fixed’.’(2007: 180) Rehearsals for Porto slowly moved away from play and experimentation into being ‘fixed’ (scored) and although it is possible for something still to change, as the story is ‘fixed’ so are the physical movements that created it.

2. With forty very different characters occupying the space, there becomes a vast amount of intricate narratives happening simultaneously, but one binding narrative is that all these individualities are in the same liminal space at the same time. Our narrative is very similar to Pina Bausch’s Café Müller. Emphasis in this piece lies on ‘…how they enter and take or do not take the space and each other in this ubiquitous deserted café. Though populated by these characters, it appears deserted because it seems like these shadowy figures are figments of the imagination. They seem to populate an after hours space, to meet and unravel their own plots amongst themselves.’ (2002: 123) This statement carries veracity to the ensemble in Porto, although our space is far more equivocal than that of the café in Bausch’s piece. The plots that have begun to unravel vary from silent arguments over possessions to deep, emotional connections that lie within a photograph. Aside from this unit of people seem to be two people who are secernate, one who feels they have to leave the space and one that feels they have to stay. These two characters disrupt the ensemble, usually in a disturbing manner to which each character gives their appropriate response.

3. Yoshi Oida talks about finding the ‘details’ for your character, those extra elements that really embody the emotions you want to portray. He says you have to be ‘very exact and honest about what you feel. It is no good finding the body position that feels ‘sort of’ correct. You must find the precise physical detail that is clearly and strongly linked to the emotion of the moment. Once you have found all the essential shapes, you can link them to form a kind of ‘map’ of the emotional journey. But you need to take the time to find the right details, in order to create the right ‘map’.’ (1997: 70) By using this paradigm for transition, it is the tiny added details such as well how are my hands distressed? How is my spine coping with this pressure, how is my torso, my head? This provided the tangibility for my character, heightening the physical and emotional content of her journey. The research phase took her through being reticent, scared, exhausted, angry and now that her narrative is being scored, there is sense of embodying all of these to finalise her personality for Porto.

Bibliography
Callery, D., 2001. Through The Body: A Practical Guide To Physical Theatre, London: Nick Hern Books Limited

Keefe, J & S Murray., 2007. Physical Theatres: A Critical Introduction, London: Routledge

Keefe, J & S Murray., 2007, Physical Theatres: A Critical Reader, London: Routledge

Mulrooney, D., 2002. Orientalism, Orientation, and the Nomadic Work of Pina Bausch, Berlin: Peter Lang

Oida, Y & Marshall, L., 1997. The Invisible Actor, London: Methuen