Sean Kennedy-Lockwood Process and performance blog assesment 3

1)
Within physical theatre there are four separate stages of the devising process, "RSVP" the R stands for the research phase, this is the stage where the ensemble were given a presentation to look at and interpret certain part of different pictures which is where the idea of Porto came about. We then took this and created our own character this was taken into the workshop to use in the play sessions. The play sessions is where the ensemble could create a personality create bonds with other characters and develop a deeper understanding of who they are in Porto. Now the Ensemble are at the S phase of the RSVP model which is the score part of the work where we have to refine and developed further through the aid of the directors working within the sub groups. We are now creating scenes within Porto also introducing music into the piece giving the scenes a new dynamic. The score phase is where we are establishing the various scenes giving them a narrative for the audience to follow.


2)
A narrative of the performance is beginning to show within the ensemble however it is for the audience to interpret and decode the piece for themselves through the semiotics installed within Porto.
‘ The audience has to become imaginatively engaged in order to decode and interpret what is happening’ (Martin Lewis, John Rainer 2005)
One theme which, is running subconsciously throughout the work that is giving the performance a structure is the initial stimuli we received, which was Porto, the definition of the word and how it applies to liminal journeys. Through certain scenes there is a stronger narrative which is more apparent than others at a particular time, for example with the photo scene, where it is obvious to the audience that we all have something in common and are similar with the item we take on our separate journeys. Within Porto there is also the presence of Blake and Nicola who are noticeably different to the ensemble and their presence in Porto is throughout, with the action of everyone surrounding these two figures. Through moments of ensemble work the audience can decode a narrative seeing that we all share a common purpose and we are on a journey.
3)
With my character it has been a frustrating process, I feel that it hasn’t developed a great deal with the majority of scenes that I am present in, being choreographed structured movement my character was held back and was unable to progress. This was difficult as I was trying to find characters that I had attachments to but unable to do so. Through play sessions in the workshop however I have been able to develop bonds with other people and physically and emotionally grow new dynamics of my character, which have helped in performance. ‘Brook not only uses play as a starting point, as a basis for personal growth and self development in his actors.’ (Callery, D 2001)
Now that we have been given more freedom for improvised work within the scenes I am creating more interesting work, finding a transition of my character who is more confident with other people and is less restricted. My character has developed further with there being a new dynamic with there being two people I am working with now rather than one, making the work more creative and giving more ideas to the overall creation of Porto.

Bibliography
Martin Lewis, John Rainer (2005) Teaching classroom drama and theatre: practical projects for secondary schools, Routledge PG 43
Dymphna Callery, (2001) Through the Body a Practical Guide to Physical Theatre, Nick Hern Books