Mette Hammerlund 0815251 - Blog Assessment 2

The objective of our work has now progressed from learning a set of skills to developing material intended for performance. Therefore the work is now more focussed on producing a narrative with a higher level of aesthetic elements.

We have moved away from, though not excluded, learning technical approaches of movement and are now relying more on techniques of collaborative and creative production. When creating a series of movement in an ensemble, the clap method has proven highly efficient. This allows each member to a democratic contribution to the piece, relying solely on physical communication. Although we work through the media of physical theatre, the use of written and spoken responses to a physical or emotional stimulus, has been an important element in creating and shaping the narrative. In the process it is necessary to maintain a balance between verbal and physical communication.

“Theatrical dancing has historically been an often orally transmitted, face-to-face tradition, in which choreography is passed from one body to another in the rehearsal studio.” (Banes, 1998, p. 8)

It might seem a paradox, yet during ensemble improvisations of the entire group, individual characters are often developed and felt the most through this work. By working amongst 30 other performers the outside focus is no longer on the individual but on the group as a whole. This can allow a performer to feel less exposed and therefore engage with a deeper emotional intensity and awareness than if given an individual task. A group improvisation can also build an atmosphere in which heightened emotional response comes more naturally.

“The art of improvisation rests on … a developed awareness of one's expressive individuality. This knowledge grows through interactive exercises with a teacher, whose function is not to present models for imitation, but to pose problems intended to provoke personal responses.” (Duershuk, 1984, p. 52) / (Keefe & Murray, 2007, p. 72)

The road of character work has been long and twisted on my behalf, due to my duality in the piece. Not only am I portraying a member of the community, but I am also a representative of 'the woman'. This has been cause to some confusion.
My initial character, I will call 'new in the neighbourhood', sprung from the task of writing a letter about the missing woman. She came quite easy and naturally as she is, as with so many other characters, an extension of myself, or at least a part of my self. She is new to the community as I am new in this country and foreign to the culture, still adjusting to find one's place.

“It is not a question of portraying himself under certain given circumstances, or of “living” a part; nor does it entail the distant sort of acting common to epic theatre and based on cold calculation. The important thing is to use the role as a trampolin, an instrument with which to study what is hidden behind our everyday mask – the innermost core of our personality – in order to sacrifice it, expose it.” (Grotowski, 1968, p. 37)

When I first started working on 'the woman' it was difficult to engage emotionally due to its foundation of choreography. However, as the work progressed, so did my ability to derive material from an emotion. Again I rely on expressing a part of myself, this time using memories of bad relationships and experiences. However, I sometimes find myself distancing myself from the work, when it relates to memories too painful. I will try harder to not to do so, but to use these experiences as a resource of creativity.

Both characters have some of the same qualities in their physicality although different intentions. Both have body language which signify low status and insecurity. 'New in the neighbourhood' is mainly insecure due to the feeling of being a stranger in a tight community, whereas the woman shows signs of fear and hopelessness. 'New in the neighbourhood' has a fairly light connection with the floor, shifting eyes and easily stumbles. The trick is to show an ungrounded body language but to maintain a connection with the floor in order to stay in balance and in control. Her hands are hardly ever down by her side, she takes short steps and her breath is shallow. She keeps her head down, which causes her centre of gravity to move forward and up in comparison to the 'neutral stand'. 'The woman' has a similar centre of balance, although her shoulders are more heavy and are often the lead in her movements. Her eyes will often be focussed in the opposite direction of which she is is moving to signify the inconsistency between her actions and her objectives. She wants to leave, but stays.

The change between the two characters will become more organic through the work and will be indicated to the audience and to myself by presence or absence of the necklace.


Bibliography

Banes, S (1998) Dancing Women – Female Bodies on Stage London : Routledge
Grotowski, J (1968) Towards a Poor Theatre Odin Teatrets Forlag
Keefe, J & Murray, S (2007) Physical Theatres – a critical reader London : Routledge