richard shields - blog asssesment 3

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