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.]
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Daniel Smith