Post Three Nicole Dixon

1. Critically reflect on how the ‘R’ (research/resource) phase of devising has moved onto the ‘S’ (score) phase of devising in the creative journey of Porto.
You might need to briefly establish what is meant by ‘research/resource’ and ‘score’ within the devising process before you discuss its place within Porto’s development. (200 words)

The ‘R’ phase in the devising process of Porto has been very crucial as without this phase the RSVP model would not have its strength or even exist. ‘R’ represents the research and resource of the process; this is the initial exploration stages of Porto, where performers are establishing their characters, and are introduced to Porto. This phase of performance in a sense is focused on impulse, and where this impulse takes you. ‘[…] the ability to listen to your body is so essential. It can sense what is really going on in any situation, and can offer a physical hint about the desired course of action.’ (Marshall & Oida, 2002, p33) This is the foundation of the ‘R’ phase, it is more experimentation than anything, and beginning to think and understand why your body is doing what it is doing. The next stage of development is the ‘S’ phase of devising, which is the score element of the process. As in music, score in Porto is structuring and reasoning of the material. So in relation to the ‘R’ phase, it is developing what has already been formed, so it is more clear, and with grounds, not just performing for the sake of doing so. In response to the initial impulse you followed in the ‘R’ phase, the score modifies them; this is done through rehearsal and development of material. ‘Once you are connected to your body and able to listen to it, another realm of possibilities emerges’ (Marshall & Oida, 2002, p31)

2. As Porto is starting to be scored, discuss if there is any structure or narrative that is beginning to emerge through it. Give reasons for your answer. (200 words)

‘It is impossible for any theatre piece not to convey meaning – intended or otherwise – though the bodies of the actors. As spectators we construct meaning through all the senses even in a conventional play.’ (Keefe & Murray, 2007, p92) Within performance the audience will try connote and impose a meaning upon what they are seeing, even if not intended to do so.
As with any performance, there is always a structure, unless it is purely improvisation. Even if you cannot see it initially, there will be one. Within Porto it has felt like there has never been a clear structure, but that is because there isn’t a fixed order. But that in itself is a structure as this too represents the characters within Porto, and their lack in stability and structure. I don’t think their will be a ‘structure’ set in place. The only structure that is clear and that can be agreed upon is that there characters are going on a journey through the liminal space.

3. Discuss your own character’s transition from the ‘R’ phase to the ‘S’ phase of devising Porto. How has it grown, adjusted and become more tangible (physically and emotionally) through the progress of the devising process? (200 words)

A character in a play, like each of us, is constantly growing and changing in response to her life experiences – the people, places, things and situations with which she comes in contact.” (Alberts, 1997, p47)

If I saw this quote at the start of the module I don’t think I would have been as stressed as I was, when I felt that my character was not developing. I knew that each person developed at different rates, but I felt I was going backwards rather that forward. So for me the ‘R’ phase of devising Porto was a struggle. It wasn’t until the ‘S’ phase that I realised that even though I felt my character was not growing, infect she was. I had to understand what was holding my character back from developing, and realised it was in fact herself, and her own insecurities. By understanding this, my character has now been able develop both physically and emotionally and I now have a stronger sense of connection to my character. The ‘R’ phase has been fundamental and without this I would ever have been able to reach the ‘S’ phase. I would never have been able to see the full potential of my character. With that I know that my character will now be forever developing, in order to become comfortable with her surrounding and trying to find that positive end to her journey through Porto.

NICOLE DIXON

Bibliography

ALBERTS, D. 1997. The Expressive Body. Heinemann.
KEEFE, J & MURRAY, S. 2007. Physical Theatres: A Critical Introduction. Oxon: Routledge
MARSHALL, L & OIDA, Y. 2002. The Body Speaks: performance and expression. Palgrave Macmillan