Emma Gill - 0808614 - Blog Task 2

1. One of the key strategies for devising work not only for Four Ways To Speak Out, but for other performance based work was the use of the ‘clap’ method. This was used as it eliminated the need for talking and gave the creative control to whoever had an idea. It also gives the people with low self esteem the chance for the whole group to see their ideas without them being ignored or disregarded. When working with the ‘clap’ method, learning the sequence of moves became easier as they were introduced and learnt together, often with talking, this was just to understand the essentials, i.e. which hand it was and how the head would sit. Working like this may appeal more to a physical theatre performer as the ‘work uses the language of gesture…one of the great strengths of this form’ (Lyn Gardner, the Guardian (UK)). If a move is created, a certain layer can be added, such as a specific emotion. This can totally change a move that was before mundane and routine looking, once this element has been added it can make it more visually appealing for the audience.

Most physical theatre performances come out of ‘play sessions’, these can only happen once the ensemble reach a high level of technique and trust, play sessions help to develop not only technique but also help to form relationships. After 5 weeks of Four Ways To Speak Out, my relationships with certain cast members still have not been formed yet, but when working on the a scene where we were given the freedom of spontaneous falling, I found that my character had to catch everybody. So from that exercise my character has been very protective over the people she finds close to her.

2.I formed my character after following a set of exercises that were there to aid us at the beginning of Four Ways to Speak Out. After working with different people and reacting to the different environments around me, my character changed dramatically, from being the woman’s close friend, to someone she just new, this then affected my relationships with other people. After working on the text for my scene, it was clear that my character, would soon feel guilty that she did not try to help when she could, this therefore affects her relationship with Jessica as she feels that she has to, out of loyalty look after her now. However because my character feels this sense of guilt, no matter who the relationship is after the community find out what has happened to the woman, she will do anything and everything in her power to protect them from any threat. An example of this is on our working weekend, when we were allowed to react to each other during the walk around, and Andy’s stare was locked on to Emelene, and I made it my main priority to get him to break the connection, this was also the case when Dawn was the target. The change of my character is how i myself might feel if it were to happen to me, at first because I don’t know she is gone I don’t care, but then to find out more information the guilt is then on myself.

3.As physical theatre is constantly changing, so is the way the characters move and hold themselves. To be able to describe my characters body language I would have to take one specific session, as no two sessions are the same. As the story begins to progress, my posture changes from being open with the space and the people inside to becoming closed my centre of gravity is more forward and lower within my body. This may be as I am constantly preparing myself to protect somebody should they need me. This is never made apparent though out the performance, but it is my characters on personal need.

‘Physical theatre allows the voice to explain the details and the body to control the atmosphere and changes in the metaphysical temperature of the space.’ from Daniel Stein of Dell'Arte, via network member Kali Quinn

Quinn talks about the voice, this doesn’t necessarily mean that of spoken text, it could be a song, but the body is there to justify the sound used whether it be live or recorded, or it could place a juxtaposition on the piece being performed.

My character does not have a gesture that she repeats, however she does conform to the gestures that are used in the pub. This is as she feels confident in this setting.

When working with Jessica i use my body as a shield, this is not only for protection, but in a sense it makes me feel as though I am doing what I should have done to protect the woman.


Gardner, L http://nycphysicaltheatre.com/definition.aspx accessed on 15/3/2010
Quinn, K http://nycphysicaltheatre.com/definition.aspx accessed on 15/3/2010