1.
The research/resource stage of Porto seems far behind us now as we start to enter the score stage of development. But as we look back it is apparent how truly crucial that research stage was, we see constant reminders in our show of how we employ that critical research within Porto during the research resource process at the beginning of our journey we used tactics such as creating a performance circle and letting anyone come in or step out as they see fit. The interactions and relationships created entirely on impulse that were built all that time ago can still be found in parts of Porto in the current score phase of development. And even the way we approach devising for the show stems right back the research resource process. It wouldn’t be unfair to suggest that we haven’t really come out of the research resource element and we are all undergoing research until the day of validation.
2.
At first I couldn’t see how the ensemble was going to collaboratively exist on a performance stage with motives and objectives that would be in anyway similar, or make sense, but the stimulus of Porto really helped give each and every characters seemed very individual, but currently the ensemble seems to of creative somewhat of a community that have one thing in common, there trapped in Porto, I have heard many people describe Porto as limbo or purgatory, but every character seems to have a reason for been on stage. There are many hidden messages throughout Porto giving it ample meaning and narrative, usually based around social issues and boundaries. Such as mundane repetitiveness of the community representing society’s ways of how people should behave, and the characters not conforming to those rules. The tear between western and eastern culture, this performance is littered with metaphors for common problems within people lives.
3.
Since the start of the creating process my character has drastically transformed every element of his physicality and motives, to adapt to the ever changing course of Porto. In the research resource stage of devising I explored what my physical capabilities were and I am now using that knowledge to apply them to the score process. My character has really grown over the past few months, and I have my own personnel challenge of connecting emotionally with my character, and to exploit a more venerable side, this really has been my goal for Porto. In the “R” phase of practice I really found myself in terms of boundaries and limits, as well as discovering other people boundaries and limits, this is what allowed me to set a target for what I wanted my character to achieve throughout the process. Upon reflecting on my personnel transition into the character I am currently exist as, I find myself pleasantly surprised at my achievements, almost without realising it I have learned so much. Now I can feel a real sense of my character starting to break down and I am keen to see how far I can push this.
Wednesday, 1 April 2009
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
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
Alex Blower blog post 3
1.
During the Process of devised work it is imperitive to organise work into sections so as to work cohesivley in the construction of a piece. Firstly as a company we had to enter the research phase of the process, this consisted of gathering knowledge through academic rescources as well as the more physically based workshops and ‘play’ sessions. The importance of this phase in the creation of a performance is outlined in Jane Millings book Devising Performance, A Critical History ‘At the core of all devising or collaborative creation is a process of generating performance’ (Milling,2006, Page 3) giving emphasis to the importance of this phase in relation to the final perofrmance as a whole.
Secondly as we enter the scoring phase, involving blocking out the devised material so the different scenes come together smoothly and effectivley. It is interesting to note that, although it is true the pieces are more refined than they were in the research phase, changes are still happening and new ways of working still being discovered. As a performer and colaborative deviser it would be be a valid comment to make that that the research phase of creating a performance is never truly left behind but rather used as a tool in the scoring phase to help smooth out links between scenes and morph the process into a complete performance.
2.
With regards to the structure of Porto, as the scoring phase is being more heavily implimented there is a clear beginning and end becoming apparent, it is interesting to note that both of these sections are ensemble work with key characters either implimenting or resolving issues. At the beginning of the piece it is abundantly clear to the audience that Blake and Nicola are outsiders in Porto as the ensembles work is fluid and clean until either Blake or Nicola move and attention is focused on them. However at the end of the piece a feeling of resolution is achieved with Nicola as Jay finally manages to reveal the true character by the lifting of the hood. As this is happening the ensemble moving in syncronisation around them supports the changes that Nicola has experienced throughout her time in Porto.
In the productions middle section however things are not quite so clear, whilst it is true each section has come a long way since the research phase there are no clear links between scenes. It will be interesting to see at this point how the benefits of keeping the research phase open as we got on with scoring will prove to be an advantage.
3.
It would be fairly accurate to say that at the end of the research phase of Porto I was feeling wholly uncomfortable with my character and the intentions behind it. I had the idea in my head that my character was young however there was an element of seriousness there that went against my characters youthful and exuberent side. As a result I found myself in a state of limbo, not quite engaging with other characters as the mix of emotions were very different from the other characters in the community’s idea of the norm. However as we moved into the scoring phase there was a link between scenes in which I found a character that was very similar to mine in the Porto community. As I have a comic book as my item and they had child’s Pokemon cards it was suddenly very easy to concentrate on my characters immature, playful nature, in turn allowing a bridge to be built and further work to develop from it.
It is also interesting to note here that although I have an established character and personality now, at the start of the scoring phase I did not, perfectly illustrating the fact that the research phase is never one which is left behind, but is instead carried through to support the development of the later devising phases.
Bibliography
Milling Jane, Devising Performance, a critical history, Palgrave Macmillan, 2006
During the Process of devised work it is imperitive to organise work into sections so as to work cohesivley in the construction of a piece. Firstly as a company we had to enter the research phase of the process, this consisted of gathering knowledge through academic rescources as well as the more physically based workshops and ‘play’ sessions. The importance of this phase in the creation of a performance is outlined in Jane Millings book Devising Performance, A Critical History ‘At the core of all devising or collaborative creation is a process of generating performance’ (Milling,2006, Page 3) giving emphasis to the importance of this phase in relation to the final perofrmance as a whole.
Secondly as we enter the scoring phase, involving blocking out the devised material so the different scenes come together smoothly and effectivley. It is interesting to note that, although it is true the pieces are more refined than they were in the research phase, changes are still happening and new ways of working still being discovered. As a performer and colaborative deviser it would be be a valid comment to make that that the research phase of creating a performance is never truly left behind but rather used as a tool in the scoring phase to help smooth out links between scenes and morph the process into a complete performance.
2.
With regards to the structure of Porto, as the scoring phase is being more heavily implimented there is a clear beginning and end becoming apparent, it is interesting to note that both of these sections are ensemble work with key characters either implimenting or resolving issues. At the beginning of the piece it is abundantly clear to the audience that Blake and Nicola are outsiders in Porto as the ensembles work is fluid and clean until either Blake or Nicola move and attention is focused on them. However at the end of the piece a feeling of resolution is achieved with Nicola as Jay finally manages to reveal the true character by the lifting of the hood. As this is happening the ensemble moving in syncronisation around them supports the changes that Nicola has experienced throughout her time in Porto.
In the productions middle section however things are not quite so clear, whilst it is true each section has come a long way since the research phase there are no clear links between scenes. It will be interesting to see at this point how the benefits of keeping the research phase open as we got on with scoring will prove to be an advantage.
3.
It would be fairly accurate to say that at the end of the research phase of Porto I was feeling wholly uncomfortable with my character and the intentions behind it. I had the idea in my head that my character was young however there was an element of seriousness there that went against my characters youthful and exuberent side. As a result I found myself in a state of limbo, not quite engaging with other characters as the mix of emotions were very different from the other characters in the community’s idea of the norm. However as we moved into the scoring phase there was a link between scenes in which I found a character that was very similar to mine in the Porto community. As I have a comic book as my item and they had child’s Pokemon cards it was suddenly very easy to concentrate on my characters immature, playful nature, in turn allowing a bridge to be built and further work to develop from it.
It is also interesting to note here that although I have an established character and personality now, at the start of the scoring phase I did not, perfectly illustrating the fact that the research phase is never one which is left behind, but is instead carried through to support the development of the later devising phases.
Bibliography
Milling Jane, Devising Performance, a critical history, Palgrave Macmillan, 2006
Tuesday, 31 March 2009
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
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
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
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