The first phase, research developed the initial idea of Porto. At the very beginning, we were asked to bring in an item which represented ourselves in some way. These items were then used to develop the basis of what is now Porto. As we had already built our pallet, we then started experimenting with ideas and characters. We were left to our own devices when it came to our characters and it was up to us to devise and develop back stories and personalities for them, through research as well as physical work. Oddey states that: “Devised theatre encourages and supports the notion of a group of people having the chance to be artists in their own right, to discover their own creativity in form and content.” (1996.) pg. 164.
This is the reason that I think our transition from the research to the score phase has gone so smoothly. We have all kept the ideas of journeys with us throughout, which came from a series of pictures and images which had themes which were inspired by the items we initially brought in. Due to the fact the devising process started with a personal connection to each of us, we have been able to focus more on the physical experimentation.
Gradually music started being added to each section, which at first many people didn’t notice as we are often so engrossed within the work. Although we are a large group, there is often a strong connection and themes running through our physical work, which is now being defined but the use of music and extra play sessions. We are now at the score phase where music is an important factor to the community of Porto, but I also feel that the research phase is still apparent, and that it will be right until the end.
There are some sections which have a stronger narrative/structure than others. The ensemble sections are particularly strong to me. As we work in unison, it is clear we are ‘one’. The two ‘odd’ figures – Nicola and Blake, have an impact on us as a community as they don’t fit in with the rest of us. Due to this, sub groups start to emerge and many of us split. Then I feel that some narratives may be seen differently to different people-mainly due to the nature of the work and the fact that each character is individual, but yet still an important member of the community.
“In devised experimental theatre where the body is the primary signification of the text, the gestural language (through the combination of narrative, text and physical movement) is the performance vocabulary for the work”) Oddey, (1996) pg.162.
The fact that the body is the most important tool within this genre means that it is the body that creates the narrative and movements, not the other way around. As Callery points out: “Physical theatre is theatre where the primary means of creation occurs through the body rather than the mind.” (2001) pg. 4
My characters transition has been immense, but mainly over the past two weeks. Although the morals, feelings and emotions have remained the same, they now include other people – rather than just for her. My character is still as determined as ever, but now that such strong connections have been made with other members of the community, the focus is also on them and I am more intrigued at how others can help me find out more about myself as well as experimenting with how both my character, and other characters respond and react to each other. During my research phase, I envisioned for my character to go on the journey alone. But now, within the scoring process I don’t think she could achieve anything without the other characters she’s connected with.
D, Callery. Through the body: a practical guide to physical theatre. Nick Hern Books, 2001.
A, Oddey. Devising Theatre: A Practical and Theoretical Handbook. Routledge, 1996.
Yesterday
Jasmin Vardimon Company
Tuesday 31 March 2009
Assessment 3 - Daniel Smith
1.
The research inside of Porto stems from us, the performers. We began by creating our pallet and then began exploring how we felt within the community which has become Porto. Marshall comments on this by saying, “once you are connected to your body and able to listen to it, another realm of possibilities emerges.” (Marshall, 2001, p.31)
The ‘R’ phase of Porto is relevant to Marshall's quote because each individual performer has their own unique motives and understanding of their character. The ‘score’ phase has moved in gradually and material has become developed through the ‘play’ sessions. Because of this “the actor must be able to realize the demands of his imagination. He must have the physical acting skills necessary to create the character.” (Dennis, 1995, p. 19)
Since there are 38 performers in Porto, the research phase never stops until the end of the final performance. Scoring and research happen simultaneously because every rehearsal brings something new, this could either have been researched theoretically or performed physically. We are still scoring new material which we then have to apply our research to figure out if our character can achieve this without breaking their form.
2.
At present we are still scoring old material and creating new material. Through this it is clear to see that Porto has a well structured narrative. There are many reasons for this. Because we are still scoring there will be gaps in where sub groups material will be placed. The ensemble sections which lie within Porto have got clear narratives. For example at the beginning of Porto, the audience are introduced to new characters and are seen as a community. Inside this community there are two unknown figures that are unknown to the performers and audience. This section has a clear narrative that we are inside a world which has a nameless passer-by, a solitary figure lingering inside of a world.
There are some narratives which have not fully been developed and structure is absent from these. Because we are still scoring and validating the piece “the creating of theatre is a collaborative process, requiring the active responsibility of all those involved.” (Dennis, 1995, p. 71)
The process at which we are at now has the narrative in place which has began to shape quite adequately, some performers have created their own narratives within Porto’s large narrative, this will allow the audience to have a different understanding of each character as an individual and as part of a community.
3.
My characters transition from the research phase to the scoring phase of Porto has changed significantly.
Because our characters are an extension of ourselves I decided to create a new character with some existing traits. In devising work “the actor is to consider him as a storyteller whose specialty is that he is the story he is telling.” (Zarrilli, 1995, p. 22)
During the research phase I had a very clear idea of how my character was going to be played inside the community. However, once we started devising the work my characters profile stayed true to how I planned for this to be. After various rehearsals my character has changed drastically both physically and emotionally. There are a number of reasons why this has happened, my main reason for my characters change of persona is due to the other inhabitants within Porto. Originally my character started off in an unclear state of mind as to who he really was and what his purpose was, he also wanted to look for a friend inside Porto which had not happened as planned. Now my character has made a close bond with numerous people enabling my character to change behavior physically and emotionally.
Bibliography.
Dennis, A. (1995) The Articulate Body Nick Hern Books
Marshall, L. (2001) The Body Speaks Methuen Publishing Limited
Zarrilli, P. (1995) Acting (Re)Considered London: Routledge
The research inside of Porto stems from us, the performers. We began by creating our pallet and then began exploring how we felt within the community which has become Porto. Marshall comments on this by saying, “once you are connected to your body and able to listen to it, another realm of possibilities emerges.” (Marshall, 2001, p.31)
The ‘R’ phase of Porto is relevant to Marshall's quote because each individual performer has their own unique motives and understanding of their character. The ‘score’ phase has moved in gradually and material has become developed through the ‘play’ sessions. Because of this “the actor must be able to realize the demands of his imagination. He must have the physical acting skills necessary to create the character.” (Dennis, 1995, p. 19)
Since there are 38 performers in Porto, the research phase never stops until the end of the final performance. Scoring and research happen simultaneously because every rehearsal brings something new, this could either have been researched theoretically or performed physically. We are still scoring new material which we then have to apply our research to figure out if our character can achieve this without breaking their form.
2.
At present we are still scoring old material and creating new material. Through this it is clear to see that Porto has a well structured narrative. There are many reasons for this. Because we are still scoring there will be gaps in where sub groups material will be placed. The ensemble sections which lie within Porto have got clear narratives. For example at the beginning of Porto, the audience are introduced to new characters and are seen as a community. Inside this community there are two unknown figures that are unknown to the performers and audience. This section has a clear narrative that we are inside a world which has a nameless passer-by, a solitary figure lingering inside of a world.
There are some narratives which have not fully been developed and structure is absent from these. Because we are still scoring and validating the piece “the creating of theatre is a collaborative process, requiring the active responsibility of all those involved.” (Dennis, 1995, p. 71)
The process at which we are at now has the narrative in place which has began to shape quite adequately, some performers have created their own narratives within Porto’s large narrative, this will allow the audience to have a different understanding of each character as an individual and as part of a community.
3.
My characters transition from the research phase to the scoring phase of Porto has changed significantly.
Because our characters are an extension of ourselves I decided to create a new character with some existing traits. In devising work “the actor is to consider him as a storyteller whose specialty is that he is the story he is telling.” (Zarrilli, 1995, p. 22)
During the research phase I had a very clear idea of how my character was going to be played inside the community. However, once we started devising the work my characters profile stayed true to how I planned for this to be. After various rehearsals my character has changed drastically both physically and emotionally. There are a number of reasons why this has happened, my main reason for my characters change of persona is due to the other inhabitants within Porto. Originally my character started off in an unclear state of mind as to who he really was and what his purpose was, he also wanted to look for a friend inside Porto which had not happened as planned. Now my character has made a close bond with numerous people enabling my character to change behavior physically and emotionally.
Bibliography.
Dennis, A. (1995) The Articulate Body Nick Hern Books
Marshall, L. (2001) The Body Speaks Methuen Publishing Limited
Zarrilli, P. (1995) Acting (Re)Considered London: Routledge
Monday 30 March 2009
Assessment 3 - Edward Critchlow
1) Upon devising a piece of theatre, one must go through different stages of the devising process. During the creation of ‘Porto’; we have worked through the ‘R’ and ‘S’ stages of the ‘RSVP’ model. The ‘R’ stands for the ‘research’ phase; this is where the concept for ‘Porto’ was shared with the ensemble. We were shown several images; which we learnt were representations of what ‘Porto’ means; the transition between spaces. Also in the ‘R’ stage, we were given tasks to work in a starting point for the individual development of characters. As Dymphna Callery states of choreographer Lloyd Newson, who founded ‘DV8’, he wanted ‘to create rather than simply interpret, Work was devised […] through shared research’ (Callery; 2001: p.g.7).
From there, we began the physical creativity of ‘Porto’, it is here where the ‘scoring’, the ‘S’ stage, of the piece begins. ‘Borrowing [from] the musical term to indicate that the principle of creation is one of composition rather than linear plot construction’ (Callery; 2001: p.g.165). This is where the material gathered in the ‘R’ stage begins to take shape and is created through improvisation, being choreographed/directed, group devising and creative play sessions as ‘play will inevitably inform the style of work you produce’ (Callery; 2001: p.g. 163).
Overall, the transition to the ‘scoring’ of ‘Porto’ ran smoothly.
2) As ‘Porto’ is starting to become scored, there will inevitably be some form of narrative that will run through out the performance. However, because the work created through out ‘Porto’ has been devised in a non linear manner it is difficult for the ensemble to notice any clear sign of narrative through the piece. I do believe that narratives between individual characters have become apparent. Due to the very start of the ‘scoring’ phase during creative play sessions and group devised work ‘each [character] explored what they felt was important for them’ (Hodge; 2000: p.g.215).
It is this exploration of what each character needs, does not need, feels or does not feel towards themselves and other characters within the ensemble, i.e. ‘the physical dialogue’ (Murray & Keefe; 2007: p.g.120) that creates individual and personal narratives for each character in ‘Porto’.
It could be, however, that it is these ‘physical dialogues’ (Murray & Keefe; 2007: p.g.120) between characters, is the narrative of ‘Porto’. That an audience member may identify with a character on stage and follow their journey through out the performance of ‘Porto’ and the journey of the character becomes the narrative for the audience member. Or at a simpler level, the narrative for ‘Porto’ is the journey and development of the characters.
3) My character development from the ‘R’ to the ‘S’ phase of devising ‘Porto’ has been a massive one. My character has completely changed. As mentioned in my previous blog entry, my initial character was me and was incredibly difficult to develop both the physicality and the emotional sate of the character. So my character became a stereotypical ‘bitch’. This came from returning to the ‘R’ phase and making ‘discoveries […] individually. Such work is particularly useful for developing characters’ (Callery; 2001: p.g.173) while also having the emotional impulse to work with another performer who I related to, allowed the ‘improvisation […] to focus on the interactive process’ (Callery; 2001: p.g.173), thereby allowing my character to develop.
From working with my new character during the ‘S’ phase, it has allowed my character to grow and one again change emotionally. From a stereotypical ‘bitch’, my character has grown into an ‘evil’ character’; one that many members of the ensemble fear to be around. As Pina Bausch states ‘we all want to be loved and liked. You think that there’s a point and if you go beyond that, then there’s no telling where it will lead’ (Huxley & Witts; 1996: p.g.58). Which is true of my character, but working through the ‘S’ phase of ‘Porto’ it has allowed me to ‘develop [my] ability of physical expression’ (Zarrilli; 1995: p.g.163).
Bibliography
Callery, D. (2001): Through the Body, London. Routledge
Hodge, A. (2000) Twentieth Century Actor Training, London. Routledge.
Huxley, M & Witts, N. (1996) The Twentieth Century Performance Reader, London. Routledge
Murray, S & Keefe, J. (2007) Physical Theatres: A Critical Introduction, Oxon. Routledge
Zarrilli, P. (2002) Acting (Re)Considered: A Theoretical and Practical Guide, 2nd ed. Oxon. Routledge
Posted By: Edward Critchlow
From there, we began the physical creativity of ‘Porto’, it is here where the ‘scoring’, the ‘S’ stage, of the piece begins. ‘Borrowing [from] the musical term to indicate that the principle of creation is one of composition rather than linear plot construction’ (Callery; 2001: p.g.165). This is where the material gathered in the ‘R’ stage begins to take shape and is created through improvisation, being choreographed/directed, group devising and creative play sessions as ‘play will inevitably inform the style of work you produce’ (Callery; 2001: p.g. 163).
Overall, the transition to the ‘scoring’ of ‘Porto’ ran smoothly.
2) As ‘Porto’ is starting to become scored, there will inevitably be some form of narrative that will run through out the performance. However, because the work created through out ‘Porto’ has been devised in a non linear manner it is difficult for the ensemble to notice any clear sign of narrative through the piece. I do believe that narratives between individual characters have become apparent. Due to the very start of the ‘scoring’ phase during creative play sessions and group devised work ‘each [character] explored what they felt was important for them’ (Hodge; 2000: p.g.215).
It is this exploration of what each character needs, does not need, feels or does not feel towards themselves and other characters within the ensemble, i.e. ‘the physical dialogue’ (Murray & Keefe; 2007: p.g.120) that creates individual and personal narratives for each character in ‘Porto’.
It could be, however, that it is these ‘physical dialogues’ (Murray & Keefe; 2007: p.g.120) between characters, is the narrative of ‘Porto’. That an audience member may identify with a character on stage and follow their journey through out the performance of ‘Porto’ and the journey of the character becomes the narrative for the audience member. Or at a simpler level, the narrative for ‘Porto’ is the journey and development of the characters.
3) My character development from the ‘R’ to the ‘S’ phase of devising ‘Porto’ has been a massive one. My character has completely changed. As mentioned in my previous blog entry, my initial character was me and was incredibly difficult to develop both the physicality and the emotional sate of the character. So my character became a stereotypical ‘bitch’. This came from returning to the ‘R’ phase and making ‘discoveries […] individually. Such work is particularly useful for developing characters’ (Callery; 2001: p.g.173) while also having the emotional impulse to work with another performer who I related to, allowed the ‘improvisation […] to focus on the interactive process’ (Callery; 2001: p.g.173), thereby allowing my character to develop.
From working with my new character during the ‘S’ phase, it has allowed my character to grow and one again change emotionally. From a stereotypical ‘bitch’, my character has grown into an ‘evil’ character’; one that many members of the ensemble fear to be around. As Pina Bausch states ‘we all want to be loved and liked. You think that there’s a point and if you go beyond that, then there’s no telling where it will lead’ (Huxley & Witts; 1996: p.g.58). Which is true of my character, but working through the ‘S’ phase of ‘Porto’ it has allowed me to ‘develop [my] ability of physical expression’ (Zarrilli; 1995: p.g.163).
Bibliography
Callery, D. (2001): Through the Body, London. Routledge
Hodge, A. (2000) Twentieth Century Actor Training, London. Routledge.
Huxley, M & Witts, N. (1996) The Twentieth Century Performance Reader, London. Routledge
Murray, S & Keefe, J. (2007) Physical Theatres: A Critical Introduction, Oxon. Routledge
Zarrilli, P. (2002) Acting (Re)Considered: A Theoretical and Practical Guide, 2nd ed. Oxon. Routledge
Posted By: Edward Critchlow
Task 3 - Lauren Walker
1) Within the devising process R represents the research/resource phase. The phase in which the process begins and the work starts off with a basic idea and then the actors take it on board and experiment with it. Once the experimenting has taken place and material has been produced we then move onto the score phase which is when the material is shaped and put into context within the piece. “Devising is a process of making theatre that enables a group of performers to be physically and practically creative and sharing and shaping of an original product…” (Oddey, 1994, p.1). Within Porto the transition from R to S has been quite smooth. As a group we have all grasped the idea of the piece and been able to play about with the movement we have created, from the beginning of the process where it was very minimal to now where were verging onto the S phase where it has completely come 360 and have produced some very meaningful material. Now were at the S phase, here is where we see whether the material fits all together and if there are problems and there have been, we rectify them by reverting back to the R phase and improve on the material we have already produced.
2) When given the word structure/narrative I immediately think of a story and it having a beginning, middle and an end. And when discussing Porto, I don’t see the stereotypical story. Of course there is a beginning, where we see each of our characters enter the stage some already being there but from then I see the piece as an observation of individual characters and how they interact with each other.
Within Porto our own individual characters and how they connect with one another in a way could be seen as a structure. The structure of diving into characters lives and experiencing what they are experiencing. “Readers want your characters to seem like real people. Whole and alive, believable and worth caring about. Readers want to get to know your characters as well as they know their own friends, their own family.” (Scott Card, 1988, p.4). Maybe the structure of the piece is not of the community as a whole but of the individual relationships and stories within it. “By the time they finish your story, readers want to know your character better than any human being ever knows any other human being.” (Scott Card, 1988, p.4).
3) My character has gone through a tremendous transition between the R and S phases. At the beginning of the research/resource phase my character was very inward and my movements were very limited because as my character I didn’t feel the need to express my self physically. But as the time has passed and my character has interacted with different and varied people my character has had a transformation. I feel now I am able to express myself physically and not be this shy, timid person. “What is movement? Are we concerned with electric impulses from the brain which trigger muscular responses and thus produce physical movement? Or do we anticipate the reply “Movement is life!?” (Hutchinson Guest, 1983, p.1). When it comes to my own character my movement is simply impulse driven, and only move when I feel necessary where as in the beginning of the process in some ways I forced myself to move. So not only has my character evolved but my knowledge of devising physical theatre has also.
Hutchinson Guest, A.( 1983) Your Move. A new approach to the study of movement and dance. The Netherlands: Gordon and Breach Publishers.
Oddey, A.(1994) Devising Theatre a practical and theoretical handbook. London: Routledge.
Scott Card, O.(1988) Characters & Viewpoint. United States of America: Writer’s Digest Books.
Scott Card, O.(1988) Characters & Viewpoint. United States of America: Writer’s Digest Books.
POSTED BY LAUREN WALKER.
2) When given the word structure/narrative I immediately think of a story and it having a beginning, middle and an end. And when discussing Porto, I don’t see the stereotypical story. Of course there is a beginning, where we see each of our characters enter the stage some already being there but from then I see the piece as an observation of individual characters and how they interact with each other.
Within Porto our own individual characters and how they connect with one another in a way could be seen as a structure. The structure of diving into characters lives and experiencing what they are experiencing. “Readers want your characters to seem like real people. Whole and alive, believable and worth caring about. Readers want to get to know your characters as well as they know their own friends, their own family.” (Scott Card, 1988, p.4). Maybe the structure of the piece is not of the community as a whole but of the individual relationships and stories within it. “By the time they finish your story, readers want to know your character better than any human being ever knows any other human being.” (Scott Card, 1988, p.4).
3) My character has gone through a tremendous transition between the R and S phases. At the beginning of the research/resource phase my character was very inward and my movements were very limited because as my character I didn’t feel the need to express my self physically. But as the time has passed and my character has interacted with different and varied people my character has had a transformation. I feel now I am able to express myself physically and not be this shy, timid person. “What is movement? Are we concerned with electric impulses from the brain which trigger muscular responses and thus produce physical movement? Or do we anticipate the reply “Movement is life!?” (Hutchinson Guest, 1983, p.1). When it comes to my own character my movement is simply impulse driven, and only move when I feel necessary where as in the beginning of the process in some ways I forced myself to move. So not only has my character evolved but my knowledge of devising physical theatre has also.
Hutchinson Guest, A.( 1983) Your Move. A new approach to the study of movement and dance. The Netherlands: Gordon and Breach Publishers.
Oddey, A.(1994) Devising Theatre a practical and theoretical handbook. London: Routledge.
Scott Card, O.(1988) Characters & Viewpoint. United States of America: Writer’s Digest Books.
Scott Card, O.(1988) Characters & Viewpoint. United States of America: Writer’s Digest Books.
POSTED BY LAUREN WALKER.
Sunday 29 March 2009
Task 3 Gina Dobrovic
1. When devising theatre, often resource can be a material resource which ideas are built from. We were introduced to Porto through a series of images that we perceived as links and transitions, such as doors and stairways. As part of the research phase, these then lead us to discussing the theme of departures, arrivals, journeys and baggage. Also in research, we engaged in an imagery exercise of certain situations based around Porto’s idea, as a starting point for our characters.
From there, we began to embark on a creative journey, constantly researching and crafting. We have begun to move into the ‘score’ phase. When scoring, material is generated through things such as creative play and adding music and so on. In Porto, music is being carefully selected to mirror what we are creating in performance. For instance, choosing a song that repeats itself and is stuck in a pattern can reflect the people onstage who may be revealing this through the body.
Dymphna Callery says “…improvisation uses play to achieve an unforeseen result…Play is a much looser concept, like a jam session.” And describes how Peter Brook “not only uses play as a starting point [but also] as a basis for personal growth and self-development for his actors…” (Callery: 2001, pp.94-96) More and more we are participating in creative play sessions, where a lot of our material is being created or refined. New ideas appear every day from simply interacting through improvisation.
2. A narrative certainly begins to show itself occasionally in Porto but then I have the thought that this will never be a set piece with a narrative. It is always changing and will always change. I do begin to notice things have remarkably started to fit together, though. Considering we have created a lot of content through creative play, small narratives have most definitely been initiated. At the same time, we all seem part of something far bigger and more intriguing. As an ensemble, we have a lot of contact with Blake and Nicola, which in my mind is ‘the bigger picture.’ In the meantime, we are all making relationships with other people. When I first enter the space at the beginning of Porto I always imagine it to be a departure lounge at an airport. We are all travelling somewhere, part of this transition or journey. We become a form of community, of which some people just do not fit for a variety of reasons. However, I do strongly feel that Porto may never have a chronological reasoned narrative, because it is based on impulse. The narrative is whatever direction Porto may take.
Daria Halprin discusses how the body “reflects our way of being as humans” and that we are an array of “emotional responses, cognitive and imaginal thinking…motivated by a compilation of life experiences…destructive and creative imprints, impulses, and desires.” (Halprin: 2003, p.17)
3. My character has in many ways remained true to the original goals and themes set out in the original letter we sent. During the research phase, I wrote about my character’s departure as being “…one of fierce determination juxtaposed with a terrible fear.” The terrible fear seemed to consume my character to start with, instead of the determination as I had intended. The intent was on looking back at what she had left behind more than looking towards the future. This did surprise me, but I went with it.
However, the more we partake in the play, my character has accidentally become more confident, and is preoccupied with the present instead of the past. This is something that has happened naturally, yet was my original intention! It has most definitely not become more tangible! I do not think my character knows what she wants emotionally, and could change her mind at any point! Physically, she has yet to expand. To take more risks is my aim, and I feel until I initiate this, my character cannot reach her full potential. “We applaud the actor for ‘taking risks’, ‘exposing herself’…’” (Auslander, in Zarrilli 1993, p.60)
Bibliography
Callery, D (2001): Through the Body: London: Routledge.
Halprin, Daria (2003): Expressive Body in Life, Art and Therapy : Working with Movement, Metaphor and Meaning. London: Jessica Kingsley Publishers.
Zarrilli, P (1993): Acting (re)considered: Theories and Practices: London: Routledge.
Posted by Gina Dobrovic
From there, we began to embark on a creative journey, constantly researching and crafting. We have begun to move into the ‘score’ phase. When scoring, material is generated through things such as creative play and adding music and so on. In Porto, music is being carefully selected to mirror what we are creating in performance. For instance, choosing a song that repeats itself and is stuck in a pattern can reflect the people onstage who may be revealing this through the body.
Dymphna Callery says “…improvisation uses play to achieve an unforeseen result…Play is a much looser concept, like a jam session.” And describes how Peter Brook “not only uses play as a starting point [but also] as a basis for personal growth and self-development for his actors…” (Callery: 2001, pp.94-96) More and more we are participating in creative play sessions, where a lot of our material is being created or refined. New ideas appear every day from simply interacting through improvisation.
2. A narrative certainly begins to show itself occasionally in Porto but then I have the thought that this will never be a set piece with a narrative. It is always changing and will always change. I do begin to notice things have remarkably started to fit together, though. Considering we have created a lot of content through creative play, small narratives have most definitely been initiated. At the same time, we all seem part of something far bigger and more intriguing. As an ensemble, we have a lot of contact with Blake and Nicola, which in my mind is ‘the bigger picture.’ In the meantime, we are all making relationships with other people. When I first enter the space at the beginning of Porto I always imagine it to be a departure lounge at an airport. We are all travelling somewhere, part of this transition or journey. We become a form of community, of which some people just do not fit for a variety of reasons. However, I do strongly feel that Porto may never have a chronological reasoned narrative, because it is based on impulse. The narrative is whatever direction Porto may take.
Daria Halprin discusses how the body “reflects our way of being as humans” and that we are an array of “emotional responses, cognitive and imaginal thinking…motivated by a compilation of life experiences…destructive and creative imprints, impulses, and desires.” (Halprin: 2003, p.17)
3. My character has in many ways remained true to the original goals and themes set out in the original letter we sent. During the research phase, I wrote about my character’s departure as being “…one of fierce determination juxtaposed with a terrible fear.” The terrible fear seemed to consume my character to start with, instead of the determination as I had intended. The intent was on looking back at what she had left behind more than looking towards the future. This did surprise me, but I went with it.
However, the more we partake in the play, my character has accidentally become more confident, and is preoccupied with the present instead of the past. This is something that has happened naturally, yet was my original intention! It has most definitely not become more tangible! I do not think my character knows what she wants emotionally, and could change her mind at any point! Physically, she has yet to expand. To take more risks is my aim, and I feel until I initiate this, my character cannot reach her full potential. “We applaud the actor for ‘taking risks’, ‘exposing herself’…’” (Auslander, in Zarrilli 1993, p.60)
Bibliography
Callery, D (2001): Through the Body: London: Routledge.
Halprin, Daria (2003): Expressive Body in Life, Art and Therapy : Working with Movement, Metaphor and Meaning. London: Jessica Kingsley Publishers.
Zarrilli, P (1993): Acting (re)considered: Theories and Practices: London: Routledge.
Posted by Gina Dobrovic
Wednesday 11 March 2009
Antionette blog 2
Improvisation has allowed the creators of the piece to revisit body memory, drawing on techniques that were taught and demonstrated previously. The interaction between other characters has become an exchange of growth and development allowing the performer to learn more about their character and perhaps to their surprise, things they didn’t know. This in return, this permits room for new material and ideas to be explored. It seems to be a key ingredient for creating Porto as it spurs the creator to do rather than think. The Improvisation Game by Chris Johnston supports this by stating,
Improvisation is a research tool, widely used by artists from all disciplines. It’s a staple procedure in creating performance. While more cerebral exercises such as writing or composing allow for greater control over decisions, improvisation can be deliver the shock material. With its spontaneous, unpredictable processes, improvisation can deliver the right- brain gifts that sneak in under the radar. (p5)
With any research, it is a constant trial and error until something works, fits or makes sense. Johnston goes on to explain that without doing so performance cannot truly exist, and the benefits of working in this way is that impulses are constantly thrown into the creation. This has had a positive affect on Porto in the sense that individuals are no longer responsible for their own responses to the space but others too. It has become a communal understanding that we work as one ensemble, yet, aiding the piece with individual and unique interpretations. Reinforcing the idea that a community of people stand as one but individually stands alone.
The process of my character hasn’t really changed in comparison to the beginning of Porto and to the community she exists in. This is a reflection of her not fitting into the space or her community. There have been occasions where there were opportunities for interaction with others and it has been on her terms whether she accepts or declines. In this sense there has been a journey for her as she would not interact at all initially. The body language has become more open, but interestingly not to her community see seeks acceptance else where. The idea of wanting to belong often confuses her as she see’s others who seem to have the same problem, attempting to comfort, she stops her self from doing so as she knows this space isn’t for her. It’s as if the process is developing inside her waiting to explode due to this secretive and confined behavior.
The process of my character within Porto has determined the confined body language she communicates. Which feels acceptable as Miranda Tufnell and Chris Mickmay explain that, “Our bodies are the reflections of our lives: sitting walking, standing, we absorb the impact of each day. Each thought and sensation makes changes in the body.”(Body, Space, Image. London.1990. p.1) This quote began to make me think if I had no speech what kind of story would my body tell and made me question life within Porto, what marks, prints and scars can my character offer to Porto. The character takes up as little space when feeling vulnerable or unsure for example when sitting in the chair tries to curl into the chair. The position of the characters body is always internally expressed, and therefore doesn’t have an open torso or an up right head. Fidgeting with the hands, neck, face and clothes communicates nervousness. In terms where the body falls within the space, all effort is given internally and to gravity as she stands slumped to one side applying pressure to one leg with the spine curled towards the floor. Analyzing the approach of my characters expression I feel it has achieved the concept of Tufnell and Crickmay’s idea which is to
[…] let the sensation of thought dissolve through the body. Let the movement inside of the body – of breath, of thoughts – move outside. Allow the sensations their own time and expression – yawning, rolling resting - waiting for a space between the thoughts, an unlocking of parts of the body – gap into which something new can emerge. (p1)
Bibliography
Johnston.C; The Improvisation Game. London, Nick Hern Book Ltd, 2006
Tufnell.M & Crickmay.C; Body, Space, Image.London, Dance Books Ltd, 1990
Improvisation is a research tool, widely used by artists from all disciplines. It’s a staple procedure in creating performance. While more cerebral exercises such as writing or composing allow for greater control over decisions, improvisation can be deliver the shock material. With its spontaneous, unpredictable processes, improvisation can deliver the right- brain gifts that sneak in under the radar. (p5)
With any research, it is a constant trial and error until something works, fits or makes sense. Johnston goes on to explain that without doing so performance cannot truly exist, and the benefits of working in this way is that impulses are constantly thrown into the creation. This has had a positive affect on Porto in the sense that individuals are no longer responsible for their own responses to the space but others too. It has become a communal understanding that we work as one ensemble, yet, aiding the piece with individual and unique interpretations. Reinforcing the idea that a community of people stand as one but individually stands alone.
The process of my character hasn’t really changed in comparison to the beginning of Porto and to the community she exists in. This is a reflection of her not fitting into the space or her community. There have been occasions where there were opportunities for interaction with others and it has been on her terms whether she accepts or declines. In this sense there has been a journey for her as she would not interact at all initially. The body language has become more open, but interestingly not to her community see seeks acceptance else where. The idea of wanting to belong often confuses her as she see’s others who seem to have the same problem, attempting to comfort, she stops her self from doing so as she knows this space isn’t for her. It’s as if the process is developing inside her waiting to explode due to this secretive and confined behavior.
The process of my character within Porto has determined the confined body language she communicates. Which feels acceptable as Miranda Tufnell and Chris Mickmay explain that, “Our bodies are the reflections of our lives: sitting walking, standing, we absorb the impact of each day. Each thought and sensation makes changes in the body.”(Body, Space, Image. London.1990. p.1) This quote began to make me think if I had no speech what kind of story would my body tell and made me question life within Porto, what marks, prints and scars can my character offer to Porto. The character takes up as little space when feeling vulnerable or unsure for example when sitting in the chair tries to curl into the chair. The position of the characters body is always internally expressed, and therefore doesn’t have an open torso or an up right head. Fidgeting with the hands, neck, face and clothes communicates nervousness. In terms where the body falls within the space, all effort is given internally and to gravity as she stands slumped to one side applying pressure to one leg with the spine curled towards the floor. Analyzing the approach of my characters expression I feel it has achieved the concept of Tufnell and Crickmay’s idea which is to
[…] let the sensation of thought dissolve through the body. Let the movement inside of the body – of breath, of thoughts – move outside. Allow the sensations their own time and expression – yawning, rolling resting - waiting for a space between the thoughts, an unlocking of parts of the body – gap into which something new can emerge. (p1)
Bibliography
Johnston.C; The Improvisation Game. London, Nick Hern Book Ltd, 2006
Tufnell.M & Crickmay.C; Body, Space, Image.London, Dance Books Ltd, 1990
Post Two Nicole Dixon
1. 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)
The main focus and strategy used in the devising process of Porto has been the element of play and disregarding the traditional text-based dominance. Through the use of improvisation and experimentation it has allowed characters to grow and progress through the liminal zone that is Porto. Even when given a stimulus or idea in the form of a task; it is the responsibility of the performer to use this stimulus and develop it, in order for them to progress and to create a piece of performance. ‘Devising a performance is a process of collective creativity that liberates the potential of individuals and groups, allowing them to create their own performance narrative.’ (Dundjerovic, 2007, p26) During the first 5 weeks, working as a ensemble and individually have proven its difficulties, but it has also allowed the emergence of relationships, and through play; it has allowed these relationships to build and develop into stronger connections. It is with these relationships that the basis of Porto is built around. In the beginning of the piece we are all individuals, not quite knowing where we are, who we are with, or where we are going. Through the evolution of these new relationships it is allowing individual characters to progress through on their journey.
2. 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)
‘Every day, people around the world pick up a novel or short story, eager to be whisked away to another realm.’ (Bodden, 2008, p5) I feel like my character is trapped in a book, and trying to reach the end to find out her own outcome and fate. Over the past 5 weeks my character has developed quite significantly in the fact that in the beginning she was completely lost, with no sense of direction or security. By the end of the first 5 weeks, my character is slowly but surely starting to become comfortable with herself, and those around her; and believes that in order to interact comfortably with others she needs to have a sense of control over herself. This is an immense step in the right direction for my character, and I feel we are only just seeing the beginning of her. The character herself has many hopes and aspirations but is struggling to overcome her personal barriers in order to reach them. At the moment my character is quite disorientated and in limbo and it is surprising to see that ‘ in this state of unknowing we are able to draw on reserves from deep inside ourselves and get beyond predictable responses.’ (Free and Ramsay, 2004 p97)
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) (200 words)
‘We experience ourselves through our bodies. Within ourselves we make sense of the external world and at the same time use our thoughts and imaginings to propel courses of action’ (Bloom and Shreeves, 1998 p7) I am beginning to understand that my character has many attributes that are not always thought provoked. She tends to slouch her shoulders forward and not align her spine. This is a subconscious trait that my character has developed throughout the 5 weeks. This may be because she feels she is carrying unnecessary weight on her shoulders, or because she feels she is not worthy of walking straight. Pisk (1990, p13) explains that ‘the spine transmits to the spectator messages such as being tense or relaxed […] and it assists to transform the shape of the body.’ It will be interesting to see over the coming weeks if my character develops more confidence and self worth, to see if this transforms her as a person and straightens her back. ‘In performance fear and self-consciousness can undermine the breath and hence our capacity for expression. By cultivating good breathing, we can combat this danger and regain purpose and confidence.’ Free and Ramsay, 2004, p 133) I have noticed when examining my characters breathing that her breathes are short and fast. This is something I will also be interested in, in the coming weeks.
Bibliography:
BLOOM, K and SHREEVES, R. 1998. Moves- A Sourcebook of Ideas for Body Awareness and Creative Movement Hardwood Academic Publishers
BODDEN, V. 2008. Creating a Character: Dialogue and Characterization. The Creative Company
DUNDJEROVIC, A. 2007. The Theatricality of Robert Lepage. Canada: McGill-Queen’s Press
FREE, J. and RAMSAY, N. 2004. Holistic Bodywork For Performers Wiltshire: The Crowood Press
PISK, L. 1990. The Actor and His Body London: Virgin Books
NICOLE DIXON
The main focus and strategy used in the devising process of Porto has been the element of play and disregarding the traditional text-based dominance. Through the use of improvisation and experimentation it has allowed characters to grow and progress through the liminal zone that is Porto. Even when given a stimulus or idea in the form of a task; it is the responsibility of the performer to use this stimulus and develop it, in order for them to progress and to create a piece of performance. ‘Devising a performance is a process of collective creativity that liberates the potential of individuals and groups, allowing them to create their own performance narrative.’ (Dundjerovic, 2007, p26) During the first 5 weeks, working as a ensemble and individually have proven its difficulties, but it has also allowed the emergence of relationships, and through play; it has allowed these relationships to build and develop into stronger connections. It is with these relationships that the basis of Porto is built around. In the beginning of the piece we are all individuals, not quite knowing where we are, who we are with, or where we are going. Through the evolution of these new relationships it is allowing individual characters to progress through on their journey.
2. 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)
‘Every day, people around the world pick up a novel or short story, eager to be whisked away to another realm.’ (Bodden, 2008, p5) I feel like my character is trapped in a book, and trying to reach the end to find out her own outcome and fate. Over the past 5 weeks my character has developed quite significantly in the fact that in the beginning she was completely lost, with no sense of direction or security. By the end of the first 5 weeks, my character is slowly but surely starting to become comfortable with herself, and those around her; and believes that in order to interact comfortably with others she needs to have a sense of control over herself. This is an immense step in the right direction for my character, and I feel we are only just seeing the beginning of her. The character herself has many hopes and aspirations but is struggling to overcome her personal barriers in order to reach them. At the moment my character is quite disorientated and in limbo and it is surprising to see that ‘ in this state of unknowing we are able to draw on reserves from deep inside ourselves and get beyond predictable responses.’ (Free and Ramsay, 2004 p97)
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) (200 words)
‘We experience ourselves through our bodies. Within ourselves we make sense of the external world and at the same time use our thoughts and imaginings to propel courses of action’ (Bloom and Shreeves, 1998 p7) I am beginning to understand that my character has many attributes that are not always thought provoked. She tends to slouch her shoulders forward and not align her spine. This is a subconscious trait that my character has developed throughout the 5 weeks. This may be because she feels she is carrying unnecessary weight on her shoulders, or because she feels she is not worthy of walking straight. Pisk (1990, p13) explains that ‘the spine transmits to the spectator messages such as being tense or relaxed […] and it assists to transform the shape of the body.’ It will be interesting to see over the coming weeks if my character develops more confidence and self worth, to see if this transforms her as a person and straightens her back. ‘In performance fear and self-consciousness can undermine the breath and hence our capacity for expression. By cultivating good breathing, we can combat this danger and regain purpose and confidence.’ Free and Ramsay, 2004, p 133) I have noticed when examining my characters breathing that her breathes are short and fast. This is something I will also be interested in, in the coming weeks.
Bibliography:
BLOOM, K and SHREEVES, R. 1998. Moves- A Sourcebook of Ideas for Body Awareness and Creative Movement Hardwood Academic Publishers
BODDEN, V. 2008. Creating a Character: Dialogue and Characterization. The Creative Company
DUNDJEROVIC, A. 2007. The Theatricality of Robert Lepage. Canada: McGill-Queen’s Press
FREE, J. and RAMSAY, N. 2004. Holistic Bodywork For Performers Wiltshire: The Crowood Press
PISK, L. 1990. The Actor and His Body London: Virgin Books
NICOLE DIXON
Tuesday 10 March 2009
Marie Hartland - Blog Task 2
1. Over the past 5 weeks we have created the opening section of our piece and also smaller sections of material. As there are a large number of us working within the company I initially thought it would prove difficult to allow everyone’s input into the work. Alison Oddey states that devised theatre “is determined and defined by a group of people who set up an initial framework or structure to explore and experiment with ideas...” Oddey (1996), p.1) Once we had decided we were to work on the opening section, we used the ‘clap’ method. This not only allows each of us to have a chance to share our ideas, but it also gives a brief insight into the character that is showing their action. This is because the action/ movements come from the characters feelings and emotions, rather than a certain feeling or emotion controlling what the character does next. Play sessions are also very useful to us as an ensemble as it allows self discovery and also helps characters develop within themselves as well as allowing us to build relationships with others. Oddey also says that “Any definition of devised theatre must include process, collaboration, multi vision and the creation of an artistic product.” Oddey (1996), p.6) I personally feel that her view on this and our current position within the company reflect each other well. Initially I thought that the company may have a problem whilst sharing our ideas as they are so diverse but the devising strategies we have decided to use work very well.
2. At the beginning of my journey I felt distanced from my character, but as the weeks go on I’m realising just how much I need to relate to her in order to be able to go on. The main thing that drives her is determination. This is due to things which have happened in the past which have caused disruption and chaos to everyday life, yet the determination is apparent as there was, and still is, a need to overcome the problems which occur. I have realised in the past week, that my character has a very hard and strong ‘outer shell’ which is why I find it difficult to let others in, although it seems there is a point where I do actually give in, as I found whilst working with Amy in the ‘train’ section. The week which we worked on that section was when my character developed the most. Dennis identifies that “Comprehension of a character must begin from an understanding of his everyday life. Its development will depend on where the character, in the piece, is heading.” Dennis (2002, p. 47). This is relevant to me as there is, and always will be a physical risk involved for my character which derives from me personally, but during that session the physical work came easily as I was aware that my character was very stubborn, but yet I found it surprising and quite emotionally draining that my character does in fact give in eventually, but I am yet to find out what causes her to let the barriers down.
3. When we were first asked to do a spinal roll then transform into our characters, I initially felt the need to act on instinct and think about it first. I then had to go back to the floor, into neutral and get into the frame of mind of my character. Whilst standing, my character tends to shift the weight from one leg to the other, which on first impression gives a casual and laid back impression. This is soon contradicted when looking at my characters gestures and movements. Her arms are either crossed, or her hands are in her pockets. Failing this she will be fiddling with the strap on her bag. This is mainly a comfort thing, as my character feels exposed and often vulnerable – although she doesn’t show that when other characters are around and interacting with her. Also, her hand is often near her face or neck. This is more of a reminder to her rather than symbolic to anyone as it helps her to focus on the problems she is faced with. Her posture is also a key feature of her physicality, but this is something which is still developing. Her spine is a fragile and vulnerable area to her and her stance and relationship to gravity is constantly changing at the moment.
Dennis, A (2002) The articulate body: the physical training of the actor: Nick Hern Books.
Keefe J, S Murray (2007) Physical theatres: a critical reader: London: Routledge.
Oddey, A (1996) Devising Theatre: a practical and theoretical handbook: London: Routledge.
http://www.jasminvardimon.com/
http://www.motionhouse.co.uk/
Marie Hartland
2. At the beginning of my journey I felt distanced from my character, but as the weeks go on I’m realising just how much I need to relate to her in order to be able to go on. The main thing that drives her is determination. This is due to things which have happened in the past which have caused disruption and chaos to everyday life, yet the determination is apparent as there was, and still is, a need to overcome the problems which occur. I have realised in the past week, that my character has a very hard and strong ‘outer shell’ which is why I find it difficult to let others in, although it seems there is a point where I do actually give in, as I found whilst working with Amy in the ‘train’ section. The week which we worked on that section was when my character developed the most. Dennis identifies that “Comprehension of a character must begin from an understanding of his everyday life. Its development will depend on where the character, in the piece, is heading.” Dennis (2002, p. 47). This is relevant to me as there is, and always will be a physical risk involved for my character which derives from me personally, but during that session the physical work came easily as I was aware that my character was very stubborn, but yet I found it surprising and quite emotionally draining that my character does in fact give in eventually, but I am yet to find out what causes her to let the barriers down.
3. When we were first asked to do a spinal roll then transform into our characters, I initially felt the need to act on instinct and think about it first. I then had to go back to the floor, into neutral and get into the frame of mind of my character. Whilst standing, my character tends to shift the weight from one leg to the other, which on first impression gives a casual and laid back impression. This is soon contradicted when looking at my characters gestures and movements. Her arms are either crossed, or her hands are in her pockets. Failing this she will be fiddling with the strap on her bag. This is mainly a comfort thing, as my character feels exposed and often vulnerable – although she doesn’t show that when other characters are around and interacting with her. Also, her hand is often near her face or neck. This is more of a reminder to her rather than symbolic to anyone as it helps her to focus on the problems she is faced with. Her posture is also a key feature of her physicality, but this is something which is still developing. Her spine is a fragile and vulnerable area to her and her stance and relationship to gravity is constantly changing at the moment.
Dennis, A (2002) The articulate body: the physical training of the actor: Nick Hern Books.
Keefe J, S Murray (2007) Physical theatres: a critical reader: London: Routledge.
Oddey, A (1996) Devising Theatre: a practical and theoretical handbook: London: Routledge.
http://www.jasminvardimon.com/
http://www.motionhouse.co.uk/
Marie Hartland
Blog Assessment 2-Gina Dobrovic
1. One of the first devising strategies used in creating Porto helped to create our opening scene. A space was created with chairs, and our task was to enter the space when we felt it was right. We had all previously chosen an individual way of entering that was specific to our character. We also created work collaboratively as an ensemble (not completely the whole group), where we used the technique of clapping. When one person clapped, they offered a pedestrian gesture or movement that the rest of the ensemble duplicated to the exact detail. By the time we had 5 or 6 it had become a performance and had taken a mere ten minutes. This is a very efficient way of devising, as the need to talk is eliminated, and work is created rapidly and precisely. Alison Oddey says
Devised theatre can start from anything. It is determined and defined by a group of people who set up an initial framework or structure to explore and experiment with ideas…A devised theatrical performance originates with the group while making the performance, rather than starting from a play text that someone else has written to be interpreted. (Oddey: 1996, p.1)
2. My character surprises me every week. Sometimes I find her travelling into a state of mind or body that is I did not expect, because my idea of her was fixed. The character I wrote about in my letter was someone I wanted to stay true to, who made sense to me. Suddenly, every week I am learning to accept that there is a route of spontaneity that you must go with. Urges are very important. The person in my letter was determined to start a new life, but will always be apprehensive of what she left behind. No matter how hard she tries, she takes her emotional baggage with her. My character grows in confidence every day and is transforming. As my character changes, my personality is affected and I am beginning to explore and learn a lot about myself too.
Philip Auslander in his book From Acting to Performance talks about how characters can be a “process of performative self-exploration.” and that “Grotowski advocates the use of character as a tool for exploring the self.” (Auslander: 1997 p.23) I also support this idea because for the first time ever I am learning new things about myself and what I want in my life.
3. Joseph Chaikin’s says his sound and movement exercise:
allows a particular kind of shifting balance, or dialogue, between body and mind, in listening to and watching for the emerging form, the emerging image, and is able, moment to moment, to come into alignment with it…[Then] there is a perceptible quality of ‘presence’. (Chaikin in Hodge (ed): 2000 p.7)
My characters first physicality was very timid and withdrawn. After doing a spinal roll, there really was an “emerging form” and “emerging image” where my character materialized and then was present in the space. My shifting balance demonstrated this, as my knees were unlocked and one knee was raised to make my character appear shorter and more reserved. It caused my body to take a lower level stance compared to a more confident and spirited character, giving into gravity rather than defying it. My spine was curved, also causing my body to be introverted and inhibited. However, I have started to observe a change in the physicality of my character, as if she is gaining attitude and confidence with a higher level physicality.
Murray and Keefe discuss the emphasis on ‘spontaneity, creative freedom, [and] the power of image as opposed to the spoken word…’ This proves how physicality can reveal so much about a character. This “power of image” is very influential and exposes a lot to an audience.
Bibliography
Auslander, P (1997): From Acting to Performance: London: Routledge.
Hodge, A (ed) (2000) Twentieth century actor training: London: Routledge.
Keefe, J & Murray, S (2007): Physical Theatres: A Critical Introduction: London: Routledge.
Oddey, A (1996): Devising: A Practical and Theoretical Handbook: London: Routledge.
Posted by Gina Dobrovic
Devised theatre can start from anything. It is determined and defined by a group of people who set up an initial framework or structure to explore and experiment with ideas…A devised theatrical performance originates with the group while making the performance, rather than starting from a play text that someone else has written to be interpreted. (Oddey: 1996, p.1)
2. My character surprises me every week. Sometimes I find her travelling into a state of mind or body that is I did not expect, because my idea of her was fixed. The character I wrote about in my letter was someone I wanted to stay true to, who made sense to me. Suddenly, every week I am learning to accept that there is a route of spontaneity that you must go with. Urges are very important. The person in my letter was determined to start a new life, but will always be apprehensive of what she left behind. No matter how hard she tries, she takes her emotional baggage with her. My character grows in confidence every day and is transforming. As my character changes, my personality is affected and I am beginning to explore and learn a lot about myself too.
Philip Auslander in his book From Acting to Performance talks about how characters can be a “process of performative self-exploration.” and that “Grotowski advocates the use of character as a tool for exploring the self.” (Auslander: 1997 p.23) I also support this idea because for the first time ever I am learning new things about myself and what I want in my life.
3. Joseph Chaikin’s says his sound and movement exercise:
allows a particular kind of shifting balance, or dialogue, between body and mind, in listening to and watching for the emerging form, the emerging image, and is able, moment to moment, to come into alignment with it…[Then] there is a perceptible quality of ‘presence’. (Chaikin in Hodge (ed): 2000 p.7)
My characters first physicality was very timid and withdrawn. After doing a spinal roll, there really was an “emerging form” and “emerging image” where my character materialized and then was present in the space. My shifting balance demonstrated this, as my knees were unlocked and one knee was raised to make my character appear shorter and more reserved. It caused my body to take a lower level stance compared to a more confident and spirited character, giving into gravity rather than defying it. My spine was curved, also causing my body to be introverted and inhibited. However, I have started to observe a change in the physicality of my character, as if she is gaining attitude and confidence with a higher level physicality.
Murray and Keefe discuss the emphasis on ‘spontaneity, creative freedom, [and] the power of image as opposed to the spoken word…’ This proves how physicality can reveal so much about a character. This “power of image” is very influential and exposes a lot to an audience.
Bibliography
Auslander, P (1997): From Acting to Performance: London: Routledge.
Hodge, A (ed) (2000) Twentieth century actor training: London: Routledge.
Keefe, J & Murray, S (2007): Physical Theatres: A Critical Introduction: London: Routledge.
Oddey, A (1996): Devising: A Practical and Theoretical Handbook: London: Routledge.
Posted by Gina Dobrovic
Edward Critchlow - Assessment 2
Question 1
Through out the first five weeks of creating Porto; there have been a few strategies used in the devising process. The one, however, that has been most effective is improvisation, as this allows ‘develop[ment] [of] individuals characters’ (Heddon & Milling, 2006: p.g. 57) and the work of the ensemble. The use of improvisation, or ‘play’, can ‘contain possibilities for performance’ (Tufnell & Crickmay, 1990: p.g. 193). Improvisation is also a ‘source of creativity and as a way of opening imagination’ (Tufnell & Crickmay, 1990: Introduction), thus allowing the creation of original material. Before, improvisation begins, the ensemble, were given an idea that the improvisation consist around. It is the ensembles or individuals characters that lead the improvisation and ‘generates material which […] could never be planned […] by logical means’ (Tufnell & Crickmay, 1990: p.g. 194). The use of improvisation with both smaller and larger groups can create ‘dialogue [through] motion. They relate to each other […] communicating by sensing each others presence through […] weight and energy’ (Anderson, 1997: p.g. 247/8). Overall, the use of improvisation, allows the creativity of new material, the refinement of that work, while also allowing growth for individual characters as the piece develops and the work becomes more intense.
Question 2
When the devising process of Porto began, my character, which I was initially working with, was an exaggerated version of myself. However, as the weeks progressed, I found it difficult for my character to progress as my ‘character’ was far too personal. My ‘character’ could only grow if I, myself, grew through the work. It wasn’t until the last weeks rehearsal, that I found a character; a character that I can now continue to use and work with through out the rehearsal and performance period. ‘Creating a character all too often gives the impression that the character is an object logically constructed by the mind and then put into the body’ (Zarrilli, 2002: p.g.12). I don’t agree with the statement, when it comes to this genre of work, as I found my new character from the emotional and physical dialogue that occurred between myself and another performer. It was this ‘non-logical’ but emotionally driven connection that has got me the character I have found and will use now. It will be through out the following rehearsal periods that I will get to explore my character by spending more time with the character that I have found and emotional with, while ‘explor[ing] the creation of a character by physicalizing a ‘psychological gesture [for it]’ (Zarrilli, 2002: p.g.13).
Question 3
As, just stated, it is only in the following weeks that I can explore, change and refine elements of my character because I have only just discovered my character, however, from an understanding of my character, I can begin to consider my characters physicality and body language. ‘Our bodies are the reflections of our lives […] each thought and sensation makes changes in the body’ (Tufnell & Crickmay, 1990: p.g.1). Using this idea, it allows the creation of characters to become a more realistic image of said character and the elements it must face. My characters relationship towards the element of gravity is both in and not in favour of it. His feet are in favour, as his feet are firmly grounded to the floor, but, however, tries to ‘defy’ gravity as his spine is completely straight; creating a strong, proud stance, trying to appear stronger and confident than the rest of the ensemble. My character uses every part of its skeleton to its ability, ‘the head directs, the torso is the power house, the arms act upon the world and the legs move the body around’ (Tufnell & Crickmay, 1990: p.g.36), these elements are defiantly how my character uses its body to work the performance space in Porto. One key gesture, my character has already achieved, is a look of disgust on his face towards the other characters in Porto, creating an image of disgust and importance which allows ‘the soul of the character and the physical body of the performer [to] meet’ (Zarrilli, 2002: p.g.12).
Bibliography
Anderson, J. (1997) Art Without Boundaries. London. Dance Books Ltd.
Heddon, D. & Milling, J. (2006) Devising Performance: a critical history. Hampshire. Palgrave Macmillan
Tufnell, M. & Crickmay, C. (1900) Body, Space, Image. London. Virago Press
Zarrilli, P. (2002) Acting (Re)Considered: A theoretical and practical guide, 2nd ed. Oxon. Routledge
Posted by: EDWARD CRITCHLOW
Through out the first five weeks of creating Porto; there have been a few strategies used in the devising process. The one, however, that has been most effective is improvisation, as this allows ‘develop[ment] [of] individuals characters’ (Heddon & Milling, 2006: p.g. 57) and the work of the ensemble. The use of improvisation, or ‘play’, can ‘contain possibilities for performance’ (Tufnell & Crickmay, 1990: p.g. 193). Improvisation is also a ‘source of creativity and as a way of opening imagination’ (Tufnell & Crickmay, 1990: Introduction), thus allowing the creation of original material. Before, improvisation begins, the ensemble, were given an idea that the improvisation consist around. It is the ensembles or individuals characters that lead the improvisation and ‘generates material which […] could never be planned […] by logical means’ (Tufnell & Crickmay, 1990: p.g. 194). The use of improvisation with both smaller and larger groups can create ‘dialogue [through] motion. They relate to each other […] communicating by sensing each others presence through […] weight and energy’ (Anderson, 1997: p.g. 247/8). Overall, the use of improvisation, allows the creativity of new material, the refinement of that work, while also allowing growth for individual characters as the piece develops and the work becomes more intense.
Question 2
When the devising process of Porto began, my character, which I was initially working with, was an exaggerated version of myself. However, as the weeks progressed, I found it difficult for my character to progress as my ‘character’ was far too personal. My ‘character’ could only grow if I, myself, grew through the work. It wasn’t until the last weeks rehearsal, that I found a character; a character that I can now continue to use and work with through out the rehearsal and performance period. ‘Creating a character all too often gives the impression that the character is an object logically constructed by the mind and then put into the body’ (Zarrilli, 2002: p.g.12). I don’t agree with the statement, when it comes to this genre of work, as I found my new character from the emotional and physical dialogue that occurred between myself and another performer. It was this ‘non-logical’ but emotionally driven connection that has got me the character I have found and will use now. It will be through out the following rehearsal periods that I will get to explore my character by spending more time with the character that I have found and emotional with, while ‘explor[ing] the creation of a character by physicalizing a ‘psychological gesture [for it]’ (Zarrilli, 2002: p.g.13).
Question 3
As, just stated, it is only in the following weeks that I can explore, change and refine elements of my character because I have only just discovered my character, however, from an understanding of my character, I can begin to consider my characters physicality and body language. ‘Our bodies are the reflections of our lives […] each thought and sensation makes changes in the body’ (Tufnell & Crickmay, 1990: p.g.1). Using this idea, it allows the creation of characters to become a more realistic image of said character and the elements it must face. My characters relationship towards the element of gravity is both in and not in favour of it. His feet are in favour, as his feet are firmly grounded to the floor, but, however, tries to ‘defy’ gravity as his spine is completely straight; creating a strong, proud stance, trying to appear stronger and confident than the rest of the ensemble. My character uses every part of its skeleton to its ability, ‘the head directs, the torso is the power house, the arms act upon the world and the legs move the body around’ (Tufnell & Crickmay, 1990: p.g.36), these elements are defiantly how my character uses its body to work the performance space in Porto. One key gesture, my character has already achieved, is a look of disgust on his face towards the other characters in Porto, creating an image of disgust and importance which allows ‘the soul of the character and the physical body of the performer [to] meet’ (Zarrilli, 2002: p.g.12).
Bibliography
Anderson, J. (1997) Art Without Boundaries. London. Dance Books Ltd.
Heddon, D. & Milling, J. (2006) Devising Performance: a critical history. Hampshire. Palgrave Macmillan
Tufnell, M. & Crickmay, C. (1900) Body, Space, Image. London. Virago Press
Zarrilli, P. (2002) Acting (Re)Considered: A theoretical and practical guide, 2nd ed. Oxon. Routledge
Posted by: EDWARD CRITCHLOW
Monday 9 March 2009
Blog Assessment 2
1.
The devising process used within Porto has enabled the group to grow and individual characters to develop within. We started off with a key concept and were told that we were going to craft the material using the devising process which we started to use in semester 1. “Devising is a way of working to find out and develop ideas… that involves stepping out of the conventional roles.” (Callery, D, 2001, p.164)
Devising has allowed the group to develop as a whole, when creating material as an ensemble we have learned to use the clap method which has successfully allowed us to explore a deeper understanding of our own characters. Our initial task was to walk onto the stage as our character and sit on a chair, nothing more or less. After 5 weeks this activity has changed more or less everyone’s characters because to begin with everyone seemed to have the matching feelings but this has now transformed.
Lastly in Porto, play improvisation sessions have “set in motion the creativity of actors so they not only improve themselves as performers but also make their own work.” (Callery, D, 2001, p.163)
2.
“Wondering what you have in common, if anything, with those around you?” (Mitra, R, 2009)
From the beginning week of Porto to today my character has changed drastically, this has been influenced by the type of work which we have been producing in lecture and in the play session. The play session this week helped my character really discover who he is, there is more to be discovered but from the beginning week the character has drastically evolved.
When we first started devising the work my character was an extension to myself but more emotionally challenged. My character initially did not want to meet anyone in Porto, however throughout a small duration of 5 weeks my character has now begun to interact with certain people and believes that they are his friends and guardians within the world of Porto. Although my character has now broke out of his shell he is still uncertain about what lies within the depths of Porto, his friends which he has discovered now means a great deal to him and doesn’t want to loose them while inside Porto. Mike Alfreds states: “people are the essential material from which theatre is created.” (Alfreds, M, 2007, p. 218) Material I have created “puts ones own intentions to the test, how far one is prepared to pay with ones own person for all that one believes and declares.” (Barba, E, 1979)
3.
My characters physicality inside Porto is quite bold. Because of my figure I believe that my character exploits this is Porto. He is not afraid to execute lifts or try dangerous manoeuvres which may result in something going totally wrong. My characters body language started off as quite closed and reserved, this was shown by the way he sat upright on a chair with the centre of gravity waited so that nothing would make him move. My characters key gestures often rely on the gravity being placed upon the lower back, for example when we are performing the ensemble piece he leans on the chair with his arms and extends his legs back, the centre of gravity shifts from the arms to becoming evenly distributed. My character also is able to show his emotions from his body language rather than facial expressions. When my character feels safe he generally bends one leg and applies all weight to one side of the body, this sign shows to audience members that he is comfortable within the surroundings and describes the relationship between himself and another within Porto.
Bibliography
Barba, E. (1979) The Floating Islands: Reflections with Odin Teatret: Performing Arts Journal Publications.
Callery, D. (2001) Through the Body, A Practical Guide to Physical Theatre. London. Routledge
Murray, S & Feefe, J. (2007) Physical Theatre A Critical Reader London: Routledge
Porto (2009) [Home page] [online] [March 6, 2009.]
< http://processandperformance200809.blogspot.com/ >
Daniel Smith
The devising process used within Porto has enabled the group to grow and individual characters to develop within. We started off with a key concept and were told that we were going to craft the material using the devising process which we started to use in semester 1. “Devising is a way of working to find out and develop ideas… that involves stepping out of the conventional roles.” (Callery, D, 2001, p.164)
Devising has allowed the group to develop as a whole, when creating material as an ensemble we have learned to use the clap method which has successfully allowed us to explore a deeper understanding of our own characters. Our initial task was to walk onto the stage as our character and sit on a chair, nothing more or less. After 5 weeks this activity has changed more or less everyone’s characters because to begin with everyone seemed to have the matching feelings but this has now transformed.
Lastly in Porto, play improvisation sessions have “set in motion the creativity of actors so they not only improve themselves as performers but also make their own work.” (Callery, D, 2001, p.163)
2.
“Wondering what you have in common, if anything, with those around you?” (Mitra, R, 2009)
From the beginning week of Porto to today my character has changed drastically, this has been influenced by the type of work which we have been producing in lecture and in the play session. The play session this week helped my character really discover who he is, there is more to be discovered but from the beginning week the character has drastically evolved.
When we first started devising the work my character was an extension to myself but more emotionally challenged. My character initially did not want to meet anyone in Porto, however throughout a small duration of 5 weeks my character has now begun to interact with certain people and believes that they are his friends and guardians within the world of Porto. Although my character has now broke out of his shell he is still uncertain about what lies within the depths of Porto, his friends which he has discovered now means a great deal to him and doesn’t want to loose them while inside Porto. Mike Alfreds states: “people are the essential material from which theatre is created.” (Alfreds, M, 2007, p. 218) Material I have created “puts ones own intentions to the test, how far one is prepared to pay with ones own person for all that one believes and declares.” (Barba, E, 1979)
3.
My characters physicality inside Porto is quite bold. Because of my figure I believe that my character exploits this is Porto. He is not afraid to execute lifts or try dangerous manoeuvres which may result in something going totally wrong. My characters body language started off as quite closed and reserved, this was shown by the way he sat upright on a chair with the centre of gravity waited so that nothing would make him move. My characters key gestures often rely on the gravity being placed upon the lower back, for example when we are performing the ensemble piece he leans on the chair with his arms and extends his legs back, the centre of gravity shifts from the arms to becoming evenly distributed. My character also is able to show his emotions from his body language rather than facial expressions. When my character feels safe he generally bends one leg and applies all weight to one side of the body, this sign shows to audience members that he is comfortable within the surroundings and describes the relationship between himself and another within Porto.
Bibliography
Barba, E. (1979) The Floating Islands: Reflections with Odin Teatret: Performing Arts Journal Publications.
Callery, D. (2001) Through the Body, A Practical Guide to Physical Theatre. London. Routledge
Murray, S & Feefe, J. (2007) Physical Theatre A Critical Reader London: Routledge
Porto (2009) [Home page] [online] [March 6, 2009.]
< http://processandperformance200809.blogspot.com/ >
Daniel Smith
Assesment 2
When it comes to the devising process of Porto, individually and as an ensemble we have been allowed to pretty much do what we want. When working alone, it’s down to you personally and as a character to decide what feels right. When it comes to working as a group the dynamics completely change, you need to take into consideration what the other people feel. The methods which have been used within groups are the clap technique where a person claps suggests an idea and the group follow. The play session, where you and your group just improvise and take ideas from what you have created or there’s the discussion technique, you sit and discuss your ideas on the matter in hand. Personally I prefer the play session; it allows you to still take the matter into hand but also lets you improvise how your character is feeling at that particular moment in time. At the beginning I feel as a group the techniques were not really helping us and created more problems, but as the weeks have progressed and people have become to trust each other more the techniques are being used correctly and effectively. “For the individual, it is time dedicated to developing and exploring performance potential. For a company, training is time spent working to a common purpose.” (Callery, D. 2001 p. 17)
“Have you ever felt that the present is no longer where you belong? That you need to make it your past in order to live the future you desire.” (Mitra, R. 2009) At this stage of the process those words represent my character perfectly. At the beginning of Porto my character felt the urge to stop in the rut I had let myself get into, not wanting anyone at my side but as the weeks have progressed I feel that my character has grown in such a way, which allows other characters to befriend me and become a part of my life within Porto. The reasons for such a drastic change in characteristics, are that in the beginning my character was very selfish and was only worried about my own personal needs but as the weeks have gone I’ve taken a look around me and saw other characters in need of help, help that deep down I was willing to give. The mind set of my character as of now (which may well change again in weeks to come) is I’m willing to be there for others and hold out my hand but also I’m in need of help and need a single person to help me on my journey.
As I have said previous my character began as this shy, depressive one so my body language was very negative. My back was nearly always turned to the audience as I felt I didn’t want them intruding in my life and I also felt a pull from gravity, pulling me closer to the floor which in turn made my movements very self centred. As the weeks have gone on, I feel that my characters body language has changed. It has become a lot more open, my gestures and the way I hold my posture is more of welcoming one compared to the beginning of my journey. Bausch once said “Everything has become routine and no one knows any longer why they’re using these movements. All that’s left is just a strange sort of vanity which is becoming more and more removed from actual people.” (1978, 1984) p.227-230) I can honestly say that the physicality of my character is not just a routine; everything I execute is executed for a reason. I feel that because my body language was so introvert at the beginning my body has had to adjust to executing the bigger movements. But by making such a shift in difference of movements has shown the development of my character.
Bibliography
Barba, E. (1979) The Floating Islands: Reflections with Odin Teatret: Performing Arts Journal Publications.
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.
Callery, D. (2001) Through the Body: A Practical Guide to Physical Theatre: Routledge.
http://www.jasminvardimon.com/index.html
Porto (2009) [Home page] [online] [March 9, 2009.]
< http://processandperformance200809.blogspot.com/ >
POSTED BY LAUREN WALKER
“Have you ever felt that the present is no longer where you belong? That you need to make it your past in order to live the future you desire.” (Mitra, R. 2009) At this stage of the process those words represent my character perfectly. At the beginning of Porto my character felt the urge to stop in the rut I had let myself get into, not wanting anyone at my side but as the weeks have progressed I feel that my character has grown in such a way, which allows other characters to befriend me and become a part of my life within Porto. The reasons for such a drastic change in characteristics, are that in the beginning my character was very selfish and was only worried about my own personal needs but as the weeks have gone I’ve taken a look around me and saw other characters in need of help, help that deep down I was willing to give. The mind set of my character as of now (which may well change again in weeks to come) is I’m willing to be there for others and hold out my hand but also I’m in need of help and need a single person to help me on my journey.
As I have said previous my character began as this shy, depressive one so my body language was very negative. My back was nearly always turned to the audience as I felt I didn’t want them intruding in my life and I also felt a pull from gravity, pulling me closer to the floor which in turn made my movements very self centred. As the weeks have gone on, I feel that my characters body language has changed. It has become a lot more open, my gestures and the way I hold my posture is more of welcoming one compared to the beginning of my journey. Bausch once said “Everything has become routine and no one knows any longer why they’re using these movements. All that’s left is just a strange sort of vanity which is becoming more and more removed from actual people.” (1978, 1984) p.227-230) I can honestly say that the physicality of my character is not just a routine; everything I execute is executed for a reason. I feel that because my body language was so introvert at the beginning my body has had to adjust to executing the bigger movements. But by making such a shift in difference of movements has shown the development of my character.
Bibliography
Barba, E. (1979) The Floating Islands: Reflections with Odin Teatret: Performing Arts Journal Publications.
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.
Callery, D. (2001) Through the Body: A Practical Guide to Physical Theatre: Routledge.
http://www.jasminvardimon.com/index.html
Porto (2009) [Home page] [online] [March 9, 2009.]
< http://processandperformance200809.blogspot.com/ >
POSTED BY LAUREN WALKER
Subscribe to:
Posts (Atom)
