The main strategy of devising used within the process and performance module is Robert Lepage’s RSVP model. “’RSVP’ stands for ‘Resource, Score, Valuaction and Performance’. In devising theatre, the resource is the stimulus for the performance…The score is the material that arises from the research… Valuaction is the process of evaluating, selecting and organising the collected material…Performance is the testing out in practice” (Allain & Harvie, 2006, Pg.51).
The Resourcing of this piece started like many others; as Oddey 1994 states: “Devised theatre can start from anything” (pg.1) and is often used “to communicate and express particular interests or concerns” (pg.12). The original resource could be seen as the ‘genre’ physical theatre, as the cast worked vigorously to learn and develop skills in this area. The second level of ‘concern’ which was chosen to be explored in the piece is domestic violence. “1 in 4 women will be a victim of domestic violence in their lifetime – many of these on a number of occasions” (Women’s Aid. (2010) Available at: http://www.womensaid.org.uk/domestic_violence_topic.asp?section=0001000100220036§ionTitle=Statistics). We explored these themes meticulously through play sessions and improvisations.
The group have used a delineated approach to the creation of the material and ‘scored’ several sections as an ensemble and in smaller groups. The sections are created in a seemingly random order, created independently and strung together later once in the ‘Valuaction’ stage. The piece, now in the ‘valuaction’ stage, is beginning to take shape as the ensemble work together to develop the plot further. This allows for a better development of character as the actors approach each scene individually and their progression as a character becomes more natural. This also allows the ensemble to create a combined energy as characters come together rather than a group of people placed together without personal aims. The ‘performance’ part of this production is yet to be completed as the ‘valuaction’ stage is still in progress.
At the start of the creative process the ensemble created a very naturalistic scene whereby characters were developed through communication. In this scene I was particularly quiet, making no attempt to talk to anyone and ignoring those who tried to talk to me. My character is withdrawn, unsure and extremely shy. However, as the process moved on I was in a situation where I was getting ready to go out, drinking and partying with my friends. In this scene my character developed to be more outspoken due to alcohol consumption. ‘The woman’ is being pressurised by a group of friends to please her man and wear what she knows he likes. I felt as though I would be more inclined to encourage somebody to be their own person and this came through in my character. We then created another ensemble section incorporating falls and catches. In this scene I began to feel very vulnerable again, the character traits from the first scene unintentionally coming back to my person. This suggests to me that the bedroom scene is indeed ‘out-of-character’ due to the influences of alcohol.
In the final ensemble routine we perform slow choreographed duets. In this section we stare blankly into the audience, by this point I feel so emotionally drained that it is physically impossible to express any emotion. Yet, the blankness of the face does transpose to the audience as they see someone who has given up.
My Character has a very closed physicality, I spend a lot of time sat down with my knees clenched closely to my chest. If and when I move I do so very slowly and rarely make eye contact with other characters. I give my weight into the floor a lot; I see the floor as a magnet, my body giving in to the gravity 90 per cent of the time with moments of sheer power to separate from the force, before immediately being dragged back down.
The idea of Stanislavski and method acting is in the forefront of my mind when creating my character. Whyman states that: ‘The three bases of the system [are]: activeness, truth of passions and the subconscious’ (2008, Pg.39). ‘Activeness’ suggests to me external awareness, the physical embodiment of an internal emotion. For example, nervousness portrayed with a lowered head, hunched shoulders and flitting eye contact. ‘Truth of Passions’ implies that an actor must be true to themselves when creating a character. Also, the ‘subconscious’ is relevant when building a character as improvisation often reveals a heightened version of an aspect of the actors own personality. For example, the shy withdrawn qualities of my adolescence are extremely evident in my character.
One particular movement that has become a key gesture for my character is incessant fiddling. I am wearing a long, flowing halter-neck top that has a long train down the back. I pull the train over my shoulder and pull the end through my fingers in varying speeds. Sometimes extremely slowly, gripping the train tightly, other times quickly, repeating it over and over again. A different time I barely move the hands, just rubbing a finger back and forth, whilst staring intently at action on stage.
Bibliography
Allain, P & Harvie, J. (2006) The Routledge Companion to Theatre and Performance. USA. Routledge.
Oddey, A. (1994) Devising theatre: a practical and theoretical handbook. London. Routledge
Whyman, R. (2008) The Stanislavsky System of Acting. Cambridge. Cambridge University Press.
Women’s Aid. (2010) Statistics [online] [Accessed on: 22/03/2010] Available at: http://www.womensaid.org.uk/domestic_violence_topic.asp?section=0001000100220036§ionTitle=Statistics.
Wednesday, 24 March 2010
Tuesday, 23 March 2010
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
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
Jessica Green 0820731 Blog Assessment 2
“RSVP… a cyclical structure that is concerned with process rather than with product.”(Dundjerovic, AS. 2008, p36)
This quote describes the devising structure entitled ‘RSVP’, which has been used in the creation of Four Ways to Speak Out. The abbreviation ‘RSVP’ stands for Research, Score, Validate, and Performance. The quote implies that the structure, ‘RSVP’, empowers the creative journey rather than the final product.
At the beginning of the creative process of Four Ways to Speak Out, we were introduced to the concept in a physical way. We were shown the scenographic spaces (street, wasteland, pub and bedroom) and asked to respond to them through embodied gestures. This strategy enabled the ensemble to really get a feel for the space, physically, and stopped us from reverting to conventional traits, whereby we would have discussed the idea and intellectualised it. Voiceovers, of real life, domestic abuse testimonials, were played and presented us with a visceral sense of the conceptual theme. The song On the Street Where You Live by Mr Hudson & the Library introduced us to the idea of a missing woman, who lived on this street. The lyrics, “Let their time row by, I don't care now I Know I'm here on the street where she lives” (2007), made the ensemble think about the relationships they could have with the woman and how they feel to live and be in this community with and without her. This lead directly into a set, writing task, where we were asked to think about the last time we saw the missing woman. This enabled us to individually create a relationship with the woman, which was put into the context of a community by writing a letter to outsiders who had expressed interest in the woman’s disappearance. Using the letters as inspiration, we improvised a beginning to the piece, which started off naturalistically and allowed character relationships to develop. What was interesting about this improvisation was that the two male characters were excluded from the group and this is something that is an ongoing idiosyncrasy of the community. The letters also gave us the impetus to split into groups determined by where we last saw the woman. After physically creating our sections, we were asked to create some text in our groups to highlight what our movements were depicting. This helped the groups to determine exactly what their movements were communicating and were played to the ensemble so that we could all see the development of the narrative.
“…the body is a product of social and historical modes; it is able to both read and respond to the environment around it.”(Govan, E & Nicholson, H & Normington, K. 2006, p166)
This quote details the efficiency of the body and is particularly relevant to the creative process of Four Ways to Speak Out, given how we were introduced to the concept of the performance. We were thrown into the environment and our characters were created as a direct response/ reaction to it. My initial character was quite soap operatic and my thoughts on the woman were that she was being physically abused. Whilst this was a good starting point for developing my character, I realised that it was quite unimaginative. After that point I decided to create my character from the movements that my body was making during the physical sessions. During one of the first ensemble improvisations, I kept turning my back on Andy and through this small movement, I became emotionally attached to the process and realised that my character felt guilty about this woman’s disappearance. Guilt was quite a strong emotion and one that I felt I could use to develop my character further. However, I didn’t yet know why my character felt guilty, so needed more meaningful movement to contextualise my emotions. When we split into groups, inspired by our letters, we created movement with the emotions our character was feeling the last time we saw the woman. My character was worried about the woman and used this as my main stimulus to create my physicality in that flashback section. It was not until recently that I realised my character feels guilty because she should have done more to help her friend (the woman) in the flashback.
Throughout Four Ways to Speak Out there are peaks and troughs of emotional intensity. My character starts with relaxed body language which quickly changes when the missing woman’s suitcase is discovered, and with the realisation that something is amiss. During this section, the body becomes alert to the changes around it. Unconsciously my knees unlock and my sense of vision widens, the body is preparing itself for anything to happen.
In the second ensemble section, my character’s overriding emotion is one of guilt, this is shown physically through my character’s desire to run and fall. At this point the character doesn’t care whether she’s caught or not because the fall is her way of dealing with her guilt.
In the smaller group section my character is relaxed and close to the floor, until the representation of the woman is put into a difficult position. The body is then upright and alert to the battle between the two different groups, which my character’s group loses. Subsequently, the body’s gravitational pull is towards the floor, showing disheartenment and ultimately defeat.
Antonin Artaud was concerned with:
“…the effect of gesture and facial expression on an audience’s unconscious: how these signs could be seen to express and communicate far more than a mere substitute for words.” (Mackey, S & Cooper, S. 2000, p263)
In the final ensemble section the body uses repeated valentine or love gestures, in a slow and measured way, with no facial expression. The lack of facial emotion is a deliberate tool to give the section a surreal and creepy atmosphere. Artaud notes how gestures can be used to communicate a deeper meaning than words, as through this style of theatre the audience will “… understand… on a level of grasping meaning almost without being able to articulate it.” (Murray, S & Keefe, J. 2007, p5)
Bibliography
Dundjerovic, AS (2008) Robert Lepage London: Routledge
Govan, E & Nicholson, H & Normington, K (2006) Making a performance: Devising histories and contemporary practices London: Routledge
Mackey, S & Cooper, S (2000) Drama and Theatre Studies Cheltenham: Thornes
Mr Hudson & the Library (2007) On the Street Where You Live (Online) (Accessed on 23 March 2010) Available at: http://www.lyricsmania.com/on_the_street_where_you_live_lyrics_mr_hudson_and_the_library.html
Murray, S & Keefe, J (2007) Physical Theatres A Critical Introduction London: Routledge
This quote describes the devising structure entitled ‘RSVP’, which has been used in the creation of Four Ways to Speak Out. The abbreviation ‘RSVP’ stands for Research, Score, Validate, and Performance. The quote implies that the structure, ‘RSVP’, empowers the creative journey rather than the final product.
At the beginning of the creative process of Four Ways to Speak Out, we were introduced to the concept in a physical way. We were shown the scenographic spaces (street, wasteland, pub and bedroom) and asked to respond to them through embodied gestures. This strategy enabled the ensemble to really get a feel for the space, physically, and stopped us from reverting to conventional traits, whereby we would have discussed the idea and intellectualised it. Voiceovers, of real life, domestic abuse testimonials, were played and presented us with a visceral sense of the conceptual theme. The song On the Street Where You Live by Mr Hudson & the Library introduced us to the idea of a missing woman, who lived on this street. The lyrics, “Let their time row by, I don't care now I Know I'm here on the street where she lives” (2007), made the ensemble think about the relationships they could have with the woman and how they feel to live and be in this community with and without her. This lead directly into a set, writing task, where we were asked to think about the last time we saw the missing woman. This enabled us to individually create a relationship with the woman, which was put into the context of a community by writing a letter to outsiders who had expressed interest in the woman’s disappearance. Using the letters as inspiration, we improvised a beginning to the piece, which started off naturalistically and allowed character relationships to develop. What was interesting about this improvisation was that the two male characters were excluded from the group and this is something that is an ongoing idiosyncrasy of the community. The letters also gave us the impetus to split into groups determined by where we last saw the woman. After physically creating our sections, we were asked to create some text in our groups to highlight what our movements were depicting. This helped the groups to determine exactly what their movements were communicating and were played to the ensemble so that we could all see the development of the narrative.
“…the body is a product of social and historical modes; it is able to both read and respond to the environment around it.”(Govan, E & Nicholson, H & Normington, K. 2006, p166)
This quote details the efficiency of the body and is particularly relevant to the creative process of Four Ways to Speak Out, given how we were introduced to the concept of the performance. We were thrown into the environment and our characters were created as a direct response/ reaction to it. My initial character was quite soap operatic and my thoughts on the woman were that she was being physically abused. Whilst this was a good starting point for developing my character, I realised that it was quite unimaginative. After that point I decided to create my character from the movements that my body was making during the physical sessions. During one of the first ensemble improvisations, I kept turning my back on Andy and through this small movement, I became emotionally attached to the process and realised that my character felt guilty about this woman’s disappearance. Guilt was quite a strong emotion and one that I felt I could use to develop my character further. However, I didn’t yet know why my character felt guilty, so needed more meaningful movement to contextualise my emotions. When we split into groups, inspired by our letters, we created movement with the emotions our character was feeling the last time we saw the woman. My character was worried about the woman and used this as my main stimulus to create my physicality in that flashback section. It was not until recently that I realised my character feels guilty because she should have done more to help her friend (the woman) in the flashback.
Throughout Four Ways to Speak Out there are peaks and troughs of emotional intensity. My character starts with relaxed body language which quickly changes when the missing woman’s suitcase is discovered, and with the realisation that something is amiss. During this section, the body becomes alert to the changes around it. Unconsciously my knees unlock and my sense of vision widens, the body is preparing itself for anything to happen.
In the second ensemble section, my character’s overriding emotion is one of guilt, this is shown physically through my character’s desire to run and fall. At this point the character doesn’t care whether she’s caught or not because the fall is her way of dealing with her guilt.
In the smaller group section my character is relaxed and close to the floor, until the representation of the woman is put into a difficult position. The body is then upright and alert to the battle between the two different groups, which my character’s group loses. Subsequently, the body’s gravitational pull is towards the floor, showing disheartenment and ultimately defeat.
Antonin Artaud was concerned with:
“…the effect of gesture and facial expression on an audience’s unconscious: how these signs could be seen to express and communicate far more than a mere substitute for words.” (Mackey, S & Cooper, S. 2000, p263)
In the final ensemble section the body uses repeated valentine or love gestures, in a slow and measured way, with no facial expression. The lack of facial emotion is a deliberate tool to give the section a surreal and creepy atmosphere. Artaud notes how gestures can be used to communicate a deeper meaning than words, as through this style of theatre the audience will “… understand… on a level of grasping meaning almost without being able to articulate it.” (Murray, S & Keefe, J. 2007, p5)
Bibliography
Dundjerovic, AS (2008) Robert Lepage London: Routledge
Govan, E & Nicholson, H & Normington, K (2006) Making a performance: Devising histories and contemporary practices London: Routledge
Mackey, S & Cooper, S (2000) Drama and Theatre Studies Cheltenham: Thornes
Mr Hudson & the Library (2007) On the Street Where You Live (Online) (Accessed on 23 March 2010) Available at: http://www.lyricsmania.com/on_the_street_where_you_live_lyrics_mr_hudson_and_the_library.html
Murray, S & Keefe, J (2007) Physical Theatres A Critical Introduction London: Routledge
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
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
Monday, 22 March 2010
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/
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/
Saturday, 13 March 2010
Blog Task 2 Details
Deadline: Wednesday, 24th March 2010, 5 pm
Word Count: 750 words total (250 + 250 + 250 )
Task:
* There are 3 questions you need to answer as part of this task.
* The questions relate to the last 5 weeks of Four Ways to Speak Out’s development through the ‘R’ phase of the RSVP model of devising
* Conduct wider independent reading and use quotes and examples to support your views.
* Present your writing in academic language with Harvard Referencing and a Bibliography presented alphabetically at the end of your post.
Questions:
1. What are the key strategies of devising that have been used through the creative process of Four Ways to Speak Out? Reflect briefly on how these strategies have enabled the growth and development of both individual characters and the ensemble’s idiosyncrasies. (250 words)
2. Analyse the growth of your own character from the beginning of Four Ways to Speak Out to where you are at in the process now. State the reasons for its development/change/refinement. (250 words)
3. Identify your character’s physicality through detailed analysis of its body language. (For example describe your character’s use of spine and its relationship to gravity, its shift of weight in the pelvis and even the repetition of a key gesture) (250 words)
If you have any questions please contact me directly and in good time for the deadline. Looking forward to reading your answers on your own blogs.
Royona
Word Count: 750 words total (250 + 250 + 250 )
Task:
* There are 3 questions you need to answer as part of this task.
* The questions relate to the last 5 weeks of Four Ways to Speak Out’s development through the ‘R’ phase of the RSVP model of devising
* Conduct wider independent reading and use quotes and examples to support your views.
* Present your writing in academic language with Harvard Referencing and a Bibliography presented alphabetically at the end of your post.
Questions:
1. What are the key strategies of devising that have been used through the creative process of Four Ways to Speak Out? Reflect briefly on how these strategies have enabled the growth and development of both individual characters and the ensemble’s idiosyncrasies. (250 words)
2. Analyse the growth of your own character from the beginning of Four Ways to Speak Out to where you are at in the process now. State the reasons for its development/change/refinement. (250 words)
3. Identify your character’s physicality through detailed analysis of its body language. (For example describe your character’s use of spine and its relationship to gravity, its shift of weight in the pelvis and even the repetition of a key gesture) (250 words)
If you have any questions please contact me directly and in good time for the deadline. Looking forward to reading your answers on your own blogs.
Royona
Wednesday, 3 March 2010
Mette Hammerlund -0815251- Task 1
Although it has been more than 20 years since 'physical theatre' emerged as a genre, it is still under debate on how to define it.
“There are several quite distinct traditions of performance which all describe themselves using the term "physical theatre", which has led to a lot of confusion as to what the definition of physical theatre actually is.” (Black Fish Arts Academy)
Through our work in the class room combined with the pieces viewed and the research of other companies' approach, it is clear that a vital element of 'physical theatre' is that it is devised narrative movement. The narrative is not equal a story line necessarily, but can be solely portrayal of emotions. Often these devised narrative movements are collectively improvised using an emotional stimulus as focus-point of a group. Using an example from our own process, the 'community street routine' was created by collaboratively responding the emotional stimulus of 'loss' focussing the movements as expressions of guilt, anxiety, blame etc.
Throughout our process the 'play sessions' have proved a vital tool in developing our bodily imagination and our ability to emotionally engage with the work.
“I first went into play [...] and for the first time I discoverd an emotion relating to the moves” (Naomi Chamroo, P&P blog response, 30-09-2009)
The 'play sessions' have also contributed to breaking down our inhibitions and preconceptions about our selves, each other and the work.
By working as a community, collectively devising narrative movement, we embrace the essence of the modern understanding of what 'physical theatre' is. We then have the option to add further layers to this such as music, spoken text, recordings and scenographic features in order to support or add depth to the narrative.
Although 'physical theatre' has proven difficult to define due to its multi-faced nature, many agree that it falls under the category 'hybrid'. It originated in dance, but distinguished itself by gradually adopting increasing amounts of theatrical elements. 'Physical theatre' emerged from a fusion between dance and theatre thus creating a new genre on its own. This is what Ana Sanchez-Colberg refers to when she states that: “‘physical theatre’ – denotes a hybrid character” (Keefe & Murray, 2007, p 21)
However, several 'physical theatre' performers has incorporated many other genres into their performances. This includes mime, acrobatics, stomp which become integrated elements of the pieces.
It seems that the entire range of performance genres can now be picked and plucked to fit a specific need or purpose, and then labelled 'physical theatre'. If it is abstract movement but not dance, if it is acting through non-pedestrian movement, then it will most likely fall under the category of 'physical theatre'. The possibility of working interdisciplinary has expanded the opportunities of expression within performing arts. It started with a need for breaking the old frames, thus creating a new flexible frame of endless possibility.
'Physical theatre' originated as a hybrid genre between dance and theatre but quickly became a concept of merging genres. We cannot avoid that it is narrative movement, but what we add to this is only restricted by our imaginations.
Jasmin Vardimon Company has proved great versatility in their compilation piece 'Yesterday'. Due to it being a summary of previous productions, it does not have a master narrative, as oppose the performance 'Justitia'. Instead it communicates a serious of minor narratives creating a more fragmented audience experience.
The cast consists mainly of dance trained performers, which reflects on the creative process of the company. They often start from a point of choreographed movement, closely related to the working process of dance. What differentiate them from dance companies is the adding of emotional qualities to the choreography, creating intentions and characters as a theatrical depth to the work. Through this process movements becomes actions and communicate narratively to the audience.
During our workshop with members of the company we experienced how adding a quality to a series of movements can express a narrative. When you turn the focus of the performer from choreography to emotional engagement the experience completely changes, thereby affecting the experience of the audience.
The Jasmin Vardimon Company produces interdisciplinary pieces, not only by merging dance and theatre, but by incorporating elements of numerous artistic disciplines and media. Looking at 'Yesterday' we experience elements of film, body art, painting, text, acrobatics and visual arts. By drawing on other disciplines expands their artistic language which they are communicating with. Each 'physical theatre' group has their own signature features and ways of interlinking their skills. The genre of 'physical theatre' can encompass virtually all creative expressions, making it an excellent frame for bringing physical art to new heights.
Keefe, J & S Murray (2007) Physical Theatres: A Critical Reader London: Routledge
Chamroo, N. (2009) [online]
Black Fish Arts Academy [online]
“There are several quite distinct traditions of performance which all describe themselves using the term "physical theatre", which has led to a lot of confusion as to what the definition of physical theatre actually is.” (Black Fish Arts Academy)
Through our work in the class room combined with the pieces viewed and the research of other companies' approach, it is clear that a vital element of 'physical theatre' is that it is devised narrative movement. The narrative is not equal a story line necessarily, but can be solely portrayal of emotions. Often these devised narrative movements are collectively improvised using an emotional stimulus as focus-point of a group. Using an example from our own process, the 'community street routine' was created by collaboratively responding the emotional stimulus of 'loss' focussing the movements as expressions of guilt, anxiety, blame etc.
Throughout our process the 'play sessions' have proved a vital tool in developing our bodily imagination and our ability to emotionally engage with the work.
“I first went into play [...] and for the first time I discoverd an emotion relating to the moves” (Naomi Chamroo, P&P blog response, 30-09-2009)
The 'play sessions' have also contributed to breaking down our inhibitions and preconceptions about our selves, each other and the work.
By working as a community, collectively devising narrative movement, we embrace the essence of the modern understanding of what 'physical theatre' is. We then have the option to add further layers to this such as music, spoken text, recordings and scenographic features in order to support or add depth to the narrative.
Although 'physical theatre' has proven difficult to define due to its multi-faced nature, many agree that it falls under the category 'hybrid'. It originated in dance, but distinguished itself by gradually adopting increasing amounts of theatrical elements. 'Physical theatre' emerged from a fusion between dance and theatre thus creating a new genre on its own. This is what Ana Sanchez-Colberg refers to when she states that: “‘physical theatre’ – denotes a hybrid character” (Keefe & Murray, 2007, p 21)
However, several 'physical theatre' performers has incorporated many other genres into their performances. This includes mime, acrobatics, stomp which become integrated elements of the pieces.
It seems that the entire range of performance genres can now be picked and plucked to fit a specific need or purpose, and then labelled 'physical theatre'. If it is abstract movement but not dance, if it is acting through non-pedestrian movement, then it will most likely fall under the category of 'physical theatre'. The possibility of working interdisciplinary has expanded the opportunities of expression within performing arts. It started with a need for breaking the old frames, thus creating a new flexible frame of endless possibility.
'Physical theatre' originated as a hybrid genre between dance and theatre but quickly became a concept of merging genres. We cannot avoid that it is narrative movement, but what we add to this is only restricted by our imaginations.
Jasmin Vardimon Company has proved great versatility in their compilation piece 'Yesterday'. Due to it being a summary of previous productions, it does not have a master narrative, as oppose the performance 'Justitia'. Instead it communicates a serious of minor narratives creating a more fragmented audience experience.
The cast consists mainly of dance trained performers, which reflects on the creative process of the company. They often start from a point of choreographed movement, closely related to the working process of dance. What differentiate them from dance companies is the adding of emotional qualities to the choreography, creating intentions and characters as a theatrical depth to the work. Through this process movements becomes actions and communicate narratively to the audience.
During our workshop with members of the company we experienced how adding a quality to a series of movements can express a narrative. When you turn the focus of the performer from choreography to emotional engagement the experience completely changes, thereby affecting the experience of the audience.
The Jasmin Vardimon Company produces interdisciplinary pieces, not only by merging dance and theatre, but by incorporating elements of numerous artistic disciplines and media. Looking at 'Yesterday' we experience elements of film, body art, painting, text, acrobatics and visual arts. By drawing on other disciplines expands their artistic language which they are communicating with. Each 'physical theatre' group has their own signature features and ways of interlinking their skills. The genre of 'physical theatre' can encompass virtually all creative expressions, making it an excellent frame for bringing physical art to new heights.
Keefe, J & S Murray (2007) Physical Theatres: A Critical Reader London: Routledge
Chamroo, N. (2009) [online]
Black Fish Arts Academy [online]
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