1)
Within the creation of Porto we are using the devising method RSVP. During the first few months of Porto we were working on the R phase of the process. This stands for research/resource. This was where we learnt essential skills of physical theatre which allowed us to enter the next phase of the work more comfortably. During this research phase the concept of Porto was given to the performers, material was created through experimenting and playing which also allowed the initial development of our own characters. Aleksandar Dundjerovic states in his book ‘the theatricality of Robert Lepage’ that resources “are the emotional and physical stimuli that performers create from.” (Dundjerovic, A. (2007) p.30)
After the research phase of the process came to an end, the S phase or ‘scoring phase came into play. This phase taken originally from its musical heritage, “the score is the material that arises from the research, discussion and improvisations – settings, characters, images and events.” (Allain, P. (2006) p.51) This is where all of the material gained through the research stage takes shape. Play is used in scoring a piece to create new material. “Companies such as theatre de complicite... play together in their training and rehearsals” and are known for the “their ensemble skills as well as the quality of their acting.” (Callery, D (2001) p.94)
Overall I feel that transition between the research and scoring phase was very clean and ran very smoothly.
2)
As ‘Porto’ has reached the scoring stage of the RSVP process, I still do not feel that there is a real structure to the piece. As we have only created material in Porto we are still unsure of the structure, at this moment in time although of course we have a beginning where we meet all of the characters, we are in essence working with a non linear story line. Although Porto does not have stereotypical story line, I feel currently this is right for the piece, because it is allowing us to create new work as we have not got to work to any given circumstances or boundaries.
To me what is really interesting is the narrative that is emerging throughout the scoring process. I feel that the narration of Porto through the eyes of an audience member will be the journey they follow through different characters. I believe that the narrative between individual’s characters should be where we aim to put the focus. How each character reacts with another and their personal journey through Porto is my interpretation of present structure. “Characters are the life force of any novel or movie. They drive the plot. They generate the conflict. They are the story” (Viders, S. (2006) p.1)
3)
For me my character has developed dramatically since the scoring stage of Porto has begun. Whilst working within the research phase, although I know I was creating material and developing on the concept of Porto I do not feel like I had a character. To me all of the work I created seemed to lack depth, as if there was an empty shell present, the character I was using had no motifs, no reasoning and no purpose. I felt like a blank canvas waiting to adopt a true character within Porto. Bella Merlin states that “Somehow we have to prepare a blank canvas within ourselves so that we can start creating a character.” (Merlin, B. (2007) p.31)
It was during the scoring phase that my character began to emerge, within the play sessions held during rehearsals motifs for my character started to form, a character I can only describe for the purpose of this blog as a ‘mischief’. My character adopted a childlike attitude, which allowed me to interact with others more comfortably rather than interact because I feel I have to. This development in my character has continued to grow and grow throughout every rehearsal session within Porto, I now feel that I have emotional motifs and feel comfortable enough to tackle any task put before me.
Bibliography
Dundjerovic, A. (2007) The theatricality of Robert Lepage. McGill-Queen's Press 2007
Allain, P. (2006) The Routledge companion to theatre and performance.Taylor & Francis
Callery,D. (2001) Through the Body. Nick Hern Books
Viders, S. (2006) 10 steps to creating memorable characters. Lone Eagle
Merlin, B. (2007) The complete Stanislavsky toolkit. Nick Hern Books
Tuesday, 31 March 2009
Wednesday, 11 March 2009
Jay Duggan Process & performance Blog 2
1.
The main strategy I believe the ensemble have been working from over the last five weeks would be working on impulse. As an ensemble we have worked on creating a section of performance without communicating verbally what so ever, but instead using clapping and demonstrating improvised ideas on impulse to create the opening scene of Porto. I feel it has been an extremely effective way of working and a real learning curve. Everyone contributed and democratized a final agreed scene that really was the work of the ensemble. Individually I felt the best strategy we have employed when creating our characters is going from a neutral stance and slowly into our character, and then moving around the room in this character interacting with others paying close consideration onto the smallest thing down to weight distribution within the feet or the way we breath. Personally this tactic has really helped me explore and define my character.
2.
As Portos progress began I had predetermined my character when we had to create a departure and destination, after work began on Porto I felt what I had written had become redundant. I no longer felt that my character was relevant in this environment. I began with a small hiker’s rucksack, and my character was on a personnel mission of a physical and mental challenge. My character was at first within and didn’t want to open or interact, and demonstrated physical exhaustion with his characteristics. As time went on this didn’t feel right as I put it into practice, and almost without realising it my character drastically transformed. At first I changed my bag, and with this came a transformation of my entire character, with every lesson that goes by I feel my character constantly changing. My character has now got an entirely different persona and motives are completely different, from facial expressions to gestures it has really changed and adapted to the theme of Porto . At this present point I feel the need to change my bag again; I no longer feel it’s relevant with my new changed character. I seem to learn more about what my character wants and needs with every minute I exist as him.
3.
Currently my character has quite a distinct style, shoulders back, chest out and head held high his posture implies he’s a proud perhaps pretentious person. He often has his arms folded or behind his back and doesn’t have much time to converse with others. He gestures sometimes although he has something to prove, with a classic muscle tense, but it’s as if he has no one to prove it too. He is quite static and only moves when he must, his movements are therefore purposeful and direct making his actions profound and giving him a focussed persona, he appears untouchable. He rarely accepts others for interaction, and often ignores people around, carrying quite a sense of arrogance about him to the point of pushing people in his way. Sometimes he acts as if he is alone, despite there been so many people around him. As we see certain events unfold, his untouchable persona of hard exterior can be seen to slowly deteriorate to reveal perhaps a much more venerable side.
The main strategy I believe the ensemble have been working from over the last five weeks would be working on impulse. As an ensemble we have worked on creating a section of performance without communicating verbally what so ever, but instead using clapping and demonstrating improvised ideas on impulse to create the opening scene of Porto. I feel it has been an extremely effective way of working and a real learning curve. Everyone contributed and democratized a final agreed scene that really was the work of the ensemble. Individually I felt the best strategy we have employed when creating our characters is going from a neutral stance and slowly into our character, and then moving around the room in this character interacting with others paying close consideration onto the smallest thing down to weight distribution within the feet or the way we breath. Personally this tactic has really helped me explore and define my character.
2.
As Portos progress began I had predetermined my character when we had to create a departure and destination, after work began on Porto I felt what I had written had become redundant. I no longer felt that my character was relevant in this environment. I began with a small hiker’s rucksack, and my character was on a personnel mission of a physical and mental challenge. My character was at first within and didn’t want to open or interact, and demonstrated physical exhaustion with his characteristics. As time went on this didn’t feel right as I put it into practice, and almost without realising it my character drastically transformed. At first I changed my bag, and with this came a transformation of my entire character, with every lesson that goes by I feel my character constantly changing. My character has now got an entirely different persona and motives are completely different, from facial expressions to gestures it has really changed and adapted to the theme of Porto . At this present point I feel the need to change my bag again; I no longer feel it’s relevant with my new changed character. I seem to learn more about what my character wants and needs with every minute I exist as him.
3.
Currently my character has quite a distinct style, shoulders back, chest out and head held high his posture implies he’s a proud perhaps pretentious person. He often has his arms folded or behind his back and doesn’t have much time to converse with others. He gestures sometimes although he has something to prove, with a classic muscle tense, but it’s as if he has no one to prove it too. He is quite static and only moves when he must, his movements are therefore purposeful and direct making his actions profound and giving him a focussed persona, he appears untouchable. He rarely accepts others for interaction, and often ignores people around, carrying quite a sense of arrogance about him to the point of pushing people in his way. Sometimes he acts as if he is alone, despite there been so many people around him. As we see certain events unfold, his untouchable persona of hard exterior can be seen to slowly deteriorate to reveal perhaps a much more venerable side.
Tuesday, 10 March 2009
Richard Shields, Blog assesment 2
Whilst devising in Porto over the last five weeks our characters have been able to change and grow because of the devising strategies that were put into place. At the beginning of each session after warming up we place ourselves into our character, and from then on whilst devising any decision we make is because it feels right. There are no real boundaries, as long as we feel our character would for example walk from stage left to right then it is ok. “Give a character so compulsive a desire to make a given change that he can't let it be.” (Swain, D. 2008, p.33.)
Another strategy we have become familiar with is “the clap”. This technique allows any character to suggest a specific move and is great for devising group ensemble work. This technique allows the group to develop as a whole but also allowed to us explore our character further such as what moves our character would make. Primarily all we were asked to do was to walk on to the stage and sit in our chair, this has since evolved and allowed the group to communicate effectively ideas and develop the ensemble work together.
Another key strategies we have used during Porto are “play sessions”. Play sessions allow the actor to “not only improve themselves as performers but also make their own work.” (Callery, D. 2001, p.63)
At the beginning of Porto I was very confused as to what my character was going to be. We were asked to bring in a bag with a special item to us. “Have you ever felt like you don’t quite fit into your skin anymore?” (Mitra, R, 2009) This quote was exactly how I felt about my character. Firstly I decided to bring in a plain black bag with a bottle opener to symbolise my job and to show that the character was out to make friends, but this seemed too false. “Have you ever felt that the present is no longer where you belong?” (Mitra, R, 2009) After the first week of devising I came to the conclusion that I wasn’t connected enough to my character, therefore I decided to change my bag and item to something more familiar. I looked back through my past and remembered my old school bag and the Pokémon cards I always carried with me. My new character was a reformed version of my younger self. The play sessions during devising really allowed my character to develop and explore ways or communicating and interacting. I found that this new character was quite attention seeking but also quite mischievous. My character has not fully developed yet but I am now feeling more comfortable playing the character and am enabling it to grow further.
In Porto my character is quite physically defined. My posture carries a child like attitude being quite layed back but playful and mischievous. My character originally was very withdrawn and his body language represented this. My arms would be crossed and head usually faced down to avoid eye contact, but through the devising process my character has gained more confidence and has become very open. "Teaching children self-confidence goes a long way to better posture." (Fortuna, K,) My characters posture frequently relies on gravity being placed on one of my shoulders, as my character stand with a slant. On the opposite side to the slanted shoulder my foot will be raised from the heel putting pressure on the ball of my foot. This shift in weight pushes my pelvis to the side pushing my spine out of line. “The spine is very important to the overall look of the body. The spinal cord is where all the sensory data is transmitted to the brain.” (Maestri, G, 2002, p.127) My characters hands are usually in his pockets pushes my trousers up unless he is doing something ill-behaved then my arms would fold and my head would drop allowing the audience to interpret that the character is aware of his actions.
Callery, D. (2001) Through the Body, A Practical Guide to Physical Theatre. London, Routledge
Maestri, G. (2002) Digital Character Animation 2: Advanced techniques, New riders.
Mitra, R. (2009) http://processandperformance200809.blogspot.com
Swain, D. (2008) Creating characters, University of Oklahoma Press
http://www.childrentoday.com/articles/development/posture-perfect-362/ (Fortuna, K)
Another strategy we have become familiar with is “the clap”. This technique allows any character to suggest a specific move and is great for devising group ensemble work. This technique allows the group to develop as a whole but also allowed to us explore our character further such as what moves our character would make. Primarily all we were asked to do was to walk on to the stage and sit in our chair, this has since evolved and allowed the group to communicate effectively ideas and develop the ensemble work together.
Another key strategies we have used during Porto are “play sessions”. Play sessions allow the actor to “not only improve themselves as performers but also make their own work.” (Callery, D. 2001, p.63)
At the beginning of Porto I was very confused as to what my character was going to be. We were asked to bring in a bag with a special item to us. “Have you ever felt like you don’t quite fit into your skin anymore?” (Mitra, R, 2009) This quote was exactly how I felt about my character. Firstly I decided to bring in a plain black bag with a bottle opener to symbolise my job and to show that the character was out to make friends, but this seemed too false. “Have you ever felt that the present is no longer where you belong?” (Mitra, R, 2009) After the first week of devising I came to the conclusion that I wasn’t connected enough to my character, therefore I decided to change my bag and item to something more familiar. I looked back through my past and remembered my old school bag and the Pokémon cards I always carried with me. My new character was a reformed version of my younger self. The play sessions during devising really allowed my character to develop and explore ways or communicating and interacting. I found that this new character was quite attention seeking but also quite mischievous. My character has not fully developed yet but I am now feeling more comfortable playing the character and am enabling it to grow further.
In Porto my character is quite physically defined. My posture carries a child like attitude being quite layed back but playful and mischievous. My character originally was very withdrawn and his body language represented this. My arms would be crossed and head usually faced down to avoid eye contact, but through the devising process my character has gained more confidence and has become very open. "Teaching children self-confidence goes a long way to better posture." (Fortuna, K,) My characters posture frequently relies on gravity being placed on one of my shoulders, as my character stand with a slant. On the opposite side to the slanted shoulder my foot will be raised from the heel putting pressure on the ball of my foot. This shift in weight pushes my pelvis to the side pushing my spine out of line. “The spine is very important to the overall look of the body. The spinal cord is where all the sensory data is transmitted to the brain.” (Maestri, G, 2002, p.127) My characters hands are usually in his pockets pushes my trousers up unless he is doing something ill-behaved then my arms would fold and my head would drop allowing the audience to interpret that the character is aware of his actions.
Callery, D. (2001) Through the Body, A Practical Guide to Physical Theatre. London, Routledge
Maestri, G. (2002) Digital Character Animation 2: Advanced techniques, New riders.
Mitra, R. (2009) http://processandperformance200809.blogspot.com
Swain, D. (2008) Creating characters, University of Oklahoma Press
http://www.childrentoday.com/articles/development/posture-perfect-362/ (Fortuna, K)
Sean Kennedy-Lockwood Process and performance blog assesment 2
1)
Within the earlier stages of the process the group were given only a small amount of information which was the key concept this was the starting point to which we would develop our own characters for the piece and bring the character into the performance space. The group was then able to develop though the series of ‘play’ sessions. This gave the group a chance to develop their characters further within the piece and find new and interesting character traits. Within the development process, as a company, we have been able to explore many different angles of our characters. In separate groups, within the piece, we were able to develop scenes by using the clap technique.
The strategies that we have used have helped the development greatly as our characters are now taking shape within Porto. the play sessions are continuing to help as it gives us the freedom to create and develop with a group and individually, giving our characters distinction this helps the ensemble come together and refine what we could keep for the piece.
2)
From the beginning of the process to where I am now in Porto my character has developed greatly. Originally my character lacked confidence with certain people and throughout the process and interaction with others this has changed gradually. The initial tasks with the chairs left me uncertain about my character and where it was leading as I struggled to develop a sense of who the character was, however I am now becoming bolder and confident within the piece. Within the play session I was able to develop a greater understanding of the character which had emerge from within myself and it provided me with freedom to try new ideas.
Now my character has a purpose and has embarked upon a journey, where as before I did not see my characters objectives clearly. " Whenever we work physically we find things that we never could find if we did nothing but think"(Julien Becks: Pina Bausch-Wuppertal Dance Theatre or The Art of Training a Goldfish 1978,1984 ) It was through the self exploration and emotional breaking down of the social wall which allowed me to open up and develop my character, without which would most probably been left undiscovered within myself.
3)
My characters physicality is began as quite shy and low with my spine slightly curved and head down to show the lack of confidence at certain times in Porto, however as my characters grown it has become much stronger, upright in posture and bold in appearance. My characters body language is intimidating in presence with my shoulders back and my broad appearance. However this changes within the performance as my character generally shift my body weight from one side to the other with a casual stance to show the relaxed attitude of the character and a confidence throughout. The confidence of my character is also shown when lifting others, which is quite brash and boastful with what he does.
‘After working together many hours a day for many years, it is not my words but perhaps only my presence that can say something’ (Barba, E, 1979) making my presence noticed through physicality I was able to shape the character. Through body memory this has now created a physical quality to my character in Porto.
Bibliography
Bausch, P. and Schmidt, J. (1978, 1984) ‘Not How People Move But What Moves Them’, Pina Bausch-Wuppertal Dance Theatre or The Art of Training a Goldfish, trans. P. Stadie, ed. N. Servos Koln: Ballet-Buhnen Verlag: 227-230.
Barba, E (1979) ‘Words or presence’, The Floating Islands: Reflections with Odin Teatret, Trans.J. Barba, F. Pardeilhan, J.C. Rodesch, S.Shapiro and J.Varley, Denmark: Thomsens Bogtrykheri 73-79.
First published (1972) in the drama review 53
Within the earlier stages of the process the group were given only a small amount of information which was the key concept this was the starting point to which we would develop our own characters for the piece and bring the character into the performance space. The group was then able to develop though the series of ‘play’ sessions. This gave the group a chance to develop their characters further within the piece and find new and interesting character traits. Within the development process, as a company, we have been able to explore many different angles of our characters. In separate groups, within the piece, we were able to develop scenes by using the clap technique.
The strategies that we have used have helped the development greatly as our characters are now taking shape within Porto. the play sessions are continuing to help as it gives us the freedom to create and develop with a group and individually, giving our characters distinction this helps the ensemble come together and refine what we could keep for the piece.
2)
From the beginning of the process to where I am now in Porto my character has developed greatly. Originally my character lacked confidence with certain people and throughout the process and interaction with others this has changed gradually. The initial tasks with the chairs left me uncertain about my character and where it was leading as I struggled to develop a sense of who the character was, however I am now becoming bolder and confident within the piece. Within the play session I was able to develop a greater understanding of the character which had emerge from within myself and it provided me with freedom to try new ideas.
Now my character has a purpose and has embarked upon a journey, where as before I did not see my characters objectives clearly. " Whenever we work physically we find things that we never could find if we did nothing but think"(Julien Becks: Pina Bausch-Wuppertal Dance Theatre or The Art of Training a Goldfish 1978,1984 ) It was through the self exploration and emotional breaking down of the social wall which allowed me to open up and develop my character, without which would most probably been left undiscovered within myself.
3)
My characters physicality is began as quite shy and low with my spine slightly curved and head down to show the lack of confidence at certain times in Porto, however as my characters grown it has become much stronger, upright in posture and bold in appearance. My characters body language is intimidating in presence with my shoulders back and my broad appearance. However this changes within the performance as my character generally shift my body weight from one side to the other with a casual stance to show the relaxed attitude of the character and a confidence throughout. The confidence of my character is also shown when lifting others, which is quite brash and boastful with what he does.
‘After working together many hours a day for many years, it is not my words but perhaps only my presence that can say something’ (Barba, E, 1979) making my presence noticed through physicality I was able to shape the character. Through body memory this has now created a physical quality to my character in Porto.
Bibliography
Bausch, P. and Schmidt, J. (1978, 1984) ‘Not How People Move But What Moves Them’, Pina Bausch-Wuppertal Dance Theatre or The Art of Training a Goldfish, trans. P. Stadie, ed. N. Servos Koln: Ballet-Buhnen Verlag: 227-230.
Barba, E (1979) ‘Words or presence’, The Floating Islands: Reflections with Odin Teatret, Trans.J. Barba, F. Pardeilhan, J.C. Rodesch, S.Shapiro and J.Varley, Denmark: Thomsens Bogtrykheri 73-79.
First published (1972) in the drama review 53
Alex Blower Process blog post 2
What are the key strategies of devising that have been used through the first 5 weeks of creating Porto? Reflect briefly on how these strategies have enabled the growth and development of both individual characters and the ensemble’s idiosyncrasies. (200 words)
In our recent development for the work in Porto it could be argued that there have been two main in which devising strategies have been implemented. Firstly with the walk into the space as a your chosen character there were elements of body and emotional memory for me as it links in very closely with training in the Russian director Michael Chekhov’s strategies for turning yourself into a blank canvas just before entering the space. Secondly we have worked as a mass ensemble in the scene where we utilise the chairs, this dynamic in devising strategy is very different to the first as we learn our moves in a more choreographed style, similar to the work we did in the workshop with the Jasmin Vardamon Company. Although we are all doing the same thing in the larger ensemble piece it is interesting to note that individual characteristics of characters can be told through subtle facial expressions and the differing emotional intent behind the movements. At this stage if asked the most effective devising method for my character I would say it has been the individual work because as my character is developing over the weeks it appears that he is not very good in group situations, appearing to be only express himself fully when he thinks there is no one watching him.
Analyse the growth of your own character from the beginning of Porto to where you are at in the process now. State the reasons for its development/change/refinement. (200 words)
From the start of the Process of devising Porto my character has changed quite significantly. When I first sent the email to Paul and Royona explaining the characters key features I described him as one who was brimming with confidence from the start of his journey but as things happen he slowly becomes more and more introverted. I first noticed that this wasn’t necessarily how my character was going to pan out almost straight away as my entrance was full of childlike qualities and had a sense of arrogant that I didn’t feel comfortable with. When, in the third week of the process we got the opportunity to change our characters entrance to the stage I decided to refine it. I did this by firstly, keeping the childlike quality as my character devised a new way of carrying his backpack over to his seat, however I change the method of which the bag reached the seat. Rather than kicking it along the floor as I did before, I decided that my character should keep his bag close to him almost as though it was contained a sense of security in a world that he didn’t feel ready to deal with.
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) (200 words)
One of the key features to my characters physicality is his legs, as a character he hardly ever walks fast and when walking keeps the height of his feet from the floor at any one time to a minimum. Also when in a stationary position my character keeps his arms crossed tight to his body with his right arm straight at the other gripping the right arm just above the elbow. When standing this is one of the most important aspects of my characters physicality as it shows his unwillingness to share himself with new people. Also when in standing my character dips his hips to the left and puts some slight curvature in his spine towards the top, creating a slight hunching effect, I feel that this combination of movement in the spine and the hips is implemented to show my characters childlike characteristics as from very early on in my life memories of my Mother telling me to stop leaning on things, or as she called it ‘slouching around’ are very prominent and in their own way very important physically into the person that I am today.
In our recent development for the work in Porto it could be argued that there have been two main in which devising strategies have been implemented. Firstly with the walk into the space as a your chosen character there were elements of body and emotional memory for me as it links in very closely with training in the Russian director Michael Chekhov’s strategies for turning yourself into a blank canvas just before entering the space. Secondly we have worked as a mass ensemble in the scene where we utilise the chairs, this dynamic in devising strategy is very different to the first as we learn our moves in a more choreographed style, similar to the work we did in the workshop with the Jasmin Vardamon Company. Although we are all doing the same thing in the larger ensemble piece it is interesting to note that individual characteristics of characters can be told through subtle facial expressions and the differing emotional intent behind the movements. At this stage if asked the most effective devising method for my character I would say it has been the individual work because as my character is developing over the weeks it appears that he is not very good in group situations, appearing to be only express himself fully when he thinks there is no one watching him.
Analyse the growth of your own character from the beginning of Porto to where you are at in the process now. State the reasons for its development/change/refinement. (200 words)
From the start of the Process of devising Porto my character has changed quite significantly. When I first sent the email to Paul and Royona explaining the characters key features I described him as one who was brimming with confidence from the start of his journey but as things happen he slowly becomes more and more introverted. I first noticed that this wasn’t necessarily how my character was going to pan out almost straight away as my entrance was full of childlike qualities and had a sense of arrogant that I didn’t feel comfortable with. When, in the third week of the process we got the opportunity to change our characters entrance to the stage I decided to refine it. I did this by firstly, keeping the childlike quality as my character devised a new way of carrying his backpack over to his seat, however I change the method of which the bag reached the seat. Rather than kicking it along the floor as I did before, I decided that my character should keep his bag close to him almost as though it was contained a sense of security in a world that he didn’t feel ready to deal with.
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) (200 words)
One of the key features to my characters physicality is his legs, as a character he hardly ever walks fast and when walking keeps the height of his feet from the floor at any one time to a minimum. Also when in a stationary position my character keeps his arms crossed tight to his body with his right arm straight at the other gripping the right arm just above the elbow. When standing this is one of the most important aspects of my characters physicality as it shows his unwillingness to share himself with new people. Also when in standing my character dips his hips to the left and puts some slight curvature in his spine towards the top, creating a slight hunching effect, I feel that this combination of movement in the spine and the hips is implemented to show my characters childlike characteristics as from very early on in my life memories of my Mother telling me to stop leaning on things, or as she called it ‘slouching around’ are very prominent and in their own way very important physically into the person that I am today.
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