Naomi Chamroo – 0820502 – Assessment Blog 2 – “FOUR WAYS TO SPEAK OUT”

Naomi Chamroo – 0820502 – Assessment Blog 2 – “FOUR WAYS TO SPEAK OUT”

ROBERT LEPAGE, - RESEARCH SCORE VALIDATE PERFORMANCE

The basic idea of the RSVP Cycles is just trying to create work from your intuition and not necessarily only from your intellect. To reconnect artistic expression to something that is more organic. (http://www.sf360.org/features/robert-lepage-progress-report)(Lepage)(Accessed)(20/3/10)


Question 1

The key strategies used in the devising process saw the development of physical techniques, partner work, lift catches and falls into character development and ensemble work, through the creative process. Then the creation of the idea came to light in a pinnacle session where the development of the main theme was created, the idea’s informing the piece came to light, and the main theme of focusing on a woman in abusive relationships and the loss of a woman from the community created our narrative.

The “play” session where significant in creating individual character, and enabled growth and development. The ensemble work, unveiled a series of challenges, our first ensemble piece was choreographed and gave us a taste of the type of movement expected of us, using the techniques taught and learnt from our session and the work shop delivered by Jasmine Vardimon Company.

This gave us the confidence to create our own piece; devised through the “Clap” technique this helps the group to stay focused on task, without interrupting movement flow. The ensemble work strengthened us into a community of people. The idiosyncrasies, simple movements such as, the side breath, the arms pulled from in front of us to the side forcing our gravitational pull upwards and outwards looking as though we a searching for something or someone, or the whisper to the audience, (addressing them directly.) The ensemble at the end signifies the breakdown throughout the performance, at the beginning the discovery of the missing woman, to the finale where the broken society clearly affected by the series of moments within the woman’s life. The narrative leads us to the final ensemble where the movements are very fluid, slow and emotionless, clearly portraying the journeys end.


Question 2

....... movement simply involves gestures of the body. Nothing can be more false. Stillness is movement as well as acrobatic. (http://www.giovannifusetti.com/public/file/The_Paradox.pdf)(Accessed)(20/3/10)

The above quote by Fusetti encompasses my journey through the process of physical theatre, more precisely through the creation of a character. Indulgencing of movement can be emotive, that the smallest of movements from the slightest arm movement will encapulaslate a number of signifiers for an audience reading the visual signs.

Starting the development of character through the techniques was at times stilted and stifling, ensuring my physical development and initiating muscle memory was correct and learnt meant I did not develop my character until later in the process. Once I had gained confidence with the physical techniques my character began to emerge through the play session, as stated on previous blogs. I found these session invaluable. However, my character came to fruition when we were asked to write the letter, about the missing woman. This enabled me to cemented position within the community, I only knew the woman, no-one else, I have no direct attachment to community, and I am always looking for her, searching, seeking never finding her.

When I was nominated to portray the woman, along with three others, I didn’t anticipate how hard this devolution into the woman would have on my character. I am merely portraying a point within the woman’s life, however this momentarily throws me off kilter and I lose a sense of my character.

In reflection, at this point in the process, we are still validating, I foresee as the score is validated and we enter performance, I will have clearly refined my character through furthering my connection to the community, and exploring further emotions behind my characters motive for wanting to find the woman, and define when I portray the woman.


Question 3

My characters physicality is still being defined; my body language is still exploring patterns, shifts in movement, weight distribution, gravity and relationship to the community. The reason I see this is due to the removal of my character over the last six weeks of rehearsal and working on the physicality of the woman.
However, my character’s physicality developed so far, is born through anxiety, constantly shifting weight from leg to leg, nervously looking round, and searching for the one thing missing from her life, the woman, her friend. Facial expressions are key in expressing emotions, however there visual signs can be easily lead. My characters key gestures are repetition of twitching, scratching and repeatedly fussing my hair to expression the above emotions. The character is always up right, standing on tip toes, to look over the top of heads within the community to see if she can find the woman,
My portrayal of the woman are that I play her after a traumatic event. Her body language is foetal like, curled and her sense of gravitational pull is on the floor, she is at her lowest point this portrayed by movement on the floor, sequences devised using physicality through pulls and push by others within the community to move her. When lifted from the ground she is propped up and pulled, until slumped upon a chair, where she is then subjected to more probing, polishing and perfecting to by like them, one of the community.

Bibliography
http://www.blackfishacademy.com/physical.htm
http://www.giovannifusetti.com/public/file/The_Paradox.pdf
http://www.sf360.org/features/robert-lepage-progress-report)(Lepage)
http://www.bookrags.com/biography/pina-bausch/